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A revisionist account of technology's role in the aesthetics, spaces and politics of transatlantic avant-gardesExplores of a range of key avant-garde formations in the modernist transatlantic period, from the Italian futurists and English Vorticists to the Dada-surrealist and post-Harlem Renaissance African American experimentalistsExplores writers' and artists' inventions as well as their texts, and involves them directly in the messy transductions of technology in cultureDraws on previously unknown photos, manuscripts and other evidence that reveals the untold story of Bob and Rose Brown's 'reading machine' - a cross-disciplinary, meta-formational, and transnational project that proposed to transform the everyday act of readingReading Machines in the Modernist Transatlantic provides a new account of aesthetic and technological innovation, from the Machine Age to the Information Age. Drawing on a wealth of archival discoveries, it argues that modernist avant-gardes used technology not only as a means of analysing culture, but as a way of feeding back into it. As well as uncovering a new invention by Mina Loy, the untold story of Bob Brown's 'reading machine' and the radical technicities of African American experimentalists including Gwendolyn Bennett and Ralph Ellison, the book places avant-gardes at the centre of innovation across a variety of fields. From dazzle camouflage to microfilm, and from rail networks to broadcast systems, White explores how vanguardists harnessed socio-technics to provoke social change.
The Cambridge History of American Modernism examines one of the most innovative periods of American literary history. It offers a comprehensive account of the forms, genres, and media that characterized US modernism: coverage ranges from the traditional, such as short stories, novels, and poetry, to the new media that shaped the period's literary culture, such as jazz, cinema, the skyscraper, and radio. This volume charts how recent methodologies such as ecocriticism, geomodernism, and print culture studies have refashioned understandings of the field, and attends to the contestations and inequities of race, sovereignty, gender, sexuality, and ethnicity that shaped the period and its cultural production. It also explores the geographies and communities wherein US modernism flourished-from its distinctive regions to its metropolitan cities, from its hemispheric connections to the salons and political groupings that hosted new cultural collaborations.
Mina Loy has long been recognised as a writer who insists on the primacy of the corporeal. Over two volumes, Sara Crangle excavates how Loy's relationship to the human body was inextricable from her esoteric understanding of the human soul. Elevated Realms is the first study book-length study devoted to Loy's affinities with alternative spiritualities ancient and modern. Aligning Loy's heterodoxies with her vanguardism, this volume considers Loy's engagements with mesmerism, spiritualism and telepathy; enchantment and visionariness; psychoanalysis, philosophy and physics; Christian Science and Theosophy. Attending to Loy's presentations of the upper half of the body - heartscapes, spines, eyes and nerve centres - Elevated Realms unearths the coordinates of Loy's esoteric Eros, a transcendent, orgasmic love that is cosmic, intimate, aesthetic and a corrective to women's disregarded satiation. The requisite counterpart to her acerbic feminist satires, Loy's Eros re-envisions abjectified, feminised posturing as a dorsality with the potential to access the beyond.
This book examines the many functions of paper in the fine art and aesthetics of the early twentieth-century modernist or historic avant-garde (Expressionism, Cubism, Futurism, Dadaism, Surrealism, Constructivism and many more). With its many collages and photomontages, the historic avant-garde is generally considered to have transformed paper from a mere support into an artistic medium and to have assisted in art on paper gaining a firm autonomy. Bringing together an international team of scholars, this book shows that the story of paper in the avant-garde has thereby hardly been told. The first section looks at a selection of canonized individual avant-gardists’ work on paper to demonstrate that the material and formal analysis of paper in the avant-garde’s artistic production still holds much in store. In the second section, chapters zoom in on forms and formats of collective artistic production that deployed paper to move around reproductions of fine art works, to facilitate the dialogue between avant-gardists, to better promote their work among patrons, and to make their work available to a wider audience. Chapters in the third section lay bare how certain groups within the avant-garde began to massively create monochrome works, because these could be easily reproduced when transferred to, or reproduced as, linocuts. In the last section of the book, chapters explore how the avant-garde’s attentiveness to paper almost always also implied a critique of the ways in which paper, and all that it stood for, was treated and labored in European culture and society more broadly. The book will be of interest to scholars working in art history, modernism, and design.
Two never-before-published novels by Mina Loy, the celebrated modernist poet, artist, and feminist Mina Loy (1882–1966) is an essential figure of the European and American modernist avant-garde. A groundbreaking writer of poetry, novels, essays, plays, and uncategorizable prose, she was also a fashion and lighting designer and an accomplished visual artist. As gallery agent for figures such as Giorgio de Chirico, Alberto Giacometti, and Salvador Dalí, she was a significant conduit for art that traversed the Atlantic. Loy has been best known for the poetry she published in the little magazines of the late teens and early twenties, most notably the long poem “Songs to Joannes” and the autobiographical verse-epic “Anglo-Mongrels and the Rose.” Featuring two never-before-published manuscripts of Loy’s autobiographical prose—The Child and the Parent and Islands in the Air—this remarkable book expands Loy’s rich oeuvre. Interlinked texts written over twenty years, from the 1930s to the 1950s, these fascinating works narrate the feminist struggle of the creative spirit as it comes into consciousness and encounters indoctrinating social norms. The works are accompanied by an introduction and afterword by Karla Kelsey that frame Loy as a poet, prose writer, businesswoman, and visual artist and discuss the texts, their stylistic innovations, and their unique interconnectedness.
