Mighty Morphin Historical Objects
			John Colmer, in his biography of E.M. Forster, adds the novel and short story to a list of genres: epic, tragedy, lyric, comedy, or satire, but he does not list "life", a genre with its own categories mixing sense with fiction and literature. Forster himself does not make a list with life but alternatively knows that there are ways of looking at life without using it as a total perspective. Traveling in Italy Forster remarked, to an effect, that this category of life (travelling) yields categories: wrong tickets, unexpected arrival in Paris, sick headaches, quarreling, and lost luggage--what could be micro-genres, if not genres themselves. Generally concerning themes and genres with Forster, those that do not fall under "life" are in danger of either appearing as one genre or theme or as all genres or themes, instead of some number greater than one or as both of two. In Forster's The Longest Journey and Howard's End, several social themes are the outcome of the novels' preoccupation with the future of England, most directly the result of the growth of cities and the emergence of the poor within them94. So Colmer provides for the city and the division of the nation into rich and poor, but also, for the genres of C. F G. Masterman's The Condition of England (1909), which works out a theory of aggregation and the abyss (or bottomless pit) for understanding late Nineteenth-Century European social existence. With this understanding are its genres that fall under or designate life. An example of a list of genres that does not designate life (meaning to say that it does involve texts) can be seen in Forster's criticism: he divides novels into 'Aspects': The Story, People, The Plot, Fantasy, Prophecy, Pattern, and Rhythm95. In some sense with these categories, Forster has abandoned history with his approach, according to Colmer who remarks that Forster imagines all of the great world novelists writing their masterpieces under the dome of the central reading room of the British Museum, and who observes that the chronological aspects of history speak of its continual development rather than of mirrored reality like art, and for the novelist, the goal was to produce art in this sense96. Forster does with using genres what Robin George Collingwood perceived as an error in logic in the economic philosophy of Karl Marx: Marx accounts for the motivations of ideology almost arbitrarily by starting with nature but imposing thought upon it, such as in the naming of of philosophical positions not with philosophical reasons for having them, but economic reasons. Forster's work in this regard of completely established singular genre (akin to an economic determination) provokes a connection to W. M. Rosetti's correspondence in which Rosseti remarks that "Americans are fond of rushing everything into print". With "everything" (though an exaggeration) there can ultimately be no synthetic distinction among groups pressed into print and there is no time for making relationships of categories evoke a sense of "life". Chronicles of life, correspondence like Rossetti's, rely on postal services, the mailer's perceived discrepency between invisible carriers and the exact distances that must have been traveled, and is part of an age of progress in which categorization and genre take a new shape too. Its not much to say that Forster's criticism and Rossetti's Americans in some fashion or other both productively recreate the framing of our world through new categories and particular genre readings, one particular entry into the taxonomy of progress of Rossetti and Forster being: "Full Speed Ahead! Damn the Tomorrows" (a famous slogan in American History).			26. Deauman, NIcola. E. M. Forster: A Biography. New York: Alfred A. Knopf, 1994. p. 97. 'To Dent, the King's friend with whom he was at this time mainly corresponding and who had given some useful advice about travelling in Italy, he wrote that the start was devilish... comprising wrong tickets unexpected arrival in Paris, sick headaches, quarrelling, lost luggage. 27. Gohdes, Clarence, and Paul Franklin Baum, eds.. The Letters of William Michael Rossetti concerning Whitman, Blake and Shelley to Anne Gilchrest and her son Herbert Gilchrest. Durham, North Carolina: Duke University Press, 1934. p. 111. 'The attack is in the right foot. I am now fairly well, but still wearing a soft boot, & whenever I try to leave this off, I find that I am not yet quite fit to do so... & shall probably settle down into practical teetotalism.' 94. Colmer, John. E. M. Forster: The Personal Voice. London and Boston: Routledge & Kegan Paul, 1975. pp. 86-8. 'Howard's End takes up and expands the theme touched on at the end of the Longest Journey: who shall inherit England?'; 'It was not only the problem of the poor that troubled the conscience of the nation, but the emergence of the great cities.... 95. ibid. p. 176. ...Forster focuses on seven formal properties of the novel. these he calls 'Aspects'. They are: 'The Story', 'People', 'The Plot', 'Fantasy', 'Prophecy', 'Pattern', and Rhythm. This chatty updated Aristotelian approach gives the discussion an air of completeness while allowing Forster to speak about what happens to interest him most.' 96. ibid. p. 175. ...he therefore decided to abandon the historical approach altogether and to imagine all the great novelists of the world writing their masterpieces under the dome of the central reading room of the British Museum. A charming and whimsical fancy that does enable Forster to 'exorcise' the 'demon of chronology' and to concentrate on the novelist's common task of finding in art a mirror for reality....