DOCSLIB.ORG

October, 1918

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October, 1918 Published Monthly THE EGOIST No. 9.—VOL. V. OCTOBER 1918. SIXPENCE. Editor: HARRIET SHAW WEAVER Contributing Editor : Assistant Editor: T. S. ELIOT DORA MARSDEN CONTENTS PAGB PAOB DAWNS. By Richard Aldington . - .121 STUDIES IN CONTEMPORARY CRITICISM. By T. S. Eliot . 113 AN UNACADEMIC ACADEMICIAN. By Ernest A. Boyd . 121 THE WORK OF MISS REBECCA WEST. By D. M. 114 NUMBERS. By May Sinclair . .122 PASSING PARIS. By Madame Ciolkowska . .119 AT RIVIERE. By Herbert Read . .123 THE END OF THE STRIKE. By Leigh Henry . 123 EARLY TRANSLATORS OF HOMER. III. By Ezra Pound . 120 STUDIES IN CONTEMPORARY CRITICISM ! By T. S. ELIOT and an illimitable number of honest toilers still I seeking the literary counterpart of perpetual motion THE work of the critic is almost wholly compre­ or the lapis philosophions; fuddling with hended in the "complementary activities" of putrefaction, comparison and analysis. The one activity im­ Solution, ablution, sublimation, plies the other; and together they provide the only Cohobation, calcination, ceration, and way of asserting standards and of isolating a writer's Fixation. peculiar merits. In the dogmatic, or lazy, mind com­ parison is supplied by judgment, analysis replaced by We are justified in reprobating such wasted energy. appreciation. Judgment and appreciation are merely There ought to be honourable vacancies for men who tolerable avocations, no part of the critic's serious busi­ like to write about literature without themselves ness. If the critic has performed his laboratory work having a "method" to deliver; without (in cruder well, his understanding will be evidence of appreciation ; terms) being "creative" writers. There might be a but his work is by the intelligence not the emotions. recognized set of tools which the critic could be The judgment also will take place in the reader's taught to use, and a variety of standard patterns mind, not in the critic's explicit statement. When he which he could be trained to turn out. judges or appreciates he simply (perhaps from a Mr. J. H. E. Crees* is one of the belated astrologers. legitimate compulsion to spare time or thought) is He has industry and considerable native competence ; missing out a link in the exposition. he knows his author well, and is interested in his Criticism, like creative art, is in various ways less subject. But he does not know positively what he developed than scientific research. For one thing, wants to do—and is therefore somewhat uncertain scientific progress, in Europe and America, would not in his attempt to do it. He does not know just what have reached its present stage had it not been pretty are the questions about a poet or novelist which are thoroughly internationalized: if the results of any worth an answer ; he has not halted to contemplate important experiment in one country were not imme­ his task before he began it. This lack of training diately taken up, tested and proceeded upon in every often is responsible for the issue of general observa­ other. A vast improvement in this respect had taken tions which for a critic are utterly a waste of time. place, for instance, since Mendel's time. Of course, I find in a chapter devoted to Meredith's "Art": science, as well as literature, is dependent upon the Style is the man. Those who have any individuality at occasional appearance of a man of genius who dis­ all, and who allow this individuality to develop, must . attain covers a new method. But there is much useful to something individual. work done in science by men who are only clever enough and well enough educated to apply a method ; Mr. Crees is looking for Meredith's style on a very and in literature there ought to be a place for persons dark night, and without knowing what "style" will of equivalent capacity. Yet what we find are dis­ * George Meredith: A Study of his Works and Personality. By coverers of methods whose methods remain unstudied; J. H. E. Crées. B. H. Blackwell, Oxford. 6s. net. 114 THE EGOIST October 1918 be when he finds it. His misapprehension asserts take care of itself; but the fact is that most of Mere­ itself as he proceeds to the question of originality. dith's profundity is profound platitude. His blood He who is endowed with a fine sense of style must and brain and spirit trinity may be a profound analy­ often note the inadequacy of the hackneyed phrase sis; he has left the clarity and precision to Plato, and feel for other methods of expression. In the who had already conceived a somewhat similar first place, a fine sense of style is more truly an acquire­ anatomy. The style which runs to excessive metaphor ment than an endowment, but let that pass. His is simply the style of a lazy mind: as any one who interpretation of the "hackneyed phrase" is illu­ has tried to write well and has laboured with laziness