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IN HIS ESSAY "Modernity on Endless Trial," Leszek Kolakowski writes, "Having no clear idea what modernity is, we have recently tried to escape forward from the issue by talking about postmodernity. . . . When we leave aside these labels, the real question remains: Why is the malaise associated with the experience of modernity so widely felt, and where are the sources of those aspects of modernity that make this malaise particularly painful?" Though Kolakowski is referring to our culture at large, he could just as easily be narrowing his focus to our literature. Our time is, as of yet, insufficiently defined. If we are to know where we are now?which seems to be at least one of contemporary literature's obsessions?we must look closer at where we came from. James Mellow's three biographies of this country's first and most famous modern writers?Charmed Circle: Gertrude Stein & Company; Invented Lives: F. Scott and Zelda Fitzgerald; Ernest Hemingway: A Life Without Consequences?is the best record we have of our literary primogenitors and the processes by which they changed a Victorian literary landscape to better reflect their differently troubled, modern world. Charmed Circle, the first of the biographies, is a meticulously researched recreation of the artistic community on the West Bank of Paris. Aided first by her brother Leo, and then by companion Alice B. Toklas, Gertrude Stein turned her salon at 27, rue de Fleurus into "the first museum of modern art." It was here that other artists and important collectors encountered Cezanne's subtle division of an object into spatial planes; the wild color and fluid lines of the Fauves; the primitive, pictorial violence of Picasso's early cubist experiments. Mellow's critical knowledge of the paintings is crucial to our understanding of the written texts Stein produced under their influence, such as Three Lives, which was written literally underneath a Cezanne portrait:

Three Ways of Being Modern: The Lost Generation Trilogy by James R. Mellow