By Jean-Michel Rabaté
1922: Literature, tradition, Politics examines key elements of tradition and background in 1922, a 12 months made well-known by means of the booklet of numerous modernist masterpieces, reminiscent of T.S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written via major students provide new contexts for the year's major artistic endeavors, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even if this quantity takes post-WWI Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions concerning the "Lost Generation" of cultural pilgrims who flocked to Paris and Berlin within the Nineteen Twenties, hence stressing the broader impact of that momentous 12 months.
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Additional resources for 1922: Literature, Culture, Politics
Vol. 1: 1898–1922. Edited by Valerie Eliot. New York: Harcourt, 1988. Eliot, T. ” In T. S. Eliot Selected Essays, 13–22. Reprint, London: Faber and Faber, 1999. Harding, Jason. Oxford: Oxford University Press, 2002. Oxford: Wiley-Blackwell, 2009. ” Comparative Literature xi (1959): 97–110. ca/pao/docview/1290139107/fulltextPDF/143313D8 accountid=6180 (accessed September 1, 2013). Reprint, New York: Random House, 1986. Reprint, New York: Norton, 2007. ” The Criterion (1922): 94–103. Litz, A.
4 The journal also reviewed or brought to the reader’s attention American texts such as Gertrude Stein’s The Making of Americans (1926), Eugene O’Neill’s All God’s Chillun Got Wings (1926), F. Scott Fitzgerald’s The Great Gatsby (1926), Carl Van Vechten’s Nigger Heaven (1927), John Dos Passos’s Manhattan Transfer (1927), and, much later, Edna St. Vincent Millay’s Conversation at Midnight (1938). Eliot was thus already demonstrating an engagement with transatlantic modernisms as well. 1 (2002): 18–47.
The exciting range of names shows Eliot engaging with not only some of the preeminent writers of his day, but also with some of the earliest critics of modernism who would help to initiate the school of New Criticism, including I. A. Richards and William Empson. As such, the journal stands as a unique literary nexus: a site, in time and in place, where we can find the makings and consolidations of so much of what we have come to consider “canonical” for modernist literature. Further, Eliot’s journal does what it took decades of criticism for modernist scholars to grasp: it assumes that a transnational pastiche of writers was writing under shared aesthetic aspirations to reinvent previous beliefs about literary form, style, aesthetics, and content.