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Surveying the Avant-Garde examines the art and literature of the Americas in the early twentieth century through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde. Questions such as \"How do you imagine Latin America?\" and \"What should American art be?\" issued by avant-garde magazines like Imán, a Latin American periodical based in Paris, and Cuba's Revista de Avance demonstrate how editors, writers, and readers all grappled with the concept of \"America,\" particularly in relationship to Europe, and how the questionnaire became a structuring device for reflecting on their national and aesthetic identities in print. Through an analysis of these questionnaires and their responses, Lori Cole reveals how ideas like \"American art,\" as well as \"modernism\" and \"avant-garde,\" were debated at the very moment of their development and consolidation. Unlike a manifesto, whose signatories align with a single polemical text, the questionnaire produces a patchwork of responses, providing a composite and sometimes fractured portrait of a community. Such responses yield a self-reflexive history of the era as told by its protagonists, which include figures such as Gertrude Stein, Alfred Stieglitz, Jean Toomer, F. T. Marinetti, Diego Rivera, and Jorge Luis Borges. The book traces a genealogy of the genre from the Renaissance paragone, or \"comparison of the arts,\" through the rise of enquêtes in the late nineteenth century, up to the contemporary questionnaire, which proliferates in art magazines today. By analyzing a selection of surveys issued across the Atlantic, Cole indicates how they helped shape artists' and writers' understanding of themselves and their place in the world. Based on extensive archival research, this book reorients our understanding of modernism as both hemispheric and transatlantic by narrating how the artists and writers of the period engaged in aesthetic debates that informed and propelled print communities in Europe, the United States, and Latin America. Scholars of modernism and the avant-garde will welcome Cole's original and compellingly crafted work.

As scientists question the recent dominance of the scientific journal, the varied richness of its past offers useful materials for reflection. This paper examines four innovative journals founded and run by leading publishers and men of science in the 1810s and 1820s, which contributed to a significant reimagining of the form. Relying on a new distinction between the 'literary' and the 'scientific' to define their market, those who produced the journals intended to maximize their readership and profits by making them to some extent 'popular'. While these attempts ended in commercial failure, not least because of the rapidly diversifying periodical market in which they operated, their history makes clear the important role that commerce has played both in defining the purposes and audiences of scientific journals and in the conceptualization of the scientific project. It also informs the ongoing debate concerning how the multiple audiences for science can be addressed in ways that are commercially and practically viable.

Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

Despite the brevity of its run and the diminutive size of its audience, The English Intelligencer is a key publication in the history of literary modernism in the British Isles. Emerging in the mid-1960s from a dissatisfaction with the prevailing norms of ‘Betjeman’s England’, the young writers associated with it were catalysed by the example of Donald Allen’s The New American Poetry as they sought to establish a revitalized modernist poetics. Late Modernism and The English Intelligencer gives the first full account of the extraordinary history of this publication, bringing to light extensive new archival material to establish an authoritative contextualization of its operation and its relationship with post-war British poetry. This material provides compelling new insights into the work of the Intelligencer poets themselves and, more broadly, the continued presence of an international poetic modernism as a vital force in Britain in the second half of the twentieth century.

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.