By D. Brown
The booklet examines key texts by way of the writers James Joyce, Wyndham Lewis, Ezra Pound and T.S. Eliot as strikes inside of a shared group-game - that of making a brand new literature for the hot age. It maps loads of intertextual reference, allusion and impact and indicates a psychoanalytically-informed speculation that convinced literature could be constituted a species of interpersonal groupwork. It demonstrates how the center grouping inside literary modernism built an experimental discourse via mutual competition and sharing. And it describes varied staff roles, contributions and alterations of emphasis inside an total venture stretching from 1914 into the Nineteen Fifties.
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Extra info for Intertextual Dynamics within the Literary Group of Joyce, Lewis, Pound and Eliot: The Men of 1914
Exploded! . Fichusl . . Vieux jeuxl . . No good! . ' 56 However, Lewis's radical zeal showed more in his painting than his early writing. His Kermesse of 1912, for instance, was 'a whirling design of slightly cubist forms expressed in terms of cool but strong colour contrasts'. 57 Lewis followed this u p with brilliant proto-Vorticist designs for Timon of Athens, some 'abstract hieroglyphics' for Frida Strindberg's nightclub, the 'Cave of the Golden Calf, and 'The Laughing Woman' and 'Creation'.
In contrast both to the nineties aestheticism which preceded it and the Georgian robustness which followed its writing, the verse sounds from the beginning like the voice of the future: Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table, . . The poem is remarkable for its combination of licence and overall control. Rhyme is used freely, but not in terms of any formal scheme, and the rhythm (while often reminiscent of blank verse) is as naturally cadenced as any Imagist could wish, line-lengths varying between long and short according to subjective requirement.
The Bergsonian influence94 has helped elicit images which can be as striking as those in Lewis's later Enemy of the Stars: 'broken spring in a factory yard, /Rust that clings to the form that the strength has left/Hard and curled and ready to snap'. There is a protosurrealist vision, throughout, expressed as 'lunar incantations' which evidence the now-celebrated Eliotic music: That cross and cross across her brain'. The streetlamp articulates time - 'twelve o'clock' through to 'Four o'clock' in an insistent litany which looks forward to the hour-schema of Ulysses and the clocks of Mrs Dalloway's London, as well as the 'unredeemed time' of Eliot's 'Burnt Norton'.