This book was written by Mary Mills Lyall in collaboration with her architect husband Earl Harvey Lyall, who also illustrated it. "The Cubies' ABC" is a delightful and humorous satirical alphabet book that makes fun of Cubists while pretending to be a kid's book. Three unidentified individuals are called The Cubies. Each has green hair and is one of three different colors: blue, mustard, and magenta. Instead of using cubes to build them, Earl Lyall used pyramids. They frequently feature jack-o'-lantern-like leering grins, have red triangle eyes and mouths, and have triangular shapes. They frequently scowl and come out as purposefully dim-witted. They swoon over anything Cubist and mock objectivity throughout the entire book.

This book was written by Mary Mills Lyall in collaboration with her architect husband Earl Harvey Lyall, who also illustrated it. "The Cubies' ABC" is a delightful and humorous satirical alphabet book that makes fun of Cubists while pretending to be a kid's book. Three unidentified individuals are called The Cubies. Each has green hair and is one of three different colors: blue, mustard, and magenta. Instead of using cubes to build them, Earl Lyall used pyramids. They frequently feature jack-o'-lantern-like leering grins, have red triangle eyes and mouths, and have triangular shapes. They frequently scowl and come out as purposefully dim-witted. They swoon over anything Cubist and mock objectivity throughout the entire book.

Oliver Herford (2 December 1860 - 5 July 1935) was an English writer, artist, and illustrator. He was born in Sheffield, England on 2 December 1860 to Rev. Brooke Herford and Hannah Hankinson Herford. Oliver's father, Brooke, was a Unitarian minister who moved the family to Chicago in 1876 and to Boston in 1882. Oliver attended Antioch College in Yellow Springs, Ohio from 1877 to 1879. Later he studied art at the Slade School in London and the Académie Julien in Paris. Afterward, he moved to New York, where he lived until his death. He has been called "The American Oscar Wilde". As a frequent contributor to The Mentor, Life, and Ladies' Home Journal, he sometimes signed his artwork as "O Herford". In 1906 he wrote and illustrated the Little Book of Bores. He also wrote short poems like "The Chimpanzee" and "The Hen", as well as writing and illustrating "The Rubaiyat of a Persian Kitten" (1904) and "Excuse It Please" (1930).

On January 30, 1975 Ernd Rubik j r., professor of architecture and design in Budapest, was granted the Hungarian patent number 170062 for a "terbeli logikai jatek"--A game of spatial logic. Between 1978 and March 1981 this object-Bt1vos Kocka in Hungary, der Magische Wiirfel or Zauberwiirfel in Germany, Ie Cube Hongrois in France and the Magic Cube or Rubik' s Cube in Great Britain and the USA-has sold more than ten million copies. And they were not merely sold! A highly contagious "twist mania" has been spreading throughout families, offices and waiting rooms. Many classrooms sound as if an army of mice were hard at work behind the desks. What is so fascinating about this cube, which competes with Hungar ian salami and the famous Tokajer wine in the currency-winning export market? For one thing, it is an amazing technical tool. How does it work? Moreover, the contrast between its innocent, innocuous appearance and the hidden difficulty of its solution offers a serious challenge to all puzzle fans, but especially to those mathematicians who are profeSSionally concerned with logical deduction

This book is a cultural history of Stein’s rise to fame and the function of literary celebrity in America from 1910 to 1935. By examining not the ways that Stein portrayed the popular in her work, but the ways the popular portrayed her, this study shows that there was an intimate relationship between literary modernism and mainstream culture and that modernist writers and texts were much more well-known than has been previously acknowledged. Specifically, Leick reveals through the case study of Stein that the relationship between mass culture and modernism in America was less antagonistic, more productive and integrated than previous studies have suggested.

How was the modernist movement understood by the general public when it was first emerging? This question can be addressed by looking at how modernist literature and art were interpreted by journalists in daily newspapers, mainstream magazines likePunch and Vanity Fair, and literary magazines. In the earliest decades of the movement – before modernist artists were considered important, and before modernism's meaning was clearly understood – many of these interpretations took the form of parodies. Mock Modernism is an anthology of these amusing pieces, the overwhelming majority of which have not been in print since the first decades of the twentieth century. They include Max Beerbohm's send-up of Henry James; J.C. Squire's account of how a poet, writing deliberately incomprehensible poetry as a hoax, became the poet laureate of the British Bolshevist Revolution; and theChicago Record-Herald's account of some art students' “trial” of Henri Matisse for “crimes against anatomy.” An introduction and headnotes by Leonard Diepeveen highlight the usefulness of these pieces for comprehending media and public perceptions of a form of art that would later develop an almost unassailable power.

Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century. In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism. Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections. Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies. Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics. Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation. In presenting varied critical approaches, this book highlights important interpretive questions for the field. Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements. Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.