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Cambridge University Press 978-1-107-05398-4 - The Cambridge Companion to Wyndham Lewis Edited by Tyrus Miller Index More information INDEX A Battery Shelled, 52 avant-garde, viii, 2–3, 5–8, 10, 12, 16, 19, A Canadian Gun Pit, 52 21, 23, 25–26, 29, 40, 52, 75 A Room of One’s Own (Woolf), 132 Ayers, David, viii, 17, 118, 136, 175 abstract art, 8, 58 Ayrton, Michael, 58, 76 abstract expressionism, 58 abstraction, 15, 18, 23, 35, 41–42, 50–51, 59, Babbitt, Irving, 34, 141 72–74, 85 Bachman, Erik, viii, 17, 148 absurdity, 10–11, 62, 97 Bacon, Francis, 46, 58 Abyssinian crisis, 96 Badiou, Alain, 161 Action Française, 89, 94, 98 Bailiff, 13–14, 67, 143, 145–146, 157, 169 Adorno, Theodor, 137, 142, 146 Bakunin, Mikhail, 101 aesthetics, 39, 50, 72, 80, 120, 126 Baldwin, Stanley, 96 Alcibiades, 28 Balla, Giacomo, 22 Althusser, Louis, 150 Baudelaire, Charles, 45 America and Cosmic Man, xvi, 110–112, Bauhaus, 7, 25 154 Bazelon, David T., 111 anarchism, 1, 17, 100–101, 103–106, BBC (British Broadcasting Corporation), xv, 110 17, 168–170 anarchist, 24, 100–101, 103–106, 110 Beckett, Samuel, x, 2 anarchy, 105 behaviorism, 64 Anderson, Sherwood, 16, 34, 41, 130 Benda, Julien, 34, 141 Anglo-Saxon, 89, 95, 97, 115 Benjamin, Walter, 14, 161 Anglosaxony: A League That Works, xiv Bennett, Arnold, 38, 129 antiintellectualism, 143 Bergson, Henri, 17, 34, 40–41, 45–46, 65, anti-Semitism, 17, 97, 113, 115–116, 148, 151–156, 158, 165, 176 123 Berlin, 31, 47, 99, 107, 114 Archimedes Reconnoitering the Fleet, Binyon, Laurence, 45, 50 54, 55 biopolitics, 170 Arghol, 27, 164 blackness, 122 Arnold, Matthew, 108, 141, 176 Blake, William, 45–46 Art and Society (Read), 30 BLAST, xvi, 3, 19–22, 24–26, 30, 32–35, 37, atomic war, 110 40–41, 104–105, 126, 162 Auden, W.H., 169 Blasting and Bombardiering, xvi, 3–4, 9, 42, authoritarian, 2, 88, 98, 102–103, 137 81, 96 authoritarianism, 91–92, 97 Bloody Sunday, 100 authority, 13–14, 26, 88, 92, 105–106, Bloomsbury, 38, 46, 130, 140, 144 110–111, 126, 146 Blutsgefühl, 116–118 automobilism, 51 Boccioni, Umberto, 22, 50 177 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-05398-4 - The Cambridge Companion to Wyndham Lewis Edited by Tyrus Miller Index More information index body, 1, 14–15, 17–18, 24, 37, 44, 61, 64, 66, Death of a Hero (Aldington), 139 73, 77, 80–81, 84, 96, 105, 131, 148, decentralization, 102, 111 160, 165, 171 Deleuze, Gilles, 17, 148, 151, 159, 176 Bolshevik, 100, 107 democracy, 2, 89–92, 94–95, 97–98, 110, 167 Bolshevism, 100 Dialectic of Enlightenment (Adorno and Bomberg, David, 52, 105 Horkheimer), 137, 142 Braque, Georges, 23 Disenchantment (Montague), 139 Brecht, Bertolt, 14 Dismorr, Jessica, 53 Bridson, D.G., 91, 174 Doré Gallery, 3, 27 Bright, John, 109 Dostoevsky, Fyodor, 45 British Union of Fascists, 4, 95, 107 Du principe fédératif (Proudhon), 105–106 British Union Quarterly, 107 dualism, 2, 73 Brown, Fred, 38, 44, 159 durée, 148, 154 Bru, Sascha, viii, 16, 19, 31, 174 Bürger, Peter, 22, 29, 172 Edith Sitwell, 78, 86 Burke, Edmund, 109 Edwards, Paul, ix, xvi–xvii, 7, 15–18, 21, 25, 31, 50, 53, 56, 58–59, 72, 99, 153, 159, Camden Town Group, 47 173, 175 Canada, xii, xiv, 5, 11, 58, 85, 109, 128, 169, Einstein, Albert, 150 171, 176 Eliot, T. S., xii, 5–6, 