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Comment: VG+ 2007 Verso paperback reissue with Intro by Pinkney. Minor front corner crease and light dulling to pages only. Sent Airmail at no extra cost; Worldwide Shipping IMMEDIATE 1ST CLASS/AIRMAIL DISPATCH
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Politics of Modernism (Radical Thinkers) Paperback – 15 Jan 2007


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Review

Williams is the Western thinker who, along with Antonio Gramsci, has done most to enlarge our understanding of the political complexities of culture.

"A toughly analytic mind is fueled by the rich emotional resources of a creative writer."--Terry Eagleton

"Williams is the Western thinker who, along with Antonio Gramsci, has done most to enlarge our understanding of the political complexities of culture."--"Village Voice"

A toughly analytic mind is fueled by the rich emotional resources of a creative writer. Terry Eagleton
Williams is the Western thinker who, along with Antonio Gramsci, has done most to enlarge our understanding of the political complexities of culture. "Village Voice""

From the Back Cover

The death of Raymond Williams in 1988 robbed us of one of the most formidable British intellectuals. Considered to be the founding father of British cultural theory, Williams was concerned throughout his life to apply a materialist and socialist analysis to all forms of culture, defined generously and inclusively as 'structures of feeling'. In this, his last major work, Williams applies himself to the problem of modernism. Rejecting stereotypes and simplifications, he is especially preoccupied with the ambivalent relationship between revolutionary socialist politics and the artistic avant-garde. Judiciously assessing the strengths and weaknesses of the modernist project, Williams shifts the framework of discussion from merely formal analysis of artistic techniques to one which grounds these cultural expressions in particular social formations. Animating the whole book is the question which Williams poses and brings us significantly closer to answering: namely, what does it mean to develop a cultural politics which goes 'beyond the modern' and yet which avoids the trap of postmodernism's 'new conformism'?

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