Yet, it was print (not ‘literature’ or the ‘book’) that was being challenged. In an effort to write in a lively style, Lurz often seems careless in his use of words. And I am not sure that his personal anecdotes bring anything of value. In the chapter on the Recherche, do we really need to know about Lurz’s ‘readerly ennui’ (‘I would find myself emptily turning pages, bored almost out of my mind’ (p. 25))? Is it appropriate to write that he has a ‘crush’ on Woolf’s character Jacob Flanders (‘he is just my type’ (p. 107))? Other emerging scholars, such as Jennifer Sorensen, have brought together book history and media theory to study the interaction between modernist experimentation and its material forms. This is a promising area of research, but one that necessitates a deep understanding of current developments in several disciplines, an understanding that is largely lacking from Lurz’s book.

中文翻译：

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Celia Marshik, At the Mercy of their Clothes: Modernism, the Middlebrow, and British Garment Culture MarshikCelia, At the Mercy of their Clothes: Modernism, the Middlebrow, and British Garment Culture (Columbia University Press, 2016), pp. xii + 214, 32.00 英镑

然而，受到挑战的是印刷品（不是“文学”或“书”）。为了以活泼的风格写作，Lurz 在用词时经常显得粗心大意。而且我不确定他的个人轶事是否带来任何有价值的东西。在关于 Recherche 的章节中，我们真的需要了解 Lurz 的“读者厌倦”（“我会发现自己空洞地翻着书页，几乎厌烦了”（第 25 页））？写他“迷恋”伍尔夫的角色雅各布·弗兰德斯（“他只是我的类型”（第 107 页））是否合适？其他新兴学者，如詹妮弗·索伦森，将书史和媒体理论结合起来，研究现代主义实验与其物质形式之间的相互作用。这是一个很有前途的研究领域，但需要深入了解几个学科的当前发展，