Index of Modernist Magazines https://modernistmagazines.org Fri, 21 Dec 2018 21:54:18 +0000 en hourly 1 https://i0.wp.com/modernistmagazines.org/wp-content/uploads/2012/10/cropped-12453.jpg?fit=32%2C32&ssl=1 Index of Modernist Magazines https://modernistmagazines.org 32 32 122736045 Transition https://modernistmagazines.org/european/transition/ Mon, 27 Jun 2016 16:35:49 +0000 http://modernistmagazines.org/?p=8512
Cover design. Transition. No. 5 (Aug. 1927).

Title: 
Transition

Subtitles varied:
an international quarterly for creative experiment (Summer 1928 – June 1930)
an international workshop for orphic creation (Mar. 1932 – Feb. 1933)
an intercontinental workshop for vertigralist transmutation (July 1935)
a quarterly review (June 1936 – 1937)

Date of Publication: 
Apr. 1927 (no. 1) – Spring 1938 (no. 27)
Publication suspended between the Summer of 1930 and the Spring of 1932

Place(s) of Publication: 
Paris, France (Apr. 1927 – Mar. 1928)
Colombey-les-deux-Eglises, France (Apr. 1928 – Spring 1938)

Frequency of Publication: 
Monthly (April 1927 – March 1928)
Quarterly (Summer 1928 – June 1930)
Irregular (1930 – Spring 1938)

Circulation: 
1000+ in 1927

Publisher: 
Shakespeare and Co., 12 Rue de l’Odeon, Paris
Bretano, 1 West 47th St, New York

Physical Description: 
The magazine was 5.5″ x 9″. Often ran over 200 pages. Has supplement entitled “Transition pamphlet.”

Price: 
$5 per subscription

Editor(s): 
Eugene Jolas

Associate Editor(s): 
Elliot Paul (Apr. 1927 – Mar. 1928)
Robert Sage (Oct. 1927 – Fall 1928)
James Johnson Sweeney (June 1936 – May 1938)

Libraries with Original Issues: 
Northwestern University; University of North Carolina, Chapel Hill; Princeton University; Columbia University; Brown University: University of Wisconsin, Madison; University of Iowa

Reprint Editions: 
New York: Kraus Reprint Co., 1967
Some scanned issues on Gallica.fr

Eugene Jolas began his little magazine career with The Double Dealer, but he found the magazine overly restrictive, and hoped to create a transatlantic place of refuge for experimental writers to express themselves without fear of criticism. With the help of his wife, translator and printer Maria Mcdonald, Jolas created his own creative magazine, transition. The magazine aimed to combat the rigidity of American political and artistic views. Jolas’s travels to Paris helped him fuse the spirit of French modernism with the rebellion and innovation of American writers. The first issue, a heavy, 150-page magazine, was published in 1927 after a long struggle with foreign printing complications.

The magazine quickly became a “laboratory of the word” – a place to experiment with and shape new ideas – for Modernists such as James Joyce, William Carlos Williams, H. D., Alfred Kreymborg, Gertrude Stein, and Muriel Rukeyser (Hoffman 176). Political writers, Harlem Renaissance voices, works with psychoanalytic qualities, multinational and multilingual works, and other various artistic schools harmonized in the varied pages.

transition eventually morphed from a synthesis of Expressionism and Surrealism into a more philosophical combination of irrational surrealism and language innovation, which the Jolases labeled Vertigralism. transition expanded and slightly shifted its focus, and embraced new media such as sculpture, civil rights activism, carvings, criticism, and cartoons. The diversity of both form and content brought the magazine success for more than ten years. During transition‘s run, Jolas created new literary philosophies, provided inspiration to the avant-garde tradition, and published works that became canonical classics.

The editors issued the following statement of purpose in the magazine’s third year:
PROCLAMATION

“Tired of the spectacle of short stories, novels, poems and plays still under the hegemony of the banal word, monotonous syntax, static psychology, descriptive naturalism, and desirous crystallizing a viewpoint….

We hereby declare that:
1. The revolution in the English Language is an accomplished fact.

2. The imagination in search of a fabulous world is autonomous and unconfined
(Prudence is a rich, ugly old maid courted by Incapacity…. Blake)

3. Pure poetry is a lyrical absolute that seeks an a priori reality within ourselves alone.
(Bring out number, weight and measure in a year of dearth…. Blake)

4. Narrative is not mere anecdote, but the projection of a metamorphosis of reality.
(Enough! Or Too Much! … Blake)

5. The expression of these concepts can be achieved only through the rhythmic “Hallucination of the Word”. (Rimbaud).

6. The literary creator has the right to disintegrate the primal matter of words imposed on him by text-books and dictionaries.
(The road of excess leads to the palace of Wisdom… Blake)

7. He has the right to use words of his own fashioning and to disregard existing grammatical and syntactical laws.
(The tigers of wrath are wiser than the horses of instruction … Blake)

8. The “litany of words” is admitted as an independent unit.

9. We are not concerned with the propagation of sociological ideas, except to emancipate the creative elements from the present ideology.

10. Time is a tyranny to be abolished.

11. The writer expresses. He does not communicate.

12. The plain reader be damned.
(Damn braces! Bless relaxes! … Blake)

Signed: Kay Boyle, Whit Burnett, Hart Crane, Caress Crosby, Harry Crosby, Martha Foley, Stuart Gilbert, A. L. Gillespie, Leigh Hoffman, Eugene Jolas, Elliot Paul, Douglas Rigby, Theo Rutra, Robert Sage, Harold J. Salemson, Laurence Vail.”

“Proclamation.” No. 16-17 (June 1929): 13.

Eugene Jolas (Oct. 26, 1894 – May 26, 1952)
Editor: Apr. 1927 – Spring 1938

New Jersey born John George Eugène Jolas’s cultural standpoint was influenced by his German mother and his French father. He moved to Alsace-Lorraine, France at a young age, where he faced the tensions between French and German languages, societies, and politics. These conflicts, and apprehensions about the German army draft, inspired Jolas to return to America in 1909 with a more poly-national worldview. Though faced with typical immigrant struggles such as poor employment opportunities, language acquisition, and ethnic divisions, Jolas eventually emerged successful as both a journalist and a poet in the American literary scene. He then moved to Paris where he met his wife, Maria McDonald, and began formulating ideas for a little magazine, transition. The magazine marked, as biographers Kramer and Rumold point out, Jolas’ “greatest literary project and most enduring achievement ” (Babel xv).

Samuel Beckett
“Assumption”
“For Future Reference”

Kay Boyle
“Dedicated to Guy Urquhart”
“Polar Bears and Others”
“Theme”

Hart Crane
“O Carib Isle!”

H. D.
“Gift”
“Psyche”
“Dream”
“No”
“Socratic”

Max Ernst
Jennes Filles en des Belles Poses
The Virgin Corrects the Child Jesus Before Three Witnesses

Stuart Gilbert
“The Aeolus Episode in Ulysses”
“Function of Words”
“Joyce Thesaurus Minusculus”

Juan Gris
Still Life

Ernest Hemingway
“The Sentence”
“Three Stories”
“Hills Like White Elephants”

James Joyce
“Work in Progress” (Finnegan’s Wake)

Franz Kafka
“Metamorphosis”

Alfred Kreymborg
From Manhattan Anthology

Pablo Picasso
Petite Fille Lisant

Muriel Rukeyser
“Lover as Fox”

Gertrude Stein
“An Elucidation”
“As a Wife Has a Cow A Love Story”
“The Life and Death of Juan Gris”
“Tender Buttons”
“Made a Mile Away”

William Carlos Williams
“The Dead Baby”
“The Somnambulists”
“A Note on the Recent Work of James Joyce”
“Winter”
“Improvisations”
“A Voyage to Paraguay”

Hoffman, Frederick J., Charles Allen, and Carolyn F. UlrichThe Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

“Ernest Hemingway In His Time: Appearing in the Little Magazine.” Transition. 18 Nov. 2003. Special Collections Department. University of Delaware Library. 22 July 2009.

Jolas, Eugene and Robert Sage, eds. Transition Stories: Twenty-three Stories from “Transition.” New York: W. V. McKee, 1929.

Kramer, Andreas and Rainer Rumold, eds. Jolas, Eugene. Man from Babel. New Haven: Yale UP, 1998.

Nelson, CaryRepression and Recovery: Modern American Poetry and the Politics of Cultural Memory, 1910-1945. Madison: University of Wisconsin Press, 1989.

transition1927 – 1938. New York: Kraus Reprint Corp., 1967.

Transition” compiled by Alice Neumann (Class of ’06, Davidson College)

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8512
This Quarter https://modernistmagazines.org/european/this-quarter/ Mon, 27 Jun 2016 16:18:59 +0000 http://modernistmagazines.org/?p=8510
Cover design. This Quarter. 1:2 (Autumn 1925 - Winter 1926).

Title: 
This Quarter

Date of Publication: 
Spring 1925 (1:1) – Oct./Dec. 1932 (5:2). Suspended summer 1927 – June 1929

Place(s) of Publication: 
Paris, France
Milan, Italy (1:2, 1925)
Monte Carlo, Monaco (1:3-4, 1927 and 1929)

Frequency of Publication: 
Irregular. Was intended to be published quarterly but during some periods couldn’t meet its financial exigencies and went unpublished.

Circulation:
Unknown

Publisher: 
E.W. Titus, Paris
Covegno: Via Borgospesso, Milan

Physical Description: 
6.5″ x 9″. Approx. 300 pages. Each issue broke up the work by section: poetry, prose, reviews, comments, miscellany. Sept. 1932 issue added title, “Surrealist number,” guest editor André Breton, with contributions from Giorgio di Chirico, Salvador Dali, Paul Eluard, Yves Tanguy, Tristan Tzara, and others. Vol. 1 No. 2 features a supplement, “Antheil musical supplement.” First issue dedicated to Ezra Pound and features a photo of the poet by Man Ray.

Price: 
$2 per issue / $8 per year

Editor(s): 
Ernest Walsh (1925 – 1926)
Ethel Moorhead (1925 – 1929)
Edward W. Titus (1929 – 1932)

Associate Editor(s):
Unknown

Libraries with Complete Original Issues: 
Brown University; Ohio State University; Getty Research Institute; Library of Congress; Northwestern University; Cornell University; McGill University; University of California, Los Angeles

Reprint Editions: 
New York: Kraus Reprint Co., 1967.

With Scottish suffragette Ethel Moore as a benefactress, Ernest Walsh decided to publish a quarterly which would “publish the artist’s work while it is still fresh.” The sometimes lovers published their first issue of This Quarter from Paris in 1925. Walsh hoped the magazine would give him a venue to publish his poetry (in one issue as many as thirty pages of it) alongside the Modernsits who Walsh acknowledged as “the greats.”