20, 31, 34, 39, 41, 58, 81, Capital, 101, 103 84, 113, 140, 172 capitalism, 17, 102, 109, 126, 133, 140, 157 Elkin, P.K., 62, 70 Carlston, Erin G., ix, 17, 125, 175 Enemy, xiii, xvi, 3, 13, 27, 29, 54, 59, 62, 65, Cave of the Golden Calf, 48 68–69, 71, 74–75, 81, 84–85, 99, 125, centralization, 102, 104, 106, 110–111 139, 141–142, 161, 164 Cézanne, Paul, 7, 23, 77 Enemy of the Stars, xiii, xvi, 3, 27, 31, 74, 84, Chaplin, Charlie, 34 164 cinema, 65, 160, 165–168 Epstein, Jacob, 20, 105 class, 10, 44–45, 105, 109, 113, 116–117, Ernst, Max, 55, 98 126, 144–145, 168 “Essay on the Objective of Plastic Art in Our Cole, G.D.H., 109 Time”, 54 communism, 1, 17, 89, 91, 96, 104, 145, 151, Europäische Revue, 95 157 Europe, viii, 4, 7, 19–20, 22, 24, 30, 45, 47, Connolly, Cyril, 169 52, 55, 68–69, 88, 93, 95–97, 100, 112, constructivism, 7, 19, 25, 53 114, 133, 140, 149 Count Your Dead: They Are Alive!, xiv, 88 expressionism, 19, 21–23, 27, 29, 35, 47, Creatures of Habit and Creatures of Change, 171, 176 xvi extremism, 8, 12, 81, 115 criticism, x, 5–6, 8–9, 15, 17, 36, 41, 46, 51, 58, 70, 101, 111, 136–138, 146, 148, family, 106, 126, 143 153, 156 fascism, 4, 16, 87–89, 91, 93–97, 104, 113, Crossing the Frontier, xvi, 104 116, 133, 145, 151, 157 cubism, 21–23, 27, 29, 35, 47, 51, 172 Faulkner, William, 34, 130 cultural studies, 160 feminism, 16, 101, 126–127, 131, 133, 144 Culture and Anarchy (Arnold), 141 feminization, 143–144 culture industry, 137, 142–143 Feng-shui, 51 culture-critique, 140 Ferrer, Francesc, 100, 104 Cummings, E.E., 5 Filibusters in Barbary, xiii, xvi, 10, 119 Firbank, Ronald, 130 Dada, 24, 31, 39–41, 43 Flaubert, Gustave, 11, 34, 45 dadaism, 7, 19, 24, 40, 53 flux, 35, 40, 85, 125, 154, 157 de Chirico, Giorgio, 55 formalism, 72 De Stijl, 7, 19, 53 Fourier, Charles, 101 178 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-05398-4 - The Cambridge Companion to Wyndham Lewis Edited by Tyrus Miller Index More information index France, Anatole, 100 impersonality, 41, 79, 84, 150 Frankfurt school, x, 17, 137 individual, 40–41, 46, 85, 93, 97, 102–103, Friedlaender, Salomon, 24 108, 116, 125, 137, 139, 142–143, 145, Freud, Sigmund, 142, 175 158, 162, 165 Froanna, xiii, 15, 56, 68, 81, 85 “Inferior Religions”, 11–12, 85, 156 Fry, Roger, xii, 20, 35, 37, 39, 50 Institute of Contemporary Art, 59 futurism, ix, 21–23, 26–27, 29, 35, 40–42, intellect, 42, 53, 66, 77, 134, 143–145, 149, 51, 91, 98, 138, 172 154, 158 internationalism, 89, 154 Gąsiorek, Andrzej, ix, xi, 10, 16, 32, 43, 99 irrationalism, 29, 40 Gaudier-Brzeska, Henri, 20, 51 Italy, 4, 21, 89, 92, 96–97, 111 gender, 13, 44, 125–127, 129, 131–134, 141 James, Henry, 5, 16, 18, 34, 80, 103, 113, gender essentialism, 133 130, 172, 174–175 General Strike (1926), 122 Jameson, Fredruc, 2, 5, 16, 81, 125, 153, Germany, xiii, 7, 53, 80, 89, 94–96, 107, 171 114–115, 140, 174 jazz, xi, 119 Gide, André, 130 Jewishness, x, 122 Gilman, Harold, 45 Jewish Question, 94, 97 God, 5, 121, 148, 155–158, 166 John, Augustus, x–xii, xvi, 42–45, 81, 108, Godwin, William, 109 147, 159, 174–175 Gore, Spencer, 45 Jolas, Eugene, 16, 39 Gorky, Maxim, 100 Joyce, James, xiii, 5, 8, 13, 16, 23, 34, 36–39, government, 16, 89–91, 106, 110, 114, 150 46, 103, 113, 129, 168, 172 Great War, 3, 23, 25, 29, 133, 139, 141 