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The Energetics of Tarr: the Vortex-Machine Kreisler Michael Wutz
The Energetics of Tarr: The Vortex-Machine Kreisler Michael Wutz MFS Modern Fiction Studies, Volume 38, Number 4, Winter 1992, pp. 845-869 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mfs.0.1370 For additional information about this article https://muse.jhu.edu/article/244853 Access provided by Weber State University (22 May 2018 16:43 GMT) THE ENERGETICS OF TARR: THE VORTEX- MACHINE KREISLER mfs Michael Wutz "What, after all, does Kreisler mean? Satisfy my curiosity." — Tan The formulation of an explicit aesthetics of the machine is constitutive of the turn-of-the-century European Zeitgeist and is generally encapsulated in the activities of Filippo Tomasso Marinetti, the galvanic maestro of the Italian Futurists. His manifestoes and his entourage announced the creed of speed and steel throughout Europe as early as 1910, and their triumphant celebration of airplanes and automobiles had a crucial impact on the artistic reception of technology, the way it was recuperated as an objet d'art. To attribute this love of machines to the sole influence of Italian Futurism, however, would be a misrepresentation of the historical situation. Rather, as Renato Poggioli and, more recently, Marjorie Perloff have argued, the voguish reception and reformulation of the Futurist program corresponded to a strong predisposition within the avant-garde to recognize the artistic potential of the machine. The barrage of Futurist pronounce- ments only awakened the dormant sensibilities of artistic circles that had been forming under the crust of dated aesthetic beliefs (Avant-Garde 68- 74; Futurist Moment xvii-xxi). -
A Chronology of Wyndham Lewis
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. -
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. -
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. -
An Examination of the Body in Wyndham Lewis's Tarr
University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2005-6: Word Penn Humanities Forum Undergraduate & Image Research Fellows April 2006 You Must Be a Duet in Everything: An Examination of the Body in Wyndham Lewis's Tarr Lindsey Schneider University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2006 Schneider, Lindsey, "You Must Be a Duet in Everything: An Examination of the Body in Wyndham Lewis's Tarr" (2006). Undergraduate Humanities Forum 2005-6: Word & Image. 12. https://repository.upenn.edu/uhf_2006/12 2005-2006 Penn Humanities Forum on Word & Image, Undergraduate Mellon Research Fellows. URL: http://humanities.sas.upenn.edu/05-06/mellon_uhf.shtml This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2006/12 For more information, please contact [email protected]. You Must Be a Duet in Everything: An Examination of the Body in Wyndham Lewis's Tarr Abstract Wyndham Lewis is a much-ignored Canadian born British artist who alongside Ezra Pound, TS Eliot, Virginia Woolf, and James Joyce (all of whom he was friends with at various points in his life) helped form what we now call English High Modernism. Along with Ezra Pound in 1914, he founded the only avant-garde English art movement: Vorticism. Lewis was in his early thirties by that time, and had already joined and left the Bloomsbury Group. Although Vorticism is Lewis's creation that gets him the most attention, his work defies classification: the list of his writings contains literature, philosophy, sociology, political science, journalism, short stories, art critiques, two autobiographies, travel essays, drama, and poetry, and he edited numerous journals, while he painted dozens upon dozens of paintings and drew feverishly before he went blind in the early 1950s. -
![Winner of the 2015 Wyndham Lewis Memorial Trust Essay Prize] ______](https://docslib.b-cdn.net/cover/1158/winner-of-the-2015-wyndham-lewis-memorial-trust-essay-prize-4211158.webp)
Winner of the 2015 Wyndham Lewis Memorial Trust Essay Prize] ______
