Title:
The English Review

Date of Publication:
Nov. 1908 – Jul. 1937

Place(s) of Publication:
London, England

Frequency of Publication:
Monthly

Circulation:
A range of 1,000 – 18,000

Publisher:
Duckworth & Co., Chapman & Hall

Physical Description:
25 cm in length. A blue/grey cover and uniform, single column black type; approximately 175 pages; includes a range of works from poetry and short stories to political pieces.

Price:
2 shillings and sixpence

Editor(s):
Ford Madox Hueffer  (1908 – 1909)
Austin Harrison (1909 – 1923)
Ernest Remnant (1923 – 1931)
Douglas Jerrold (1931 – 1935)
Wilfrid Hindle (1936)
Derek Walker-Smith (1936 – 1937)

Libraries with Original Issues:
US Library of Congress; University of California at Los Angelos; University of NC at Chapel Hill; Newberry Library Chicago

Reprint Editions:
London : Eyre and Spottiswoode, 1908 – 1937

The English Review sought to provide intelligent commentary on contemporary political events as well as social and cultural life. The English Review was started by Ford Madox Heuffer at the end of November, 1908 with the idea of promoting Impressionism and its literary equivalents.  The English Review attracted well-read, culturally and politically informed citizens with questions about contemporary life. It includes a range of works from poetry, to short stories, to political pieces by a mix of Victorian and Edwardian authors like Thomas Hardy, H. G. Wells, Joseph Conrad, Ezra Pound, Wyndham Lewis, and D. H. Lawrence.  In 1937 the magazine was absorbed by the National Review.

The English Review did not publish an official manifesto, but these quotations by it’s founder, Ford Madox Hueffer, demonstrate his dreams and intentions for the publication:

“The state of the present world of poetry is curious and worthy of attention [__] poets and publishers declare that there are no readers: poets and readers declare that there are no publishers: and publishers and readers declare that there are no poets.”  “We wait, in fact, for the poet who, in limpid words, with clear enunciation and, without inverted phrases, shall give the mind of the time sincere frame and utterance.”

Ford Madox Hueffer (Dec. 17, 1873 – Jun. 26, 1939)
Editor: 1908 – 1909

Ford Hermann Hueffer was born in Wimbledon in 1873 to a German father and English mother. He would use the name Ford Madox Hueffer before changing it to Ford Madox Ford in 1919 (possibly because Hueffer sounded too Germanic after World War I). Hueffer began The English Review in December  1908 as a venue for some of the most well-known modernist writers of the day. As he was from an aristocratic family and had a wide range of literary, social and political contacts, Hueffer was in an ideal position to launch his own cultural journal. He was at the center of innovative 20^th century writers and saw publishing their literature as the magazine’s primary goal. After just fifteen issues, Hueffer lost control of The English Review due to his lack of organization, tendency to quarrel with important contributors and supporters, and incompetence with finances.

Austin Frederic Harrison (1873 – 1928)
Editor: 1909 – 1923

Harrison was named editor of The English Review by Alfred Mond, who purchased the magazine in 1909. Harrison’s primary goal was to make a profit with the periodical. To do so, he increased advertising, lowered the cost of the magazine, and asked writers to shorten their work.  He was able to increase circulation as well as publish works by authors as diverse as Katherine Mansfield, George Bernard Shaw, and William Butler Yeats.

MacShane, Frank. “The English Review”. South Atlantic Quarterly 60:3 (Summer 1961).

Saunders, Max. “Ford Madox Ford: Further Bibliographies”. English Literature in Transition, 1880-1920, Volume 43, Number 2, 2000.

Sullivan, Alvin, ed. “The English Review”. British Literary Magazines. vol.3.Westport, CT: Greenwood Press,1983.

Vogeler, Martha S. Austin Harrison and the English Review. Columbia : University of Missouri Press, 2008.