Greenberg, Clement, 8–9 Kandinsky, Wassily, 23–24, 29, 35, 51 Griffin, Dustin, 63, 70–71, 174 Kauffer, Edward McKnight, 53 Group X, xiii, 7, 19, 52, 75 Kenner, Hugh, 20–21, 28, 71, 159 Guns exhibition, 52 Kropotkin, Peter, 100 Habermas, Jürgen, 137, 146 L’Idée Générale de la Révolution au XIX Hanp, 27, 164 Siècle (Proudhon), 105, 112 Harman, Graham, 17, 148 La Pornocratie (Proudhon), 106 Hegel, G.F.W., 142 Lady Drogheda, 48 Hemingway, Ernest, 16, 34 Lamb, Henry, 45 History of the Reign of Ferdinand and Latour, Bruno, 17, 148 Isabella the Catholic (Prescott), 56 laughter, 11–12, 25, 62, 66, 166 Hitler, xiii–xiv, xvi, 10, 87–89, 94–98, 102, Lawrence, D.H., 5, 16, 34, 38, 41, 118–119, 104, 112–118, 137, 174 122, 130 Hollywood, 166, 168 League of Nations, viii, 96, 139 homosexuality, 16, 126 Lechmere, Kate, 27 Horkheimer, Max, 137, 142 Left Wings over Europe, xiv, xvii, 87, 95 Hulme, T.E., ix, 3, 34–35, 51, 91 Leicester Galleries, xiii–xiv, 53, 56, 81 Hulsenbeck, Richard, 40 liberalism, 89, 151 humanism, 72, 79–80 liberty, 2, 88, 106, 110 Humphrey, Richard, 16 Locke, Alain, 34 Huxley, Aldous, 88, 94, 99 London, ix, xii–xvii, 8, 13, 15, 20, 22, 27, Hyperides, 13, 146 30–32, 39, 42–44, 47–48, 50, 52–53, 56–60, 71, 76, 78, 82, 85, 98–99, 110, identity, 41–42, 73, 81, 85, 92, 124, 131, 112, 121, 123, 135, 139, 147, 159, 163, 137–138, 140, 154 167, 169–170, 172–176 ideology, 34, 36, 38, 58, 79, 89–90, 95, Loos, Anita, 129 103–104, 115, 117, 127, 143, 150 Lukács, Georg, viii, x, 38 179 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-05398-4 - The Cambridge Companion to Wyndham Lewis Edited by Tyrus Miller Index More information index Machiavelli, Niccolò, 18, 140 Nineteen Eighty-Four (Orwell), 141 MacNeice, Louis, 169 nonmoral, 61, 63, 70, 166 Madame Strindberg, 48 Nowa Sztuka (New Art), 21 Mafarka il futurista, 27 Magnetic City, 13, 157 Omega Workshops, 20, 35, 50, 130 Malevich, Kasimir, 21, 50, 73 Orwell, George, 108, 113 Malign Fiesta, xv, xvii, 5, 12, 61, 68–69, 157–158, 169 Paleface, xiii, xvii, 7, 10, 34, 37, 41, 56, 88, Man of the World, 65, 140 94, 120, 122, 140 Marinetti, F.T., 3–4, 19–22, 26–27, 34–35, Pareto, Vilfredo, 91 40, 98, 163 Paris, xii, 7, 19, 25, 29, 39, 45, 47, 53, 100, 112 Maritain, Jacques, 141 Parker, Valerie, 127 Marx, Karl, 50, 101–104, 142, 167 Pater, Walter, 130 Marxism, 65, 101–103 Penguin Club, 27, 52 mask, 6, 9, 15, 65, 76, 78, 84–85, 96, 141, 146 Peppis, Paul, 125, 172 Massumi, Brian, 17, 149–150 philosophy, 41, 46, 50, 54, 58, 65, 79, 98, Maura, Antonio, 104 101, 118, 143, 148–150, 156 Maurras, Charles, 89, 98 Picasso, Pablo, 20, 23, 31, 35–37, 47 McLuhan, Marshall, 17, 161, 170, 176 Poland, 21, 89, 107, 111 media, 1, 5, 16–17, 77, 91, 160–165, politics, viii, 2, 4, 9, 13, 16, 39, 88–90, 167–170 94–95, 101–102, 107–109, 115, 118, Men without Art, xiv, xvii, 8–11, 34, 38, 62, 125–126, 129, 140 80, 129–130, 133–134,
