The thirteen essays and 117 literary reviews gathered in this book were written largely between 1932 and 1937, the most productive period of Mary Butts's foreshortened literary career---she died at 47. After spending most of the 'twenties on the Continent, principally Paris, with the madding American and English survivors of the soi-disant "Lost Generation," she repatriated to London before settling with a new husband permanently in Sennen, a Cornish village close to Land's End. Famously impractical about money, she must have welcomed the editor Hugh Ross Williamson's invitation to review for The Bookman as a means to supplement her small allowance and book royalties. Considering her charming and personal reviews, this work must have given her satisfaction; it is surely not hackwork. Within a short time she was engaged to write reviews and essays for other prominent journals and newspapers, including The Sunday Times, The Daily Telegraph, The Spectator, The Manchester Guardian, The London Mercury, Time and Tide, John O'London Weekly, The Adelphi, Everyman, and even Crime-which she accomplished while somehow maintaining a steady production of stories, novels, and a memoir of her childhood, and all of this despite marital strife, financial pressures, and worsening health. For the shorter pieces, as a reviewer for hire, it's doubtful she had much choice of books, but her keenest interests and expertise-as well as friendships with contemporary authors-were probably known to her editors, who commissioned accordingly. The range, variety, and depth of subjects is little short of remarkable, from classical literature to popular fiction (historicals, mysteries, the uncanny), from history (French and English) to Eastern religion to the American Depression to gardening, and on and on. Moreover, "reviews" is a misnomer for most of Butts's shorter pieces because her approach is conversational and opinionated, and sprinkled with interesting asides. Better to think of them as miniature essays. Her erudition can be formidable, her thought associations eclectic, her tone scholarly, elegant, jazzy or passionate. However, her longer essays-concerning Aldous Huxley, Baron Corvo, and supernatural fiction, for example-are more like English gardens: structured and carefully tended, but allowing for spaces of intellectual play.

The author called Ashe of rings, her first published novel, a "War-Fairy-Tale," as it deals with the Badbury Rings, "a set of prehistoric concentric earthworks in south Dorset," those who are sympathetic to this landscape and those who are antagonistic to it. In Imaginary letters, the author writes to the mother of her lover, Boris, a Russian emigré. Traps for unbelievers and Warning to hikers are companion pieces, "addressing the need for preserving the land and retaining or restoring some sort of spiritual consciousness." Ghosties and ghoulies is the author's study of ghost fiction. -- Preface, p. x-xiii.

The Bodies That Remain is a collection of bodies and absences. Through biography, experimental essay and interview, fictional manifestation, and poetic extraction, The Bodies That Remain is a collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them. The Bodies That Remain looks back at how the identity of these bodies was shaped by the spaces around them, through the retelling of memory, through stories told by others; of how their work, processed by their body, made it possible for others to experience sensations - mourning, desire, or a nostalgia that could not belong to another, to another's body and in capturing this ability, their work confirms the body's urgency. Amongst others, The Bodies That Remain tells the story of Emily Dickinson's decay, the missing grave of Valeska Gert, the voice and sound of the body of Judee Sill, and the derailed body and its work of Jane Bowles. It questions the absent body but broken organs of JT Leroy as they find themselves scattered across texts, and also interrogates the loss of distinction of illness for Jules de Goncourt as syphilis riddled his nervous system. It retrieves the illusory body of Kathy Acker through dream and through horror, sees the morphing body of Michael Jackson in becoming all of the bodies he was asked to be, and looks toward Sylvia Plath and the language of her own body. Contributions include texts and images by: Lynne Tillman (on Jane Bowles), David Rule (on Michael Jackson), Mairead Case (on Judee Sill), Claire Potter (on the Lads of Aran), Jeremy Millar (on Emily Dickinson), Chloé Griffin (on Valeska Gert), Phoebe Blatton (on Brigid Brophy), Susanna Davies-Crook (on Sarah Kane), Travis Jeppensen (on Gary Sullivan), Karen Di Franco (on Mary Butts), Tai Shani (on Mnemesoid), Philip Hoare (on Denton Welch), Heather Phillipson (on a dead dog), Uma Breakdown (on Guage Fanfic), Linda Stuppart (on Kathy Acker), Sharon Kivland (on Jacques Lacan), Harman Bains (on Wilhelm Reich), Pil & Galia Kollectiv (JT Leroy), Kevin Breathnach (on Jules de Goncourt), and Emily LaBarge (on Sylvia Plath).

A distinctive and original voice within the Modernist movement, the English novelist Mary Butts was a prodigy of style, learning and energy, whose work compared with Katherine Mansfield, D.H. Lawrence and T.S. Eliot, and was championed by Pound, Robert McAlmon, Ford Madox Ford, and others.

A scholarly and experimental collection that offers fresh insight-with a feminist focus-into the often overlooked modernist writer Mary Butts and the contested processes of recovering such an author. Scholars instrumental in the recovery of Mary Butts, along with newer writers, publishers, printers, and artists, enter into conversation exploring the work of the British author, whose body of work plays between high modernist forms and more popular genres-writing that can be described as occult, Gothic, queer, proto-environmental, and feminist. Taking its cue from Butts's experimental, rhythmic writing and the transnational artistic communities in which Butts moved in the 1920s, the collection is a non-linear exchange rather than a collection of isolated arguments-a conversation constructed from "classical" academic chapters, "knight's move" non-academic reflections, and short responses to these. This conversation lies at the intersection of "feminism" and "reconstruction": Chapters range between Butts's writing techniques and forms, her position in the modernist canon, contested sites of feminism in her work, critical reception of that work, queer and post-critical readings, and the success of, and the need for, a feminist recovery of the author. The collection aims to be a feminist engagement, while asking questions of what this might look like, why it is needed, and how such an approach offers fresh insight into an erudite, playful, difficult, contradictory, and experimental body of work. Ultimately, the collection asks, how should we reconstruct the author and her work for the contemporary reader?

Fifty years of writing on literature, film, and art by one of the most influential poets and critics of our time