The first issue of This Quarter praised Ezra Pound, “who by his creative work, his editorship of several magazines, his helpful friendship for young and unknown artists, his many and untiring efforts to win better appreciation of what is first-rate in art comes first to our mind as meriting the gratitude of this generation.” Walsh received contributions from him, as well as his other literary heroes: William Carlos Williams, Gertrude Stein, James Joyce, and finally Ernest Hemingway, who also helped in the printing and editing of early issues.

Walsh’s interactions with the literary world were not always pleasant. Owing perhaps to their volatile personalities and the close working arrangement, Walsh and Hemingway eventually had a falling out. In his memoir A Moveable Feast Hemingway documented the scuffle in a chapter titled “The Man who was Marked for Death,” in which he described how Walsh told Hemingway that he had won the $1000 writing prize but that he never actually presented the money as promised. This Quarter attracted a great deal of press due to its libertarian editorial policy and its denunciation of literary periodicals like The Dial (“its influence on young writers is insidious”), The Criterion (“a tradition without individuality”) and The Little Review (“too trivial to discuss”) (Hoffman 82).

Moorhead suspended the periodical’s publication following Walsh’s death to tuberculosis until Edward Titus became the new editor in 1929. His effort to steer the magazine in a new, more conservative, direction forfeited much of This Quarter’s appeal. The periodical suffered from inadequate financing and a lack of strong leadership in the wake of Walsh’s death, and its final issue hit newsstands in late 1932. Before it became insolvent, however, it fostered an environment of freedom for the author and set the stage for Modernist writers like Hemingway to print in more mainstream periodicals.

Though This Quarter never issued a formal manifesto, Walsh made a number of proclamations as to the magazine’s purpose. The magazine hoped to offer encouragement to rather than interference with new writers.

Ernest Walsh (Aug. 10, 1895 – Oct. 16, 1926)
Co-Editor: Spring 1925 – June 1926

An expatriate American poet and coeditor of This Quarter, Ernest Walsh was diagnosed as tubercular at seventeen. He spent several years in a sanatorium in Lake Saranac, New York before being discharged, supposedly cured. Following a brief stint in the military, Walsh met Ethel Moorhead, a suffragette who provided the necessary capital to launch This Quarter, which intended to “publish the artist’s work while it [was] still fresh.” Walsh edited the first two issues before passing away from complications related to his disease.

Ethel Moorhead (1869 – 1955)
Co-Editor: Spring 1925 – June 1929

Before joining Ernest Walsh as an editor for This Quarter, Ethel Moorhead was a suffragette active in the Women’s Social and Political Union (WSPU). As a participant in the 1912 WSPU London window-smashing campaign, she faced nearly constant arrests. Like the other militants in the union, she exercised hunger strikes in order to get released from prison under the Cat and Mouse Act, and when sent home to recover from double pneumonia in 1914 she escaped to France. There she met the ailing Ernest Walsh, and travelled with him throughout north Africa and Europe. She assisted in the financing and administration of This Quarter until Walsh’s death and Ernest Hemingway’s departure in 1926, at which point she assumed full control of the magazine until Edward Titus took over.

Edward Titus 
Editor: June 1929 – Mar. 1931

Expatriate American journalist Edward Titus was an editor for This Quarter and the founder of Black Mannequin Press. While living in London he married cosmetic mogul Helena Rubinstein in 1908 and fathered two children with her before the family fled Europe for Greenwich, Connecticut at the outbreak of World War I. They returned to Paris in 1918, and Titus began publishing D. H. Lawrence and other modernists through his Press. His marriage was faltering by the time he started editing This Quarterdue, according to his wife, to her obsession with her business. During Moorhead’s hiatus from 1929-1932 Titus published more conservative works in This Quarter than its previous editors had.

Sherwood Anderson
“These Mountaineers”

George Antheil
Extract from Mr. Bloom and the Cyclops

André Breton
“Surrealism: Yesterday To-Day and To-Morrow”

Morley Callaghan
“Now that April’s Here”

Emmanuel Carnevali
Sketches
“Girl”

E. E. Cummings
Various untitled poems

Salvador Dali
“The Object as Revealed in Surrealist Experiment”

Rhys Davies
“Blodwen”

Marcel Duchamp
“The Bride Stripped Bare by her Own Bachelors”

H. D.
“Hippolytus Temporizes”

Max Ernst
“Inspiration to Order”

Ernest Hemingway
“Big Two-Hearted River”
“Homage to Ezra”
“The Undefeated”

Eugene Jolas
“The Immigrant”

James Joyce
“Extract from Work in Progress” (Shem the Penman Episode from Finnegans Wake)

Alfred Kreymborg
“Chasing the Climate”

Harold Loeb
“Cimex Lectularius”
“Fragment”

Ethel Moorhead
“Incendaries (Work in Progress)”

Carl Sandburg
“Whiffs of the Ohio River”
“New Song for Indiana Ophelias”

William Carlos Williams
“Child and Vegetables”

Yvor Winters
“The Critiad”

Allen, Charles. “Regionalism and the Little Magazines.” College English 7:1 (1945).

Crawford, ElizabethThe Women’s Suffrage Movement: A Reference Guide, 1866 – 1928. UK: Routledge, 2001. 423 – 426.

Hoffman, Frederick J., Charles Allen, and Carolyn F. UlrichThe Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

Image, cover May 1925. This Quarter. Accessed from “Apprenticeship and Paris.” 10 Sept. 2002. Department of Rare Books and Special Collections. University of South Carolina. 13 July 2009.

Image, cover Autumn 1925 – Winter 1926. “Ernest Hemingway In His Time: Appearing in the Little Magazine.” 18 Nov. 2003.Special Collections Department. University of Delaware Library. 22 July 2009.

Joost, NicholasErnest Hemingway and the Little Magazines: The Paris Years. Barre, MA: Barre Publishers, 1968.

Kenney, Alma L. “Rubenstein, Helena, Dec. 25 1870 – April 1, 1965.” Notable American Women: The Modern Period. Cambridge, MA: Harvard UP, 1980. Credo Reference. Davidson College Library, Davidson, NC. 7 July 2009.

Knight, Donald. “Dictionary of Literary Biography on Ernest Walsh.” BookRags. 2005. 8 May 2007.

This Quarter” compiled by Christian Williams (Class of ’07, Davidson College)

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8510
The Transatlantic Review https://modernistmagazines.org/european/the-transatlantic-review/ Mon, 27 Jun 2016 15:22:08 +0000 http://modernistmagazines.org/?p=8489

Title: 
The Transatlantic Review

Date of Publication: 
Jan. 1924 (1:1) – Dec. 1924 (2:6)

Place(s) of Publication: 
Paris, France
London, England
New York, NY

Frequency of Publication: 
Monthly

Circulation:
Unknown

Publisher: 
Transatlantic Review Company. 29 quai d’Anjou, Ile Saint-Louis, Paris.
Duckworth and Co., London, England
Thomas Seltzer, New York

Physical Description: 
Bound originally in Quarto with blue and white covers (later changed to blue and buff, as the white covers dirtied too easily). Generally ran approximately 120 pages in length. Often included a musical supplement or a literary supplement. Occasional illustrations.

Price: 
7.5 francs per issue  / 75 francs per year

Editor(s): 
Ford Madox Ford (1924)

Associate Editor(s):
Ernest Hemingway (Guest Editor) (Aug. 1924)

Libraries with Original Issues: 
Bodleian Library, British Museum, Cambridge University Library, Trinity College Library, UK.

Reprint Editions: 
Kraus Reprint, New York, 1967.

Ford Madox Ford was walking the streets of Paris in 1923 when he chanced upon his brother Oliver, who offered him the editorship of the newly conceived Transatlantic Review. Ford joined James Joyce, Ezra Pound, Ernest Hemingway, and lawyer-cum-financier John Quinn to form the editorial board of the monthly journal.

In its short, twelve-issue run, The Transatlantic Review became a major force in the literary scene of the mid-1920s. Publishing both English and French contributions, the review debuted selections from James Joyce’s Finnegan’s Wake (in 1924 titled only “Work in Progress”), and gave Ernest Hemingway a jumpstart to his mounting career. The Transatlantic Review sought to establish its own brand of international literary cosmopolitanism, and was published simultaneously in London, Paris, and New York. Apart from regular contributions from the editorial staff, the magazine featured poetry, prose, and artwork from Djuna Barnes, e. e. cummings, H. D., Joseph Conrad, Juan Gris, Mina Loy, Man Ray, Gertrude Stein, William Carlos Williams, John Dos Passos, and other famed Modernists.

Eventually, the growing influence of the young expatriate American writers upon The Transatlantic Review pitted the older and more conservative Ford against the more contemporary prose styles of the American modernists. As Alvin Sullivan notes, the history of The Transatlantic Review is appropriately “the story of the aggressive American victory on the literary and cultural battlefield of post-war Europe” (463). It was thus ultimately fitting that the review’s motto Fluctuat – meaning “it wavers” – was adopted without the remainder of the Paris maxim, Nec Mergitur, – “and is not sunk.” The Transatlantic Review did indeed sink, but not before it left an indelible mark upon the history of early twentieth century literature.

The editors of The Transatlantic Review offered an all-but-concise manifesto in their initial issue:

Paris, December, 1923

Purposes

The Transatlantic Review, the first number of which will appear on January 7th, 1924, will have two only purposes, the major one, the purely literary, conducing to the minor, the disinterestedly social.

The first is that of widening the field in which the younger writers of the day can find publication, the second that of introducing into international politics a note more genial than that which almost universally prevails. The first conduces to the second in that the best ambassadors, the only nonsecret diplomatists between nations are the books and the arts of nations. There is no British Literature, there is no American Literature; there is English Literature which embraces alike Mark Twain and Thomas Hardy with the figure of Mr. Henry James to bracket them. The aim of the Review is to help in bringing about a state of things in which it will be considered that there are no English, no French–for the matter of that, no Russian, Italian, Asiatic or Teutonic–Literatures: there will be only Literature, as today there are Music and the Plastic Arts each having Schools Russian, Persian, 16th Century German, as the case may be. When that day arrives we shall have a league of nations no diplomatists shall destroy, for into its comity no representatives of commercial interests or delimitators of frontiers can break. Not even Armageddon could destroy the spell of Grimm for Anglo-Saxondom or of Flaubert and Shakespeare for the Central Empires. And probably the widest propaganda of the English as a nation is still provided by Mr. Pickwick.

Why then Paris?

The Conductors and Proprietors of the Review have selected Paris as its home because there is no other home possible for a periodical which desires to spread comprehension between the three nations. What other centre could there be? London? Hear, New York leading, all the sons of Old Glory roar: “No!” Should it be New York? All immense London turns in its sleep to yawn: “We think…we decidedly think…not!” Berlin? Rome? Shiraz? …But the Conductors do not know German, Italian, or Persian so very well. They are, besides, out principally after young literature: there is no young man, be his convictions what they may, who, if he has saved up but his railway fare and sixty centimes, will not fly to Paris and cry: “Garçon, un bock!” How many hours may you not here spend at a little table, listening to young giants whose voices almost outsound the wheels of tram 91 and the rustle of the falling chestnut leaves as they cry: “You are ga-ga. Henry James was my great-grandmother! Who, anyhow, was Petronius? You must go to West-Middle-West-by-West to know what writing is and there is no painter but….” That may well be true: we labour in that hope. But the point is that they remain in Paris. You don’t from here have to write to Oklahoma for contributions: from all the other proud cities you must.