“The English Review” compiled by Susan Ramsay (Class of ‘11, Davidson College)

Title: 
The Enemy

Date of Publication: 
Feb. 1927 (1:1); Sept. 1927 (1:2); March 1929 (1:3)

Place(s) of Publication: 
London, England

Frequency of Publication:
The editor noted in the opening issue’s “Preliminary Note” that “It is regrattable that this paper cannot be definitely advertised as quarterly… the leisure required to organise and bring out a fresh number, at a stated time, is not always available (vii). It appeared irregularly.

Circulation: 
1500 copies (1:1)
5000 copies (1:2)

Publisher: 
Arthur Press, London

Physical Description: 
100 – 150 pages in length. Most of the work in the magazines, including occasional photographs and drawings, were those of Wyndham Lewis.

Price:
Unknown

Editor(s): 
Wyndham Lewis

Associate Editor(s):
None

Libraries with Original Issues: 
Huntington Library (with signed copy 1:1); University of North Carolina, Chapel Hill; Library of Congress; Columbia University; The Metropolitan Museum of Art, The Museum of Modern Art

Reprint Editions: 
New York: Kraus Reprint Corporation, 1967.
Santa Rosa: Black Sparrow Press, 1994.
PDFs online at The Modernist Magazines Project

A review of art and literature, The Enemy was first published in the first quarter of 1927 and ran until 1929. Founder, editor, and primary contributor Wyndham Lewis hoped that his periodical, in keeping with its title, “secures for it this virtue: that it does not arrive under the misleading colours of friendship or of a universal benevolence” (Hoffman 283). In short, Lewis wanted The Enemy to challenge the social and cultural norms of his era, as many Modernists sought to do. Unlike many of these Modernist contemporaries, Lewis was a loner; he looked to distance himself from London’s avant-garde scene and with it, many of his former associates. Lewis used The Enemy to release his critical estimates of Henri Bergson, Sigmund Freud, James Joyce, Gertrude Stein, D. H. Lawrence, Sherwood Anderson, and others. He even used the magazine to engage in an extended literary battle with fellow little magazine, transition.

The following quotation, from Plutarch’s Moralia, appeared inside the front cover of each issue of The Enemy:

“A MAN of understanding is to benefit by his enemies…. He that knoweth that he hath an enemy will look circumspectly about him to all matters, ordering his life and behaviour in better sort … therefore it was well and truly said of Antisthenes, that such men as would be saved and become honest ought of necessity to have either good friends or bitter enemies. But forasmuch as amity and friendship nowadays speaketh with a small and low voice, and is very audible and full of words in flattery, what remaineth but that we should hear the truth from the mouth of our enemies? Thine enemy, as thou knowest well enough, watcheth continually, spying and prying into all thine actions. As for our friends, it chanceth many times that they fall extreme sick, yea, and die while we defer and put off from day to day to go and visit them, or make small reckoning of them; but as touching our enemies we are so observant, we curiously enquire even after their very dreams.

“The end of all those combats that our forefathers in the old world had against wild beasts was that they might not be wounded or hurt by strange or savage beasts; but those who came after have learned, moreover, how to make use of them; not only take order to keep themselves from receiving any harm or damage by them; but (that which more is) have the skill to draw some commodity from them, feeding of their flesh, clothing their bodies with their wool and hair, curing their maladies with their gall and rennet, arming themselves with their hides and skins.”

The following lines, printed on the front cover of Wyndham Lewis’ final issue of The Enemy, provide insight into both the magazine’s style and Lewis’ Enemy persona.

The “Enemy” is the notorious author, painter and publicist, Mr. Wyndham Lewis. He is the Diogenes of the day: he sits laughing in the mouth of his tub and pours forth his invective upon all passer-bys, irrespective of race, creed, rank or profession, and sex. This paper, which appears occasionally, is the principal vehicle of his criticism.”

The Enemy. 1:3 (Mar. 1929).

