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The first of three volumes charting the history of the Modernist Magazine in Britain, North America, and Europe, this collection offers the first comprehensive study of the wide and varied range of 'little magazines' which were so instrumental in introducing the new writing and ideas that came to constitute literary and artistic modernism in the UK and Ireland. In thirty-seven chapters covering over eighty magazines expert contributors investigate the inner dynamics and economic and intellectual conditions that governed the life of these fugitive but vibrant publications. We learn of the role of editors and sponsors, the relation of the arts to contemporary philosophy and politics, the effects of war and economic depression and of the survival in hard times of radical ideas and a belief in innovation. The chapters are arranged according to historical themes with accompanying contextual introductions, and include studies of theNew Age,Blast,theEgoistand theCriterion,New Writing,New Verse, andScrutinyas well as of lesser known magazines such as theEvergreen,Coterie, theBermondsey Book, theMask,Welsh Review, theModern Scot, and theBell. To return to the pages of these magazines returns us a world where the material constraints of costs and anxieties over censorship and declining readerships ran alongside the excitement of a new poem or manifesto. This collection therefore confirms the value of magazine culture to the field of modernist studies; it provides a rich and hitherto under-examined resource which both brings to light the debate and dialogue out of which modernism evolved and helps us recover the vitality and potential of that earlier discussion.
Peter Brooker is Professorial Fellow at The Centre for Modernist Studies at the University of Sussex.
Andrew Thacker is Professor of Twentieth Century Literature at the School for English Performance and Historical Studies, De Montfort University.
Table of Contents
General Introduction, Peter Brooker and Andrew Thacker
Part One VICTORIAN PRECURSORS
1. The Pre-History of the 'Little Magazine', John Plunkett and Kyriaki Hadjiafxendi
2. In the Beginning There Was the Germ: The Pre-Raphaelites and 'Little Magazines', Marysa Demoor
Part Two FIN-DE-SIECLE VENTURES (1884-1905)
3. Aestheticism and Decadence: the Yellow Book (1894-97); the Chameleon (1894); and the Savoy (1896), Laurel Brake
4. Symbolism in British 'Little Magazines': the Dial (1889-1897); the Pageant (1896-7); and the Dome (1897-1900), David Peters Corbett
5. 'The Arts and Crafts Movement': the Century Guild Hobby Horse (1884-94); the Studio (1893- ); the Evergreen (1895-6); and the Acorn (1905), Imogen Hart
Part Three EARLY STATEMENTS (1899-1915)
6. Yeats and the Celtic Revival: Beltaine (1899-1900); Samhain (1901-1908); Dana (1904-5); and the Arrow (1906-9), Alex Davis
7. The New Poetry, Georgians and Others: the Open Window (1910-11); the Poetry Review (1912-15); Poetry and Drama (1913-14); and New Numbers (1914), Dominic Hibberd
Part Four TRANSITIONS
8. Democracy and Modernism: the New Age under A. R. Orage (1907-1922), Ann L. Ardis
9. Ford Madox Ford and the English Review (1908-37), Cliff Wulfman
10. The London Mercury (1919-1939) and Other Moderns, Matthew Huculak
Part Five INTERVENTIONS (1911-19)
11. Gender and Modernism: the Freewoman (1913); the New Freewoman (1911-12); and the Egoist (1914-19), Jean-Michel Rabate
12. The 'Little Magazine' as Weapon: BLAST (1914-15), Andrzej Gasiorek
13. Harmony, Discord, and Difference: Rhythm (1911-13); the Blue Review (1913); and the Signature (1915), Peter Brooker
Part Six EDITORS AND PROGRAMMES
14. The Idea of a Literary Review: T. S. Eliot and the Criterion (1922-39), Jason Harding
15. Enemies of Cant: the Athenaeum and the Adelphi (1923-48), Michael Whitworth
16. Standards of Criticism: the Calendar of Modern Letters (1925-7), John Lucas
17. The Cause of Poetry: Thomas Moult and Voices (1919-21); Harold Monro and the Monthly Chapbook (1919-25), Mark Morrisson
18. Desmond MacCarthy, Life and Letters (1928-35), and Bloomsbury Modernism, Jane Goldman
Part Seven INTO THE 1920s: DISPERSAL AND DIFFERENCE
19. Aftermath of War: Coterie (1919-21); New Coterie (1925-27); Robert Graves and the Owl (1919-23), Andrew Thacker
20. Literature and the Visual Arts: Art and Letters (1917-20) and the Apple (1920-22), Rebecca Beasley
21. Cinema and Visual Culture: Close Up (1927-33), Laura Marcus
22. Interventions in the Public Sphere: Time and Tide (1920-30) and the Bermondsey Book (1923-1930), Jane Dowson
23. Cultural Criticism at the Margins: Wyndham Lewis, the Tyro (1920-21), and the Enemy (1927-29), Paul Edwards
24. Nostalgia and Reaction: Austin O. Spare and Form (1916-17; 1921-22); the Golden Hind (1922-24); and the Decachord (1924-31), Stephen Rogers
Part Eight COMMITMENT TO THE NEW: THE 1930s
25. Cambridge Magazines and Unfinished Business: Experiment (1928-30); the Venture (1928-30); and Cambridge Left (1933-34), Scott McCracken
26. Art and Politics in the 1930s: the European Quarterly (1934-35); Left Review (1934-38); and Poetry and the People (1938-40), Peter Marks
27. Poetry Then: Geoffrey Grigson and New Verse (1933-39); Julian Symons and Twentieth Century Verse (1937-9), Stan Smith
28. A New Prose: John Lehmann and New Writing (1936-40), Francoise Bort
29. 'National papers please reprint'. Surrealist Magazines in Britain: Contemporary Poetry and Prose (1936-7); London Bulletin (1938-40); and Arson: An Ardent Review (1942), Rod Mengham
Part Nine BEYOND THE METROPOLIS: NATIONAL AND MIGRANT VOICES IN THE 1930s AND 1940s
30. Wales (1937-39); the Welsh Review (1939-), Chris Hopkins
31. From Revolution to Republic: Magazines, Modernism, and Modernity in Ireland: the Klaxon (1923); the Irish Statesman (1923-30); the Dublin Magazine (1923-58); To-Morrow (1924); Ireland To-Day (1936-38); and the Bell (1940-54), Frank Shovlin
32. Modernism and National Identity in Scottish Magazines: the Evergreen (1895-97); the Northern Review (1924); the Modern Scot (1930-36); Scottish Art and Letters (1944-1950); the Scottish Chapbook (1922-3); Outlook (1936-1937); and the Voice of Scotland (1938-39; 1945; 1955), Cairns Craig
33. A New 'Art of the Theatre': Gordon Craig's the Mask (1908-28) and the Marionette (1918-19), Olga Taxidou
34. Modernism as 'Uninfected Discourse': Laura Riding, Epilogue (1935-38) and Focus (1935), Mark Jacobs
Part Ten THE CALL TO CRITICISM AND MODERNIST DESTINIES
35. 'Say not the struggle naught availeth': F. R. Leavis and Scrutiny (1932-53), Sean Matthews
36. Cyril Connolly's Horizon (1940-50) and the End of Modernism, Sean Latham
37. Poetry London (1939-1951) and Indian Writing (1940-42): the Apocalyptic Poets, 'New Modernism', and 'The Progressive View of Art', James Keery