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Studies and Reviews, 1864-1889 is volume five in the ten-volume Collected Works of Walter Pater. It brings together, for the first time, Pater's essays, reviews, and articles that were published in the press and not reprinted in their original form in his books. These include several texts that have not been republished since their first appearance. The volume thus offers a richer, more comprehensive overview of Pater's literary journalism, highlighting his management of his career in a rapidly evolving print media landscape, across publications such as the Westminster Review, the Academy, the Fortnightly Review, Macmillan's Magazine, The Guardian, and the Pall Mall Gazette. Most significantly, it reveals his strategies for navigating a hostile environment of conservative and homophobic critics, editors, and publishers who were opposed to the 'art for art's sake' aestheticism that Pater advocated. The volume demonstrates the extraordinary breadth of Pater's interests. It features lengthy pieces on William Morris, Samuel Taylor Coleridge, European Romanticism, and Giordano Bruno, and shorter pieces on topics ranging from prose style, poetry, art history, theatre history, religious issues, philosophy, English as a university subject, and contemporary French fiction. Also included in the volume are Pater's reviews of works by his friends and contemporaries such as Sidney Colvin, Vernon Lee, J. W. Mackail, Marc-André Raffalovich, George Saintsbury, J. A. Symonds, Arthur Symons, and Mary Ward, revealing his participation in a ubiquitous practice of reciprocal reviews, facilitated by the prevailing trend for anonymity in reviewing.The volume offers a comprehensive critical introduction, a chronology of Pater's life and contemporary events, extensive explanatory notes, and four appendices.
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Revisiting the place of Italian Futurism in English literary modernism, this book draws on a range of overlooked historical and archival sources to reassess how English writers engaged with Futurist ideas. It suggests that Futurism offered a compelling response to a cultural tension that had emerged in the late nineteenth century—the growing separation between art and life—and considers how English modernists adapted aspects of Futurist thought in order to navigate and reshape fin-de-siècle cultural discourses.It begins with an analysis of Italian Futurism’s transnational affiliations, its position in the European cultural field, and a reassessment of its reception in England, and goes on to re-evaluate three key modernist figures: the Poetry Bookshop proprietor and editor Harold Monro; the Vorticist impresario Wyndham Lewis; and the poet and artist Mina Loy. In doing so, this study not only offers an expanded account of the Futurist movement in England and Anglophone contexts, but also contributes to ongoing efforts to develop a more interconnected and nuanced understanding of early modernist historiography.