"Viral resurrection" describes the embodied illness apparent in the resurfaced corpses, zombies, and disfigured bodies of literature and culture in this period, which highlight the pandemic's lasting effects on survivors who often experienced a feeling of living death. The constant sight of coffins and funerals, along with the sounds of tolling bells, which rang in memory of those who fell victim to the flu, are details inscribed in the minds of those who experienced it firsthand—but they are also, as Outka notes, quintessential images of modernist literature. Viral Modernism's approach could indeed be criticized for reducing modernist experimentation down to reflections or responses to the disorienting effects of widespread disease and the loss of life. ...she insists, "knowing the outbreak's sensory and affective history changes our sense of the wellspring from which interwar literature arose" (244). ...while US writers like Cather, Porter, Maxwell, and Wolfe write in a realist style that details "the sights and psychological impact and tensions of the moment" (97), the more well-known modernist writers based in the UK and Ireland analyzed in part two—Woolf, Eliot and Yeats—write in a more fragmentary and less linear style, registering the more immediate trauma of the pandemic and the "emotional pieces that have yet to be formed into a coherent story" (99).