‘Diabolical indigestion’: Forms of Distaste in Wyndham Lewis’s Body of Work [winner of the 2015 Wyndham Lewis Memorial Trust Essay Prize] ________ Rachel Murray Early on in the 1918 edition of Tarr, Lewis’s protagonist, Frederick Tarr, pays a visit to the cramped dwelling of his German fiancée, Bertha Lunken, to break off their engagement. In an attempt to keep relations amicable he brings food with him, and when she becomes upset he introduces the formality of the meal to soak up Bertha’s ‘psychic discharges’ (T1 60). Tarr uses food to reinforce his own self-absorption, but after finding himself unable to prevent Bertha from seeping into his thoughts, he reacts with masticatory aggression: To cover reflection, he set himself to finish lunch. The strawberr- ies were devoured mechanically, with unhungry itch to clear the plate. He had become just a devouring-machine, restless if any of the little red balls still remained in front of it. Bertha’s eyes sought to carry her out of this Present. But they had broken down, depositing her, so to speak, somewhere halfway down the avenue. (T1 70) Ironically, Tarr appropriates eating as a means of thwarting the act of rumination; his transformation into a mere ‘devouring-machine’ is a defence mechanism against the painful indigestion of suppressed feelings. Torn between his desire to assimilate his lover into his life, and his desire to detach himself from her entirely, Tarr’s indecisiveness leaves Bertha feeling only partially digested. Although she has been ‘broken down’ and deposited, Bertha finds herself stuck ‘halfway down the avenue’, lodged in the gullet of this painful process of ‘dis- engagement’ (T1 43). -
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. -
Wyndham Lewis and Literary Modernist Studies
Wyndham Lewis and Literary Modernist Studies (Stephen Ross, University of Victoria) Lewis‟s relation to modernism is very much like – and in fact reflects – the fortunes of modernism itself in the last century: first marginal, then central, then savagely attacked, reduced to a grotesque caricature, and finally (perhaps) on the rise again. In this regard, he is perhaps the unlikely standard-bearer for modernism‟s fortunes and the best test of its current status. Present in London in the „teens of the last century, Lewis both coined the term “men of 1914” and was a key one of them, along with Ezra Pound, James Joyce, and T. S. Eliot. With typically modernist brio, Lewis thus anointed himself and a few of his friends as the arbiters and inventors of the most important artistic and cultural movement of his – perhaps of any – time. Lewis was motivated in part in this regard by F. T. Marinetti‟s 1911 and 1913 visits to London. Promoting the aesthetic and cultural vision of Futurism, Marinetti exercised a magnetic pull upon both Lewis and that other modernist impresario, Ezra Pound. Animated by Marinetti‟s visit and excited by his version of a new cultural production that would cut away the decaying flesh of a civilization he saw as gangrenous and septic, Lewis quickly put together what may be the founding document of English 1 modernism: BLAST! A proto-typical “little magazine,” BLAST! featured radically explosive typefaces, irreverent lists of those who should be “blasted” away and those who should be “blessed” for their innovation, and an indigenized version of Futurism called Vorticism. -
Wyndham Lewis Literary Work-OUT.Indd
Ana Gabriela Vilela Pereira de Macedo Wyndham Lewis’s Literary Work 1908-1928 Vorticism, Futurism and the Poetics of the Avant-Garde To Claudio Every Year 1 Now, in this night in which I love you White clouds skim across the heavens without a sound And the waters snarl over the pebbles And the wind shudders along the barren ground. 2 White waters go trickling Downhill every year. Up in the heavens The clouds are always there. 3 Later, when the years grow lonely Clouds, white clouds, will still be found. And the waters will snarl over the pebbles And the wind shudder along the barren ground. Bertolt Brecht WWyndhamyndham LLewisewis LLiteraryiterary WWork-OUT.inddork-OUT.indd 5 110-11-20140-11-2014 008:26:018:26:01 WWyndhamyndham LLewisewis LLiteraryiterary WWork-OUT.inddork-OUT.indd 6 110-11-20140-11-2014 008:26:018:26:01 Acknowledgements I wish to thank the guidance, endless support and extreme kind- ness that Dr. Geof Hemstedt demonstrated towards me, since the early days of my arrival at the University of Sussex as a foreign postgraduate student, until the completion of my doctorate. I wish to invoke the memory of Dr. Allon White, who was to me a precious friend and an inexhaustible source of intellectual support and encouragement. I wish to thank Dr. Alistair Davies for his help and guidance during part of my research. I am indebted to Dr. Robert Young, and Dr. Chris Wagstaff for reading and commenting on parts of my work, and giving me incentive to pursue it. -
