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Ezra Pound, Wyndham Lewis, and the Crowd

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Ezra Pound, Wyndham Lewis, and the Crowd Ezra Pound, Wyndham Lewis, and the Crowd Tom Holland The University of York Department of English and Related Literature May 2007 Table of Contents List of Illustrations iii Acknowledgements iv Abstract v Introduction: Re-entering the ‘Era of Crowds’ 1 1 ‘The real stuff of the poetry of our day’: Negotiating the Edwardian Crowd 24 2 Blast: Crowd Master and Crowd Medium 75 3 ‘No sensation worth noting’: After the Crowd 110 Conclusion: The End of an Era 177 Appendix: Wyndham Lewis’s Cantelman: Crowd Master 190 Bibliography 257 i List of Illustrations 1 ‘Bovril’, Illustrated London News, 1907; reproduced from Lori Anne Loeb, Consuming Angels (New York: Oxford University Press, 1994), p.145.......... 2 2 Flip-Flap, Franco-British Exhibition, London, 1908, post- card, author’s collection, London: n.p., 1908...... 28 3 ‘John Bull’ poster, with Eric Gill’s more legible alter- native version. Reproduced from Eric Gill, An Essay in Typography (London: J. M. Dent & Sons, 1941), pp. 50–51.13 .......................... 85 4 Detail from Blast manifesto, Blast 1, p15........ 86 5 Wyndham Lewis, The Crowd, Tate Gallery, London. Reproduced from Paul Edwards, Wyndham Lewis: Painter and Writer, p.135.................. 106 6 Concluding page of ‘The Crowd Master,’ and Cathay advertisement. Reproduced from Blast 2, pp.102-[103].107 7 The crowds at Marie Lloyd’s funeral, reproduced from Midge Gillies, Marie Lloyd: The One and Only (London: Gollancz, 1999), n.p. 146 8 Plate 8 Wyndham Lewis, The Theatre Manager, Victo- ria and Albert Museum, London, reproduced from Paul Edwards, Wyndham Lewis, p. 31.......... 166 ii 9 George Romney, Emma Hart as Ariadne (1785), Na- tional Maritime Museum, London. 173 10 Artist’s rendition of the Baku Symphony of Factory Whistles and Magistral’, Gorm 9 (1923), reproduced from Amy Nelson, Music for the Revolution: Musi- cians and Power in Early Soviet Russia (Philadelphia: Penn State Press, 2004), p. 29.1 ............. 182 11 A Symphony of Factory Whistles, reproduced from René Fülöp-Miller, The Mind and Face of Bolshevism: An examination of cultural life in Soviet Russia, trans. F. S. Flint and D. F. Tait (London: G. P. Putnam’s Sons, 1927), n.p. 183 12 Table showing correspondences between the Cantle- man / Crowd Master texts. 192 iii Acknowledgements Many thanks are due to the Arts and Humanities Research Board for financial support, to Lawrence Rainey for his help and inspi- ration, and of course, to all of the staff and fellow students at the University of York who have encouraged and supported me along the way. If they want it, then I dedicate this thesis to Kate, Jude, Jon, Pat, and, of course, to Clare Sinclair. iv Abstract Through the 1980’s and 1990’s, the old image of modernism as uniformly hostile to mass culture has increasingly been eroded. But while critics have enthusiastically delineated the avant-garde’s co-option of dance-crazes, ad-layouts or café-culture, they have tended to follow Andreas Huyssen’s distinction between this so- cially engaged ‘historical avant-garde’ and a paradigm of ‘high modernism’, autonomous and aloof, whose mission it was to sal- vage the purity of high art from the encroachment of mass culture. Such theoretical clarity is achieved at the expense of historical nu- ance; recent studies focussing on Eliot’s interest in music hall and jazz, on Pound’s receptiveness to the public theatricals of Futur- ism, or on popular reaction to Wyndham Lewis’s paintings in the Cabaret Theatre Club, have strongly challenged those monolithic formulations of ‘high modernism’ and ‘mass culture’. My study of the crowd in modernist writing (which is also a study of mod- ernism in the crowd) follows on from this work in an attempt to complicate and enrich our understanding of the intercourse be- tween modernist art and mass life. ‘The age we are about to enter will in truth be the era of crowds,’1 predicted Gustave Le Bon, in 1895. In many ways, the totalising formula instituted by Le Bon came to occupy the same space as recent critical formulations of ‘mass culture’. But ‘crowd’ is the version that Pound, Lewis, and their contemporaries would recog- 1Gustave Le Bon, Psychologie des foules, trans. (unaccredited) as The Crowd: A study of the popular mind (1896; reprint, Atlanta: Cherokee, 1982), xv. v nise; they grew up with ‘crowd theory’ accounts of advertising and the influence of the press, in a political culture that was very much concerned with crowd control. Psychological models of conscious- ness, so important to the period’s experimental prose, admitted crowd theorists’ ideas about ‘group minds’; foremost among the imported prototypes for London’s emerging poetic avant-garde was Jules Romains’ cult of the ‘unanime’, the city’s ‘crowd soul’. Responding enthusiastically in the 1930s to the rise of govern- ments that sought to master crowds and mobilise populations for totalitarian ends, Pound and Lewis represent particularly complex cases of Modernist approaches to the Crowd. Both, in different ways, were working with ideas of Crowd culture early in their careers: Lewis fostered his crowd book (printed in its entirety in my appendix) for over 20 years; Pound’s career as an Imag- ist was launched on the back of a crowd poem, and his angle on the widely-discussed pre-war question of how art could express the new mass culture would be essential to the development of his mature aesthetic. I show how their crowd-rhetoric evolved, mirroring historical developments in the political sphere; how political concerns with crowds became transformed as they were translated into aesthetic form; and how, as particular visions of crowd-being faded from the political scene, the crowd, too, faded from the focus of literary modernism. The texts treated in this thesis signal key moments in the for- mation of an avant-garde in pre-war London, that avant-garde’s maturity and arguable triumph, and it’s eventual dissolution in the complicated political climate of the 1930s. With the exception of The Waste Land, they are fragmentary, unfinished works or dead- ends which nevertheless, I argue, are key to their writers’ careers. The crowd, in different ways, can be seen as central to each of them. The disparate body of tentatively experimental writings which vi Pound and Lewis, competing rabble-rousers of the art world, tried to form into one ‘mental unity’, draw on Edwardian concerns about the crowd’s dangerous power. But the optimistic engage- ment with crowds in pre-war London never achieved coherence; when a Modernist canon began to emerge, circa 1922, the vital crowds that had energized the earlier writings were dead in a war. Interred in ‘The Waste Land’, enlisted in Ulysses’s monumental act of remembrance, or repressed beneath Mrs Dalloway’s trip to the florists, they would return in the 1930s to haunt the later writings of Pound and Lewis: the road not taken. The latter two chapters of this thesis constitute an attempt to exhume these crowds and ascertain the causes and consequences of their obscure disappear- ance. Chapter 1 looks at Pound’s Lustra; it details the raft of conti- nental and American ideas about crowds and crowd-writing (Le Bon; Jules Romains’ ‘unanimiste’ response; Vachel Lindsay’s de- motic futurism) which elicited excited responses in the journals and magazines of early twentieth-century London. Chapter 2 focuses on Lewis’s ‘Crowd Master’ texts (his Blast story, ‘The Crowd Master’, and related manuscript materials, as well as the revised version that eventually appeared in his autobi- ography) and his writings on ‘giants’, which figure the social body as a leviathan-like whole. Chapter 3 is examines the impact of the war, and the crowd as a haunting presence in Lewis’s work of the 1920s. I show how Lewis engages with a contemporary London where ideas about the death of the crowd had taken on an immediate cultural urgency. I argue that Lewis’s crowd-texts can be seen as an example of a literature which imagined it could represent itself as a science. I explore the origins of vorticism, and then returns to Lewis’s pre-war crowd texts, reworked for the post-war in an attempt to find out what had become of the crowd. My conclusion speculates on the fate and future—if any—of vii crowd writing. My appendix presents a text of Wyndham Lewis’s unpublished ‘Cantelman: Crowd Master’, which is discussed in chapters 2 and 3, prepared from the manuscripts in Cornell University Library. viii Introduction: Re-entering the Era of Crowds The crowd, crowds and crowding were central to the way people experienced the modern world. By 1900, there were twelve cities with more than a million inhabitants. The population of Paris had topped 4 million by 1890, more than half of whom were crammed into the historic heart of the city.2 New York’s population was ap- proaching 4 million by the 1900s, having increased almost fivefold in the 50 years leading up to 1904.3 London—the city helped shape the texts of Lewis and Pound that I’ll be focussing on in the fol- lowing chapters—had 5.6 million inhabitants by 1890, rising to 6.5 million by 1900.4 This sheer force of numbers, with urban popu- lations growing by almost 100,000 a year, had utterly to transform the ways people experienced the great cities, the ways they inter- acted with one another, and the ways that they saw themselves. This thesis considers how this new crowd culture, this immersion in massed humanity, influenced the ways that people made art? And what could the art they made tell us about the people of the crowd? 2Peter Hall, Cities of Tomorrow, Updated edition (Oxford: Blackwell, 1996), p.
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