David Trotter

The day he first met Wyndham Lewis, shortly after the end of the First World War, Ernest Hemingway was teaching Ezra Pound how to box. The encounter took place in Paris, where Pound had a studio, and Lewis, impassive beneath his trademark wide black hat, seemed content to watch in silence. ‘Ezra had not been boxing very long and I was embarrassed at having him work in front of anyone he...

One day in 1914, Ford Madox Ford, then 40 years old and feeling it, found himself for a while in the custody of the youthful Percy Wyndham Lewis, a writer whose work had appeared in Ford’s magazine, the English Review, and who was about to launch a magazine of his own, the rather more intemperate Blast. Gripping Ford by the elbow, Lewis, who was as usual in incendiary mood, poured scorn on him and his associates. ‘You and Mr Conrad and Mr James and all those old fellows are done,’ he was to be heard insisting. ‘Exploded! … Fichus! … No good! … Finished!’ Lewis’s beef was with literary ‘impressionism’: with novels which sought intricately to render the movements, at once furtive and immense, of a consciousness enmeshed in and inseparable from worlds not of its own making. ‘You fellows try to efface yourselves; to make people think that there isn’t any author and that they’re living in the affairs you … adumbrate, isn’t that your word? … What balls!’ Adumbration had been Flaubert’s method, and Turgenev’s, and James’s, and Conrad’s. It was rather ostentatiously the method of Ford’s The Good Soldier, whose opening chapters were shortly to appear in Blast. Lewis thought that people had had enough of all that. They did not want self-effacement. They wanted brilliant fellows like him performing stunts and letting off fireworks. ‘What’s the good of being an author if you don’t get any fun out of it?’‘

Modernism must be reckoned one of the lengthiest and most strenuous campaigns ever undertaken in the name of literature. Acutely conscious at once of the burden of the past – the intimidating totality of what had already been written – and of the present’s lightness, its free and easy way with burdens, its failure to be intimidated, the Modernist did not propose to carry on as before. To be literary at all, in such circumstances, one would have really to mean it, to work at it. And the best way to mean it was to begin all over again, to rebuild literature from the ground up, to demand obtrusively the privileges of inauguration. For it might be possible to alleviate and even to resolve one’s own anxiety by making other people anxious.’

Day after day in the course of October 1907, Rilke returned to the two rooms at the Salon d’Automne devoted to Cézanne’s memory. The letters he wrote to his wife describe his intense admiration for the ‘emptying out of love in anonymous work’ which had enabled Cézanne to render the ‘substantiality’ of the natural world. What finally persuaded him, however, of the essential loneliness of Cézanne’s effort to strip away the preconceptions which separate us from that world was not the pictures themselves, but a quirk of scheduling: ‘the Salon no longer exists; in a few days it will be replaced by an exhibition of automobiles which will stand there, long and dumb, each one with its own idée fixe of velocity.’ The public wanted its preconceptions back in a hurry.

No other 19th-century artist made quite such a spectacle of the female body as Edgar Degas. Over three-quarters of his output of paintings, drawings, pastels, prints and sculptures consists of images of women, sometimes seen in the company of men or children, but more often alone or with other women. The nude figure is the subject of about a fifth of that total, from the copies and life studies he made as a young man in the 1850s through the early history paintings to the naturalistic studies of the 1870s and 1880s and beyond.