By Jean-Michael Rabaté

This leading edge e-book places modernist literature in its cultural, highbrow, and worldwide context, in the framework of the 12 months 1913.Broadens the research of canonical texts and inventive occasions by means of displaying their cultural and worldwide parallels Examines a few simultaneous inventive, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's method

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In Ennui one notices a stuffed bird in a glass case, which makes the situation even more stifling. There is also a painting on the wall, showing a beautiful woman whose shoulders are uncovered and who looks seductively straight at the spectator. This suggests the persistence, despite the prevalent tawdriness, of some order and beauty, and makes this painting qualify as a typically modernist work of art, even if its technique does not go beyond that of a Degas or a Rouault. The important socialist magazine The New Age, to which I will return in the next chapter, asked Sickert to be a regular contributor, which he did in 1910 and 1913.

Presidents like Poincaré and Wilson soon learned to use the technology to their advantage. 5 Music I have already mentioned the Parisian scandal caused by the premiere of The Rite of Spring (Le Sacre du printemps – soon dubbed Le Massacre du printemps by Parisian wits6). It was the equivalent of the battle of Hernani in 1830, a fracas that consecrated the victory of the young Romantics over the classicists. As in Hugo’s drama, the camps were drawn in advance at the premiere, and Stravinsky, Diaghilev, and the Ballets Russes figure as the heroes of the avant-garde.

Apollinaire knew well all the major painters in Paris, and was a close friend of Picasso, Matisse, and Delaunay. The two main schools that he sees as dominant in 1913 are cubism and orphism – the latter being Delaunay’s own group. On Apollinaire’s account, Picasso owed the discovery of cubism to Maurice de Vlaminck, who as early as 1902 collected African masks and imitated their stylized shapes, and André Derain, who followed suit. In 1905 Derain met Matisse; then one year later he became closer to Picasso.

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