minated by his next sentence: can testify. It is a pity that bad example, rather than native indolence, should have led Mr. Crees into Not to do so is rather spiritual indolence than love of the practising the habits which he extols. precise and unpretentious. (Why spiritual indolence? But let it pass.) Mr. Crées says, in effect, that the "hackneyed phrase" is not invariably precise and unpretentious. Our THE WORK OF MISS REBECCA WEST remark upon this is that the hackneyed phrase is precisely the pretentious and unprecise, that this is THE appearance of a second book by Rebecca part of its nature. It is not hackneyed because it West, bringing with it a strong suggestion is old, but because it is dead; and it is dead because that its author is working her way towards a it has lost its meaning. Mr. Crées goes on to produce new style, or at least making drastic changes in her numerous unconscious illustrations of dead language. old one, makes reminiscence regarding this writer's Thus : career more than ordinarily tempting: this, because the outstanding fact of her career has been the None ever thought more quickly or boasted a more teeming immediateness of the success obtained by the style fancy (than Meredith's). possibly about to be discarded or overhauled. One remembers, for instance, how, a matter of some The first half of this sentence is alive enough; it seven years or so ago, when the Freewoman, that is "precise and unpretentious." The second half is journalistic grub-form of which THE EGOIST is the dead tissue. It is not precise, and it is pretentious. winged development, was in its very earliest days, The writer has forgotten the literal meaning of both a certain Regina Bloch submitted to it for publication "boast" and "teeming." Aside from the fact that quickness of thought and teeming fancy are not closely a study claiming to be a critical valuation of the enough related to be joined in one sentence. work of Mrs. Humphry Ward. (One trusts the name was Regina Bloch, though quite conceivably at this The whole nature of the metaphor, both of such date memory may be a trifle at fault. Failing cor­ hackneyed phrases as those quoted above, and of rection, however, let the name stand.) The author's those habitually practised by Meredith and by Mr. identity veiled under this pseudonym was in no Crées elsewhere, is an unknown science to Mr. Crées. way a mystery. That of a girl still in her teens, Had he studied the history of language in his critical she had been known to the editorial powers from education he might have, perceived finally that all those even earlier teens of which the insignia is the thought and all language is based ultimately upon a few simple physical movements.* Metaphor is not pigtail. Moreover, she had already submitted other something applied externally for the adornment of matter, of which at least one specimen—after a style, it is the life of style, of language. If Mr. Crées certain amount of trimming—had been published had realized how completely we are dependent upon over the initials of the name authentically conferred metaphor for even the abstractest thinking, he would on her by her godparents in baptism. This sudden admit both that his hackneyed phrase is vestigial and decision to change her identity seems, therefore, to that the Carlyle-Meredith metaphor is excrescent. have been more to cut herself clear of her brief literary past and signalize her first application of a The healthy metaphor adds to the strength of the unique mental power than to act as a screen under language; it makes available some of that physical which to make a first entry into literature. There source of energy upon which the life of language seems no doubt whatever that she herself realized depends. fully, in her first attempt to employ her characteristic ... in her strong toil of grace literary form, that it invested her with a totally is a complicated metaphor which has this effect ; and new character and status: a fact which a revealing as in most good metaphor, you can hardly say where little incident made quite clear at the time. As it the metaphorical and the literal meet. chanced, the consideration of the manuscript in question was held up, with the result that the author Mountain echo, carrying her youth like a flag . presented herself in person, and the baffled and a cathedral organ foully handled in the night by demons . incredulous air with which the lady retired after a pot on the fire with a loose, lid .
Load more

Recommended publications
  • Making the New: Literary Periodicals and the Construction of Modernism
    Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi­ vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna­ tional links between writers and groups; provided avant-garde writers with sophisti­ cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis­ course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91).