Persons and Politics.

The Home being determined, the Proprietors pitched upon Mr. F.M. Ford as Conductor. Mr. Ford, formerly–and perhaps better–known as Ford Madox Hueffer was the founder of the “English Review” which in its day made good along the lines on which this Review now proposes to travel. It published the work not only of such old and eminent writers as Mr. Henry James, President Taft, Dante Gabriel Rossetti, Mr. Thomas Hardy, Monsieur Anatole France and Herr Gerhardt Hauptmann, but it backed with energy such then only rising waves as Mr. Galsworthy, Mr. Bennett and Mr. Joseph Conrad. It printed the first words of Mr. D.H. Lawrence, Mr. Ezra Pound, Mr. Norman Douglas and many other writers now established, and it serialized the first novel of the late Mr. Stephen Reynolds and the first of the longer sociological novels of Mr. Wells, who will contribute also to the Transatlantic. So too will Mr. Joseph Conrad. The ever moving film has now progressed by a reel and it is such writers as Mr. James Joyce, M. Pierre Hamp, Mr. E.E.Cummings, M. Descharmes and Mr. A.E. Coppard that with the assistance of Mr. Ezra Pound, Mr. T.S. Eliot, Miss Mina Loy, Mr. Robert McAlmon and Miss Mary Butts to mix our liquors as singularly as possible–the Review will energetically back, whilst it will hope to print the first words of many, many young giants as yet unprinted. The politics will be those of its editor who has no party leanings save toward those of a Tory kind so fantastically old fashioned as to see no salvation save in the feudal system as practised in the fourteenth century–or in such Communism as may prevail a thousand years hence.

The Second Country.

Finally, as to affairs inter-tribal! There was a United States naval officer who once said: “My country right or wrong!” France being the second fatherland of every human being–for who, born in Luton would not put Luton first and then Paris second?–the Review will have but one motto: Our Second Country right; our Second Country wrong; but right or wrong Our Second Country: This because of Toutes les gloires de la France. For other countries have their Tamerlanes transcendant in their halls of fame; it is only in France that you will find an equal glory accorded to all writers from Racine back to Villon; it is only in France that you will find the Arts of Peace esteemed above the science of warfare; not Napoleon or eagles on the postage stamps! Or there is perhaps China. But Pekin is a long way off. At any rate no writer or artist will in the Transatlantic Review find flouting merely because he is of a former Enemy or Neutral nation–nor will any other being.

The Transatlantic Review will devote a quarterly supplement to reproductions of paintings, drawings and sculpture; and a quarterly section to the Art of Music.

It will be published in Paris, London and New York.

Price fifty cents per copy; annual subscription five dollars.

(Reprinted in Poli 37 – 41)

Ford Madox Ford (Dec. 17, 1873 – June 26, 1983)
Editor: Jan. 1924 – Dec. 1924

Remembered best for his master novel The Good Soldier (1915) and his landmark founding of The English Review, Ford Madox Ford (originally Ford Madox Hueffer) promoted the value of the arts and the importance of literature for literature’s sake throughout his life. Having published Thomas Hardy, Joseph Conrad, and W.B. Yeats in The English Review, Ford sought with the creation of The Transatlantic Review to establish a magazine “that would create anew an international Republic of Letters for Anglo-Saxondom” (Sullivan 459).

Ernest Hemingway (July 21, 1899 – July 2, 1961)
Guest Editor: August 1924

In the 1920s Ernest Hemingway was struggling to become established as an author. In August 1924 Ford Madox Ford hoped to travel to New York City to seek further financial support for his magazine. Despite their history of clashing personalities, Ford asked Hemingway to edit the August issue while he was gone. Left in Paris, free of the literary shadow Ford cast upon him, Hemingway excised all works then currently in serialization from the issue, including Ford’s own Some Do Not.

Georges Antheil
“Mother of the Earth”
“Notes for Performers”

Djuna Barnes
“Aller et Retour”
“Gertrude Donovan”

Joseph Conrad
“The Nature of a Crime”

A. E. Coppard
“The Higgler”

E. E. Cummings
Various poems

H. D.
“Nossis”
“Flute Song”
“After Troy”

Ford Madox Ford
Some Do Not… (Serially)

Juan Gris
“Des possibilités de la peinture”

Ernest Hemingway
“Work in Progress” (draft of “Indian Camp”)
“Cross Country Snow”
“The Doctor and the Doctor’s Wife”

James Joyce
“Work in Progress” (Selections from Finnegan’s Wake)

Mina Loy
“Gertrude Stein”

Robert McAlmon
“Elsie”

John Dos Passos
“July”

Ezra Pound
“Two Cantos”

Gertrude Stein
Excerpt from Making

Anderson, Elliott, and Mark Kinzie, eds. The Little Magazine in America: A Modern Documentary History. Stamford, CT: Stamford UP, 1978.

Carpenter, HumphreyGeniuses Together: American Writers in Paris in the 1920s. Boston: Houghton Mifflin Company, 1988.

Ford, Ford MadoxIt Was the Nightingale. London: William Heinemann, 1934.

Hoffman, Frederick J., Charles Allen, and Carolyn F. UlrichThe Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

Image, cover Oct. 1924. “Apprenticeship and Paris.” 10 Sept. 2002. Department of Rare Books and Special Collections. University of South Carolina. 13 July 2009 <http://www.sc.edu/library/spcoll/amlit/hemingway/hem3.html>.

Image, Ernest Hemingway bibliographic response. “Ernest Hemingway In His Time: Appearing in the Little Magazine.” 18 Nov. 2003.Special Collections Department. University of Delaware Library. 22 July 2009 <http://www.lib.udel.edu/ud/spec/exhibits/hemngway/mags/htm>.

Korg, Jacob. “Language Change and Experimental Magazines, 1910-1930. Contemporary Literature 13.2 (1972): 144-161.

Pizer, DonaldAmerican Expatriate Writing and the Paris Moment: Modernism and Place. Baton Rouge: Louisiana State UP, 1996.

Poli, Bernard J. Ford Madox Ford and the Transatlantic Review. New York: Syracuse UP, 1967.

Pound, Ezra. “Small Magazines.” The English Journal 19.9 (Nov. 1930): 689-704.

Saunders, MaxFord Madox Ford: A Dual Life. Volume II: The After-War World. Oxford: Oxford University Press, 1996.

Sullivan, Alvin, ed. British Literary Magazines: The Modern Age, 1914-1984 (Historical Guides to the World’s Periodicals and Newspaper). New York: Greenwood Press, 1986.

The Transatlantic Review. 1924. New York: Kraus Reprint Corporation, 1967.

The Transatlantic Review” compiled by Joel Hewett (Class of ’07, Davidson College)

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Tambour https://modernistmagazines.org/european/tambour/ Thu, 23 Jun 2016 17:50:17 +0000 http://modernistmagazines.org/?p=8482

Title:
Tambour

Date of Publication: 
Nov. 1928 – June 1930

Place of Publication: 
Paris, France

Frequency of Publication:
Quarterly

Circulation:
Around 2,000

Publisher:
Howard J. Salemson

Physical Description:
Irregular pages. 5.5″ x 6.5”: 60 pages of texts and notes followed by advertisements.

Price:
Unknown

Editor(s):
Howard J. Salemson

Associate Editor(s):
Unknown

Libraries with Original Issues:
Unknown

Reprint Editions:
Salemson, Howard, ed. Tambour. Comp. Mark S. Morrison and Jack Selzer. Vol. 1-8. Madison: University of Wisconsin, 2002. Print.

Tambour ran from the end of 1928 until June of 1930. The magazine was under the sole direction of its editor and founder, Howard Salemson. Salemson created a “vigorous hybrid, combining the modernist little magazine’s emphasis on innovative and unknown authors with the revue genre’s emphasis on a wide-ranging review section at the end of each issue” (Morrison 20). With his goals for a hybrid publication, Salemson also aimed to bring Tambour to a multi-cultural audience.  He wished to create a dialogue between French and American expatriate audiences and beyond “what could be achieved by occasional publication of foreign work in translation” (21).

Salemson reached multi-cultural audiences by including texts in both their original French and in English translation (that Salemson translated himself). The body of texts he published also included “early work of American writers who went on to enjoy great success,” including the work of writers like Paul Bowles and James T. Farrell (25).

Though Salemson only published 8 issues of Tambour, its run produced a sizable list of paid subscribers and its circulation grew to be larger “than those of other, more famous, little magazines like the Egoist” (58). Among Tambour’s subscribers were writers, philosophers, composers, moviemakers (sic), editors, and journalists from France, Italy, and the United States (59).

Tambour’s manifesto is provided at the beginning of its first issue and goes under the heading, “Presentation.”  It was written by editor Harold Salemson and is provided in both French and English.

“To interpret the past is to express the present; to express the present is to create the future.

Every form of artistic expression, past, present, or future, whatever be its tendency, is tolerable.  It is only by establishing the movement, forward or backward, of art, that we can bring out its meaning, its value.  The new direction can be conceived only in the light of the lessons learned of the past.

In questions of art or of literature, ideas, beliefs, races, all melt into one.  Whatever may be our origin or our convictions, we are all humans united in an overpowering search for the ultimate goal of art, beauty.

We shall assemble all the species, all the tendencies.  To our readers will be left the privilege of passing judgment.

BUT THE NEW GAIT WILL BE SOUNDED TO THE BEAT OF THE TAMBOUR.

H.J.S.”

Howard J. Salemson (1910 – ?)
Editor: 1928 – 1930

Howard J. Salemson was the editor of Tambour and exercised complete control over the magazineBorn in Chicago in 1910 as the son of a physician and teacher,  Salemson was 18 when he started editing Tambour. He enrolled in the Experimental College at the University of Wisconsin-Madison in 1927. By 1928 Salemson had acquired enough of a background in French that the Experimental College decided to support a new venture for Salemson in Paris in the form of a little magazine. In 1928, with the funding of the Experimental College, Salemson published the first issue of the French literary magazine, Tambour (Morrison 6) .

After the conclusion of Tambour’s publication, Salemson kept his “bilingual emphasis” and began translating “articles and literary pieces for literary and film magazines, and also translated some twenty books–primarily nonfiction–from French into English” (66). Salemson also took his affinity for film and film criticism to the United States when he moved to Hollywood, CA with the intention of “becoming creatively involved in the making of films” (66). Due to the Great Depression, however, Salemson was never able to break into the film industry creatively. In the years following his 1931 move to Hollywood, Salemson worked for several major movie studios, but as “assistant director, technical advisor, French lyricst, and recording supervisor, publicity writer, and publicity director” (67).