Wyndham Lewis (Nov. 18, 1882 – Mar. 7, 1957)
Editor: Feb. 1927 – Mar. 1929

Percy Wyndham Lewis, editor for BLAST‘s two-issue run and sole editor of The Enemy, was born in Amherst, Nova Scotia, Canada. Described as an “English Cubist” painter and writer, Lewis enjoyed a respected reputation among London’s young avant-garde and teamed with Ezra Pound in 1912 to form the Vorticist movement. Lewis published BLAST to explain the aesthetic theory and showcase the achievements of the “Anglo-Saxon Genius” of the Vorticists (Lewis, qtd. in Seshagiri 582). The short-lived movement died out after World War I and demand for Lewis’ art floundered as he shifted to studying political theory, philosophy, sociology, and anthropology (Cassidy 5). By the mid 1920s Lewis contributed frequently to a variety of modernist Littles and furiously published dozens of books and manifestos. In a 1922 issue of Criterion Lewis proclaimed his role as an adversary to those he labeled “amateurs”, “apes”, and “mock artists” who stole valuable studio space and column inches from “professionals” like him; a few weeks later, Lewis published again in Criterion to announce his new “Enemy” persona against such artistic imposters (Hanna 4). Five years later, Wyndham Lewis created The Enemy as a space for him to distance himself from the disdained avant-garde scene. Despite the scathing reviews he published in his magazine of such widely-acclaimed authors as James Joyce, Sherwood Anderson, and even Sigmund Freud, T. S. Eliot described Lewis as ”the most fascinating personality of our time…the most distinguished living novelist” (von der Ropp).

Roy Campbell
“The Albatross”

T. S. Eliot
“A Note on Poetry and Belief”

Wyndham Lewis
“What’s in a Namesake?”
“The Revolutionary Simpleton”
“An Analysis of the Mind of James Joyce”
“The Blessings of the Sophisticated School of Literature”

Laura Riding
“Fine Fellow Son of a Poor Fellow”

Campbell, Sue Ellen. “The Enemy Opposite: The Outlaw Criticism of Wyndham Lewis.” Twentieth-Century Literary Criticism 104 (2001): 165-90.

Cassidy, Victor. “Who Was Wyndham Lewis?” Twentieth-Century Literary Criticism 104 (2001): 26-38.

The Enemy. 1927 – 1929. New York: Kraus Reprints, 1967.

Hanna, Julian. “Blasting After Blast: Wyndham Lewis’ Late Manifestos.” Journal of Modern Literature 31 (2007): 124.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947. 283-84.

Image, rollover. “The Enemy 1: A Review of Art and Literature (Jan 1927).” Ginko Press. 23 July 2009.

Pound, Omar, and Philip Grover. Wyndham Lewis: A Descriptive Bibliography. Kent: Wm Dawson & Sons Ltd, 1978. 85-90.

Seshagiri, Urmila. “Racial Politics, Modernist Poetics.” Modernism: A Comparative History of Literature in European Languages. Astradur Eysteinsson and Vivian Liska, eds. Philadelphia: John Benjamins Publishing Co., 2007. 582.

“The Enemy” compiled by Frank Swain (Class of ’09, Davidson College)

Title: 
The Egoist: An Individualist Review (Jan. 1914 – Dec. 1919)
Preceded by The New Freewoman (June 1913 – Dec. 1913)
Preceded by The Freewoman: A Weekly Feminist Review (Nov. 1911 – October 1912)

Date of Publication: 
Jan. 1914 (1:1) – Dec. 1919 (6:5)

Place(s) of Publication: 
London, England

Frequency of Publication: 
Biweekly: Jan. 1914 – Dec. 1914
Monthly: Jan. 1915 – Oct. 1918
Bimonthly: Nov./Dec. 1918 – Mar./Apr. 1919
Irregular: July, Sep., Dec. 1919

Circulation:
Unknown

Publisher: 
The New Freewoman, Ltd., Oakley House, Bloomsbury St., London, W.C. (Jan. 1914 – Jan. 1918)
The Egoist, Limited, 23 Adelphi Terrace House, Robert St., Adelphi, London, W.C.2 (Feb. 1918 – Dec. 1919)

Physical Description: 
9 1/2″ x 11″. Issues ran approx. 20 – 30 pages and featured poetry, short fictions, searialized novels, reviews of books and theater, criticism. Some advertisements in the back pages, mostly for other little magazines or modernist works.

