Writer, artist, Manhattan gallery owner, and co-editor of the Little Review, Jane Heap was one of the most dynamic figures of the international avant garde, creating a life that defined the "modernist experience" as a syncretic one. Deliberately seeking a low profile throughout her life, Heap has frustrated many scholars interested in her personal life and the extraordinarily vital period in which she lived. Through her correspondence, Heap here reveals her intimate self as well as her more public, creative relationships with some of the legends of modern art, literature, and spirituality. Focusing primarily on the voluminous letters written by Heap to Florence Reynolds, the correspondence included in this volume spans the years from 1908-1949, incorporating additional illuminating letters to Reynolds from other significant figures in Heap's life. Heap's letters reveal the radical transformation of a dreamy, young Midwestern woman into a forceful, sophisticated arbiter of international modernism and provide rare insight into the struggle for lesbian identity and community during the inter-war period. They detail her eventual abandonment of art in the search for the transcendent in the seductive and esoteric mysticism of George Gurdjieff. Holly Baggett's accompanying essay further highlights the boldness of Jane Heap's aesthetics and life.

Writer, artist, Manhattan gallery owner, and co-editor of the Little Review, Jane Heap was one of the most dynamic figures of the international avant garde, creating a life that defined the "modernist experience" as a syncretic one. Deliberately seeking a low profile throughout her life, Heap has frustrated many scholars interested in her personal life and the extraordinarily vital period in which she lived. Through her correspondence, Heap here reveals her intimate self as well as her more public, creative relationships with some of the legends of modern art, literature, and spirituality. Focusing primarily on the voluminous letters written by Heap to Florence Reynolds, the correspondence included in this volume spans the years from 1908-1949, incorporating additional illuminating letters to Reynolds from other significant figures in Heap's life. Heap's letters reveal the radical transformation of a dreamy, young Midwestern woman into a forceful, sophisticated arbiter of international modernism and provide rare insight into the struggle for lesbian identity and community during the inter-war period. They detail her eventual abandonment of art in the search for the transcendent in the seductive and esoteric mysticism of George Gurdjieff. Holly Baggett's accompanying essay further highlights the boldness of Jane Heap's aesthetics and life.

Heap (1883-1964) was a writer, artist, Manhattan gallery owner, and coeditor of the Little Review, and as a dynamic figure of the international avant-garde created a life that defined the modernist experience between the world wars. Baggett (American history and gender studies, Southwest Missouri State U.) reveals her more intimate side primarily through her letters to Florence, and finds there insight into the struggle for lesbian identity and community. Annotation copyrighted by Book News, Inc., Portland, OR

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Making No Compromise is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"—Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot—and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism.

The Little Magazine Movement is as significant a literary landmark as the 1913 Armory Show is to art. These founding women publishers were alert to social issues, though their emphasis was on modernism.

James Joyce's Ulysses was first published in New York in the Little Review between 1918 and 1920. What kind of reception did it have and how does the serial version of the text differ from the version most readers know, the iconic volume edition published in Paris in 1922 by Shakespeare and Company? Joyce prepared much of Ulysses for serial publication while resident in Zurich between 1915 and 1919. This original study, based on sustained archival research, goes behind the scenes in Zurich and New York in order to recover long forgotten facts that are pertinent to the writing, reception, and interpretation of Ulysses. The Little Review serialization of Ulysses proved controversial from the outset and was ultimately stopped before Joyce had completed the work. The New York Society for the Suppression of Vice had taken successful legal action against the journal's editors, on the grounds that the final instalment of the thirteenth chapter of Ulysses was obscene. This triumph of the social purity movement had far reaching repercussions for Joyce's subsequent publishing history, and for his ongoing efforts with the composition of Ulysses. After chapters of contextual literary history (on the cultural world of the Little Review; the early production history of Ulysses; and the New York trial of 1921), the study moves to a consideration of the textual significance of the serialization. It breaks new ground in Joycean scholarship by paying critical attention to Ulysses as a serial text. The study concludes by examining the myriad ways in which Joyce revised and augmented Ulysses while resident in Paris; it shows how Joyce made Ulysses more sexually suggestive and overt, in explicit response to the work's legal reception in New York.