What happened to satire after its golden age in the eighteenth century? Many critics seem to assume that satire mostly faded away, as romantics turned their attention from political and social folly to poetic genius and natural beauty. ... Emmett Stinson convincingly proposes an alternative narrative in Satirizing Modernism. He argues that a new, self-reflexive kind of satire-dedicated less to social commentary and more to probing the limits of artistic innovation-emerged during romanticism and came to fruition during modernism. … Stinson has successfully pulled on a string that could continue to be untangled for a long time, not only within modernist studies but also within humor studies, American studies, and other fields.

Studies in American Humor

Stinson is compelling when he suggests that modernist literature may always be mocking the values to which it simultaneously subscribes.

Times Literary Supplement

An invigorating re-assessment of modernism's susceptibility to its own formal and thematic critiques, rivalries, and negations, one that charts with interpretive flair new ways to think about the political and aesthetic implications of autonomy. This is a must-read book not only for scholars of modernism in general but also for scholars working on the experimental writers Stinson foregrounds (Wyndham Lewis, William Gaddis, and Gilbert Sorrentino). It is an exceptionally judicious reconsideration of the limits and possibilities of an essential emphasis in cultural history.

Nathan Waddell, Assistant Professor in Literary Modernism, University of Nottingham, UK

Satires that relentlessly satirize themselves; artworks that assert their own autonomy only ruthlessly to undermine it. In Emmett Stinson's dazzling account, Romantic and avant-garde satires emerge as forms intent on demolishing the grounds on which they stand in the pursuit of an impossible vision of autonomy from every external value. Dexterously argued, deeply researched, and forcefully written, Satirizing Modernism reveals an extended modernist lineage never more itself than when most at odds with itself.

Paul Crosthwaite, Senior Lecturer in English Literature, University of Edinburgh, UK

In Satirizing Modernism, Stinson reveals how modernist strivings for formal autonomy could be traversed by the centrifugal forces of satire and avant-garde aggression. From precursors in romantic prose through modern and contemporary avatars including Wyndham Lewis, William Gaddis, Gilbert Sorrentino, and Evan Dara, Stinson illuminates an innovative counter-tradition of satire turned back upon itself and of autonomous forms reopened by broad, external concerns.

Tyrus Miller, Professor, Vice Provost, and Dean of Graduate Studies, University of California, Santa Cruz, USA