Price: 
Unknown

Editor(s): 
Dora Marsden (Jan. 1914 – June 1914)
Harriet Shaw Weaver (July 1914 – Dec. 1919)

Associate Editor(s): 
Richard Aldington (Jan. 1914 – May 1916)
Leonard A. Compton-Rickett (Jan. 1914 – June 1914)
H. D. (June 1914 – May 1916)

Libraries with Complete Original Issues: 
Harvard University; Columbia University; U. S. Library of Congress; Yale University; Bodleian Library; British Museum; Edinburgh Public Library

Reprint Editions: 
Millwood, N. Y: Kraus Reprint, 1967
Datamics, Inc., New York, N. Y. (Microform)

Dora Marsden founded The Freewoman in 1911 to be a women’s suffragette magazine. In just eight years it became The Egoist, a magazine which espoused a modernist feminism that focused on individual rights instead of the more antiquated concept of women’s collective rights. With financial backing from Harriet Shaw Weaver, the little magazine published poetry, illustrations, literature reviews and criticisms, as well as evaluations of modern thought and philosophy, philosophic editorials, and essays on the “New Woman.” Ezra Pound urged Marsden to change the title to The New Freewoman and to include more avant-garde literature. In 1913 she did both and added Pound to the masthead as literary editor, who brought with him the financial support of John Gould Fletcher.

In November of 1914 the editors decided to change the name of the magazine to The Egoist. Again Pound pushed for the transition, but it was Marsden’s own belief that men would continue to dominate women until women developed their egos that precipitated the switch. The Egoist sought to encourage the artist to cast off all intellectual inhibitions and lose respect for all outworn institutions, and “insofar as it reflected Pound’s influence, became a review of advanced writing, striking a critical pose and evaluating the prewar tendencies in the political and cultural world” (Hoffman 22). True “egoists” were people who believed that everything revolved around the desire of the individual, for whom “intensive satisfaction of the Self is […] the one goal in life,” and Marsden believed that such an attitude was the first step towards equality for women and for producing meaningful art (Thacker 187).

In the second issue of the newly renamed Egoist, the editors clarified some of their convictions in the section “Views and Comments:”

“Given time, and the catholicity of these pages, we shall in the opinion of one or other of our readers rehearse the entire procession of isms and schisms, whether ancient, mediæval or modern. The compliment paid to the wealth of our erudition would no doubt be pleasant–and wholly undeserved–did it not clash with our egoistic temper, which compels us to protest to our status. Our modesty notwithstanding, we protest that we brew our own malt: we are not bottlers and retailers: we are in the wholesale and producing line of business. If our beer bears a resemblance in flavour to other brands, it is due to the similarity of taste in the makers….”

“Views and Comments.” The Egoist. 1: 2 (Jan. 1914): 24-5.

Dora Marsden (Mar. 5, 1882 – Dec. 13, 1960)
Editor: Jan. 1914 – June 1914

Founder of The Egoist Dora Marsden was born near Huddersfield, Yorkshire into a poor family of five children. Raised by a single mother, Marsden realized early in life the importance of women’s economic independence. While teaching from 1903 until 1908 Marsden was active in social and political groups for women and committed her time and energy to the suffrage movement. She founded The Freewoman in 1911 as a suffragist publication, but changed the name to The Egoist three years later as she began to focus on the importance of the individual. She edited the magazine until June 1914 and thereafter continued to contribute to the magazine. Later in life, Marsden became mentally and physically sick, and was eventually diagnosed with psychotic depression.

Harriet Shaw Weaver (Sept. 1, 1876 – Oct. 14, 1961)
Editor: Jul. 1914 – Dec. 1914

Unlike Dora Marsden, Harriet Shaw Weaver was born into a wealthy, pious family. Even though she did not adopt their evangelical principles, she appreciated and modeled their “idealism and austerity” and grew up dedicating her time to social work. She began donating money to The Freewoman in 1912, and when she became editor, wrote several reviews and opening articles. Weaver became an avid supporter of James Joyce’s work and even started a press when no one else agreed to publish his work as a book. After her work with The Egoist Weaver joined the Labour Party in 1931 and then the Communist Party in 1938. She can be remembered for “her gentle and modest personality and her avant-garde convictions,” and her passionate endorsements of James Joyce (Oxford DNB, 794).

