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Imprints of the New Modernist Editing Application Pack 1. Questions And 1 Imprints of the New Modernist Editing Application Pack Screenshot from New Modernist Editing Network edition of a short fiction by Virginia Woolf (https://nme-digital-ode.glasgow.ac.uk/) 1. Questions and definitions The definition of ‘modernism’ which the New Modernist Editing Network employed was: ‘broadly experimental literature of the late nineteenth to early twentieth century’; while the texts we have chosen reflect this definition, we are open to broader definitions of modernism prompted by the questions raised by the NME Network. Questions raised by the Network that might be of interest include: • What is the significance of the frequent cross-fertilisation of the visual and the literary in the art of the period in responding to these texts? • How to take account of the particular technological and economic context in which these texts were written? Increased authorial revision made possible by technologies of textual reproduction (cheaper printing, the typewriter); the economics (and aesthetics) of the little magazine/journal/periodical; the economics of larger publishing houses… • What is the particular status of the typescript as manuscript? What challenges are posed by working with typescripts? - such as how to identify and treat ‘obvious typos’; how to respond to the physical qualities of the typescript (visual, tactile), etc. • How do we respond to the notion of authorial intention? For example: do we assume that obvious spelling errors ought to be corrected? Do we treat a ‘juvenile’ text differently from a mature work? – etc etc. • Given their experimental quality, do some modernist texts project an ideal future reader, that somewhere, one day, there will be a reader 2 who will have a perfect understanding of the text? And if so, does that then suggest a model of the ideal editorial and reading practice? • Are there different sets of editorial rules for treating poetry, prose, playscripts, letters, diaries…? • How exhaustive can/ought annotation (explanatory notes) be? • What are the risks and rewards of new digital technologies in responding to modernist texts? • How do readers (born digital or otherwise) relate to iconic twentieth- century texts? For further information about the original New Modernist Editing Network, including summaries of the discussions at their events, please visit https://newmodernistediting.glasgow.ac.uk/ 2. Suggested editions Below is a list of editions of (mainly) modernist works suggested by members of the original New Modernist Editing Network, the Imprints of the Modernist Editing project team including project partners, and core artists invited to participate in the project. It is thus, necessarily, selective rather than representative, reflecting a range of personal interests. But we hope it gives a flavour of the kinds of issues around editing this project is interested in exploring. We have grouped the texts under titles which draw attention to possible kinds or features of editions; the groups are, of course, not all mutually exclusive. While your proposal does not have to directly respond to any of these texts to be accepted, it must engage with some aspect of editing (a) modernist text(s) in order to meet the project rubric. NLS = National Library of Scotland SNGMA = Scottish National Gallery of Modern Art The items listed as being held at either of these locations will be explored at a workshop facilitated by MyBookcase as part of the Imprints of the New Modernist Editing project, to which all are invited to apply (see section 3 below) Date TBC; information forthcoming on the Imprints of the New Modernist Editing website and via #imprintsnme. Individuals are also welcome to contact the NLS or SNGMA to arrange inspection. Scholarly Editions Virginia Woolf, Between the Acts, ed Mark Hussey (1941; Cambridge University Press, 2011) [This edition follows Woolf’s typescript, rather than the first edition which was posthumously edited and published by Woolf’s husband: https://www.cambridge.org/gb/academic/subjects/literature/english- literature-1900-1945/between-acts?format=HB 3 James Joyce, Ulysses : A Critical and Synoptic Edition, prepared by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior, 3 vols. (1922; New York & London: Garland Publishing Inc., 1984) [This essay by Gabler is the best place to go for images of the edition, as well as a discussion of its rationale: https://www.openbookpublishers.com/htmlreader/978-1-78374-363- 6/ch15.xhtml - search for Synoptic] D. H. Lawrence, Women in Love, ed David Farmer, Lyndeth Vasey and John Worthen (1920; Cambridge University Press, 1987) [details here: https://www.cambridge.org/vi/academic/subjects/literature/literary- texts/women-love?format=PB&isbn=9780521280419] See also: • D. H. Lawrence, The First ‘Women in Love’, ed John Worthen and Lyndeth Vasey (Cambridge University Press, 2002) [details here: https://www.cambridge.org/vi/academic/subjects/literature/literary- texts/first-women-love?format=PB] Virginia Woolf ‘Evening over Sussex: Reflections in a Motor Car ’ in Virginia Woolf, Collected Essays. Vol. 6. ed Stuart N. Clarke (1942; London: Hogarth, 2011), 453-456. Other editions of interest: • ‘Evening over Sussex’ in Virginia Woolf, The Death of the Moth and Other Essays (Hogarth: 1942) [First edition] • ‘Evening over Sussex’ in Virginia Woolf, Selected Essays ed David Bradshaw (Oxford University Press, 2009) 204-206 https://global.oup.com/ukhe/product/selected-essays- 9780199556069?cc=gb&lang=en& Student Editions Virginia Woolf, ‘Blue and Green’ in The Complete Short Fiction of Virginia Woolf ed Susan Dick, (2nd edn; Harcourt, 1989) [secondhand copies widely available online] Other editions of interest: • ‘Blue and Green’ in ‘Kew Gardens’ in Virginia Woolf, Monday or Tuesday with woodcuts by Vanessa Bell (Hogarth: 1921) [some page images here, though not of ‘Blue and Green’: https://www.bl.uk/collection- items/monday-or-tuesday-by-virginia-woolf] See page images attached – Appendix I. Gertrude Stein, Tender Buttons: the corrected centennial edition (1914; San Francisco, CA: City Lights Publishers, 2014) [a pdf of some sample pages is available here: http://www.citylights.com/book/?GCOI=87286100683310] Other editions of interest: • Tender Buttons (1914; Mineola, NY: Dover Publications, 1998) [the most widely available version at present] • Tender Buttons (New York, NY: Claire Marie, 1914) 4 Jean Toomer, Cane (1923; London and NY; Norton Critical Editions, 2011) [https://tinyurl.com/y6j2zfx9; these editions include lots of notes and secondary material, so are an interesting example of a specific kind of edition] Alain Locke, ed., The New Negro: Voices of the Harlem Renaissance, introduction by Arnold Rampersad (1925; New York: Touchstone, rpt. ed. 1997) See also: • Locke, Alain, ed. 1925. The New Negro. New York: Albert and Charles Boni [frontispiece and title page significantly different to the 1997 reprint] Trade Editions E. M. Forster The Machine Stops (1909; London: Penguin 2011) Sylvia Townsend Warner, Lolly Willowes (1926; London: Virago, 1993) [see attached images from the copy, bought second-hand, belonging to project leader Bryony Randall, including paper found inside back cover – see Appendix II] Other editions of interest: • Lolly Willowes (1926; London: Virago, 2012) with an introduction by Sarah Waters [https://www.virago.co.uk/titles/sylvia-townsend-warner/lolly- willowes/9780748131778/] • Lolly Willowes (London: Chatto & Windus, 1926) Zora Neale Hurston, Their Eyes Were Watching God (1937; London: Virago, 2008); hardcover design by Harlem renaissance artist Lois Mailou Jones and an introduction by Zadie Smith [https://www.virago.co.uk/titles/zora- neale-hurston/their-eyes-were-watching-god/9781844085286/]. Other editions of interest: • Their Eyes Were Watching God (1937; London: Virago, 2018) [paperback version of the above with different cover. NB part of Virago Modern Classics 2018 40th anniversary collection of 13 “deluxe” illustrated paperbacks: https://www.thebookseller.com/news/virago-modern-classics- marks-40th-anniversary-series-716576] • Their Eyes Were Watching God (Philadelpia, PA: J. B. Lippincott Company, 1937) D. H. Lawrence, Lady Chatterley’s Lover (1928; Penguin, 1960) [i.e. the edition that was subject of the obsenity trial] (Editions including) Facsimiles Blast N1. 1 (1914; Black Sparrow Press, 1983) – facsimile edition [NLS and SNGMA also have first editions] 5 Emily Dickinson, The Gorgeous Nothings, ed Jen Bervin and Marta Werner (New Directions Press, 2013) Though writing in the mid nineteenth-century, often considered avant-garde or proto-modernist; this is a highly innovative edition: https://www.ndbooks.com/book/the-gorgeous- nothings/; more images: https://www.poetryfoundation.org/poetrymagazine/articles/70065/studies-in- scale John Aubrey Brief Lives with An Apparatus for the Lives of our English Mathematical Writers, 2 vols, ed Kate Bennett (Oxford University Press, 2015). Paperback in two volumes – Aubrey’s in-text doodles, illustrations, insertions, marginalia etc. all set on the page, print-ready files produced by the editor herself. Not a modernist author but included given the innovative editorial approach https://global.oup.com/academic/product/john- aubrey-brief-lives-with-an-apparatus-for-the-lives-of-our-english- mathematical-writers-9780198806479 Gerard Manley Hopkins, The Collected Works of Gerard Manley Hopkins: Volume VII: The Dublin Notebook, ed Lesley J. Higgins and Michael F. Suarez (Oxford University Press, 2014) A proto- modernist author? GM Hopkins’s
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