Howard J Salemson (notable contributions)
“Presentation”
“Open Letter to Michael Gold”
“To A Group of Young Men.”

Julian Shapiro 
“You Drum Major”
“An Old Lady”

Edward Roditi
“Melanchole Au Grand Air”
“Often At Night”
“Poems”

H.R. Hays 
“A Necessary Dismissal”

Richard Thomas 
“Vie Et Cevre de Jean Cocteau”
“Portrait of a Writer”

Hoffman, Frederick J., Charles Allan, and Carolyn F. UlrichThe Little Magazine: A History and a Bibliography. 2nd ed. Princeton: Princeton UP, 1947.

Mark Morrisson, “Tambour, the ‘Revolution of the Word,’ and the Parisian Reception of Finnegans Wake,” in Mike Begnal (ed) Joyce and the City: The Significance of Place. Syracuse University Press, 2002.

Salemson, Howard, ed. Tambour. Comp. Mark S. Morrison and Jack Selzer. Vol. 1-8. Madison: University of Wisconsin, 2002. Print.

Scholes, Robert and Sean Latham. “Modernist Journals Project.” (n.d.): MLA International Bibliography. EBSCO. Web. 12 Sept. 2010.

Tambour” compiled by Danny Weiss (Class of ‘11, Davidson College)

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8482
Story https://modernistmagazines.org/american/story/ Thu, 23 Jun 2016 17:30:18 +0000 http://modernistmagazines.org/?p=8479

Title: 
Story: The Magazine of the Short Story
Subtitle varied:
The only magazine devoted solely to the short story (Apr./May 1931 – Apr. 1933)
Devoted solely to the short story (June 1933 – Jan. 1937)
The magazine of the short story (Feb. 1937 – 1964)

Date of Publication: 
April 1931 – Summer 1948
1960 – 1967

Place(s) of Publication:
Vienna, Austria
Majorca, Spain
New York, NY

Frequency of Publication: 
Bi-monthly (frequency varied from quarterly to monthly)

Circulation: 
600 copies in 1933, a figure that climbed to 21,000 copies by the late 1930s

Publisher:
Story Magazine, Inc., New York, NY (June 1933 – Sept. 1934; Sept. 1935 – Summer 1948; 1960-1967)
Random House Magazine, Inc., New York, NY (Nov. 1934 – Aug. 1935)

Physical Description: 
21 x 24 cm

Price: 
50 cents per issue / $2.50 per year (3.3)
Price varies between 25 – 50 cents per issue and $2 – $4 per year

Editor(s): 
Whit Burnett (1931 – 1967)
Martha Foley (1931 – 1941)

Associate Editor(s):
Bernardine Kielty (1933 – 1940)
Hallie S. Burnett (1942 – 1948)

Libraries with Complete Original Issues:
Princeton University

Reprint Editions: 
Kraus Reprint Corporation, New York, 1967

Story Magazine was originally printed in Europe (Vienna and Majorca, Spain) for two years before it moved to the United States. Editors Whit Burnett and Martha Foley were dedicated to preserving the short story, concerned that it would be lost among the article-ridden magazines of America. Their manifesto, printed in the first issue of the magazine, rejected the commercial preoccupations that were associated with magazines during this time. The magazine tried its best to remain separate from theories and popular movements during this time by focusing exclusively on short stories instead of political issues.

Story was published from 1931 to 1967, but ceased publication from 1948 to 1960. The covers were often red or yellow with simple, black script denoting the contents of the magazine. For the most part, Story is devoid of advertisements or color pages, consisting mostly of the plain text of story stories written by various authors, with occasional black and white images during the later years of publication.  Story tried to distinguish itself from ubiquitous pulp magazines and to remain separate from mass consumer culture by emphasizing literary prestige. Around the time of World War II, Story started including various articles supporting the American troops, such as the spread of photos titled “Writers and Fighters” that appeared in the September/October 1945 edition of the magazine. Biographies of the authors often accompanied the title page of each issue. In later editions, the magazine included a “Plus & Minus” section that was a survey of reviews published during the time.

The following manifesto appeared in Story: The only magazine devoted solely to the Short Story 1:1 (April-May 1931):

“The only purpose of Story is to present, regularly, from one place, a number of Short Stories of exceptional merit. It has no theories, and is part of no movement. It presents short narratives of significance by no matter whom and coming from no matter where.

It is not an anthology, but a sort of proof-book of hitherto unpublished manuscripts. Some of the stories will doubtless appear later in other, perhaps more permanent pages, and the rights remain vested in the authors, to whom communications may be addressed, or to the Editors of Story, 16 Poetzleinsdorferstrasse (xviii) Vienna. Thus the magazine is withheld by the editors from public sale in England and the United States, but may be obtained in Vienna, Paris, Nice, Budapest and Berlin.

Only Short Stories are considered, and if and when any articles are used, they will be as rare as Short Stories of creative importance are today in the article-ridden magazines of America.”

Whit Burnett (Aug. 14, 1899 – 1972)
Editor: 1931 – 1967

Whit Burnett was born in Salt Lake City, Utah on August 14th, 1899 (Burnett). He attended school at the University of Utah and the University of California. After school he worked at various newspapers before moving to Europe to be a correspondent for the New York Sun (Burnett; Hailey). While in Vienna, in 1931, he cofounded Story with his wife, Martha Foley. Two years later the couple moved back to the states and continued editing Story together until 1941, when they divorced. Burnett later married Hallie Southgate Abbett, who then joined him as associate editor from 1942 – 1948 (Hailey). Burnett continued as Story’s editor until 1967, despite a lapse in publication from 1948 to 1960. He contributed numerous short stories to the collection and was responsible for discovering many talented young short story writers.

Martha Foley (1897 – 1977)
Editor: 1931 – 1941

Martha Foley was born in Boston and studied at Boston University.  After she graduated, she became heavily involved in American feminist and labor movements.  She also became involved in newspaper work, which resulted in her becoming a correspondent in Vienna (Burnett). She continued functioning as its co-editor until 1941. During her time editing Story, she contributed numerous short stories and editorials.

Whit Burnett
numerous contributions

Charles Bukowski
“Rejection Slip” (1944)

Truman Capote
“My Side of the Matter” (1945)

John Cheever
“Homage to Shakespeare” (1937)

William Faulkner
“Artist at Home” (1933)

Martha Foley
numerous contributions

Joseph Heller
“I Don’t Love You Anymore” (1945)

Zora Neale Hurston
“The Gilded Six-Bits” (1933)

Aldous Huxley
“Morning in Basle” (1936)

J.D. Salinger
“The Young Folks” (1940)
“The Long Debut of Lois Taggett” (1942)
“Once a Week Won’t Kill You” (1944)
“Elaine” (1945)

William Saroyan
“The Daring Young man on the Flying Trapeze” (1934)
“The Nurse, the Angel, the Daughter of the Gambler” (1936)
“The Cat” (1936)
“We Want a Touchdown” (1938)

Tennessee Williams
“The Field of Blue Children” (1939)

Richard Wright
“Fire and Cloud” (1938)

Archives of Story Magazine and Story Press; 1931-1999, Manuscripts Division, Department of Rare Books and Special Collections, Princeton University Library.

Burnett, Hallie. “Personal Recollections Of A Story Editor.” Connecticut Review 6.2 (1973): 5-12. Print.

Burnett, Whit, and Martha Foley, eds. Story: The Magazine of the Short Story. 1931. 32 vols. New York: Kraus Reprint Corporation, 1967. Print.

Burnett, Whit, and Martha Foley, edsStory: The Magazine of the Short Story. 1931. 32 vols. New York: Kraus Reprint Corporation, 1967. Print.

Calder-Marshall, A. “A Story Anthology. Edited by Whit Burnett and Martha Foley (Book Review).” The Spectator 152, no. 5526 (May 25, 1934): 820. Web.

Hailey, Jean R. “Whit Burnett, Editor of Story Magazine.” The Washington Post, Times Herald (1959-1973). April 25, 1973, sec. Metro Local News Obituaries Classified

Images. AbeBooks Advertisement of Story: The Magazine of the Short Story. Digital image. AbeBooks. Web. 15 Sept. 2015.

Neugeboren, Jay. “Story.” The American Scholar Vol. 52, No. 3 (Summer 1983): 396-400, 402-406. Web.

Stolts, Craig. “J. D. Salinger’s Tribute to Whit Burnett.” Twentieth Century Literature Vol. 27, No. 4 (Winter, 1981): 325-330. Web.

Thorp, Willard. “Whit Burnett and Story Magazine.” Princeton University Library Chronicle 27 (1966): 107–12.

Story” compiled by Audrey Lane (Class of 2016)

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8479
Secession https://modernistmagazines.org/american/secession/ Tue, 21 Jun 2016 18:14:28 +0000 http://modernistmagazines.org/?p=8399

Title: 
Secession

Date of Publication:  
Spring 1922 (1) – Spring 1924 (8)

Place(s) of Publication:
Vienna, Austria (no. 1)
Berlin, Germany (no. 2; 4)
Reutte, Austria (no. 3)
Florence, Italy (no. 5 – 6)
New York, NY (no. 7 – 8)

Frequency of Publication: 
Tri-yearly

Circulation: 
~500 copies per issue, of which ~350 issues were distributed free of charge. Each issue cost approximately $25 to print and distribute, according to an August 26, 1937 letter from Gorham B. Munson to Charles Allen.

Publisher:
Julius Lichtner in Vienna, Austria (no. 1 – 3)
Gustav Ascher G. m. b. H. in Berlin, Germany (no. 4)
John Brooks Wheelwright in Florence, Italy (no. 5 – 6)
Gorham B. Munson in New York, New York (no. 7 – 8)

Physical Description: 
Issues ran approx. 23 – 40 pages. One indication to Secession’s page size is noted in Hoffman et. al.’s The Little Magazine: A History and a Bibliography, when he writes that the first issues’ pages were “book-sized leaves.”

Price: 
20 cents / 2.50 francs / 1 shilling per issue
$1 / 12 francs / 5 shillings per subscription (six issues)
(no. 1 –2)
20 cents / 2.50 francs / 1 shilling / 50 marks per issue
$1 / 12 francs / 5 shillings / 400 marks per subscription
(no. 3)
20 cents / 3 francs / 1 shilling per issue
$1 / 15 francs / 5 shillings per subscription
(no. 4)
25 cents / 4 francs / 1 shilling / 5 lira per issue
$1 / 15 francs / 5 shillings / 25 lira per subscription
(no. 5 – 6)
Prices for no. 7 – 8 is not available.

