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Table of Contents

Acknowledgments. Introduction. A Note on the Selection, Texts, and Order of Presentation. CONTINENTAL INTERLUDE I: Futurism (1909?14). F. T. Marinetti The Founding and the Manifesto of Futurism (Feb. 1909). F. T. Marinetti Futurist Speech to the English (Dec. 1910). F. T. Marinetti Contempt for Woman (from Le Futurisme, 1911). Balla, Boccioni, Carra`, Russolo, Severini The Exhibitors to the Public (Feb. 1912) F. T. Marinetti Technical Manifesto of Futurist Literature (May 1912). F. T. Marinetti A Response to Objections (Aug. 1912). Luigi Russolo The Art of Noises: A Futurist Manifesto (Mar. 1913). F. T. Marinetti Destruction of Syntax?Wireless. Imagination?Words-in-Freedom (May 1913). F. T. Marinetti The Variety Theater (Sept. 1913). Ezra Pound. Poems. The Seafarer (1911). Portrait d?une Femme (1912). The Return (1912). In a Station of the Metro (1913). Salutation the Third (1914). Meditatio (1914). Song of the Bowmen of Shu (1915). The River-Merchant?s Wife: A Letter (1915). Poem by the Bridge at Ten-Shin (1915). The Jewel Stairs? Grievance (1915). The Coming of War: Actaeon (1915). Shop Girl (1915). O Atthis (1916). The Lake Isle (1916). Hugh Selwyn Mauberley (1920). From The Cantos. Canto I (1917/1925). The Malatesta Cantos, VIII to XI (1923). Canto LXXXI (1948). From Canto CXV (1969). Essays. Imagisme (1912). A Few Don?ts by an Imagiste (1912). Vortex. Pound. (1914). The Chinese Written Character as Medium for Poetry (1918). T. S. Eliot. Poems. The Love Song of J. Alfred Prufrock (1915). La Figlia che piange (1916). Sweeney Among the Nightingales (1918). Sweeney Erect (1919). Gerontion (1920). The Waste Land (1922). Drama. Sweeney Agonistes (1932). Essays. Tradition and the Individual Talent (1919). The Lesson of Baudelaire (1921). London Letter: May 1921. London Letter: November 1922 (Marie Lloyd). Ulysses, Order, and Myth (1923). Charles Baudelaire (Introduction to Journaux intimes) (1930). Wyndham Lewis. Fiction. Enemy of the Stars (1914). Bestre (1922). The Death of the Ankou (1927). Essays. Manifesto (1914). Inferior Religions (1917). Foreword to Tyros and Portraits (1921). The Children of the New Epoch (1921). James Joyce. Araby (1914), from Dubliners. A Little Cloud (1914), from Dubliners. Aeolus (1922), from Ulysses. Nausicaa (1922), from Ulysses. Anna Livia Plurabelle (1939), from Finnegans Wake. W. B. Yeats. Poems. A Coat (1914). The Wild Swans at Coole (1917). In Memory of Major Robert Gregory (1918). Easter, 1916 (1920). The Second Coming (1920). The Tower (1928). Sailing to Byzantium (1927). The Tower (1927). Meditations in Time of Civil War (1923). Nineteen Hundred and Nineteen (1921). The Wheel (1922). Youth and Age (1924). The New Faces (1922). A Prayer for my Son (1922). Two Songs from a Play (1927). Wisdom (1927). Leda and the Swan (1924). On a Picture of a Black Centaur by Edmund Dulac (1922). Among School Children (1927). Colonus? Praise (1928). The Hero, the Girl, and the Fool (1922). Owen Ahern and his Dancers (1924). A Man Young and Old (1927). The Three Monuments (1927). From ?Oedipus at Colonus? (1927). The Gift of Harun Al-Rashid (1924). All Souls? Night (1921). Poems after The Tower. Crazy Jane and the Bishop (1930). Byzantium (1932). Coole and Ballylee, 1931 (1932). Come Gather Round Me Parnellites (1937). The Statues (1939). The Spur (1939). The Circus Animals? Desertion (1939). Drama. At the Hawk?s Well (1916). Essays. Note on the First Performance of ??At the Hawk?s Well?? (1917). ??Introduction?? to Certain