The modern novel, so the story goes, thinks poorly of mere description--what Virginia Woolf called that ugly, that clumsy, that incongruous tool. As a result, critics have largely neglected description as a feature of novelistic innovation during the twentieth century. Dora Zhang argues that descriptive practices were in fact a crucial site of attention and experimentation for a number of early modernist writers, centrally Woolf, Henry James, and Marcel Proust. p Description is the novelistic technique charged with establishing a common world, but in the early twentieth century, there was little agreement about how a common world could be known and represented. Zhang argues that the protagonists in her study responded by shifting description away from visualizing objects to revealing relations--social, formal, and experiential--between disparate phenomena. In addition to shedding new light on some of the best-known works of modernism, Zhang opens up new ways of thinking about descripti