Editor(s):
Gorham B. Munson (no. 1 – 2; 4 – 8)
Matthew Josephson (no. 3)
Kenneth Burke (no. 4 – 6)

Associate Editor(s):
Unknown

Library with Complete Original Issues: 
Princeton University; PDFs available online at Princeton University’s Blue Mountain Project

Reprint Editions:
Unknown

In late 1921 Secession founder Gorham B. Munson met Matthew Josephson at a Paris cafe. Both were American expatriates in their mid-twenties, drawn to the bohemian scene in Paris as well as its growing experimentalism in art, including Cubism, Dadaism, Futurism, and Surrealism. Drawing on these various movements, Munson and Josephson wanted to create a little magazine that would connect and promote European avant-garde literature to select American audiences. They were also partly responding to Malcolm Cowley’s call, as published as “The Youngest Generation” in the October 18, 1921 issue of the New York Evening Post, to bring together certain young, rebellious writers into a single magazine. In a dingy hotel room in Vienna on August 1922, Munson edited and published the first issue of Secession with a budget of 20 U.S. dollars. Munson was in charge of editing the magazine under the title of “Director”; Josephson was in charge of scouting potential contributors. They intended for the magazine to run for only two years, from 1922 to 1924, because “[b]eyond a two year span, observation shows, the vitality of most reviews is lowered and their contribution, accomplished, becomes repetitious and unnecessary. Secession will take care to avoid moribundity” (1).

The editorial office changed locations during the magazine’s two year run, and such locations included Vienna, Berlin, Reutte, Florence, and then finally, New York.  After Munson left for the United States, Josephson became editor of the third issue.  He included his own story, “Peep-Peep-Parish,” in the issue after Munson had rejected it, and this marked the beginning of conflict between the two men. Kenneth Burke was listed as co-editor starting with the fourth issue of the magazine to settle disagreements between Munson and Josephson with a vote. This plan, however, was foiled when Josephson disregarded Burke’s and Munson’s votes and reduced a 100-line Richard Ashton poem to 3 lines in Secession‘s fourth issue. It was also around this time that Josephson took an editorial job at Broom, another European little magazine and Secession’s rival. The conflict became bitter when Munson accused Josephson of sabotaging the printing of the fifth issue of the magazine; he claimed that Josephson had gotten the publisher, John Brooks Wheelwright, drunk in a cafe near Paris and convinced him to include a haphazard, damaged poem, “Faustus and Helen” by Hart Crane, into the pages. The conflict reached an all-time high in late 1923, as Munson and Josephson engaged in a physical and verbal brawl on the muddy grounds of Woodstock, New York. During the Woodstock brawl until Secession’s eighth and final issue, Munson and the magazine were experiencing financial difficulties. Munson quietly published the last issue of Secession in New York City, which featured only an essay by Ivor Winters.

The aim of the magazines – and the general aims of its various, and at times competing editors – were to print work, reviews, and criticisms of contemporary and experimental works that Munson and Josephson believed “would ordinarily experience a great difficulty in finding a hearing among the established periodicals of America and Europe” (3). Despite its limited 500 print circulation, Secession reached and stirred controversy with a select American audience: every number was reviewed and criticized in other periodicals, including The NationThe DialThe Double Dealer, The Little Review, The Nation and Athenaeum, The New York Times, and T.S. Eliot’s Criterion.

In criticizing The Little Review and Broom as “Horrible Examples of perils between which Secession is to steer,” Munson expands further this notion of “steer[ing from]” or “secession” that has provided inspiration for the magazine’s title:

“There is emphatically something from which to secede: the American literary milieu of the past decade, a milieu which believed that literature was social dynamics and that its social significances were paramount.  There are, in addition, bitter necessities inherent in this milieu which demand secession. One of them is precisely the lack of opportunity for development by others which the valuable work of Brooks and Mencken exemplifies. And there is, at least, a small group of writers able by reason of the different direction of their work to organize a secession.

“For secession is not a revolt. It is rather a resignation from a milieu whose objects are other than ours. It is an unemotional sloughing-off by writers who profit by the gains of that milieu, but have never been bound to it. It is, in essence, a prompt deviation into immediate esthetic concerns. Our warfare is not denying, but tangential” (4).

While not an explicitly stated manifesto, Gorham B. Munson’s “A Bow to the Adventurous” in Issue No. 1 details the aims of Secession. Below is the last paragraph of Munson’s essay: 

“‘Secession’ exists for those writers who are preoccupied with researches for new forms.  It hopes that there is ready for it an American public which has advanced beyond the fiction and poetry of Sinclair Lewis and Sherwood Anderson and the criticism of Paul Rosenfeld and Louis Untermeyer.

“Interested readers may look up an important origin and a general program for ‘Secession’ in an essay by Malcolm Cowley entitled ‘This Youngest Generation’ N.Y. Evening Post ‘Literary Review,’ Oct. 18, 1921.” (1)

Gorham B. Munson (May 26, 1896 – Aug. 15, 1969)
Editor: 1922 – 1924

Shortly after his graduation from Wesleyan University in Connecticut, Gorham Bockhaven Munson became involved with the Greenwich Village scene of avant-garde writers in the late 1910s, where he developed his ideas on contemporary literature. He later settled in Paris, where he met colleague – and eventually bitter rival – Matthew Josephson. Both were co-founders of the magazine, first published in Vienna. Differences between Munson and Josephson contributed to Josephson’s departure the more widely circulating Broom. After the closing of Secession in 1924, Munson was also assistant editor of s4N, another transatlantic little magazine devoted to experimental literature. Munson’s works also appeared in The Atlantic MonthlyThe Saturday Review, and Yale Review. He spent his remaining years in New York as an academic and professor at The New School, a private university located in Greenwich Village. Munson passed away in Hartford, Connecticut on August 15, 1969.

Matthew Josephson (Feb. 15, 1899 – Mar. 13, 1978)
Editor: Aug. 1922 – Jan. 1923

Josephson’s varied interests ranged from poetry to nineteenth-century French literature to twentieth-century American economics. Josephson was also the associate editor of another little magazine, Broom, during the same years as Secession. He resigned as director and contributor to Secession after the fourth issue due to managerial and literary differences, as claimed by Munson in Issue 7.  These differences culminated in a physical and verbal brawl between Munson and Josephson in late 1923 in Woodstock, New York. Munson saw Josephson’s departure to Broom as evidence of being “an intellectual fakir” and an opportunist.  After Brooms closing in 1924 due to financial difficulties, Josephson took a position on Wall Street which sparked his interest in American capitalism, as evidenced in his 1934 publication of The Robber Barons, a probing look into the post-Civil War rise of great American capitalist giants, including Carnegie, Morgan, Rockefeller, and Vanderbilt. He is credited with coining the term “robber baron.”  Josephson was also the editor of transition, a quarterly little magazine that featured Expressionist, Surrealist, and Dadaist works.  In his late years Josephson was a renowned biographer, publishing works on Emilie Zola and Jean-Jacques Rosseau. He passed away on March 13, 1978 in Santa Cruz, California.

Kenneth Burke (May 5, 1897 – Nov. 19, 1993)
Editor: Jan. – Sept. 1923

After dropping out of Ohio University and later Columbia University, Kenneth Burke met Gorham B. Munson in the late 1910s, at the height of the Greenwich Village avant-garde scene. His friendship with both Munson and Josephson resulted in his co-editorship of Secession in 1923. After the closing of Secession, Burke worked for The Dial as an editor in 1923 and later as the music critic from 1927 – 1929. He was also the music critic for The Nation from 1934 – 1936, and he was awarded the Guggenheim Fellowship in 1935. Burke is perhaps most well-known as a literary theorist, developing ideas on “dramatism,” “the dramatistic pentad,” and “the Terministic screen.” His principal work is a collection of essays known as Language as Symbolic Action, published in 1966, in which he fleshed out his ideas regarding the “definition of man,” which, according to Burke, is a symbol for animal, and that man interprets reality through a set of symbols. He was awarded the National Medal for Literature at the American Book Awards in 1981.  Burke passed away on November 19, 1993 in Andover, New Jersey.

Richard Ashton:
“In the Copley Ballroom”
“The Jilted Moon”
“Moon-Garden”
“A Motorcycle, and Off to the Beach!”
“Searchlights”
“Star-Wind”

Slater Brown:
A Garden Party
“Plots for Penpushers”

Kenneth Burke:
The Book of Yul
First Pastoral
A Progression
In Quest of Olympus

Malcolm Cowley:
“Day Coach”
“Old Melodies: Love and Death”
“Play it for me again”
“Poem”
“Two Swans”

Hart Crane:
“For the Marriage of Faustus and Helen”
“Poster”

e. e. cummings: 
“And I Imagine”
“Life Hurl My”
“A Man Who Had Fallen Among Thieves”
“On the Madam’s Best April”
“Poets Yeggs and Thirsties”
“The Season’ Tis, My Lovely Lambs”
“This Evangelist”
“Workingman with Hands So Hairy-Sturdy”

Waldo Frank:
“For a Declaration of War”
Hope

Matthew Josephson (pen name Will Bray):
Apollinaire: or Let us be Troubadours
“Cities II”
“In a Cafe”
“The Oblate”
Peep-Peep Parrish
“Peripatetics”
“Poem”

Marianne Moore:
“Bowls”

Wallace Stevens:
“Last Looks at the Lilacs”

Tristian Tzara
“Instant Note Brother”
Mr. AA the Antiphilosopher

William Carlos Williams:
“The Attempt”
“The Hothouse Plant”

Brooker, Peter and Andrew Thacker, eds. The Oxford Critical and Cultural History of Modernist Magazines: Volume 1, Britain and Ireland 1880-1955. New York: Oxford University Press, 2009. Print.

–––. and Andrew Thacker, eds. The Oxford Critical and Cultural History of Modernist Magazines: Volume 2, North America 1894-1960.  New York: Oxford University Press, 2012. Print.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich, eds. The Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947. Print.

Images. “Secession.” Blue Mountain Project: Historic Avant-Garde Periodicals for Digital Research.  Princeton University.

Secession. 1922-1924. Princeton University Library: Blue Mountain Project: Historic Avant-Garde Periodicals for Digital Research. Web.

Secession, 1922-24 (dir. Gorham B. Munson).  Jacket2  Philadelphia, PA (August 31, 2011). Web.

Secession” compiled by Ryan Emerick (Class of ’16, Davidson College)

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8399
The Mask https://modernistmagazines.org/european/the-mask/ Tue, 14 Jun 2016 13:52:21 +0000 http://modernistmagazines.org/?p=8144

Title: 
The Mask: A Quarterly Illustrated Journal of the Art of Theatre

Date of Publication: 
Mar. 1908 (1:1) – Oct./Nov./Dec. 1929 (15:4).
Suspended May 1915 – May 1918; 1919 – 1922

Place of Publication: 
Florence, Italy

Frequency of Publication:
Unknown

Circulation: 
1,000 – 2,000 copies

Publisher: 
A. Goldini, Florence.

Physical Description: 
A large magazine of high quality. Regularly featured essays, book reviews, and visuals relating to the art of the theater.
Deluxe edition printed on hand-made paper with hand-made wood-cuts by Craig.