Richard Aldington
“Hands”
“Soldier’s Song”

H. D.
“Hermes of the Ways”
“Sitalkas”
“Pygmalion”

T. S. Eliot
“In Memory of Henry James”
“Reflections on Contemporary Poetry”

John Gould Fletcher
“The Orange Symphony”

F. S. Flint
“The History of Imagism”
“Soldiers”

Robert Frost
“The Housekeeper”

Helen Hoyt
“The Bullet Speaks to the Poet”
“In the Park”

James Joyce
A Portrait of the Artist as a Young Man (serial)
Ulysses (serial)

D. H. Lawrence
“Autumn Rain”
“A Winter’s Tale”
“Early Spring”
“Honeymoon”

Wyndham Lewis
Tarr
“The Cubist Room”

Amy Lowell
“Midday and Afternoon”
“Night and Sleep”

Dora Marsden
“Why We Are Moral”
“I Am”
“Truth & Reality”

Marianne Moore
“To William Butler Yeats on Tagore”
“Black Earth”

Ezra Pound
“Dialogues of Fontenelle”

May Sinclair
“After the Retreat”

Allen Upward
“Sayings of K’ung”
“Chinese Lanterns”

William Carlos Williams
“March”
“Chicago”
“Peace”
“Woman Walking”

Bornstein, George. Material Modernism: The Politics of the Page. New York: Cambridge UP, 2001.

The Egoist. 1914 – 1919. Millwood, NY: Kraus Reprint, 1967.

Gaston, Paul L. “The Egoist.” British Literary Magazines: The Modern Age, 1914-1984. Ed. Alvin Sullivan. Westport, CT: Greenwood Press, 1986.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

Matthew, H. C. G. and Brian Harrison, eds. Oxford Dictionary of National Biography. Vols. 36 and 57. Oxford: Oxford UP, 2004.

Marek, Jayne. Women Editing Modernism. Lexington: The University Press of Kentucky, 1995.

Rainey, Lawrence. Institutions of Modernism: Literary Elites and the Public Culture. “The Price of Modernism: Publishing The Waste Land.” New Haven: Yale UP, 1998.

Thacker, Andrew. “Dora Marsden and The Egoist: ‘Our War Is With Words.’” English Literature in Transition. 1993, 36:2, 179-96.

Wilhelm, James J. Ezra Pound in London and Paris, 1908-1925. University Park, Pennsylvania: Pennsylvania State UP, 1990.

“The Egoist” compiled by Emily Smith (Class of ’06, Davidson College)

Title:
The Dome: A Quarterly Containing examples of All the Arts

Date of Publication: 
1897 – 1900

Place(s) of Publication: 
London, England

Frequency of Publication: 
Quarterly

Circulation: 
Unknown

Publisher: 
The Unicorn Press

Physical Description: 
Each edition of The Dome has four sections to it (five if the advertisements are included). These sections include: “Architecture and Sculpture,” “Literature,” “Drawing, Painting, and Engraving,” and “Music.” Each section had illustrations to accompany the text. Within the musical section, many times actual sheet music would appear to accompany the song lyrics. The advertisements follow the publication and usually take up the last fifteen to twenty pages of the magazine.

Price: 
1 shilling per issue

Editor(s): 
Earnest J. Oldmeadow

Associate Editor(s): 
None

Libraries with Complete Original Issues: 
Wake Forest ZSR Library (no. 1-5, v. 1-7), University of North Carolina at Chapel Hill (no. 1-5, v. 1,6,7), Duke University (no. 1-5), University of Kentucky (no. 1-5, v. 1-7)

Reprint Editions: 
PDFs available online at the Modernist Journals Project and the Modernist Magazines Project.