THE LION and the FOX Art and Literary Works by Wyndham Lewis from the C.J
THE LION AND THE FOX Art and Literary Works by Wyndham Lewis from the C.J. Fox Collection THE LION AND THE FOX Art and Literary Works by Wyndham Lewis from the C.J. Fox Collection Acknowledgments The members of the The Lion and the Foxexhibition committee wish to thank Cy Fox for his generous donation of the C.J. Fox Collection to UVic Libraries, for his curatorial assistance and contribution to the exhibition catalogue and for his invaluable support and advice at all stages of the exhibition planning. All art works, books and writings by Wyndham Lewis that are displayed or reproduced are copyright of The Estate of Mrs. G.A. Wyndham Lewis. By kind permission of the Wyndham Lewis Memorial Trust (a registered charity). All art works by Michael Ayrton are copyright of the Michael Ayrton Estate and are reproduced with the kind permission of the Ayrton family. Additional thanks for image reproduction permissions to: the Courtauld Institute of Art Gallery, London; Edward Wadsworth Estate; Kensington Central Library, London; Memorial University of Newfoundland, St. John’s; Black Sparrow Books, Santa Barbara, CA; Methuen, London; Karl Spreitz. Every effort has been made to trace copyright ownership of the works illustrated and to obtain permission for reproduction. “But for me…all of that lay far ahead, the other side of an extraordinary takeover of my mind and temperament by the Lewis phenomenon.” C.J. Fox Wyndham Lewis, The Creditors. Design from the portfolio Timon of Athens, 1912, published 1913. © The Estate of Mrs. G.A. Wyndham Lewis. By kind permission of the Wyndham Lewis Memorial Trust (a registered charity) contents Introduction 7 Cyril J. -
Theses Digitisation: This Is a Digitised
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] THE NOVELS OF WYNDHAM LEWIS Thomas Hall Kinninmont A Thesis submitted to the Arts Faculty of the University of Glasgow for the'Degree of Ph.D. November, 1974 ProQuest Number: 10646287 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uesL ProQuest 10646287 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. -
Rewriting Tarr Ten Years Later: Wyndham Lewis, the Phoenix
Rewriting Tarr Ten Years Later: Wyndham Lewis, the Phoenix Library, and the Domestication of Modernism [winner of the 2014 Wyndham Lewis Memorial Trust Essay Prize] ________ Lise Jaillant Four years before his death, Wyndham Lewis wrote to the modernist scholar Hugh Kenner: ‘In Tarr I had in view a publique d’élite who could be addressed in blank verse, and the style of the poème en prose might suddenly be used, or be employed for half a page. Down to Fielding or Thackeray in England, and in all the great Russian novelists it was an aristocratic audience which was being addressed.’ Lewis added: ‘In Tarr (1914-15) I was an extremist’ ( L 552). This image of a difficult, uncompromising novel for an élite could well apply to the first version of Tarr – completed in 1915 and published by the Egoist Press in Britain and by Knopf in the United States in 1918. But in 1928, Lewis accepted an offer to reprint his novel in the newly created Phoenix Library, sold for only 3 shillings and 6 pence. Lewis was reluctant at first, complaining about the low compensation he would receive. But he then threw himself into the project and decided to re-write the entire novel. At that time in his career, Lewis was eager to address not a ‘publique d’élite’ or an ‘aristocratic audience’, but a large audience who had never read Tarr before. Scholars have often discussed the merit of the 1928 edition over the earlier versions. ‘Just ask any one of the two dozen Lewis scholars in the world which of the versions of Tarr is the best or most complete text’, wrote John Xiros Cooper.