Price:
15 shillings per year

Editor(s): 
Edward Gordon Craig, under the pseudonym John Semar

Libraries/Databases with Complete Original Issues: 
Library of Congress; Getty Research Library; Princeton University; Cornell University; Ohio State University
Searchable PDF of July 1911 issue available online at Brown University’s Modernist Journals Project 

PDF available online at Princeton University’s Blue Mountain Project

Reprint Editions: 
New York: Benjamin Blom, 1966 – 1967
Ann Arbor, Michigan: UMI [microform]

When Edward Gordon Craig published the first issue of The Mask in 1908, he did so with the intent of changing common and critical perceptions of theater. From its inception to its end in 1929, The Mask remained “steadfast in its championship of an art theatre and in its opposition to a crass realism and a commercially governed or controlled stage” (Hoffman 238-239). Craig used the magazine to wage a war of words against the popular Realists of the era, and in one issue even posed the following rhetorical exchange: “Is Realism illegal? Should it, when carried so far as violence, be prevented by law? Certainly, by all the laws of taste” ( I.9: 182). Craig’s disdain for the mundane in theater often manifested itself in extended treatises on his idealized art of theater.

The history of the The Mask is inextricably tied to that of its founder, editor, and contributor; Lorelei Guidry even suggests that The Mask “reveals Craig in a way that a biography might fail to do” (17-18). Craig’s son wrote that his father chose to name the magazine The Mask because it “would hide the identity of the man behind it” and “would be used like a Greek mask to throw the voice so that people could hear it afar” (qtd. in Guidry 6). During the twenty-one year history of the magazine, Craig wrote articles and published illustrations under more than 60 pseudonyms, wishing that the public would never discover the one man behind the various literary personas. Craig took special precautions to guard his editorial voice, which he named John Semar. The Mask published several notes meant to dispel public speculation about the true identity of the editor, including one assertion that, though “Mr. Craig has contributed largely to [the magazine articles…], they were not all written by him. Such a feat were surely an impossible one” (qtd. in Guidry 9). Craig perpetuated the myth of his imaginary writers even after The Mask ceased publication, and in a 1962 interview he finally explained that he used pseudonyms “so that I wasn’t always there […]. You see, The Mask could do anything” (qtd. in Guidry 8). More interested in using The Mask to promote new and interesting theater than in providing a vehicle for his own fame, Craig’s decision to write pseudonymously may ultimately speak to his desire to remove art from the hands of the mortal individual and to elevate it to a state of spiritual transcendence.

The following manifesto, printed alongside the order forms in early issues of The Mask, is a succinct rationale for the magazine’s existence:

“The object of the publication is to bring before an intelligent public many ancient and modern aspects of the theatre’s Art which have too long been disregarded or forgotten.

“Not to attempt to assist in the so-called reform of the modern Theatre – for reform is now too late; not to advance theories which have not been already tested, but to announce the existence of a vitality which already begins to reveal itself in a beautiful and definite form based upon an ancient and noble tradition.”

The Mask, 1:1 (Mar. 1908): 25.

Edward Gordon Craig, under pseudonym John Semar (1872 – 1966)
Editor: 1908 – 1929

The son of actress Ellen Terry and architect Edward William Godwin, Gordon Craig entered the world of arts when he was just six years old, touring as an actor under the direction of the legendary Henry Irving (Mitter 15). Though Craig directed only a handful of productions during his lifetime and he “repeatedly alienated professional actors with his overbearing attitude,” his revolutionary ideas about theater, as described in his essays and illustrated in his stage designs, helped to solidify his reputation as one of Britain’s greatest directors (Mitter 17). Throughout his career Craig sought to abandon Realist ideals; Shoit Mitter explains that “the core of Craig’s work is the notion that the theatre is a place where the ineffable world of the spirit can find evanescent expression,” and that Craig abhorred Victorian theater for its emphasis on the individual actor rather than on the artistic whole of a production (16). Craig was one of the first to insist that the theater director must be an autonomous agent and, in a famous essay titled “The Actor and the Über-Marionette,” he suggested that the actor be dispensed with altogether; puppets, suggested Craig, were able to convey “a sublime quality that human beings lacked” (Mitter 18). Craig began pseudonymously publishing The Mask in 1908. During the magazine’s twenty-one year history, Craig published, edited, and “wrote most of the articles under a host of pseudonyms” (Walton 7). Craig’s energy, determination, and uncompromising artistic vision make The Mask “an indispensable source for the students of modern drama and stagecraft” (Hoffman 238).

John Balance
“In Defense of the Artist”

Allen Carric
“Fiddle-De-Dee: Or, Professor Brander Matthew’s Infallible Receipt for Making an Omelette without Eggs”

Gordon Craig
“Portrait of Walt Whitman”
“The Artists of the Theatre of the Future”
“The Actor and the Über-Marionette”
“Shakespeare’s Plays”
“Does the Real Englishmen Go to the Theatre? Does He Act in It?”
“Some Evil Tendencies of the Modern Theatre”

Edward Edwardovitch
“The Open Air: Some Unanswered Questions”

Adolf Furst
“The Courage of the Impresario”
“More Circus Classics”

Louis Madrid
“Brieux and Bernard Shaw: A Note on Two Social Reformers”

Julius Oliver
“Design for a Mask: From the Javanese”

John Semar
“To Save the Theatre of England”
“Wonderful Abominable Americans”

Felix Urban
Some Early Italian Woodcuts

Jan Van Holt
“Richard Wagner, Revolution and the Artist”
“William Blake, Socialism and the Artist”

Walt Whitman
“When I Heard the Learned Astronomer,”
“To a Foil’d European Revolutionaire”

W. B. Yeats
“The Tragic Theatre”

Guidry, Lorelei. The Mask: Introduction and Index. New York: Benjamin Blom, 1968.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

Images. The Mask. Modernist Journals Project. Web. 14 Jun 2016.

Images. Mask. Blue Mountain ProjectPrinceton University. Web. 10 Jul 2016.

The Mask. 1908-1929. New York: Benjamin Blom, 1966.

Mitter, Shoit. “Edward Gordon Craig.” Fifty Key Theatre Directors. Eds. Shomit Mitter and Maria Shevtsova. London: Routledge, 2005.

Walton, J. Michael. “Edward Gordon Craig.” Craig on Theatre. Ed. Walton. London: The Chaucer Press, 1983.

The Mask” compiled by Emily Howe (Class of ’09, Davidson College)

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The Little Review https://modernistmagazines.org/american/the-little-review/ Mon, 13 Jun 2016 17:08:45 +0000 http://modernistmagazines.org/?p=8127

Title: 
The Little Review

Date of Publication: 
March 1914 (1:1) – May 1929 (12:2)

Place(s) of Publication: 
Chicago: Mar. 1914 – May 1916; Nov. 1916 – Jan. 1917
San Francisco: Jun – Sept. 1916
New York: Feb.1917 – 1926
Paris: May 1929

Frequency of Publication: 
Monthly: March 1914 – April 1920
Irregular: July/Aug. 1920 – May 1929
Individual Issues: March 1927, May 1929

Circulation: 
Some estimate that the subscription was 2000, however the more accepted estimate places it at 1000 (Hoffman)

Publisher: 
Margaret C. Anderson

Physical Description: 
6 x 9″, 50 – 100 pages in length, brown covered. In 1921, better paper quality and increased size – 8 x 10″

Price:
25 cents per copy / $2.50 per year

Editor(s): 
Margaret Anderson: 1914 – 1924
jh (Jane Heap): 1924 – 1929

Associate Editor(s): 
jh (Jane Heap): 1916 – 1924
Margaret Anderson: May 1929

Libraries with Original Issues: 
Cambridge University; Smithsonian Institute; University of North Carolina, Chapel Hill; Brown University; Ohio State University; University of Wisconsin, Milwaukee

Reprint Editions: 
New York: Kraus Reprint Co., 1967

Margaret Anderson’s belief that art and life are inseparable inspired The Little Review. Anderson’s indiscriminate enthusiasm and diverse interests led to widely varied contributions during the magazine’s first years of publication. In 1916 Anderson persuaded publisher Jane Heap to contribute to the magazine and assume the role of co-editor, and together the editors – and sometimes lovers – looked to improve the quality of published contributions. Believing that the level of work printed in The Little Review was below their expectations and the public’s ability, Anderson sent a challenge to her readers and contributors in the August 1916 issue: “If there is only one beautiful thing for the September number it shall go in and the other pages will be left blank” (Anderson, “A Real Magazine,” III:v:2). The September issue featured thirteen blank pages and a set of cartoons depicting the bored editors.

In response to this public declaration of deflated hopes, Ezra Pound offered to become The Little Review’s foreign editor. Anderson’s agreement to give Pound space to publish without interference proved hugely important to the magazine: critics often emphasize the importance of the works that T. S. Eliot, James Joyce, and Wyndham Lewis contributed in Pound’s section. Indeed, it was Pound who helped obtain rights to publish Joyce’s Ulysses serially, which led to much controversy: Anderson and Heap were found guilty of publishing obscenity and copies of The Little Review were confiscated across the country.

Margaret Anderson cheerfully greeted her audience in her first issue of the Little Review:

“[The Little Review’s] ambitious aim is to produce criticism of books, music, art, drama, and life that shall be fresh and constructive, and intelligent from the artist’s point of view…. Criticism that is creative–that is our high goal. And criticism is never a merely interpretive function; it is creation: it gives birth! … [S]ince The Little Review, which is nearly directly nor indirectly connected in any way with any organization, society, company, cult or movement, is the personal enterprise of the editor, it shall enjoy the untrammeled liberty which is the life of Art. And now that we’ve made our formal bow we may say confidentially that we take a certain joyous pride in confessing our youth, our perfectly inexpressible enthusiasm, and our courage in the face of a serious undertaking; for those qualities mean freshness, reverence, and victory! At least we have got to the age when we realize that all beautiful things make a place for themselves sooner or later in the world. And we hope to be very beautiful! If you’ve ever read poetry with a feeling that it was your religion, your very life; if you’ve ever come suddenly upon the whiteness of a Venus in a dim, deep room; if you’ve ever felt music replacing your shabby soul with a new one of shining gold; if, in the early morning, you’ve watched a bird with great white wings fly from the edge of the sea straight up into the rose-colored sun – if these things have happened to you and continue to happen till you’re left quite speechless with the wonder of it all, then you’ll understand our hope to bring them nearer to the common experience of the people who read us.”

Anderson, Margaret. “Announcement.” 1:1 (Mar 1914): 1-2.

Margaret Anderson (Nov. 24, 1886 – Oct. 19, 1973)
Editor: Mar. 1914 – 1924; Associate Editor: May 1929

Margaret Anderson grew up in Indiana in a comfortable middle-class home. After leaving Western College for Women in Ohio, she landed in Chicago where she looked for work as a writer. She wrote for The Dial but, spurred by a lack of inspiration, she founded The Little Review in March 1914. When Anderson and Jane Heap began publishing selections of James Joyce’s Ulysses in 1921 they were convicted in New York of publishing obscenity. Anderson moved to Paris in 1922, and as her relationship with Jane Heap deteriorated she left The Little Review in 1924.

