Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.

The bold graphic images made by artists affiliated with Vorticism, British Futurism, and the Grosvenor School of Modern Art capture the optimism and anxiety of early twentieth-century Britain. This richly illustrated volume features rare British prints from the Leslie and Johanna Garfield collection dating between 1913 and 1939—a period marked by two world wars, a global pandemic, the Great Depression, and the rise of Fascism and Communism, but also new technologies, women’s suffrage, and a growing focus on public access to art. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. At the heart of the catalogue are the colorful linocuts made by artists associated with London’s celebrated Grosvenor School. The visually striking compositions by Sybil Andrews, Claude Flight, Cyril E. Power, and Lill Tschudi, among others, convey the vitality of quotidian life during the machine age.

A new take on the impact of war on the London art and literary scene and the emergence of modernism, first published in 2010.

New Modernist Studies, while reviving and revitalizing modernist studies through lively, scholarly debate about historicity, aesthetics, politics, and genres, is struggling with important questions concerning the delineation that makes discussion fruitful and possible. This volume aims to explore and clarify the position of the so-called ‘core’ of literary modernism in its seminal engagement with the Great War. In studying the years of the Great War, we find ourselves once more studying ‘the giants,’ about whom there is so much more to say, as well as adding hitherto marginalized writers – and a few visual artists – to the canon. The contention here is that these war years were seminal to the development of a distinguishable literary practice which is called ‘modernism,’ but perhaps could be further delineated as ‘Great War modernism,’ a practice whose aesthetic merits can be addressed through formal analysis. This collection of essays offers new insight into canonical British/American/European modernism of the Great War period using the critical tools of contemporary, expansionist modernist studies. By focusing on war, and on the experience of the soldier and of those dealing with issues of war and survival, these studies link the unique forms of expression found in modernism with the fragmented, violent, and traumatic experience of the time.

A provocative new study that identifies a deep structure -- that of the political body -- in Frost''s poetry.

In the years following World War II, Americans visited the national parks in unprecedented numbers, yet Congress held funding at prewar levels and park conditions steadily declined. Elimination of the Civilian Conservation Corps and other New Deal programs further reduced the ability of the federal government to keep pace with the wear and tear on park facilities. To address the problem, in 1956 a ten-year, billion-dollar initiative titled Mission 66 was launched, timed to be completed in 1966, the fiftieth anniversary of the National Park Service. The program covered more than one hundred visitor centers (a building type invented by Mission 66 planners), expanded campgrounds, innumerable comfort stations and other public facilities, new and wider roads, parking lots, maintenance buildings, and hundreds of employee residences. During this transformation, the park system also acquired new seashores, recreation areas, and historical parks, agency uniforms were modernized, and the arrowhead logo became a ubiquitous symbol. To a significant degree, the national park system and the National Park Service as we know them today are products of the Mission 66 era. Mission 66 was controversial at the time, and it continues to incite debate over the policies it represented. Hastening the advent of the modern environmental movement, it transformed the Sierra Club from a regional mountaineering club into a national advocacy organization. But Mission 66 was also the last systemwide, planned development campaign to accommodate increased numbers of automotive tourists. Whatever our judgment of Mission 66, we still use the roads, visitor centers, and other facilities the program built. Ethan Carr's book examines the significance of the Mission 66 program and explores the influence of midcentury modernism on landscape design and park planning. Environmental and park historians, architectural and landscape historians, and all who care about our national parks will enjoy this copiously illustrated history of a critical period in the development of the national park system. Published in association with Library of American Landscape History: http: //lalh.org/