    [Show full text]
  • Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture
    GENETIC JOYCE STUDIES – Issue 9 (Spring 2009) Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture Jeff Drouin The bases of our physics seemed to have been put in permanently and for all time. But these bases dissolve! The hour accordingly has struck when our conceptions of physics must necessarily be overhauled. And not only these of physics. There must also ensue a reissuing of all the fundamental values. The entire question of knowledge, truth, and reality must come up for reassessment. Obviously, therefore, a new opportunity has been born for philosophy, for if there is a theory of knowledge which can support itself the effective time for its affirmation is now when all that dead weight of preconception, so overwhelming in Berkeley's time, is relieved by a transmuting sense of instability and self-mistrust appearing in those preconceptions themselves. — Dora Marsden, “Philosophy: The Science of Signs XV (continued)—Two Rival Formulas,” The Egoist (April 1918): 51. There is a substantial body of scholarship comparing James Joyce's later work with branches of contemporary physics such as the relativity theories, quantum mechanics, and wave-particle duality. Most of these studies focus on Finnegans Wake1, since it contains numerous references to Albert Einstein and also embodies the space and time debate of the mid-1920s between Joyce, Wyndham Lewis and Ezra Pound. There is also a fair amount of scholarship on Ulysses and physics2, which tends to compare the novel's metaphysics with those of Einstein's theories or to address the scientific content of the “Ithaca” episode.
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • Imagism and Te Hulme
    I BETWEEN POSITIVISM AND Several critics have been intrigued by the gap between late AND MAGISM Victorian poetry and the more »modern« poetry of the 1920s. This book attempts to get to grips with the watershed by BETWEEN analysing one school of poetry and criticism written in the first decade of the 20th century until the end of the First World War. T To many readers and critics, T.E. Hulme and the Imagists . E POSITIVISM represent little more than a footnote. But they are more HULME . than mere stepping-stones in the transition. Besides being experimenting poets, most of them are acute critics of art and literature, and they made the poetic picture the focus of their attention. They are opposed not only to the monopoly FLEMMING OLSEN T AND T.S. ELIOT: of science, which claimed to be able to decide what truth and . S reality »really« are, but also to the predictability and insipidity of . E much of the poetry of the late Tennyson and his successors. LIOT: Behind the discussions and experiments lay the great question IMAGISM AND What Is Reality? What are its characteristics? How can we describe it? Can we ever get to an understanding of it? Hulme and the Imagists deserve to be taken seriously because T.E. HULME of their untiring efforts, and because they contributed to bringing about the reorientation that took place within the poetical and critical traditions. FLEMMING OLSEN UNIVERSITY PRESS OF ISBN 978-87-7674-283-6 SOUTHERN DENMARK Between Positivism and T.S. Eliot: Imagism and T.E.
    [Show full text]
  • View PDF Datastream
    Published Monthly THE EGOIST No. 8.—VOL. V. SEPTEMBER 1918. SIXPENCE. Editor : HARRIET SHAW WEAVER Contributing Editor : Assistant Editor : T. S. ELIOT DORA MARSDEN CONTENTS PAGE PAOB PHILOSOPHY : THE SCIENCE OF SIGNS. XVI. OUR THE FRENCH WORD IN MODERN PROSE. XII. JEAN- RICHARD BLOCH. By Madame Ciolkowska . 108 PHILOSOPHY OF THE "REAL" (continued). By D. CHARITY AND GRACE IN THE WORK OF MAY SINCLAIR. Marsden ........ 101 By Jean de Bosschère . .109 " TARR." By T. S. Eliot 105 VISION. By Mary Butts 111 EARLY TRANSLATORS OF HOMER. II. ANDREAS DIVUS. THE MEDITATION OF A LOVER AT DAYBREAK. By Her­ By Ezra Pound . • . .106 bert Read 111 XVI. OUR PHILOSOPHY OF THE " REAL " (continued) IV. Space and Substance By D. MARSDEN time principally exhausts itself. The third motor- VIII mode is that newly evolved motor-activity relative (81) HOW closely our theory binds together the facts to symbolization which collectively form i the intellect. of reality and time we have already indicated. Time The supervention of the latter being happily coinci­ we defined as the potentiality for organic movement dent with a specialized development of the spatial slowly accumulated in, and impregnated upon, the power in the form of hands, their co-incident action organic tissues, and bequeathed both as to capital has proved responsible—in a fashion we have already and interest from organic form to form. We pointed described—for that unique form of activity called out that the human organism, with its mechanism realizing which has reacted with such amazing fruit- adapted for symbolization, brought with it the power fulness in the transformation and development of to differentiate simple time into the complexities of substance.