Jane Heap (Nov. 1, 1883 – June 16, 1964)
Editor: 1914 – May 1929

Jane Heap was born in Topeka, Kansas and was interested in art as a child. She attended the Art Institute of Chicago from 1901 until 1905 and later studied art in Germany. Heap became co-editor in 1916 and contributed under the pseudonym “jh” to protect her anonymity. After the trial over Ulysses in 1921, Heap and Anderson’s relationship faltered, which led to Anderson’s leaving the magazine in 1924. Heap then became sole editor and used the opportunity to shift the magazine’s focus to the visual arts. Ending publication of The Little Review in 1929, Heap followed the work of Russian philosopher George Gurdjieff and began teaching his philosophy in London.

Anderson, MargaretMy Thirty Years’ War. New York: Covici, Friede Publishers, 1930.

Anderson, Margaret C.” Archives: Fingind Aid. 26 Oct. 2004.

Heap, Jane.” Margaret Anderson and The Little Review. 26 Oct. 2004.

Holly A. Baggett. “Anderson, Margaret.” American National Biography Online. Feb. 2000. Davidson College Lib., Davidson, NC. 26 Oct 2004.

—–.Heap, Jane” American National Biography Online Feb. 2000. Davidson College Lib., Davidson, NC. 26 Oct. 2004.

Green, Michelle Erica. “Making No Compromise with Critical Taste: The War for The Little Review.” 26 Oct. 2004.

Hoffman, Frederick J., Charles Allen, and Carolyn F. UlrichThe Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947. 52-66.

Image, cover Autumn 1924 – Winter 1925. “Ernest Hemingway In His Time: Appearing in the Little Magazine.” 18 Nov. 2003.Special Collections Department. University of Delaware Library. 22 July 2009.

Image, rollover, 9:3. “Apprenticeship and Paris.” 10 Sept. 2002. Department of Rare Books and Special Collections. University of South Carolina. 13 July 2009.

Images. The Little Review.” Modernist Journals Project. Web. 13 Jun 2016.

The Little Review. 1914 – 1929. New York: Kraus Reprint Corporation, 1967.

Mott, Frank LutherA History of American Magazines vol. 5. Cambridge, MA: Harvard UP, 1968. 166-178.

Scott, Thomas LPound/The Little Review: The Letters of Ezra Pound to Margaret Anderson. New York: New Directions Co., 1988.

Wilhelm, J.JEzra Pound in London and Paris 1908-1925. University Park, PA: Pennsylvania State UP, 1990.

The Little Review” compiled by Sabrina Rissing (Class of ’06) and David Tulis (Class of ’05, Davidson College)

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L’Elan https://modernistmagazines.org/european/lelan/ Sat, 11 Jun 2016 18:30:19 +0000 http://modernistmagazines.org/?p=8077

Title:
L’Elan

Date of Publication:
Apr. 1915 – Dec. 1916

Place(s) of Publication:
Paris, France

Frequency of Publication:
Monthly (at times bimonthly)

Circulation:
1,000+

Publisher:
Société Générale d’Impression

Physical Description:
20 pages

Price:
12 issue subscription: 15 francs in France, 20 francs abroad

Editor(s):
Amédée Ozenfant

Associate Editor(s):
None

Libraries with Original Issues:
Vanderbilt University Library, University of Tennessee, National Gallery of Art Library

Reprint Editions:
Available in PDF form from Princeton University’s Blue Mountain Project. In micoform at: University of North Carolina (Chapel Hill), University of Kentucky, University of Delaware, and Johns Hopkins University.

In April 1915 French cubist writer and painter Amédée Ozenfant published the first issue of L’Elan, a magazine dedicated to French art in response to the first World War. Dedicated to the “French spirit,” L’Elan was intended as propaganda not so much to support the French war effort as to sustain French art and culture, a way of showing solidarity in the face of unprecedented slaughter. Nonetheless, the magazine’s aesthetic stance was inherently a political one, as much of the magazine’s contents attempted to portray the French as more cultured and aesthetically revolutionary than their German opponents.

Ozenfant paid particular attention to the visual appeal of the magazine, most notably in his experimentation with typography. His use of a mélange of typefaces within a single poem or essay became what he referred to as psychotypique, where the typeface of the work participates in the meaning of the text. He cites André Billy’s definition of psychotypie as his working definition: “art that involves making the typographic characters participate in the expression of the thought and in the painting of states of the soul, no longer as conventional signs but as signs having a meaning in themselves” (L’Elan Apr 1915 2).

During its brief lifespan, L’Elan featured the works of celebrated painters and poets, many of whom were also fighting in the war: Guillaume Apollinaire and André Derain, for instance, are touted not as artists but as “soldier[s] in the trenches.” In addition to cubist experimentation and typographical flair, the magazine often included more realistic drawings of soldiers; “Types de la Grand Guerre,” for instance, was a series of soldiers sketched by French soldiers on the warfront.

Faced with financial difficulty and the recent death of this father, Ozenfant cancelled the magazine in 1916. He later said that the magazine “opened all doors to me,” having put him in contact with so many different influential artists.

l’étranger croit peut être qu’en France l’Art n’appartient qu’à la Paix. Ceux qui se battent, nos amis, nous écrivent combien la guerre les a attachés davantage à leur art : ils aimeraient des pages où le réaliser.

ce journal sera ces pages.

l’étranger ne pourra qu’admirer cette élégante insouciance, cette fidélité à l’Art.

ce journal, français, est aussi le journal de nos alliés et nos amis. 

nos amis russes déjà, lui ont promis leur riche collaboration.

il luttera contre l’Ennemi partout où il le rencontrera, fut-ce en France.

entièrement désintéressé, il se vendra au prix coûtant, son seul but étant la propagande de l’Art français, de l’indépendance française, en somme du véritable esprit français.

lisez-le.

-First issue of L’Elan, April 15, 1915.

the foreigner believes, perhaps, that in France Art belongs only to Peace. Those who are fighting, our friends, write to us how much the war has fastened them more strenuously to their art : they would like some pages where they can realize it.

this newspaper will be those pages.

the foreigner will only be able to admire this insouciance, this loyalty to Art.

this newspaper, though French, is also the newspaper of our allies and our friends.

our Russian friends have already promised their rich collaboration to it.

it will fight against the Enemy everywhere it meets him, even in France.

entirely selfless, it is sold at cost price, its only goal being the propaganda of French Art, of French independence, in short of the true French spirit.

read it.

Translated by Peter Bowman (Class of ’16, Davidson College)

Amédée Ozenfant (Apr. 15, 1886 – May 4, 1966)
Managing Director: Apr. 1915 – Dec. 1916

Born into a wealthy family in Saint-Quentin, Ozenfant attended Saint-Elme d’Arcachon and Captier in Saint-Sébastien. After school he returned to Saint-Quentin to pursue drawing and painting. In 1907 he enrolled in Académie de La Palette and in 1908 began exhibiting his works. Ozenfant founded L’Elan in 1915 in an attempt to celebrate French art and, more widely, solidarity against the Germans. Though he terminated L’Elan at the end of 1916, he went on to cofound another magazine, L’Esprit Nouveau, with Le Corbusier (pseudonym of Charles Edouard Jeanneret). The two men used their magazine as an outlet of Purism, an aesthetic movement they developed that emphasized the impersonality and purity of artistic elements. In the 1930s he wrote several articles for the Architectural Review on color as an essential, rather than decorative or secondary, aspect of architectural form. In 1936 he moved to London and established the Ozenfant Academy of Fine Arts. About two years later he moved to New York. Ozenfant became a United States citizen in 1944 and returned to France in 1953 where he remained until his death in 1966.

Guillaume Apollinaire:
“Guerre”
“Nuit d’avril 1915”
“Fête”

André Derain:
Untitled portrait of a woman (Jan. 1916)
Untitled portrait of a woman (Feb. 1916)

André Favory:
“Hommage à garros”
“Aérostation militaire”

Paul Fort:
“Le grand événement”

André Lhote:
“Pénélopes”
“Deuil”

Lucien Mainssieux:
“La Marseilleaise”
“De la vertu de la France”

Jean Marchand:
“Les pillards”
“La gardienne du foyer”
“Timeo Danaos. . .”

Henri Matisse:
Two untitled drawings (Dec. 1916)

Jean Metzinger:
“L’infirmière”

Amédée Ozenfant:
Covers, essays, sketches, psychotypiques
“La triple attente”
“Moralité pour un petit bourgeoise”
“Virgo Consolatrix”

Zina Ozenfant:
“Fêtes à Perm (Russie) célébrant la prise de Przemysl”
“Cérémonie en Russie pour le succès des armes alliées”
“Scène d’enrôlements à Londres”

Pablo Picasso:
Two untitled drawings (Feb. 1916)
“C. Max Jacob”
Untitled (Dec. 1916)

André Dunoyer de Segonzac:
“Sergeant d’infanterie aux tranchées”
“La nettoyage d’Alcibiade Falempin”
“Au repos”

Ducros, Françoise. Amédée Ozenfant. Éditions Cercle d’Art: Paris, 2002. Print.

Freeman, Judi. “Amédée Ozenfant.” World Heritage Encyclopedia. Web.

Golding, John. Ozenfant. M. Knoedler & Co., Inc.: New York, 1973. Print.

Ozenfant, Amédée, ed. L’Elan. 1915 – 1916. Paris: Société Générale d’Impression. Blue Mountain ProjectWeb.

Ozenfant, Amédée and Charles Jeanneret. La peinture moderne. Paris: Les éditions G. Crès, 1920. Archive.orgWeb.

Shaw, Jill. “Still Life Filled with Space.” Art Institute of Chicago Museum Studies. 35.2 (2009): 68-9. Web.

Vatin, Philippe. “Du pacifisme des artistes pendant la grande guerre.” Guerres mondiales et conflits contemporains. 150 (1988): 17-43. Web.

Wigley, Mark. “White-out: Fashioning the Modern [Part 2].” Assemblage. 22 (1993): 6-49. Web.

L’Elan” compiled by Peter Bowman (Class of ’16, Davidson College)

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La Revue du monde noir https://modernistmagazines.org/european/la-revue-du-monde-noir/ Thu, 09 Jun 2016 15:25:20 +0000 http://modernistmagazines.org/?p=8063
La Revue du monde noir. (November 1931 Table of Contents). Jean-Michel Place, 1992. Print.