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    ABSTRACT In 1919, immediately following the First World War, the English artist Percy Smith produced a series of seven etchings entitled Dance of Death 1914-1918. Contemporaries ​ ​ responded enthusiastically to his inventive treatment of the subject. This paper reinterprets the ​ ​ series in its historical and social context to better understand its original emotional impact. During the war, censorship created a chasm between the home front and the Western Front. Towards the end of the conflict, soldiers began producing writings and visual art that presented an unfiltered image of the war, which an uneasy public began to crave. These frontline accounts brought the daily perils of the Tommies home, and contained what historian Samuel Hynes called the “aesthetic of direct experience.” This quality of authenticity became a prized ingredient in the public’s eye. Smith illustrated his own military experience through the reimagining of a recognized Medieval trope. The series vicariously transports viewers to the front line, following Death as he meanders through the war zone, pausing here and there to either spare or collect a soldier. By conflating the factual with the macabre, Smith expanded the aesthetic of direct experience to expose not only the war’s physical trauma but its psychological toll. Despite the War’s centennial and reinvigoration of scholarship on its art, Smith’s contributions have remained largely unstudied. My research draws heavily on unpublished archival material housed in the Percy Smith Foundation in Cheshunt, England, and early published sources. Shaw 1 A Modern Dance with Death: Percy Delf Smith and the Aesthetic of Direct Experience Clara Shaw Senior Honors Thesis Submitted to the Art History Department Mount Holyoke College April 2020 Shaw 2 ACKNOWLEDGMENTS A special thank you to the Mount Holyoke College Art History Department for supporting my research with the Linda Kelso Wright Fund.
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    THE SEDUCTIVE FALLACY: WOMEN AND FASCISM IN BRITISH DOMESTIC FICTION by Judy Suh B.A., University of Notre Dame, 1994 M.A., University of Pittsburgh, 1996 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2004 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Judy Suh It was defended on March 31, 2004 and approved by Eric O. Clarke Marcia Landy Barbara Green Paul A. Bové Dissertation Director ii THE SEDUCTIVE FALLACY: WOMEN AND FASCISM IN BRITISH DOMESTIC FICTION Judy Suh, PhD University of Pittsburgh, 2004 “The Seductive Fallacy” provides a literary focus for feminist critiques of fascist gender and sexuality. It explores two fascist and three anti-fascist novels—Wyndham Lewis’ The Revenge for Love (1937), Olive Hawks’ What Hope for Green Street? (1945), Virginia Woolf’s The Years (1937), Phyllis Bottome’s The Mortal Storm (1938) and The Lifeline (1946)—that illuminate British domestic fiction’s rhetorical range in the prolonged crisis of liberal hegemony after World War I. Across political purposes and a range of readerships and styles, they illuminate the genre’s efficacy to theorize modern women’s social, political, and cultural agency. In particular, the dissertation’s critical readings of these novels explore fascism’s emergence within liberal democracies. Juxtaposing Lewis and Hawks with literature from the archives of the British Union of Fascists (BUF), the first two chapters stress fascism’s production and consumption of political fantasies prevalent throughout the British novel’s humanist tradition, especially notions of women’s agency inscribed in the traditions of nineteenth- and twentieth-century domestic literature.
