In the decades around 1900, the Western literary canon boasts a dense accumulation of stories that specifically make dogs their protagonists, or even their narrators. Authors amongst the most important voices of modernism in their respective traditions, such as Virginia Woolf, Mark
Twain, Franz Kafka, O. Henry, Miguel de Unamuno, Vladimir Bulgakov, and Italo Svevo, all turned to canine perspectives to discuss the human condition in the rapidly changing modern world.1 Modernism entailed, among other characteristics, fundamental skepticism of the human self-conception,
including the epistemological insecurity of how one might fully know oneself or others and doubt about the ability of language to communicate meaning.2 I argue that the turn to animals in the literary production of this time parses out three interconnected anxieties of modernism:
1) the growing isolation of the individual subject (which a companion animal can and cannot solve); 2) the Sprachkrise, a crisis of language and meaning (in which the limitations of language are addressed via depictions of canine thoughts or words); and 3) concerns about physiognomy
and race theory (encoded by dog breeds), which lead to the violent subdual of Others – be they animal, female, or non-white – thus prompting questions about the “humanity” of humankind. The turn to dogs as one of, if not, the animal species sharing human everyday
life in the literary engagement with these questions both illustrates and suggests ways of overcoming this isolation and its violence. On the following pages, I first briefly outline the three anxieties regarding isolation, language, and breedist violence in modernism and then draw on three
canine narratives, Virginia Woolf’s Flush: A Biography (1933), Mark Twain’s A Dog’s Tale (1903), and Oskar Panizza’s Aus dem Tagebuch eines Hundes (From the Diary of a Dog, 1892), in order to unfold these three entangled points. <?page
nr="154"?>The texts are selected as representative both because they bring out these modernist anxieties very clearly, while nonetheless approaching the representation of dogs in three different ways, and because they span a wide historical and national range through their British, American,
and German origins across four decades, while still being distinctly anchored in the Euro-Western constellation that gave rise to these modernist anxieties. Each texts places a slightly different emphasis on the three aspects of the argument, and therefore my reading of them is divided into
two parts: the first explicates the interplay of modernist isolation and the language crisis with the help of Woolf’s and Panizza’s works, while the second turns to the issue of breed with Woolf and Twain, whose texts highlights the violent consequences and ethical implications
of these ideas.