Volume One: Britain and Ireland 1880-1955

General Introduction

Peter Brooker and Andrew Thacker

Part 1: Victorian Precursors

  • Introduction.
  • Chapter One. The Pre-History of the 'Little Magazine' (John Plunkett and Kyriaki Hadjiafxendi)
  • Chapter Two. In the Beginning There Was the Germ: The Pre-Raphaelites and 'Little Magazines' (Marysa Demoor)

Part 2: Fin de Siècle Ventures (1884-1905)

  • Introduction.
  • Chapter Three. Aestheticism and Decadence: the Yellow Book (1894-97); the Chameleon (1894); and the Savoy (1896) (Laurel Brake)
  • Chapter Four. Symbolism in British 'Little Magazines': the Dial (1889-1897); the Pageant (1896-7); and the Dome (1897-1900) (David Peters Corbett)
  • Chapter Five. 'The Arts and Crafts Movement': the Century Guild Hobby Horse (1884-94); the Studio (1893- ); the Evergreen (1895-6); and the Acorn (1905); (Imogen Hart)

Part 3: Early Statements (1899-1915)

  • Introduction.
  • Chapter Six. Yeats and the Celtic Revival: Beltaine (1899-1900); Samhain (1901-1908); Dana (1904-5); and the Arrow (1906-9) (Alex Davis)
  • Chapter Seven. The New Poetry, Georgians and Others: the Open Window (1910-11); the Poetry Review (1912-15); Poetry and Drama (1913-14); and New Numbers (1914) (Dominic Hibberd)

Part 4: Transitions

  • Introduction.
  • Chapter Eigth. Democracy and Modernism: the New Age under A. R. Orage (1907-1922) (Ann L. Ardis)
  • Chapter Nine. Ford Madox Ford and the English Review (1908-37) (Cliff Wulfman)
  • Chapter Ten. The London Mercury (1919-1939) and Other Moderns(Matthew Huculak)

Part 5: Interventions (1911-19)

  • Introduction.
  • Chapter Eleven. Gender and Modernism: the Freewoman (1911-12); the New Freewoman (1913); and the Egoist (1914-19) (Jean-Michel Rabaté)
  • Chapter Twelve. The 'Little Magazine' as Weapon: BLAST (1914-15) (Andrzej Gasiorek)
  • Chapter Thirteen. Harmony, Discord, and Difference: Rhythm (1911-13); the Blue Review (1913); and the Signature (1915) (Peter Brooker)

Part 6: Editors and Programmes

  • Introduction.
  • Chapter Fourteen. The Idea of a Literary Review: T. S. Eliot and the Criterion (1922-39) (Jason Harding)
  • Chapter Fifteen. Enemies of Cant: the Atheneum and the Adelphi (1923-48) (Michael Whitworth)
  • Chapter Sixteen. Standards of Criticism: the Calendar of Modern Letters (1925-7) (John Lucas)
  • Chapter Seventeen. The Cause of Poetry: Thomas Moult and Voices (1919-21); Harold Monro and the Monthly Chapbook (1919-25) (Mark Morrisson)
  • Chapter Eighteen. Desmond MacCarthy, Life and Letters (1928-35), and Bloomsbury Modernism (Jane Goldman)

Part 7: Into the 1920s: Dispersal and Difference

  • Introduction.
  • Chapter Nineteen. Aftermath of War: Coterie (1919-21); New Coterie (1925-27); Robert Graves and the Owl (1919-23) (Andrew Thacker)
  • Chapter Twenty. Literature and the Visual Arts: Art and Letters (1917-20) and the Apple (1920-22) (Rebecca Beasley)
  • Chapter Twenty-One. Cinema and Visual Culture: Close-Up (1927-33) (Laura Marcus)
  • Chapter Twenty-Two. Interventions in the Public Sphere: Time and Tide (1920-30) and the Bermondsey Book (1923-1930) (Jane Dowson)
  • Chapter Twenty-Three. Cultural Criticism at the Margins: Wyndham Lewis, the Tyro (1920-21), and the Enemy (1927-29) (Paul Edwards)
  • Chapter Twenty-Four. Nostalgia and Reaction: Austin O. Spare and Form (1916-17; 1921-22); the Golden Hind (1922-24); and the Decachord (1924-31) (Stephen Rogers)

Part 8: Commitment to the New: the 1930s

  • Introduction.
  • Chapter Twenty-Five. Cambridge Magazines and Unfinished Business: Experiment (1928-30); the Venture (1928-30); and Cambridge Left (1933-34) (Scott McCracken)
  • Chapter Twenty-Six. Art and Politics in the 1930s: the European Quarterly (1934-35); Left Review (1934-38); and Poetry and the People (1938-40) (Peter Marks)
  • Chapter Twenty-Seven. Poetry Then: Geoffrey Grigson and New Verse (1933-39); Julian Symons and Twentieth Century Verse (1937-9) (Stan Smith)
  • Chapter Twenty-Eight. A New Prose: John Lehmann and New Writing (1936-40) (Françoise Bort)
  • Chapter Twenty-Nine. 'National papers please reprint'. Surrealist Magazines in Britain: Contemporary Poetry and Prose (1936-7); London Bulletin (1938-40); and Arson: An Ardent Review (1942) (Rod Mengham)

Part 9: Beyond the Metropolis: National and Migrant Voices in the 1930s and 1940s

  • Introduction.
  • Chapter Thirty. Wales (1937-39); the Welsh Review (1939-) (Chris Hopkins)
  • Chapter Thirty-One. From Revolution to Republic: Magazines, Modernism, and Modernity in Ireland: the Klaxon (1923); the Irish Statesman (1923-30); the Dublin Magazine (1923-58); To-Morrow (1924); Ireland To-Day (1936-38); and the Bell (1940-54) (Frank Shovlin)
  • Chapter Thirty-Two. Modernism and National Identity in Scottish Magazines: the Evergreen (1895-97); the Northern Review (1924); the Modern Scot (1930-36); Scottish Art and Letters (1944-1950); the Scottish Chapbook (1922-3); Outlook (1936-1937); and the Voice of Scotland (1938-39; 1945; 1955) (Cairns Craig)
  • Chapter Thirty-Three. A New 'Art of the Theatre': Gordon Craig's the Mask (1908-28) and the Marionette (1918-19) (Olga Taxidou)
  • Chapter Thirty-Four. Modernism as 'Uninfected Discourse': Laura Riding, Epilogue (1935-38) and Focus (1935) (Mark Jacobs)

Part 10: The Call to Criticism and Modernist Destinies

  • Introduction.
  • Chapter Thirty-Five. 'Say not the struggle naught availeth': F. R. Leavis and Scrutiny (1932-53) (Sean Matthews)
  • Chapter Thirty-Six. Cyril Connolly's Horizon (1940-50) and the End of Modernism (Sean Latham)
  • Chapter Thirty-Seven. Poetry London (1939-1951) and Indian Writing (1940-42): the Apocalyptic Poets, 'New Modernism', and 'The Progressive View of Art' (James Keery)