  • Review Reviewed Work(S): Wyndham Lewis by Jeffrey Meyers and Roy Campbell Review By: Rowland Smith Source: Research in African Literatures, Vol

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  • A Chronology of Wyndham Lewis

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    A Chronology of Wyndham Lewis 1882 Percy Wyndham Lewis born, Amherst Nova Scotia 1888-93 Isle of Wight 1897-8 Rugby School 1898-1901 Slade School of Art (expelled) 1902 Visits Madrid with Spencer Gore, copying Goya in the Prado 1904-6 Living in Montparnasse, Paris. Meets Ida Vendel (‘Bertha’ in Tarr) 1906 Munich (February – July). 1906-7 Paris 1907 Ends relationship with Ida 1908 – 11 Writes first draught of Tarr, a satirical depiction of Bohemian life in Paris 1908 London 1909 First published writing, ‘The “Pole”’, English Review 1911 Member of Camden Town Group. ‘Cubist’ self-portrait drawings 1912 Decorates ‘Cave of the Golden Calf’ nightclub Exhibits ‘cubist’ paintings and illustrations to Timon of Athens at ‘Second Post-Impressionist Exhibition’ 1913 Joins Fry’s Omega Workshops; walks out of Omega in October with Frederick Etchells, Edward Wadsworth and Cuthbert Hamilton after quarrel with Fry. Portfolio, Timon of Athens published. Begins close artistic association with Ezra Pound 1914 Director, ‘Rebel Art Centre’, Great Ormond Street (March – July) Dissociates self from Futurism and disrupts lecture by Marinetti at Doré Gallery (June) Vorticism launched in Blast (July; edited by Lewis) Introduced to T. S. Eliot by Pound 1915 Venereal infection; Blast no. 2 (June); completes Tarr 1916-18 War service in Artillery, including Third Battle of Ypres and as Official War Artist for Canada and Great Britain 1918-21 With Iris Barry, with whom he has two children 1918 Tarr published. It is praised in reviews by Pound, Eliot and Rebecca West Meets future wife, Gladys Hoskins 1919 Paints A Battery Shelled.
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    Wyndham Lewis’s ‘Very Bad Thing’: Jazz, Inter-War Culture, and The Apes of God [published in Modernist Cultures , 8.1 (Spring, 2013): 61-81] Nathan Waddell The relationships between jazz and modernist writing have in recent years increasingly come to interest musico-literary scholars. Much of this interest has centred on the links between modernism, jazz, and the cultures of the Harlem Renaissance, whose music and art, in Patti Capel Swartz’s words, extend ‘far beyond its geographic boundaries as well as beyond the relational boundaries of time’. 1 As evidence of this trans-national and trans- temporal influence, especially as it applies to Anglo-American cultural economies, such varied writers as T. S. Eliot, F. Scott Fitzgerald, Virginia Woolf, and Philip Larkin, among many others, have all been considered in relation to jazz and New York in the 1920s and 1930s. 2 Studies of this sort have contributed to the growing centrality of African- American traditions within the field of modernist studies, on the one hand, and provided us with an increasingly nuanced picture of the impact of jazz upon modernism in the literary arts (both as creative stimulus and as despised phenomenon) on the other. However, these alternative interpretations of the jazz ‘influence’ need to be understood as rather more than a simple dichotomy. In Fitzgerald, for instance, we find not only a writer attuned to the prevalence of jazz in twentieth-century modernity, but also a figure whose jazz allusions ‘anxiously suggest that beneath the surface of [what he saw as] the music’s frivolous gaiety lurks the presence of violence and chaos, which threatens to erupt at any moment.’ 3 Nonetheless, Fitzgerald’s complex representations of jazz music – the fact, in other words, that he wrote about jazz culture so extensively in his fiction and 1 Patti Capel Swartz, ‘Masks and Masquerade: The Iconography of the Harlem Renaissance’, Midwest Quarterly , 35.1 (Autumn 1993): pp.