Noble Plays of Japan (1916). Rapallo (1929). Gertrude Stein. Prose Poems and Portraits. Tender Buttons (1914). Tourty or Tourtebattre (1922). A Sweet Tail (Gypsies) (1922). A Description of the Fifteenth of November: A Portrait of T. S. Eliot (1924) Essays. Composition as Explanation (1926). What Are Master-pieces and Why Are There So Few of Them (1940). Mina Loy. Poems. Virgins Plus Curtains Minus Dots (1915). The Effectual Marriage, or the Insipid Narrative of Gina and Miovanni (1917). Human Cylinders (1917). Joyce?s Ulysses (1922). Brancusi?s Golden Bird (1922). Lunar Baedeker (1923). Gertrude Stein (1924). Essays. Aphorisms on Futurism (1914). Psycho-Democracy (1921). Gertrude Stein (1924). Modern Poetry (1925). H.D. Poems. Orchard (1913). Oread (1914). Mid-day (1915). Garden (1915). Sea Rose (1916). Night (1916). Eurydice (1917). Leda (1921). She Rebukes Hippolyta (1921). Demeter (1921). Helen (1924). Triplex (1931). Magician (1933). CONTINENTAL INTERLUDE II: DADA (1916?22). Richard Huelsenbeck En Avant Dada: A History of Dadaism (1920). Hugo Ball Dada Fragments (1916?17). Tristan Tzara Dada Manifesto 1918. Kurt Schwitters Merz (1920). Andre Breton For Dada (1920). Marcel Duchamp and Man Ray New York Dada (1921). Andre Breton After Dada (1922). William Carlos Williams. Poems. Spring and All (1923). Essays. Marianne Moore (1925). A Draft of XXX Cantos by Ezra Pound (1930). A Note on the Recent Work of James Joyce (1927). The Work of Gertrude Stein (1930). Ford Madox Ford. Fiction. Pink Flannel (1919). The Colonel?s Shoes (1920). The Miracle (1928). Essays. On Impressionism (1914). Dorothy Richardson. Fiction. Sunday (1919). Death (1924). The Garden (1924). Sleigh Ride (1926). Nook on Parnassus (1935). Essays. The Reality of Feminism (1917). Women and the Future (1924). Women in the Arts (1925). Continuous Performance (1932). Adventure for Readers (1939). Wallace Stevens. Poems. Sunday Morning (1915). Earthy Anecdote (1918). Le Monocle de Mon Oncle (1918). The Paltry Nude Starts on a Spring Voyage (1919). Anecdote of the Jar (1919). The Snow Man (1921). Tea at the Palaz of Hoon (1921). The Ordinary Women (1922). The Revolutionists Stop for Orangeade (1931). Idea of Order at Key West (1934). The Poems of Our Climate (1938). Esthetique du Mal (1944). The Auroras of Autumn (1948). Prose. The Noble Rider and the Sound of Words (1942). Marianne Moore. Poems from Observations. To a Steam Roller (1915). Pedantic Literalist (1916). The Fish (1918). Poetry (1919). England (1920). A Grave (1921). New York (1921). Marriage (1923). To a Snail (1924). [Moore?s Notes for Poems through 1924]. Poems after Observations. The Steeple-Jack (1932). No Swan so Fine (1932). The Jerboa (1932). Camellia Sabina (1935). The Paper Nautilus (1940). What Are Years (1940). He ??Digesteth Harde Yron?? (1941). [Moore?s Notes for Poems after 1924]. Essays. The Sacred Wood (1921). Hymen (1923). Well Moused, Lion (1924). A Poet of the Quattrocento (1927). A House-Party (1928). A Draft of XXX Cantos (1931). Ideas of Order (1936). Rebecca West. Fiction. Indissoluble Matrimony (1914). Essays. The Freewoman (1926). High Fountain of Genius (1928). What Is Mr. T.S. Eliot?s Authority as a Critic? (1932). CONTINENTAL INTERLUDE III: SURREALISM (1922?39). Andre Breton Manifesto of Surrealism (1924). Andre Breton The Mediums Enter (1922). Robert Desnos Midnight at Two O?Clock (1928). Michel Leiris From the Heart to the Absolute (1929). Andre Breton and Paul Eluard The Possessions, from the Immaculate. Conception (1930). Nancy Cunard. Poems. Wheels (1916). The