Title: 
La Revue du monde noir / Review of the Black World

Date of Publication: 
Nov. 1931 – Apr. 1932

Place of Publication: 
Paris, France

Frequency of Publication: 
Monthly, 6 issues

Circulation: 
Unknown

Publisher:
Unknown

Physical Description: 
9.5″ x 6.5″; plain white paper, simple block print;table of contents; manifesto (“Our Aim”) in inaugural issue; editorials; essays; reports; illustrations; poetry; photographs; illustrations; short stories; reviews; announcements (“Our Next Issue”); no advertisements. Format order varies by issue. Color remains consistent throughout run. Each issue contained approximately 60 pages. Published in French and English.

Price: 
5 francs / 30 cents per issue

Editor(s): 
Paulette Nardal
Leo Sajous

Associate Editor(s):
Andree Nardal
Jane Nardal
Clara Shephard
Louis-Jean Finot (Collaborators)

Libraries with Original Issues: 
University of Illinois at Urbana-Champaign Library (Oak Street facility); New York Public Library; Carleton University Library; Bibliotheque Nationale de France; Yale University Library (Beinecke)

Reprint Editions:
Nendeln/Liechtenstein: Kraus Reprint, 1969; Paris: Jean-Michel Place, 1992, with a preface by Louis Thomas Achille.

La Revue du monde noir was founded in 1931 by Paulette Nardal of Martinique and Leo Sajous of Haiti as a literary manifestation of the Nardal sisters’ salon in Clamart, France. It was at the Clamart salon that the concept of a collaborative monthly, bilingual, multiracial magazine was conceived. Under cooperative editorial management, the inaugural issue of La Revue du monde noir was published in November of 1931. La Revue was the first magazine of its kind, as at the time there was “no competing bilingual, panblack literary or cultural magazine in France or imported from the United States” (Sharpley-Whiting 55).  La Revue’s statement of purpose—“Our Aim”—in the first issue established its intention to encourage creative dialogue among and across the African diaspora: to “create among the Negroes of the entire world, regardless of nationality, an intellectual, and moral tie, which will permit them to better know each other to love one another, to defend more effectively their collective interests and to glorify their race” (Editorial Management 2). La Revue provided a vehicle primarily for sociological, literary, and cultural dialogue rather than political commentary; in this sense, the magazine was quite literally a review, not a journal or newspaper.  The magazine was partly funded by the Ministry of Colonies, making overtly political subject matter off limits (56). La Revue published editorials, articles, poetry, short stories, book reviews, and letters to the editor on subjects related to the African diaspora in Cuba, the United States, Liberia, Ethiopia, France, and others.

Throughout the magazine’s run and despite it’s self-proclaimed apolitical nature, the French government—forever on the lookout for Communist or Garveyist sentiments among black Francophones—closely followed La Revue’s content and its editors’ activities. As Louis Achilles relates in the magazine reprint’s preface, administrators from the Ministry of Colonies withdrew monetary support, and, vexed by funding issues, the magazine ceased publication after six issues (Achilles, preface xi).

On the third page of the inaugural issue of La Revue du monde noir (November 1931), the magazine management defines the magazine’s goals in a preface entitled “Our Aim” :

“To give to the intelligentia of the black race and their partisans an official organ in which to publish their artistic, literary and scientific works.

To study and to popularize, by means of the press, books, lectures, courses, all which concerns NEGRO CIVILIZATION and the natural riches of Africa, thrice sacred to the black race.

The triple aim which LA REVUE DU MONDE NOIR will pursue, will be: to create among Negroes of the entire world, regardless of nationality, an intellectual, and moral tie, which will permit them to better know each other to love one another, to defend more effectively their collective interests and to glorify their race.

By this means, the Negro race will contribute, along with thinking minds of other races and with all those who have received the light of truth, beauty and goodness, to the material, the moral and the intellectual improvement of humanity.

The motto is and will continue to be:

For PEACE, WORK and JUSTICE

By LIBERTY, EQUALITY and FRATERNITY

Thus, the two hundred million individuals which constitute the Negro race, even though scattered among the various nations, will form over and above the latter a great Brotherhood, the forerunner of universal Democracy.” (3)

La Revue du monde noir was the product of a collaborative editorial effort born of the Nardal sisters’ salon in the Parisian suburb Clamart, France. While Paulette Nardal was the chief founder and editor, editorial collaboration included: Paulette, Jane, and Andree Nardal, Martiniquan sisters who moved to Paris to attend university and hosts of the Clamart salon; Leo Sajous, a Haitian scholar specializing in Liberian issues; Clara Shephard, an African American educator and editor of the magazine’s English translation; and Louis-Jean Finot, who was described in a French police report as “a dangerous Negrophile married to a black violinist” (Sharpley-Whiting 55).

For the purpose of this index entry, extensive biographical description will be limited to the primary founder, publisher, and editor of La Revue, Paulette Nardal.

Paulette Nardal (1896 – 1985)
Editor: 1931 – 1932 

Born in Martinique in 1896, Paulette Nardal was the youngest of seven sisters.  Along with her sisters Jane and Andrée, she moved to Paris for university. In Paris she obtained a “licence ès lettres anglaises”—or, English major—from the Sorbonne (Sharpley-Whiting 48). Along with her sisters she hosted an ethnically diverse and gender-inclusive salon in Clamart, the birthplace of La Revue du monde noir.  She wrote for Aimé Césaire’s paper, L’Etudiant Noir, and later co-founded the newspaper La Dépêche Africaine, along with La Revue du monde noir (49)Her work in each of these publications, which varied in genre and subject matter, reflected an interest in exploring black literature and culture on a global scale.  She wrote essays, journalistic pieces, and short stories on subjects ranging from Caribbean women, black art, and colonialism. Despite La Dépêche Africaine being shut down by the French government, Nardal was commissioned by the French government to write a guidebook on Martinique (49). A devout Catholic and feminist, Nardal never married.

In her role as editor of La Revue Nardal became a cultural intermediary between Harlem Renaissance writers and Francophone writers from Africa and the Caribbean, three of whom would go on to found the  Négritude movement: Aimé Césaire, Léopold Senghor, and Léon Damas (Ikonne 66).

Her contributions to the  Négritude movement, too, are often overlooked; while Leopold Senghor and Aimé Césaire are often touted as the founders of Negritude, Nardal contends that the men “took up the ideas tossed out by us and expressed them with more flash and brio…we were but women, real pioneers—let’s say we blazed the trail for them” (Hymans 36). Following Nardal’s death in 1985, Aimé Césaire paid honored Paulette Nardal as an initiator of the Négritude movement; he named a square in Fort-de-France, the capital of Martinique, in her honor (36).

Louis-Thomas Achille
“The Negroes and Art”
“Nos Enquetes”

Lionel Attuly
“Duet”
“On the World Crisis Considered as a Topic of Interview”
“The Patient”

Jaques Augarde
“Poem”

Jean L. Barau
“Stenio Vincent, Statesman”

P. Baye-Salzmann
“Negro Art, Its Inspiration and Contribution to Occident”
“Islamism or Christianity?”

M. Bazargan
“An Answer to “Remarks on Islamism””
L. Th. Beaudza
“Rise and Decline of a Doctrine”
“Open Letter to Admiral Castex”

H.M. Bernelot-Moens
“Can Humanity be Humanized?”

Carl Broud
“Creole Cadences”

Aaron Douglas
“Foundry”

Gisele Dubouille
“New Records of Negro Music”

Felix Eboue
“Elephants and Hippopotamuses”
“The Banda, their Musique and Language”

Raymond Ecart
“A Book of International Merit”

Joseph Folliet
“New Books: Le Droit de colinasation”

Louis-Jean Finot
“Race Equality”

Leo Frobenius
“Spiritualism in Central Africa”

Mme. Grall
“The Tom-Tom Language of the Africans”

Gilbert Gratiant
“High Sea”

E. Gregoire-Michele
“Is the mentality of Negroes inferior to that of white men?”

Georges Gregory
“Debate on the Race Question”

Roberte Horth
“A Thing of No Importance”
“Le Taciturne”

Langston Hughes
“I, Too”

Maitre Jean-Louis
“The Creole Race”

G. Joseph-Henri
“Black Magic”

Flavia Leopold
“The Vagabond”

Etienne Lero
“Poems”
“Evelyn”
“Book Reviews: Jungle Ways”

Cugo Lewis
“Molocoye Tappin (Terrapin)”

Margaret Rose Martin
“The Negro in Cuba”

John Matheus
“Fog”

Claude Mckay
“Poem”
“Spring in New Hampshire”

Rene Menil
“Magic Island”
“Othello” (“Un poeme inedit de”)
“Views of Negro Folklore”

Andree Nardal
“Notes on the Biguine Creole (Folk Dance)”

Paulette Nardal
“A Negro Woman Speaks at Cambridge and Geneva”
“Awakening of Race Consciousness”

Colonel Nemours
“History of the Family Descendants of Toussaint-Louverture”

C. Renaud-Molinet
“Remarks on Islamism”

G.D. Perier“Racial Poetry”

Senateur Price-Mars

“The Problem of Work in Haiti”

Magd. Raney
“Night Vigil”

Rolland Rene-Boisneuf
“Colonial Economics: The Banana Question”

Leo Sajous
“The New Crusade”
“American Negroes and Liberia”
“Liberia and the World Politics”

Pierre B. Salzman
“An Opinion on Negro Art”

Clara W. Shephard
“Tuskegee Normal and Industrial Institute”
“The Utility of Foreign Languages for American Negroes”

Emile Sicard
“A Meeting at the Colonial Exhibition”
“Mutual Ignorance”

Philipe Thoby-Marcelin
“Poem”
“Poem of Another Season”
“Stanza”
“Destiny”

Walter White
“The Fire in the Flint”
Ydahe (pseudonym for Jane Nardal) 
“Night Falls on Karukera Island”

Doctors A. Marie and Zaborowski
“Cannibalism and Lack of Vitamins”

Guetatcheou Zaougha
“The Renaissance of Ethiopia”

Philipe de Zara
“The Awakening of the Black World”

Guy Zuccarelli
“Docteur Price-Mars, a portrait”
“A Lecture on the Voodoo Religion”
“A Stage in Haiti’s Evolution”

EdwardsBrent Hayes. The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism. Cambridge: Harvard UP, 2003.

Hymans, J.L.  Léopold Sédar Senghor: An Intellectual Biography. Edinburgh: Edinburgh UP, 1971.

Ikonne, Chidi. Links and Bridges: A Comparative Study of the Writings of the New Negro and Negritude Movements. Nigeria: University Press, Nigeria, 2005.

Jack, Belinda E. Negritude and Literary Criticism : The History and Theory of ” Negro-African ” Literature in French. Westport, CT: Greenwood Press, 1996

La Revue du monde noir.” Liberation Journals Index.  Brown University

Sharpley-Whiting, Tracy D. Negritude Women. Minneapolis: U of Minnesota P, 2002.

Sourieau, Marie-Agnes. “La Revue du Monde Noir.”Encyclopedia of Latin American Literature. Chicago: Fitzroy Dearborn Publishers, 1997. Print.

“La Revue du monde noir” compiled by Taylor Hamrick (Class of ‘13, Davidson College)

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