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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.
In American Little Magazines of the Fin de Siecle, Kirsten MacLeod examines the rise of a new print media form – the little magazine – and its relationship to the transformation of American cultural life at the turn of the twentieth century. Though the little magazine has long been regarded as the preserve of modernist avant-gardes and elite artistic coteries, for whom it served as a form of resistance to mass media, MacLeod’s detailed study of its origins paints a different picture. Combining cultural, textual, literary, and media studies criticism, MacLeod demonstrates how the little magazine was deeply connected to the artistic, social, political, and cultural interests of a rising professional-managerial class. She offers a richly contextualized analysis of the little magazine’s position in the broader media landscape: namely, its relationship to old and new media, including pre-industrial print forms, newspapers, mass-market magazines, fine press books, and posters. MacLeod’s study challenges conventional understandings of the little magazine as a genre and emphasizes the power of “little” media in a mass-market context.
By Jerome Rothenberg. Contributions by Steven Clay, Rodney Phillips.
Others, an important and neglected little magazine, finally receives the attention it deserves in Churchill's superbly crafted study. In Churchill's discussions of Mina Loy, Marianne Moore, and William Carlos Williams, among others, Others serves as a framework for reassessing the scope and significance of modernist formalism. This book is an important contribution to the fields of American poetry and poetics, gender studies, queer theory, and cultural studies.
This book examines reactions to the Russian Revolution by four little magazines of the teens and twenties (The Liberator, The Messenger, The Little Review, and The Dial) in order to analyze some of the ways modernist writers negotiate the competing demands of aesthetics, political commitment and race. Re-examining interconnections among such superficially disparate phenomena as the Harlem Renaissance, Greenwich Village bohemianism, modernism and Leftist politics, this book rightly emphasizes the vitality of little magazines and argues for their necessary place in the study of modernism.
The Ryerson Poetry Chap-Books were a landmark achievement in Canadian poetry. Edited by Lorne Pierce, the series lasted for thirty-seven years (1925-62) and comprised two hundred titles by writers from Newfoundland to British Columbia, over half of whom were women. By examining this editorial feat, Little Resilience offers a new history of Canadian poetry in the twentieth century. Eli MacLaren analyzes the formation of the series in the wake of the First World War, at a time when small presses had proliferated across the United States. Pierce's emulation of them produced a series that contributed to the historic shift in the meaning of the term "chapbook" from an antique of folk culture to a brief collection of original poetry. By retreating to the smallest of forms, Pierce managed to work against the dominant industry pattern of the day - agency publishing, or the distribution of foreign editions. Original case studies of canonical and forgotten writers push through the period's defining polarity (modernism versus romanticism) to create complex portraits of the author during the Depression, the Second World War, and the 1950s. The stories of five Ryerson poets - Nathaniel A. Benson, Anne Marriott, M. Eugenie Perry, Dorothy Livesay, and Al Purdy - reveal poetry in Canada to have been a widespread vocation and a poor one, as fragile as it was irrepressible. The Ryerson Poetry Chap-Books were an unprecedented initiative to publish Canadian poetry. Little Resilience evaluates the opportunities that the series opened for Canadian poets and the sacrifices that it demanded of them.
'There have been large magazines with tiny circulations and there have been diminutive sheets which have reached thousands of readers. But all 'little magazines' have been small in one or another of these ways, and usually in both... And yet most of them have had arrestingly large-scale ambitions...' From Ian Hamilton (1938-2001), himself the founder of the Review and New Review, comes this matchless survey (first published in 1976) of the literary magazine from 1912-1950: concentrating on those periodicals that enjoyed dominant editorial personalities (the likes of Pound, Eliot, Cyril Connolly) and which, ultimately, proved central to their cultural epoch. 'Our one consolation for Ian Hamilton's early death is that his work seems to have lived on with undiminished force. He helped to shape our generation and at this rate may well do the same for the next as well.' Clive James
The Routledge Handbook of Pan-Africanism provides an international, intersectional, and interdisciplinary overview of, and approach to, Pan-Africanism, making an invaluable contribution to the ongoing evolution of Pan-Africanism and demonstrating its continued significance in the 21st century. The handbook features expert introductions to, and critical explorations of, the most important historic and current subjects, theories, and controversies of Pan-Africanism and the evolution of black internationalism. Pan-Africanism is explored and critically engaged from different disciplinary points of view, emphasizing the multiplicity of perspectives and foregrounding an intersectional approach. The contributors provide erudite discussions of black internationalism, black feminism, African feminism, and queer Pan-Africanism alongside surveys of black nationalism, black consciousness, and Caribbean Pan-Africanism. Chapters on neo-colonialism, decolonization, and Africanization give way to chapters on African social movements, the African Union, and the African Renaissance. Pan-African aesthetics are probed via literature and music, illustrating the black internationalist impulse in myriad continental and diasporan artists’ work. Including 36 chapters by acclaimed established and emerging scholars, the handbook is organized into seven parts, each centered around a comprehensive theme: Intellectual origins, historical evolution, and radical politics of Pan-Africanism Pan-Africanist theories Pan-Africanism in the African diaspora Pan-Africanism in Africa Literary Pan-Africanism Musical Pan-Africanism The contemporary and continued relevance of Pan-Africanism in the 21st century The Routledge Handbook of Pan-Africanism is an indispensable source for scholars and students with research interests in continental and diasporan African history, sociology, politics, economics, and aesthetics. It will also be a very valuable resource for those working in interdisciplinary fields, such as African studies, African American studies, Caribbean studies, decolonial studies, postcolonial studies, women and gender studies, and queer studies.
Little magazines made modernism happen. These pioneering enterprises were typically founded by individuals or small groups intent on publishing the experimental works or radical opinions of untried, unpopular, or underrepresented writers. Recently, little magazines have re-emerged as an important critical tool for examining the local and material conditions that shaped modernism. This volume reflects the diversity of Anglo-American modernism, with essays on avant-garde, literary, political, regional, and African American little magazines. It also presents a diversity of approaches to these magazines: discussions of material practices and relations; analyses of the relationship between little magazines and popular or elite audiences; examinations of correspondences between texts and images; feminist modifications of the traditional canon or histories; and reflections on the emerging field of periodical studies. All emphasize the primacy and materiality of little magazines. With a preface by Mark Morrisson, an afterword by Robert Scholes, and an extensive bibliography of little magazine resources, the collection serves both as an introduction to little magazines and a reconsideration of their integral role in the development of modernism.
In 1961, Richard Goldstein saw Bob Dylan perform for the first time at Carnegie Hall. Rock music was in its infancy, and revolution was in the air. Criticism of the genre didn't yet exist but, as it began to change music and politics for ever, the serious discussion of rock became a thriving institution. Aged just twenty-two in 1966, and the first rock critic in New York, Goldstein became a pivotal figure in the industry. Forging close relationships with huge names – Jim Morrison, Brian Wilson and Janis Joplin to name just three – his life became a whirlwind of politics, sex and rock and roll. Another Little Piece of My Heart is an unparalleled document of rock and revolution.