Mina Loy has long been recognised as a writer who insists on the primacy of the corporeal. Over two volumes, Sara Crangle excavates how Loy's relationship to the human body was inextricable from her esoteric understanding of the human soul. Nethered Regions - An Anatomy of Mina Loy develops new thinking on Loy's representations of the foundations of existence, exploring topics that include sentience, primitivism, evolution, vitalism and sensibility. Dubbing Loy an atavistic vanguardist, this book aligns sacrifice and satire, demonstrating how Loy devises an original feminist satirical mode by which sardonic aggression is aimed at generating intimacy and proximity, rather than ironised distance. Loy's articulations of 'low' body parts - feet, legs, genitals, bellies and wombs - are explored in chapters that theorise her deployment of 'dissident' sexualities (queerness, prostitution, women's pleasure) and censorship; pictorial-poetic cartographies of desire; and the accursed muse that is unsung counterpart to the poete maudit.
Critical facsimile edition making crucial modernist texts available for the first time since 1931 Restores a rare but highly influential modernist anthology to print in a new critical facsimile editionProvides extensive scholarly commentary, analyses, and newly discovered biographical information, setting the anthology in its broader cultural contextOffers the first collection of avant-garde writing designed to be read on a 'reading machine' invented by the American expatriate poet Bob BrownIncludes both Craig Saper's new Introduction and a separate chapter on the Contributors and their readies. Saper is the leading scholar of Bob Brown's work as well as an important scholar of experimental writing, media, publishing, and artThis new edition of Bob Brown's groundbreaking collection of modernist writing experiments has been out of print since 1931, when Brown's Roving Eye Press originally published it. Only a few copies exist in archives today. The contributors include major modernist writers such as Gertrude Stein, William Carlos Williams, F. T. Marinetti, Eugne Jolas and Ezra Pound, key social realists like Kay Boyle and James T. Farrell and daring queer novelists and artists including Charles Henri Ford and Sidney Hunt. Providing extensive scholarly commentary, analyses and newly discovered biographical information, this book sets the anthology in its broader cultural context. This is an essential resource for those interested in print and book history, the politics and culture of the expatriate avant-garde and the reading machine's impact on reading, writing and literacy.
Information overload is a subject of vital, ubiquitous concern in our time. The Poetics of Information Overload reveals a fascinating genealogy of information saturation through the literary lens of American modernism. Although technology has typically been viewed as hostile or foreign to poetry, Paul Stephens outlines a countertradition within twentieth- and twenty-first-century literature in which avant-garde poets are centrally involved with technologies of communication, data storage, and bureaucratic control. Beginning with Gertrude Stein and Bob Brown, Stephens explores how writers have been preoccupied with the effects of new media since the advent of modernism. He continues with the postwar writing of Charles Olson, John Cage, Bern Porter, Hannah Weiner, Bernadette Mayer, Lyn Hejinian, and Bruce Andrews, and concludes with a discussion of conceptual writing produced in the past decade. By reading these works in the context of information systems, Stephens shows how the poetry of the past century has had, as a primary focus, the role of data in human life.
New perspectives on women's contributions to periodical culture in the era of modernismThis collection highlights the contributions of women writers, editors and critics to periodical culture in the late nineteenth and early twentieth centuries. It explores women's role in shaping conversations about modernism and modernity across varied aesthetic and ideological registers, and foregrounds how such participation was shaped by a wide range of periodical genres. The essays focus on well-known publications and introduce those as yet obscure and understudied - including middlebrow and popular magazines, movement-based, radical papers, avant-garde titles and classic Little Magazines. Examining neglected figures and shining new light on familiar ones, the collection enriches our understanding of the role women played in the print culture of this transformative period.Key FeaturesHelps recover neglected women writers and cast new light on canonical onesHighlights the geographical diversity of modern British print cultureEmphasises the interdisciplinary nature of modernism, including essays on modernist dance, music, cinema, drama and architecture Includes a section on social movement periodicals
Miriam Thaggert illuminates the stories of African American women as passengers and as workers on the nineteenth- and early-twentieth-century railroad. As Jim Crow laws became more prevalent and forced Black Americans to "ride Jim Crow" on the rails, the train compartment became a contested space of leisure and work. Riding Jane Crow examines four instances of Black female railroad travel: the travel narratives of Black female intellectuals such as Anna Julia Cooper and Mary Church Terrell; Black middle-class women who sued to ride in first class "ladies’ cars"; Black women railroad food vendors; and Black maids on Pullman trains. Thaggert argues that the railroad represented a technological advancement that was entwined with African American attempts to secure social progress. Black women's experiences on or near the railroad illustrate how American technological progress has often meant their ejection or displacement; thus, it is the Black woman who most fully measures the success of American freedom and privilege, or "progress," through her travel experiences.