Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.

Leon Surette's new study of T.S. Eliot and Wallace Stevens challenges the received view that Stevens' poetry expresses a Humanist world view, and - more surprisingly - documents Eliot's early Humanist phase.

A new take on the impact of war on the London art and literary scene and the emergence of modernism, first published in 2010.

Introduction: Works for other times -- Rescue work: innovation and continuity in modernist fiction -- Character and identity -- What chronology demands of us -- Needing to narrate -- Modernism today, or, The author becomes a character

This book examines the persistence of the rural tradition in the English novel into the twentieth century. In the shadow of metropolitan literary culture, rural writing can seem to strive for a fantasy version of England with no compelling social or historical relevance. Dominic Head argues that the apparent disconnection is, in itself, a response to modernity rather than a refusal to engage with it, and that the important writers in this tradition have had a significant bearing on the trajectory of English cultural life through the twentieth century. At the heart of the discussion is the English rural regional novel of the 1920s and 1930s, which reveals significant points of overlap with mainstream literary culture and the legacies of modernism. Rural writers refashioned the conventions of the tradition and the effects of literary nostalgia, to produce the swansong of a fading genre with resonances that are still relevant today.

Primarily a literary history, Women, Modernism and British Poetry, 1910-1939 provides a timely discussion of individual women poets who have become, or are becoming, well-known as their works are reprinted but about whom little has yet been written. This volume recognizes the contributions, overlooked previously, of such British poets as Anna Wickham, Nancy Cunard, Edith Sitwell, Mina Loy, Charlotte Mew, May Sinclair, Vita Sackville-West and Sylvia Townsend Warner; and the impact of such American poets as H.D., Amy Lowell, Edna St. Vincent Millay, Marianne Moore and Laura Riding on literary practice in Britain. This book primarily maps the poetry scene in Britain but identifies the significance of the network of writers between London, New York and Paris. It assesses women's participation in the diversity of modernist developments which include avant-garde experiments, quiet, but subtly challenging, formalism and assertive 'new woman' voices. It not only chronicles women's poetry but also their publications and involvement in running presses, bookshops and writing criticism. Although historically situated, it is written from the perspective of contemporary debates concerning the interface of gender and modernism. The author argues that a cohering aesthetic of the poetry is a denial of femininity through various evasions of gendered identity such as masking, male and female impersonations and the rupturing of realist modes.

This is the first systematic analysis of the relationship between representations of 'Germanness' in modernist British literature, the construction of English identity and the negotiation of modernity. Major figures such as Conrad, Woolf and Ford are examined alongside popular or less-familiar writers such as Saki and Stevie Smith. Rau's book will be invaluable to scholars and will serve undergraduates working in modernism, literary history, and European cultural relations.

In this 2000 collection, an international team of contributors examine relationships between modernist poetry and place.

In this book, Octavio R. González revisits the theme of alienation in the twentieth-century novel, identifying an alternative aesthetic centered on the experience of double exile, or marginalization from both majority and home culture. This misfit modernist aesthetic decenters the mainstream narrative of modernism—which explores alienation from a universal and existential perspective—by showing how a group of authors leveraged modernist narrative to explore minoritarian experiences of cultural nonbelonging. Tying the biography of a particular author to a close reading of one of that author’s major works, González considers in turn Nella Larsen’s Quicksand, Wallace Thurman’s The Blacker the Berry, Jean Rhys’s Quartet, and Christopher Isherwood’s A Single Man. Each of these novels explores conditions of maladjustment within one of three burgeoning cultural movements that sought representation in the greater public sphere: the New Negro movement during the Harlem Renaissance, the 1920s Paris expatriate scene, and the queer expatriate scene in Los Angeles before Stonewall. Using a methodological approach that resists institutional taxonomies of knowledge, González shows that this double exile speaks profoundly through largely autobiographical narratives and that the novels’ protagonists challenge the compromises made by these minoritarian groups out of an urge to assimilate into dominant social norms and values. Original and innovative, Misfit Modernism is a vital contribution to conversations about modernism in the contexts of sexual identity, nationality, and race. Moving beyond the debates over the intellectual legacies of intersectionality and queer theory, González shows us new ways to think about exclusion.