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The Oxford Critical and Cultural History of Modernist Magazines
The first of three volumes charting the history of the modernist magazine in Britain, North America, and Europe, this book studies 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. Thirty-seven chapters investigate the inner dynamics and economic and intellectual conditions that governed the life of these fugitive but vibrant publications. The book shows 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 the New Age, Blast, the Egoist and the Criterion, New Writing, New Verse, and Scrutiny as well as of lesser known magazines such as the Evergreen, Coterie, the Bermondsey Book, the Mask, Welsh Review, the Modern Scot, and the Bell.
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Crossing Borders with Modernist Magazines
For a number of years the literary critic Franco Moretti has been tracing the development of the modern novel as \"world literature,\" that is, an investigation into how the modern novel as a literary form in French or English was translated around the globe, from c. 1 750 onwards, by what he terms a \"wave of diffusion\" (Moretti 2000, 59).2 In Moretti's view when the novel emerges in locations outside of Europe it does so as a \"compromise\" between the original styling of the novel and the native cultural traditions that take up the form and adapt it: as Moretti puts it, there is a \"compromise\" between \"foreign form, local material - and local form\" (Moretti 2000, 65). According to Mark Morrisson, Ford Madox Ford imagined the English Review as an Anglophone version of the Mercure, while Ezra Pound viewed The Dial as an attempt to produce an American version of the Mercure.8 And Amy Lowell, in a letter to Harriet Monroe in 1914 detailing Pound's machinations to publicise Imagism through the vehicle of a magazine, noted of Pound: \"Do you remember, Ezra was very anxious for me to run an international review, something on the lines of the Mercure de France?\" (Parisi and Young 2002, 157). [...]we find that the Mercure figured as a key model for a number of early Anglophone modernists, as a magazine believed to have achieved a position of prominence in French cultural life, but which was still able to publish experimental work and maintain a large readership. Eliot's attempt to publish work by important European authors is a striking feature of many modernist magazines in English and, of course, is a key characteristic of modernism more widely, where the notion of an avant-garde art and literature from Europe was to be imported into the English-speaking world. [...]the first issue of The Crìterìon carried a translation of Valéry Larbaud's lecture on Joyce's Ulysses, an article first published in La Novelle Revue fiançaise. [...]equally interesting in the case of magazines are the mechanisms of diffusion, the \"institutions of modernism\" to use Lawrence Rainey's term, which created networks for the little magazine across the early twentieth century15 By this is meant the small presses, the independent bookshops, mutual free advertising, and the sharing of editorial contributors that characterise modernist magazines and form an important part of the external periodical codes (for example, Eliot as London correspondent for the Nouvelle Revue française).
Journal Article