The Dome: A Quarterly Containing Examples of all the Arts was first published by the Unicorn Press in 1897 as a quarterly publication. After five issues of being a quarterly magazine it became a monthly publication. The first five issues were published with a higher quality paper, which made these first issues more book-like. In the first issues the magazine was divided into subcategories: architecture, literature, drawing painting and engraving, and music. The third issue published the warning, “Advertisers are respectfully requested to note that only announcements of literary or artistic interest can be inserted in The Dome.” The first five issues were published dark brown or tan in color and in an underwhelming and plain fashion without any decorations on the outside cover, while the later monthly issues were published in a more navy color, while also losing the stiffer more card board like paper cover. After the monthly editions began, other changes followed to the magazine as well besides just the cover color. The later issues lost the typified categorization like ‘music’ and ‘literature,’ and broadened into a more open format. The more frequent publications also led to an American edition. The Dome published a wide array of material, varying from poems by Yeats to essays on Tchaikovsky.

Although The Dome lacks an official manifesto, it does offer one of sorts, even if it is an ironic one. In the first issue of The Dome editor Earnest J. Oldmeadow writes in a section entitled “Reviews and Notices” a mock review of the little magazine itself. He starts the review by saying,

“As there are already quite twice as many magazines in existence as there ought to be, we are a little sorry that the Editor of this latest addition to their numbers has not condescended to spare half-a-dozen pages for an account of his Aims. He probably imagines that the very unwieldy sub-title tells the public quite enough; and indeed, in one sense it tells them too much.”

Earnest J. Oldmeadow (1867 – 1949)
Editor

Earnest J. Oldmeadow was born in Chester, England in 1867 and died in a London hospital in 1949. During his earlier life Oldmeadow was a non-conformist minister. After becoming the editor of The Dome, however, his religious views began to change and he converted to Catholicism at the age of thirty-three. He had an  interest in music, which readily displayed itself in the pages of The Dome, and from 1900 t0 1904 Oldmeadow was the music critic for The Outlook. Oldmeadow wrote columns for the The Dome under two different pseudonyms, J.E. Woodmeald (an anagram) and L.A. Corbeille. Woodmeald contributed plays to the magazines while Corbeille contributed essays on music or literature. The Dome was largely Oldmeadow’s endeavor: he supported and financed it himself, although it is thought that he must have certainly had some backing by Alice Meynell. Oldmeadow gathered contributions from authors like Symons and Yeats based on his relationships to them and his connections within a literary circle contributed to by Alice Meynell and others.

Jane Austen
Review of her “Emma”

William Blake
“Two Illustrations of Imitation of Eclogue I”

Hiroshige 
“A Landscape.” A color-print
“A View of Temples”
“A View of Tokaido.” A color-print

Alice Meynell
“Cradle Song”
“Love Alone Will Stay”

Arthur Symons
“An Autumn City”
“Ballet, Pantomime, and Poetic Drama”
“Bayreuth: Notes on Wagner”
“From La Vida es Sueño”
“The Lover of the Queen of Sheba”
“Prologue-Before the Theater”
“Spain: To Josefa”

W.B. Yeats
“Aodh Pleads with the Elemental Powers”
“Aodh to Dectora”
“The Desire of Man and of Woman”
“Dust Hath Closed Helen’s Eye”
“The Irish Literary Theatre, 1900”
“The Philosophy of Shelley’s Poetry”
“The Song of Mongan”
“A Symbolic Artist and the Coming of Symbolic Art”
“Symbolism in Modern Poetry”

Jackson, Jeffrey B., and Dana L. Jemison. The Dome: Complete Index, 1897-1900. San Francisco, CA: Quat’z’Arts, 2007. Print.

Images. Modernist Journals Project. Brown University & The University of Tulsa, n.d. Web. 21 Sept. 2012.

Images. Modernist Magazines Project. De Montfort University & University of Sussex. Web. 18 Jul 2016.

Sullivan, Alvin. British Literary Magazines. The Victorian and Edwardian Age, 1837-1913. London, England: Greenwood, 1984. Print.

West, Paul. “The Dome. An Aesthetic Periodical of the 1890’s.” Book Collector VI.6 (1957): 160-69. Print.

“The Dome” compiled by Clinton Mann (Class of ’13, Davidson College)