    [Show full text]
  • The Egoist Vol. 2, No. 10 (October 1, 1915)
    Published on the 1st of each month AN INDIVIDUALIST REVIEW Formerly the NEW FREE WO MAN No. 10.—VOL. II, FRIDAY, OCTOBER 1st, 1915. SIXPENCE. Editor : HARRIET SHAW WEAVER. Contributing Editor : Assistant Editor : RICHARD ALDINGTON. , DORA MARSDEN, B.A. CONTENTS. PACE PAGE VIEWS AND COMMENTS. ....... 149 Two POEMS. By Marianne Moore ..... 158 PASSING PARIS. By Madame Ciolkowska .... 151 WOODCUT OF RICHARD ALDINGTON. By Raoul Kristian . 159 FRENCH POEMS. By Charles Grolleau .... 152 "DER STURM." By Alec W. G. Randall . .159 TRANSLATIONS OF RUSSIAN FICTION. By M. Montagu-Nathan 152 LAURENT TAILHADE. By Richard Aldington, with woodcut by POEMS AND FRAGMENTS OF SAPPHO. Translated by Edward Raoul Kristian ........ 159 Storer 153 INCONSIDERABLE IMBECILITIES ...... 161 CUBIMPRESSION AND AFTER. By Huntly Carter . 155 A PLAYNTYVE BALLADE. By Richard Aldington . 161 UNE FEMME EST UN ÉTAT DE NOTRE ÂME . 156 To ALEXANDER BERKMAN. By Alice Groff . 162 THE GHOSTS OF AN OLD HOUSE. By John Gould Fletcher . 157 CORRESPONDENCE ........ 162 VIEWS AND COMMENTS BY DORA MARSDEN IT is probable that Mr. Lloyd George's mind was fixed The presence of a controversy of such a nature at such more upon the "racket and clatter" than the a time allows of one, and only one explanation : a conscription-controversy itself, when he supported his government has been faced with responsibilities which plea for less of the former by a picture of the Govern­ it is too timorous to shoulder. They dare swear by ment intent upon the nice numerical calculation which, the desired ends but tremble to adopt the necessary presumably, was to settle its fate.
    [Show full text]
  • Issues of Modernism: Editorial Authority in Little Magazines of the Avant Guerre
    Issues of Modernism: Editorial Authority in Little Magazines of the Avant Guerre Raymond Tyler Babbie A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Brian Reed, Chair Leroy Searle Jeanne Heuving Program Authorized to Offer Degree: English © Copyright 2017 Raymond Tyler Babbie University of Washington Abstract Issues of Modernism: Editorial Authority in Little Magazines of the Avant Guerre Raymond Tyler Babbie Chair of the Supervisory Committee: Dr. Brian Reed, Professor Department of English Issues of Modernism draws from the rich archive of little magazines of the avant guerre in order to examine the editorial intervention that shaped the emergence of modernism in their pages. Beatrice Hastings of The New Age deployed modernist techniques both in her fiction and in her editorial practices, blurring the line between text and context in order to intervene forcefully in the aesthetic and political debates of her age, crucially in the ongoing debates over women’s suffrage. The first chapter follows her emergence as an experimental modernist writer and editor, showing how she intervened in the public sphere via pseudonyms and anonymous writing. When Roger Fry’s exhibition, Manet and the Post-Impressionists, became the scandal of the London art world in late 1910, she used the debate over its value as an impetus to write experimental fiction that self-consciously drew from post-impressionist techniques. She continued to develop and use these techniques through the following years. The second examines her career in 1913, during which she continued to develop her modernist fiction in counterpoint to her political interventions and satires.
