Notes

• [1]
  Douglas Mao and Rebecca L. Walkowitz argue that “the purview of modernist scholarship now encompasses, sometimes tendentiously but often illuminatingly, artifacts from the middle of the nineteenth century and the years after the middle of the twentieth as well as works from the core period of about 1890 to 1945” (738). Modernism has also become transnational (see the special issue Modernism and Transnationalisms of Modernism/Modernity), and global as Mark Wollaeger or Stephen Ross and Allana C. Lindgren show.
• [2]
  In his essay “Inside the Whale” published in 1940, Orwell famously associated what he called “the movement” with James Joyce, T.S. Eliot, Ezra Pound, D.H. Lawrence, Wyndham Lewis, Somerset Maugham, Aldous Huxley and Lytton Strachey, not quoting a single woman writer.
• [3]
  In Rabaté’s chronology of 1922, Joyce’s Ulysses appears together with T.S. Eliot’s The Waste Land, D.H. Lawrence’s Aaron’s Rod, and Virginia Woolf’s Jacob’s Room, the only British works in a mainly European and North American background. Jackson reads 1922 as twelve months when together with Joyce, Pound and Eliot, many artists, painters, actors, dancers, filmmakers and musicians formed a “Constellation of Genius” in Europe; however, Rabaté unquestioningly considers that Ulysses was “the most influential English-language novel of the century” and The Waste Land “the most influential English-language poem of the century” (1). North brings some nuance and enlarges the picture, focusing on “the cultural works of that year, those of acknowledged importance like the Tractatus and those of apparent triviality like My Trip Abroad” (30).
• [4]
  Although published in 1926, Lolly Willowes was written in 1923–24. In the autumn 1923, David Garnett read Warner’s poems, took them to Charles Prentice at Chatto & Windus, who accepted them; Prentice met Warner and asked her if she had written anything else; she sent him her novel and he accepted it. The Espalier came out in 1924, Lolly Willows in 1926 (Harman 1989, 61).
• [5]
  On this subject, see Harman’s 1989 biography.
• [6]
  For instance, Laura’s “coming out” is rephrased and exposed as follows: the “odd term meant, as far as she could see, and when once the champagne bottles were emptied and the flimsy ball-dress lifted off the thin shoulders, going in” (13, my emphasis).
• [7]
  Murray’s book was believed to be the first feminist study of the witch trials, but was criticized by scholars for its errors and methodology.
• [8]
  See Warner’s Letters, 20 February 1926.
• [9]
  The reference to a tree nymph may read here as an ironic comment on Ezra Pound’s patriarchal use of the figure of Daphne or more generally, the dryad, Dryad being his nickname for H.D., a way of casting the poet “in romantic versions of the archetypal feminine” (Dennis 273).
• [10]
  For a discussion of which literary genre Lolly Willowes belongs to, see David James; on fantasy, the fantastic, the supernatural and the marvellous, see Harker 57–60.
• [11]
  We may think here of some of Warner’s contemporaries who, like T.S. Eliot in Four Quartets, celebrate tradition and the English rural village in a somewhat reactionary way.
• [12]
  According to Agamben, “Contemporariness is, then, a singular relationship with one’s own time, which adheres to it and, at the same time, keeps a distance from it.” (41).