Finding new ways to depict time propelled many of the experiments with literary form that characterize modernism. Frequently, these experiments were aimed at portraying the tension between time as represented on a clock and time as experienced in the human psyche. To achieve this end, drastic changes to the form of the novel were necessary because its basic organizational pattern is linear, characterized by a constant push forward that is similar to the clock's inevitable march into the future.1 Experiential time as experienced in the human psyche, however, is full of stops, starts, reversals, and leaps forward. Time seems to speed up when we are enjoying ourselves, and trips to the dentist make the minutes crawl by; experiential time is anything but evenly meted out like the hour marks on a clock face. Gertrude Stein's continuous present, Marcel Proust's involuntary memory, and James Joyce's use of repetition are some of the bestknown examples of modernist attempts to disrupt the novel's linear progression into the future.In contrast to the novel's linear orientation, paintings are often understood to be oriented radially, or in a manner that presents the entire work simultaneously.