The Poetry Bookshop 1912-1935 a bibliography continues the author's interest in smaller British publishing houses of the first half of the century. Founded in December 1912 in London by Harold Monro and remaining in business until 1935, the Poetry Bookshop was one of the most important of these smaller houses, publishing books by Robert Graves, Richard Aldington, Ford Madox Hueffer, F.S. Flint, Eleanor Farjeon, and others, as well as the popular and important series of anthologies, Georgian Poetry. It also published three series of rhyme sheets, two periodicals, and several series of Christmas cards, most of them with color illustrations by well-known illustrators, as well as maintaining an open bookshop that carried the poetical works of other British publishers.

The Poetry Bookshop 1912-1935 a bibliography continues the author's interest in smaller British publishing houses of the first half of the century. Founded in December 1912 in London by Harold Monro and remaining in business until 1935, the Poetry Bookshop was one of the most important of these smaller houses, publishing books by Robert Graves, Richard Aldington, Ford Madox Hueffer, F.S. Flint, Eleanor Farjeon, and others, as well as the popular and important series of anthologies, Georgian Poetry. It also published three series of rhyme sheets, two periodicals, and several series of Christmas cards, most of them with color illustrations by well-known illustrators, as well as maintaining an open bookshop that carried the poetical works of other British publishers.

During the first two decades of the twentieth century, Britain's imperial power and influence was at its height. These were years of daring, when adventurers sounded the mysteries of the deep sea and the distant poles, aviators sped through the skies, and new media technologies transformed communication. They were years of social upheaval, during which long-suppressed voices – particularly those of women, of the labouring classes, and of colonial subjects – grew louder and demanded to be heard. They were years of violence, of insurrection and political agitation, and of imperial conflicts that would encompass continents. By subjecting specific developments in literature and related culture to a fine-grained and historically-informed analysis, British Literature in Transition, 1900–1920: A New Age? explores the writing of this extraordinary period in all its complexity and vibrancy.

This book is a re-examination of the fertile years of early modernism immediately preceding the First World War. During this period, how, where, and under whose terms the avant-garde in Britain would be constructed and consumed were very much to play for. It is the first study to look in detail at two little magazines marginalised from many accounts of this competitive process: Rhythm and the Blue Review. By thoroughly examining not only the content but the interrelated networks that defined and surrounded these publications, Faith Binckes aims to provide a fresh and challenging perspective to the on-going reappraisal of modernism. Founded in 1911, and edited by John Middleton Murry with assistance from Michael Sadleir and subsequently from Katherine Mansfield, Rhythm and The Blue Review featured a series of pivotal moments. Rhythm was the arena for a challenge to Roger Fry's vision of Post-Impressionism, for the introduction of Picasso to a British audience, for early short stories and reviews by Lawrence, and for Mansfield's discovery of a voice in which to frame her breakthrough writing on New Zealand. A further context for many of these experiments was the extended and acrimonious debate Rhythm conducted with A.R. Orage's New Age, in which issues of the proper gender, generation, and formulation of modernity were debated month by month. However, reading magazines as vehicles for avant-garde development can only provide half the story. The book also pays close attention to their dialogic, reproductive, and periodical nature, and explores the strategies at work within the terminology of the new. Crucially, it argues that they offer compelling material evidence for the consistently mobile and multiple boundaries of the modern, and puts forward a compelling case for focusing upon the specificity of magazines as a medium for literary and artistic innovation.

This twenty-third volume of ABBB (Annual bibliography of the history of the printed book and libraries) contains 3956 records, selected from some 1600 periodicals, the list of which follows this introduction. They have been compiled by the National Committees of the following countries: Arab Countries Italy Australia Latin America Austria Latvia Belgium Luxembourg Byelorussia The Netherlands Canada Poland Croatia Portugal Denmark Rumania Estonia Russia Finland South Africa Spain France Germany Sweden Great Britain Switzerland Hungary Ukrain Ireland (Republic of) USA Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. Subject As has been said in the introduction to the previous volumes, this bibliography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural environment, involved in its production, distribution, conservation, and description. Of course, the ideal of a complete coverage is nearly impossible to attain.