This book examines the creation of a startling motif at the beginning of the twentieth century--that of the faceless man--and traces its evolution over the next few years. The faceless man evolved in different directions. His strategic location ensured that he would be adopted by numerous schools and shaped according to their particular needs.

Reading Apollinaire's Calligrammes examines Guillaume Apollinaire's second major collection of poetry. Composed between 1913 and 1918, the nineteen poems examined here fall into two main groups: the experimental poetry and the war poetry. They also provide glimpses of the poet's personal history, from his affair with Louise de Coligny-Châtillon to his engagement to Madeleine Pagès and his marriage with Jacqueline Kolb. Each section examines all of the previous scholarship for the work in question, provides a detailed analysis, and, in many cases, offers a new interpretation. Each poem is subjected to a meticulous line-by-line analysis in the light of current knowledge.

More than anything, perhaps, this volume strives to elucidate the concept of poesie critique, which has received very little attention. This omission is surprising since the genre influenced the Surrealist invention of poesie synthetique as well as many writers who followed Apollinaire, trying to reconcile poetry and criticism.

This literary history examines Guillaume Apollinaire's reception and influence in the Western hemisphere during the early twentieth century. It identifies and reconstructs major literary and art historical paths of development, about which surprisingly little is known. In particular, it discusses Apollinaire's reception and formative influence in North America, England, Germany, Spain, Argentina, and Mexico, and includes important documents by Apollinaire himself that have not appeared in print until now.

Reviewing the previous scholarship for seventeen of the most important poems in Alcools, this book provides a detailed analysis of each work and includes a state-of-the-art survey of current Apollinaire criticism. Besides acquainting readers with the existing scholarship, the book considers all the interpretations that have been proposed and indicates profitable directions to pursue. Each poem is subjected to a rigorous, line-by-line analysis that engages in a succession of dialogues with previous critics. The studies themselves are arranged in roughly chronological order, beginning with the “Rhénanes” in 1901-1902 and concluding with “Zone” in 1912. Although each chapter is basically conceived as an independent unit, readers are able to follow the evolution of Apollinaire’s aesthetics from his first mature creations through his subsequent experiments with fantastic, hermetic, visionary, and cubist poetry. At the same time, they witness Apollinaire’s personal evolution from his infatuation with Annie Playden through a period of deep depression, his love affair with Marie Laurencin, and the aftermath of that relationship.

In The Rise of Surrealism, Willard Bohn examines the various literary and artistic developments that prepared the way for the international Surrealist movement—including Cubism, Metaphysical Art, and Dada—as well as the triumph of Surrealism itself. In an analysis that spans the first two-thirds of the twentieth century, Bohn surveys writers and artists from France, Italy, Germany, Spain, Argentina, Mexico, Chile, and the United States, examining both their aversion to mimesis and the solutions they devised to replace it. Much of the book is concerned with competing artistic models and with different strategies for creating avant-garde works, and focuses on such figures as Guillaume Apollinaire, Max Weber, Marius de Zayas, Francis Picabia, Giorgio de Chirico, André Breton, J. V. Foix, and Joan Miró. The dynamics of the imagery that painters and poets chose to employ and the new roles this imagery assumed in their compositions are also discussed.