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By Steve Pinkerton

'Blasphemous Modernism' argues that blasphemy is a sign mode of modernist literary expression. interpreting a various diversity of poets (Mina Loy, Langston Hughes) and novelists (James Joyce, Djuna Barnes, Salman Rushdie), Pinkerton exhibits how those writers solid the literature of modernism from the idiom of blasphemy.

summary: 'Blasphemous Modernism' argues that blasphemy is a sign mode of modernist literary expression. examining a various diversity of poets (Mina Loy, Langston Hughes) and novelists (James Joyce, Djuna Barnes, Salman Rushdie), Pinkerton indicates how those writers solid the literature of modernism from the idiom of blasphemy

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Worth emphasizing for our purposes, moreover, is that it is specifically a blasphemous voice and a blasphemous body. Its affinity for an aesthetics of sacrilege is inherent in its own somato-​textual form, a form that finds its perfect expression in the novel’s final chapter. Its corporeality, finally, is wholly appropriate given that this is the blasphemous voice that picks up where Buck leaves off, asserting its presence more and more as Mulligan’s presence recedes farther and farther from view.

It’s against this typological project that Harlem’s younger, more radical writers—​the “Niggeratti” coterie of Langston Hughes, Wallace Thurman, Richard Bruce Nugent, Zora Neale Hurston, and others—​aim their own sacrilegious aesthetics. 68 Which brings us to another cultural exchange from the period, one similarly characterized by biblical appropriation and the discourse of blasphemy.  R. 70 These successive rhetorical postures bear remarking. 71 Then The Sink of Solitude calls for blasphemy charges to be brought against the novel’s detractors for having profaned one of modernity’s secular gods, Freedom of Speech.

Jim The Inquisition can only require its destruction or, at least, its removal from Catholic houses… . In its reading lies not only the description but the commission of sin against the Holy Ghost. —​Shane Leslie, reviewing Ulysses in 1922 Shortly after the publication of Ulysses, James Joyce sat for an interview with a young journalist named Djuna Barnes. Her friend Mina Loy accompanied them, sketching a portrait of the artist in profile that would appear alongside Barnes’s account in Vanity Fair’s March 1922 issue.

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