    [Show full text]
  • Louis K. Mackendrick TS ELIOT and the EGOIST
    Louis K. MacKendrick T.S. ELIOT AND THE EGOIST: THE CRITICAL PREPARATION I T.S. Eliot is infrequently remembered as the last literary editor of the Egoist, a small avant-garde periodical with which he was associated from June 1917 until its expiry in December 1919. With the exception of the essay "Tradition and the Individual T alent" his other work for that little magazine has been largely overlooked. Yet a survey of Eliot's Egoist reviews, the form taken by his early criticism, indicates how his concern with tradition in literature reached the po int of formulation in his only maj or article for the journal. Because his role with t he Egoist was as a contributor rather than as an administrator, it is in this perspective that Eliot's writing as its Assistant Editor meri ts re­ consideration. Eliot secured his fi rs t editorial position throu gh the agency of Ez ra Pound. The Egoist was the re titled successor o f the New Freewoman (1 913), a fem ini st fortnigh tly com mandeered b y Pound as the principal English ou tlet for such Imagist poe ts as himsel f, "H.D." , Richa rd Aldington, and William Carlos Williams. With the change o f nam e in January 19l4 Aldington became its Assistan t Editor until his milita ry call-up in late 19 16. The Editor was Harriet Shaw Weaver, James J oyce's benefactress, who trusted Po und's judgement com pletely. Pound hungered for periodicals, but dissociated himself from Imagism when the movement was taken over by Amy Lowell and pursued hi s interests in Poetry (Chicago) and the Little R eview.
    [Show full text]
  • Critical Survey of Poetry: British, Irish, & Commonwealth Poets
    More Critical Survey of Poetry: British, Irish, & Commonwealth Poets Richard Aldington by Robert W. Haynes Other literary forms TABLE OF Richard Aldington established himself in the literary world of London as a CONTENTS youthful poet, but later in life he increasingly devoted his attention to prose Other literary forms fiction, translation, biography, and criticism. His first novel, Death of a Hero Achievements (1929), drew favorable attention, and it was followed in 1930 by Roads to Biography Glory, a collection of thirteen short stories. Aldington continued to publish Analysis fiction until 1946, when his last novel, The Romance of Casanova, appeared. Imagism The long poems Richard Aldington Bibliography (Library of Congress) From early in his career, Aldington was highly regarded as a translator. He translated Remy de Gourmont: Selections from All His Works (1929; 2 volumes) from French, The Decameron of Giovanni Boccaccio (1930) from Italian, Alcestis (1930) from classical Greek, and other works from Latin and Provençal. Aldington wrote biographies of the duke of Wellington (1943) and of Robert Louis Stevenson (1957), along with Voltaire (1925), D. H. Lawrence: Portrait of a Genius But . (1950), and Lawrence of Arabia: A Biographical Enquiry (1955), along with a substantial body of critical essays. Other miscellaneous works include Life for Life’s Sake: A Book of Reminiscences (1941) and Pinorman: Personal Recollections of Norman Douglas, Pino Orioli, and Charles Prentice (1954). Aldington also edited The Viking Book of Poetry of the English-Speaking World (1941). Achievements Despite Richard Aldington’s extensive publications in criticism and in a variety of literary genres, he remains inextricably associated with the movement known as Imagism, of which he was certainly a founding member, along with the American poets H.
    [Show full text]
  • Read Ebook {PDF EPUB} Tarr by Wyndham Lewis
    Read Ebook {PDF EPUB} Tarr by Wyndham Lewis Tarr is a novel at war with itself, with tensions raging at not only the level of style and content, but at the level of the book itself in that it exists in a few versions, being altered and revised by Lewis as it suited his fancy and his temper and his ever-mutating world view, and so even subsequent editors have been at war in their attempts to produce a definitive version.3.4/5Ratings: 426Reviews: 32Tarr - Kindle edition by Lewis, Wyndham. Literature ...https://www.amazon.com/Tarr-Wyndham-Lewis-ebook/dp/B006J2YLP8Tarr is a novel I enjoyed from start to finish. Written in the era of the polite avant-garde social activism exemplified by Bloomsbury, Lewis' most well-known novel is none of those things. It could logically be argued that Tarr is mean-spirited, but I prefer to think of it as a Nietzschean parody.4.4/5(14)Format: KindleAuthor: Wyndham LewisPeople also askWhat did Lewis say about Tarr?What did Lewis say about Tarr?Tarr, generally thought to be modelled on Lewis himself, displays disdain for the 'bourgeois-bohemians' around him, and vows to 'throw off humour' which he regards—especially in its English form—as a 'means of evading reality' unsuited to ambition and the modern world.Tarr - Wikipedia Jul 25, 2020 · His novels include his pre-World War I-era novel Tarr (set in Paris), and The Human Age, a trilogy comprising The Childermass (1928), Monstre Gai and Malign Fiesta (both 1955), set in the afterworld.
