This volume about the modernist writer and artist Wyndham Lewis (1882-1957) presents him as a radical figure in twentieth-century modernism. The authors rediscover aspects of Lewis’s work which show how his fiction challenges modernist norms, and how his acute and wide-ranging critique of culture has a vital contemporary relevance. Lewis’s range is extraordinary – it covers Nietzsche as well as classic cinema, Renaissance art and English classicism. Being politically conservative, he had nonetheless a place on the political left, and he can be seen as a postmodernist before his time. These essays by leading Spanish and British specialists reveal Lewis as one of the key modernists of our time.
Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien, 2007. 278 pp., 3 ill.
Contents: Alan Munton: Introduction: Wyndham Lewis Our Contemporary – David A. Wragg: Modernity’s «Reality» - Wyndham Lewis,
Blast 1, and the Critical Historiography of Modernism – María Jesús Hernáez Lerena: Are Lewis’s Short Stories Pathological?
– Michael Nath: «We Are Unknown to Ourselves, We Knowers»: More Thoughts on Lewis’s «Paramount Influence» – Paul Edwards:
The Apes of God and the English Classical Tradition – Melania Terrazas: Intricate Models of Conflict in Wyndham Lewis’s
Fiction – Peter L. Caracciolo: From Signorelli to Caligari: Allusions to Painting and Film in The Human Age and its
Visual Precursors – Alan Munton: From Charlie Chaplin to Bill Haley: Popular Culture and Ideology in Wyndham Lewis – Carlos
Villar Flor/Noelia Domínguez Carballo: Lewisian Footprints in Evelyn Waugh’s Early Satires – Stan Smith: Broad-minded Leftwingers
and Marxian Playboys: Wyndham Lewis, W. H. Auden and the Literary Left in the 1930s – Mar Asensio Aróstegui: Postmodernist
(Dis)continuities: Jeanette Winterson’s Silence on Wyndham Lewis.