Carnivals of Peace (1916). Evenings (1921). Voyages North (1921). Horns in the Valley (1923). Simultaneous (1930). Essays and Reportage. Black Man and White Ladyship (1931). Harlem Reviewed (1934). The Exodus from SpaIn (1939). Mary Butts. Fiction. Speed the Plough (1921). Widdershins (1924). The House-party (1930). Green (1931). Friendship?s Garland (1925). Hart Crane. Poems. My Grandmother?s Love Letters (1920). Black Tambourine (1921). Chaplinesque (1921). Praise for an Urn (1922). The Wine Menagerie (1926). At Melville?s Tomb (1926). Voyages (1926). O Carib Isle! (1927). Island Quarry (1927). Bacardi Spreads the Eagle?s Wings (1927). To Emily Dickinson (1927). The Mermen (1928). The Broken Tower (1932). Essays. The Case against Nietzsche (1918). Joyce and Ethics (1918). Modern Poetry (1930). Virginia Woolf. Fiction. Between the Acts (1941). Essays. Modern Fiction (1919/1925). Mr Bennet and Mrs Brown (1923). The Narrow Bridge of Art (1927). The Leaning Tower (1940). Djuna Barnes. Fiction and Literary Drama. To the Dogs (1923). Mother (1920). A Night Among the Horses (1918). Aller et Retour (1929). A Little Girl Tells a Story to a Lady (1925). The Passion (1924). Jean Rhys. Fiction. Vienne (1924). Illusion (1927). Mannequin (1927). Tea with an Artist (1927). Mixing Cocktails (1927). Again the Antilles (1927). Elizabeth Bowen. Fiction. Coming Home (1923). Foothold (1929). The Apple Tree (1934). Attractive Modern Homes (1941). In the Square (1941). Mysterious Kor (1944). The Happy Autumn Fields (1944). Eugene Jolas. Notes (1928). Revolution of the Word (1929). Notes on Reality (1929). What is the Revolution of Language (1933). Samuel Beckett. Fiction. Texts for Nothing (1955). Drama. Endgame (1957). Essays. Dante ? Bruno . Vico . . Joyce (1929). Three Dialogues (1948). Poems. Whoroscope (1930). Ennueg II (1935). Echo?s Bones (1935). Ooftish (1938). What is the Word (1990). CONTINENTAL INTERLUDE IV: THE FRANKFURT SCHOOL (1923?60). Walter Benjamin Surrealism: the Last Snapshot of the European Intelligentsia (1929). Walter Benjamin The Work of Art in the Age of Mechanical Reproduction (1936). Theodor Adorno Looking Back on Surrealism (1956). Theodor Adorno Trying to Understand Endgame (1961). Bibliography. Index of Authors and Titles

About the Author

Lawrence Rainey is Professor of English at the University of York. He is the founding editor of the journal Modernism / Modernity, and his essays and reviews have appeared in the Times Literary Supplement, the London Review of Books and The Independent. He is the author of Ezra Pound and the Monument of Culture (1991), Institutions of Modernism: Literary Elites and Public Culture (1998), and Revisiting 'The Waste Land' (2005). He has also edited The Annotated Waste Land with Eliot's Contemporary Prose (2005).


"Lawrence Rainey, one of the leading modernist scholars in the world today, has produced an anthology ideally suited for the classroom. The attention to Continental developments as well as central Anglo-American texts distinguishes the volume from others now available to students. The range of writers, the judiciousness of the selection, and the expert introduction should make this the leading text in the field." Professor Michael Levenson, University of Virginia "He has been marvelously selective. There are no secret traditionalists here, no writers included merely for their prominence in modernism's historical moment or for modern themes alone; all are hardcore, the real thing." James Joyce Quarterly

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