Pentecostal Modernism: Lovecraft, Los Angeles, and World-Systems Culture: (New Directions in Religion and Literature)

Bringing together new accounts of the pulp horror writings of H.P. Lovecraft and the rise of the popular early 20th-century religious movements of American Pentecostalism and Social Gospel, Pentecostal Modernism challenges traditional histories of modernism as a secular avant-garde movement based in capital cities such as London or Paris. Disrupting accounts that separate religion from progressive social movements and mass culture, Stephen Shapiro and Philip Barnard construct a new Modernism belonging to a history of regional cities, new urban areas powered by the hopes and frustrations of recently urbanized populations seeking a better life. In this way, Pentecostal Modernism shows how this process of urbanization generates new cultural practices including the invention of religious traditions and mass-cultural forms.

Table of Contents:
Acknowledgements Part A: Methods 1) Modernism and the Capitalist World-System: Williams, Wallerstein, Foucault 2) Combined and Uneven Development: World-System Dynamics Part B: Modernisms 3) Pentecostalism and the Protolanguage of Racial Equality 4) Lovecraft, Race, and Pulp Modernism 5) Afterword: Social Gospel Bibliography Index

About the Author :
Stephen Shapiro is Professor of American Literature at the University of Warwick, UK. He is the author or editor of 11 books, including How to Read Marx's Capital (2008) and The Wire: Race, Class, and Genre (2012). Philip Barnard is Professor of English at the University of Kansas, USA. He has published 11 books as author, editor or translator and is the Textual Editor for the Charles Brockden Brown Electronic Archive and Scholarly Editions.

Review :
This book ... makes a carefully constructed, powerful intervention suggestive of much potential for future scholarship drawing on its principles of approach ... The ideas here will be useful to scholars working on other related fields linked to both Modernism and the Weird, from postmodernism to the New Weird and beyond. In particular, Shapiro and Barnard's construction of the experience-system of modernity seems useful in reevaluating the relative positions of less centric Modernists, or the concept of Intermodernism in the study and understanding of twentieth-century literature systemically, in the context of cultural fields, such as religion, from which it might otherwise be separated. The brevity of Pentecostal Modernism belies its density, but not its accessibility. In fact, it is an enjoyable read that is both insightful and well-researched. As a scholar of Pentecostalism, it was intriguing for me to observe how Shapiro and Bernard's efforts resituated familiar material in new domains.