By connecting Fenian and anarchist violence found in popular fiction from the 1880s to the early 1900s with the avant-garde writing of British modernism, Deaglan O Donghaile demonstrates that Victorian popular fiction and modernism were directly influence

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

What happens when novelists write about their own lives directly, in memoirs and autobiographies, rather than in novels? How do they present themselves, and what do their self-portraits reveal? In a series of biographical case studies, Portraits from Life examines how seven canonical Modernist writers - Joseph Conrad, Ford Madox Ford, Henry James, Wyndham Lewis, Gertrude Stein, H.G. Wells, and Edith Wharton - depicted themselves in their memoirs and autobiographies during the first half of the twentieth century. Drawing on a range of life-writing sources in this innovative group portrait, Jerome Boyd Maunsell reconstructs the periods during which these authors worked on their memoirs, often towards the end of their lives, and shows how memoirs and autobiographies are just as artful as novels. The seven portraits in the book also create a rich network of encounters, as many of these writers knew each other, and wrote about each other in their reminiscences. Portraits from Life investigates the difficulties and possibilities of autobiography - the relation of fact and fiction, biography and autobiography; the ethical issues of dealing with real people; the thin generic lines between novels and autobiographies; and the deceptive workings of memory - and how all these writers dealt with these concerns as they looked back on their lives. An act of portraiture and biography as well as an act of criticism, moving from London to Paris and through two world wars, it also pieces together a fresh and constantly inter-connecting narrative of the Modernist era in England and France.

BLAST at 100 makes an original contribution to the understanding of a major modernist magazine. Providing new critical readings that consider the magazine’s influence within contexts that have not been acknowledged before – in the development of Irish and Spanish literature and culture in the twentieth century, for example, as well as in the areas of cultural studies, performance studies and the scholarship of teaching and learning – BLAST at 100 reconsiders the magazine’s complex legacy. In addition to situating the magazine in new and often unexpected contexts, BLAST at 100 also offers important new insights into the work of some of its most significant contributors, including Wyndham Lewis, Ezra Pound, and Rebecca West. Contributors are: Philip Coleman, Simon Cutts, Andrzej Gąsiorek, Angela Griffith, Nicholas E. Johnson, Kathryn Laing, Christopher Lewis, J.C.C. Mays, Kathryn Milligan, Yolanda Morató, Nathan O’Donnell, Alex Runchman, Colm Summers, Tom Walker

Tarr is the blackly comic story of the lives and loves of two artists, set against the backdrop of Paris before the start of the First World War. The first edition to do the novel justice, with an introduction and notes placing it in the context of social satire and avant-garde art movements, offering new insights into a major Modernist novel.

Though only 34 years old at the time of his death in 1917, T.E. Hulme had already taken his place at the center of pre-war London's advanced intellectual circles. His work as poet, critic, philosopher, aesthetician, and political theorist helped define several major aesthetic and political movements, including imagism and Vorticism. Despite his influence, however, the man T.S. Eliot described as 'classical, reactionary, and revolutionary' has until very recently been neglected by scholars, and T.E. Hulme and the Question of Modernism is the first essay collection to offer an in-depth exploration of Hulme's thought. While each essay highlights a different aspect of Hulme's work on the overlapping discourses of aesthetics, politics, and philosophy, taken together they demonstrate a shared belief in Hulme's decisive importance to the emergence of modernism and to the many categories that still govern our thinking about it. In addition to the editors, contributors include Todd Avery, Rebecca Beasley, C.D. Blanton, Helen Carr, Paul Edwards, Lee Garver, Jesse Matz, Alan Munton, and Andrew Thacker.

While these authors' political inclinations are well known and much discussed, previous studies have failed to adequately analyse the surrounding political circumstances that informed the specific utopian aspirations in each writer's works. Balancing a thorough knowledge of their works with an understanding of the political climate of the early twentieth century, Leon Surette provides new insights into the motivations and development of each writer's respective political postures. Dreams of a Totalitarian Utopia examines their political commentary and their correspondence with each other from 1910s to the 1950s. Contextualizing their political thought in a world troubled by two world wars, the Great Depression, and the Bolshevik Revolution, Surette traces their shared concerns and the divergent responses of each of these figures in the historical moment to the risk they perceived of democracies becoming the pawns of commercial and industrial elites, leading to war and mindless consumerism. They all leaned toward autocratic solutions, though Pound and Lewis eventually admitted their error.

"A man of undoubted genius," T.S. Eliot said of Wyndham Lewis, ". . .but genius for what precisely it would be remarkably difficult to say." Painter and draughtsman, novelist, satirist, pamphleteer and critic, Wyndham Lewis's multifarious activities defy easy categorization. He launched the only twentieth century English avant–garde art movement, Vorticism, in 1914. Brilliant both as painter and writer, the precise, mechanistic formality of his visual style crossed over into a unique satirical prose which, emphasizing the external, turned his characters into automata. It enabled Lewis to pit himself against a prevailing orthodoxy, the stream of consciousness technique favoured by contemporaries as diverse as James Joyce, Virginia Woolf, and Gertrude Stein. Combining years of research with dry wit and creative storytelling, Paul O'Keeffe's Some Sort of Genius crackles with intense details of Lewis's work, life and times, simultaneously dismantling longstanding assumptions about his subject and offering brilliant new perspectives. Employing narrative creativity that reinvents the genre of biography itself, O'Keeffe delivers an unparalleled portrait that does full justice to Lewis's complexity. Throughout O'Keeffe's definitive account, readers will be introduced to one of the most compelling and misunderstood figures of twentieth century modernism.