By Jane Goldman
This crucial advisor explores and celebrates the increase and improvement of modernist and avant-garde literatures and theories within the interval 1910-1945, from Imagism to the Apocalypse circulate. Jane Goldman charts transitions in writing, studying, appearing and publishing practices, and in foreign groupings and regroupings of writers and artists, and interrogates the time period 'Modernism' which labels the period. Goldman introduces scholars to the paintings of many canonical excessive modernist writers, comparable to Ezra Pound, T. S. Eliot, W. B. Yeats, James Joyce and Virginia Woolf, and samples the paintings of alternative vital modernist figures, together with Nathanael West, John Rodker, Aldous Huxley and the Harlem Renaissance poets.
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Extra info for Modernism, 1910-1945: Image to Apocalypse (Transitions)
In the mean time I will continue to shape my introduction around Balso’s journey and, at the same time, try to keep Balso’s guide out of my throat. Defining modernism and the avant-garde To return to the title and rationale of this book: in order to explain the use of “Modernism” and of “Image to Apocalypse”, I also want to discuss another term that informs my argument. I was initially Introduction: “Make It New” 7 tempted by the title “Avant-Garde to Modernism”, which signals one of the ideological and critical transitions occurring in relation to this period that this book will explore.
It is not merely a matter of outward dress and content. But, it is in fact difficult to explain or understand how exactly the content of teaching (or dogma or ideology) or delight (or beauty) might be in the form of a poem “in the sense that Jeffrey Archer is in jail”, to borrow from Terry Eagleton (London Review of Books, vol. 24, no. 8, p. 14), or in the sense that Greek soldiers are in the Trojan horse. On the other hand, it is difficult not to miss the shock tactics of a truly avant-garde public gesture!
Eliot’s The Waste Land, James Joyce’s Ulysses, Virginia Woolf’s To the Lighthouse, W. B. Yeats’s The Tower, Ezra Pound’s Cantos – then following Balso on his journey, unaided by the likes of me, would constitute a splendid alternative introduction. So too would be a visit to the nearest collection of modern art. So too would be a flick through an anthology of manifestos and critical sources, as Peter Childs also suggests (24–5). I recommend The Modern Tradition (1965), edited by Richard Ellmann and Charles Feidelson; A Modernist Reader: Modernism in England, 1910–1930 (1977), edited by Peter Faulkner; The Gender of Modernism, edited by Bonnie Kime Scott (1990); and Modernism: An Anthology of Sources and Documents (1998), edited by Vassiliki Kolocotroni, Jane Goldman and Olga Taxidou.