This study takes as its point of departure an essential premise:
that the widespread phenomenon of expatriation in American
modernism is less a flight from the homeland than a dialectical
return to it, but one which renders uncanny all tropes of
familiarity and immediacy which 'fatherlands' and 'mother tongues'
are traditionally seen as providing. In this framework, similarly
totalizing notions of cultural authenticity are seen to govern both
exoticist mystification and 'nativist' obsessions with the purity
of the 'mother tongue.' At the same time, cosmopolitanism,
translation, and multilingualism become often eroticized tropes of
violation of this model, and in consequence, simultaneously courted
and abhorred, in a movement which, if crystallized in expatriate
modernism, continued to make its presence felt beyond.
Beginning with the late work of Henry James, this book goes on
to examine at length Ezra Pound and Gertrude Stein, to conclude
with the uncanny regionalism of mid-century San Francisco
Renaissance poet Jack Spicer, and the deterritorialized aesthetic
of Spicer's peer, John Ashbery. Through an emphasis on modernism as
a space of generalized interference, the practice and trope of
translation emerges as central to all of the writers concerned,
while the book remains in constant dialogue with key recent works
on transnationalism, transatlanticism, and modernism.
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