  • Rachel Murray Source: Moveabletype, Vol

    Rachel Murray Source: Moveabletype, Vol

    Article: ‘Unexpected Fruit’: The Ingredients of Tarr Author[s]: Rachel Murray Source: MoveableType, Vol. 8, ‘Dissidence’ (2016) DOI: 10.14324/111.1755-4527.068 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2016 Rachel Murray. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. ‘Unexpected fruit’: The ingredients of Tarr By Rachel Murray ‘condition of continued enjoyment is to resist assimilation’, before concluding: ‘A man is the opposite of his appetite’ (1996, 26)1. Throughout Lewis’s body of work characters often experience revulsion or a lack of appetite before meals, and are often nauseous or sick after eating. Only the most perverse of Lewis’s characters, Otto Kreisler in Tarr (1918) or Julius Ratner in The Apes of God (1930), appear to relish their food, and the sheer aggression of these eating habits is closely associated with other, more monstrous appetites. Lewis’s prose is rough, at times impenetrably dense, and often unappetising in content – full of violence and cruelty, a callous indifference to suffering, and in the 1930s a troubling predilection for fascist ideology. How can we stomach the ideas of an individual who, in 1931, published a forceful defence of Hitler, describing him as a ‘Man of Peace’? I suggest that we can develop a clearer understanding of this much- maligned modernist by engaging with, rather than attempting to either suppress or sublimate, these distasteful qualities.
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  • IWM North Presents Largest UK Retrospective of Wyndham Lewis

    IWM North Presents Largest UK Retrospective of Wyndham Lewis

    *LAST CHANCE TO SEE – Exhibition closes 1 January 2018* Immediate release IWM North presents largest UK retrospective of Wyndham Lewis From 23 June 2017 until 1 January 2018, IWM North presents Wyndham Lewis: Life, Art, War, the largest UK retrospective of the artist and writer’s work to date. Marking one hundred years since Lewis (18 November 1882 - 7 March 1957) was first commissioned as an official war artist in 1917, the exhibition comprises more than 160 artworks, books, journals and pamphlets from major public and private, national and international collections. Staged in Imperial War Museums’ centenary year, Wyndham Lewis: Life, Art, War is IWM’s largest visual arts exhibition to date. The exhibition also marks 60 years since Wyndham Lewis’s death. A radical force in British art and literature, Lewis was the founder of Britain’s only true avant-garde movement, Vorticism. Lewis’ life and art encompassed the most violent and chaotic period in human history; from the First World War to the nuclear age. He was a controversial figure whose ideas, opinions and personality inspired, enticed and repelled in equal measure. From a mythologized birth in Canada, Lewis spent his youth in England and traveled Europe. In 1913, he joined Roger Fry’s Omega Workshops before setting up his own rival group, aptly named The Rebel Art Centre. From there arose Vorticism in 1914, its arresting manifesto BLAST encapsulating the restless mood pervading Britain on the eve of the First World War. Serving as commissioned artillery officer during the conflict, Lewis was appointed an official war artist first for the Canadians and then the British.
  • Night Thoughts on Editing Tarr ______

    Night Thoughts on Editing Tarr ______

    Night Thoughts on Editing Tarr ________ Scott W. Klein A tale once told cannot be told again; The whistle whistles and it whistles still. (‘Night Thoughts’, C. H. Sisson) It may seem curious to begin an essay about producing a new edition of the 1928 text of Lewis’s Tarr for the Oxford World Classics series with the minor poetic genre of the ‘night thought’. Ever since Edward Young’s eighteenth-century poem of the title, best known to the general reader for its later illustrations by William Blake, the ‘night thought’ has implied a personal look backward, a remembrance of things past carrying with it a melancholy acknowledgement of opportunities lost. Yet as C. H. Sisson suggests in his poem of the same title, the ‘night thought’ implies a paradoxical relation between the one who contemplates and the past. The narratives of the past cannot be recaptured, on one hand, for the tale already told cannot be told again. On the other hand, the work of the past has always maintained a covert existence through time. What was once sounded (‘whistled’) continues to sound, if only in memory. Sisson’s poem implies that the past cannot be recaptured, but also, conversely, that the past has never been lost. I’d like to suggest that this paradox is particularly relevant to the editing of a work such as Tarr . For while Tarr has never been a ‘lost’ work, it is an important novel that has fallen out of print, leading for some a shadowy existence on the cusp of the canon as well as the cusp of availability.