    [Show full text]
  • Dora Marsden "The Stirner of Feminism" ?
    Library.Anarhija.Net Dora Marsden ”The Stirner of Feminism” ? Did Dora Marsden ”transcend” Stirner? Bernd A. Laska Bernd A. Laska Dora Marsden ”The Stirner of Feminism” ? Did Dora Marsden ”transcend” Stirner? 2001 http://www.lsr-projekt.de/poly/enmarsden.html lib.anarhija.net 2001 The New Freewoman, 1 vol., 15th Jun 1913 to Dec 1913 (Reprint 1967); The Egoist, 6 vols., Jan 1914 to Dec 1919 (Reprint 1967). On Dora Marsden: Sidney E. Parker: The New Freewoman. Dora Marsden & Ben- Contents jamin R. Tucker. In: Benjamin R. Tucker and the Champions of Lib- erty, ed. by Michael E. Coughlin, Charles H. Hamilton, Mark A. Sul- Abstract ............................ 3 livan. New York 1986. pp.149-157; Life summary ......................... 3 Sidney E. Parker: Archists, Anarchists and Egoists. In: The Egoist ”The Max Stirner of Feminism” ? .............. 6 (London), Nr.8 (1986), pp.1-6. From anarchism to archism ................. 8 Both articles also available at: ”The Egoist Archive” sowie ”The Bibliography: ......................... 10 Memory Hole” Les Garner: A Brave and Beautiful Spirit. Dora Marsden 1882- 1960. Aldershot, Hants., GB 1990. 214pp. Bruce Clarke: Dora Marsden and Early Modernism. Gender, In- dividualism, Science. Ann Arbor, MI, USA 1996. 273pp. 2 11 of his wishes. Some anarchists were indeed for the idea of the ego as Abstract a sovereign ruler, but only when it had first changed itself in a def- inite way, whereas Marsden, as an archist, meant the real, existing, Dora Marsden (1882-1960) was the editor of some avant-garde unchanged individuals and their egos, their spontaneous wishes literary journals (1911-1919; Ezra Pound, T.S.
    [Show full text]
  • Ezra Pound, William Carlos Williams, and the Publication Of
    Journal of American Studies of Turkey 11 (2000) : 63-72 Writing Dialogues, Reading Myths: Ezra Pound, William Carlos Williams, and the Publication of Kora in Hell João Paulo Nunes Between 1909 and 1920, William Carlos Williams published in many literary magazines and managed to produce three books of poems despite his busy professional life as a doctor. However, the publication of the book Kora in Hell in 1920 marked a turning point in Williams’ career, as the volume, a collection of poetic prose fragments dedicated to Williams’ wife, Florence Herman, inaugurated a new creative period for the poet. The texts gathered in Kora in Hell resemble the prose poems written by the French symbolists, and reflect diverse genres and influences that expand the boundaries of traditional conceptions of the literary text. The history of Kora in Hell’s writing and publication shows the influence of literary dialogues exchanged with Ezra Pound, and of writers such as Arthur Rimbaud, Pietro Metastasio, E.W. Sutton Pickhardt, and Homer, in whose “Hymn to Demeter” lies the explanation of the myth of Kora, a disturbing evocation of spring and fertility. In October 1917, the American literary magazine The Little Review, edited by Margaret Anderson, published three prose fragments by Williams, under the title “Improvisations” (IV. 7: 19). By this time, Williams was no stranger to the literary world. Before the publication of the Improvisations in The Little Review, he had already published the book Poems in 1909 at his own expense, The Tempers in 1913, and Al Que Quiere! in 1917, and participated actively in poetry readings and theatre performances in Rutherford (New Jersey), his hometown, where he lived and practised medicine.
    [Show full text]