This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.

The short story was a commercial phenomenon which took off in the late nineteenth century and lasted through to the rise of television and film. Baldwin uses a wide variety of sources to show how economic factors helped to dictate how and what a wide variety of authors wrote.

One of the defining features of modernism lies in its far-reaching rethinking of the relation between the human and the non-human. In the present volume, this crucial aspect of modernism’s legacy is investigated from an authentically transnational perspective, taking an innovative stance on a diverse range of authors – from posthumanist classics such as Beckett and Woolf to Valentine de Saint-Point, Radoje Domanovic and Aldo Palazzeschi among others. On the one hand, this collection sheds new light on the modernist contribution to posthumanism, providing a valuable reference point for future studies on the topic. On the other, it offers a new take on the transnational dimension of modernism, highlighting unexplored convergences between modernist authors from several different national contexts.

The fin de siècle not only designated the end of the Victorian epoch but also marked a significant turn towards modernism. Extraordinary Aesthetes critically examines literary and visual artists from England, Ireland, and Scotland whose careers in poetry, fiction, and illustration flourished during the concluding years of the nineteenth century. This collection draws special attention to the exceptional contributions that artists, poets, and novelists made to the cultural world of the late 1880s and 1890s. The essays illuminate a range of established, increasingly acknowledged, and lesser-known figures whose contributions to this brief but remarkably intense cultural period warrant close attention. Such figures include the critically neglected Mabel Dearmer, whose stunning illustrations appear in Evelyn Sharp’s radical fairy tales for children. Equally noteworthy is the uncompromising short fiction of Ella D’Arcy, who played a pivotal role in editing the most famous journal of the 1890s, The Yellow Book. The discussion extends to a range of legendary writers, including Max Beerbohm, Oscar Wilde, and W.B. Yeats, whose works are placed in dialogue with authors who gained prominence during this period. Bringing women’s writing to the fore, Extraordinary Aesthetes rebalances the achievements of artists and writers during the rapidly transforming cultural world of the fin de siècle.

This book aims to put Walter de la Mare back on the literary map. A writer beloved by many, he has nevertheless remained on the sidelines of literary history. Walter de la Mare: Critical Appraisals promises to restore his reputation as one of the most memorably haunting of poets, as well as a peculiarly unnerving writer of ghost stories. A collection of varied, wide-ranging essays on de la Mare’s poetry, stories, novels, reviews and lectures, it puts his work beside that of many of his famous contemporaries, including Thomas Hardy, Robert Frost, W. H. Auden, T. S. Eliot and Katherine Mansfield. It also contains an invaluable survey of his archive, much of it unpublished, and a number of newly commissioned poems reflecting on his legacy. This multifaceted volume will be of interest to students working on twentieth-century poetry, the short story, the nature and limits of modernism and British intellectual history, as well as on de la Mare himself. List of contributors: Catherine Charlwood, Guy Cuthbertson, Peter Davidson, Giles de la Mare, Andrew Doyle, Suzannah V. Evans, Adam Guy, Robin Holloway, Yui Kajita, Zaffar Kunial, Gregory Leadbetter, Angela Leighton, Erica McAlpine, Jenny McDonnell, Will May, Andrew Motion, Paul Muldoon, A. J. Nickerson, Seamus Perry, Adrian Poole, Camille Ralphs, Vidyan Ravinthiran, Peter Scupham, A. E. Stallings, Mark Valentine, Rory Waterman, Anne Welsh, David Wheatley, Rowan Williams, William Wootten.

Katherine Mansfield’s complicated relationship with London began in 1903, when her parents sent her and her two older sisters from New Zealand to Queen’s College in Harley Street to be educated, and where they remained until the summer of 1906. As soon as she was back in Wellington, she longed to return, her parents finally agreeing to her returning to London to forge a career as a writer, no longer ‘Kathleen Beauchamp’ but ‘Katherine Mansfield’. As an adult, Mansfield had a love/hate relationship with London, but it remained central to her literary career. Mansfield became part of a literary couple with John Middleton Murry, and together they forged connections with most of the important writers in London at that time, thanks to their editorship of several little magazines and their own published work. As the symptoms of Mansfield’s tuberculosis increased, and she spent more and more time away from England, seeking a healthier climate, life in London became a series of brief sojourns. It remained, however, at the heart of her literary life until her early death.This book combines a range of cutting-edge scholarship on themes including Mansfield’s school life, telephony, the weather, literary sources and influences, music, and hotels, also including reviews of relevant publications in the field, a diverse range of creative writing, and the first publication of notes by Mansfield’s early friend and contemporary in London, Margaret Wishart.

Provides a clear introduction to the key terms and frameworks in cognitive poetics and stylistics