Broad argument:
\nAcademic publishing is broken, both because of austerity economics and because the industry is blind to emerging technologies and social structures that might facilitate the core mission of the creation and distribution of knowledge. The diagnosis focuses on the twin problems of the factory model of \"knowledge production\" that drives the corporate \"excellent\" university (Readings) and the blinkered insistence on UPs being mostly self-sustaining producers of products for the market. Instead, KF argues that we should promote a model of never-ending process rooted in \"conversation\" or \"discussion,\" in which the reception of works is inflected as strongly as their production. She argues, further, that UPs should abandon their role as producers of commodities and align themselves more closely with stakeholders at each individual university: libraries, IT departments, and faculty. She then surveys a wide range of new formations that are either exacerbating these problems or (more often) incrementally improving upon them. The organization of the book is nicely nested from small to large: peer review, authorship, texts, preservation, university.
\n1. Peer Review
\nChapter surveys the process of peer review and attempts to engage all of the various arguments in behalf of it: she dismisses out of hand conservative arguments that PR must be preserved simply b/c it's tradition or b/c it's the source of our (mystified) \"power and prestige\" (20). She traces the history of peer review from the 18thC to the present, arguing that PR of books was part of monarchs' control over information and retains some aspect of that censorship in the sense that \"power\" now throttles the quality and quantity of discourse that reaches the public (21-3). She also notes that modern-day peer review is only about 50 years old (23).
\nNext, experiments in evolving new means of review: arXiv's collection of scientific articles and NATURE's experiment with open review both failed in a sense, and thus call attention to the need to establish open review within tightly knit pre-existing communities. KF uses these interesting failures to ...
\nReal point is that we need to separate \"the question of credentialing from the publishing process\": her big idea is that we will be better off both subjectively (less anxiety) and objectively (more and better work) if we publish first and review second. A corollary point is that we need to shift priority to review and defetishize publication: review should be compensated and publication be reconceived as a process in which reception folds back into the process of publication. Her catchphrase for this is the :\"reputation economy,\" and here she's heavily influenced by the \"gift\" economy of art that Lewis Hyde and others have discussed. She also notes that \"peer-to-peer review\" also occasions a democratizing shift in the term \"peer\": no longer member of royal court or even professional elite but pleb, everyman (32). Using anecdote from Wardrip-Fruin's EXPRESSIVE PROCESSING, which was pre-published using CommentPress, KF suggests that P2P review contrasts interestingly with blind review: bigger sample size generates fewer irreconcilable \"outlier\" suggestions, dynamism of interface allows for conversational flow, and interaction among reviewers allows for critique of peers by peers (34). A key concept here is \"reputation,\" since a comment gains force from the reputation of the commenter in open review. Thus the impetus to learn from other modes of review, including product review, in which reviewers can be \"verified\" or gain status through the long-duration quality and quantity of their readings (35).
\nDissenting note from me: what about the tradition of being read by someone \"above\" you? Isn't this a valuable part of writing a diss or having one's mss. reviewed at an early stage in one's career? Isn't academia set up to facilitate this sort of hierarchy by way of helping upward mobility and competition for scarce attention? The willful lack of economic thinking is kind of annoying here, as if we all want to or should read everything, world without end. There's a disconcerting tendency to slip out of a critical mode altogether (especially whenever Readings is trotted out) and give a defense of ethical principles unmoored from particular political conjunctures: see 36, for example.
\nKey point: in digital commonses, quoting Cory Doctorow, \"this is a commons where the sheep shit grass\" (qtd. 37): it's an economy of abundance where giving begets more getting and vice versa. But attention remains scarce; therefore, p2p review performs a crucial \"filtering\" function. But how this filtering works, and how it would differ from \"gatekeeping\" is a bit unclear. I get the temporal dimension--publish then filter v. filter then publish--but why is the former more ethical or effective in the end? What algorithm or process of in/exclusion works to form the filter? KF speculates, based on her experiences with MediaCommons, that in the p2p system of the future a) the social dimension will govern both review and production of work and b) there will need to be \"a pay-to-play system of sorts\" (48) using a point system or other metric to reward both ends of the production/reception coin. This approach would also have the advantage of escaping the \"binary\" approach of traditional publishing: publish/reject. Instead, I suppose, there will be varying degrees of attention paid to one's work according to one's profile as a writer and a reader/commenter. In sum, \"until we come to understand peer review as part of an ongoing conversation among scholars rather than as a convenient means of determining 'value' without all that inconvenient reading and discussion--the processes of evaluation for tenure and promotion are doomed to become a monster that eats its young, trapped in an early twentieth-century model of scholarly production that simply no longer works.\" (49).
\n2. Texts
\nChapter gives a survey of two historical and theoretical strands that inform where academic publishing finds itself today: a) media theory via McLuhan et al., thinking about how media and messages are linked dialectically; and b) book history, revealing interesting links between the present and past moments in the history of writing and scholarship.
\nTo b), via Poster, KF notes the interesting ways that online writing/reading recapitulates the collaborative spirit of the age of guilds in literary production (57). So we're back to the future. Hesse helps KF go further, arguing that the \"modern literary system\" issues from postrevolutionary France, where a radical openness of publication gave way to a system grounded in the literary property of the author, \"autonomous, self-creating and self-governing, property-owning individual\" (qtd. 59). The larger point is that it's not the printing press that makes for modern print culture; it's a set of social and legal institutions articulated in and through technologies of writing/reading. So against McLuhan, the medium is not the message but, in concert with social structure, produces a certain relatively stable regime of reading. See 60.
\nKF then takes on question of authorship in screen-based writing/reading via Barthes and Foucault. She basically argues that we've not had either the liberatory situation imagined by RB nor the dystopian subjection to power of MF, since hypertext only provides a facile experience of readerly \"freedom\" and really shores up the godlike power of the author. Instead, she argues that \"our actual digital authorship practices seem instead to be caught between two regimes, bound to assumptions about the ownership and originality of texts that derive from old3r, Enlightenment-era notions of the self, while using technologies that lend themselves to the distributed, the collective, the process-oriented, the remix\" (65).
\nLong riff on the poetics of the new writing spaces follows: versioning allows for readers to experience the revision history and hence the process of a piece; linking and commenting embeds an author/text in a network in ways that move against the grain of individualistic \"literary property\" (69-76). Then a riff on the need to deal with \"remix culture\" and expand from received critical genres to various kinds of \"multimodal\" mashups (80). Then riff on the new kind of publics that might emerge from a \"gift economy\" of scholarship: via Chris Kelty, a \"recursive public\" of open-source, in which the public constantly reconstitutes itself through dialogue
\nch3: Texts
\n\n
Starting point is an integration of new media space and writing technologies with sociology of writing. So, Stallybrass's MLA presentation in 2006 forces us to reconsider the writing circuit: Authors do not write books, but sentences or texts; printers do not produce books but pages; so we need to think about the specificity of all the diffferent kinds of labor and technology needed to marry an abstract text with a material support and thus escape what he calls \"the tyranny of the book.\" Or, as Drucker puts it, we should focus on how the book \"works\" rather htan the way it \"looks.\" In fact, KFs argument is quite derivative of Drucker's essay for the 2008 DH volume, pointing out that we've not escaped the vestigial aspects of book reading in our attempts to read on screens.
\nKF reads hypertext, the darling of the 90s media theory, as a dead end, more or less, and holds out hope for a more two-way mode of reading/writing. Her main point is not that computing makes for more dynamic literary commodities but more dynamic literary networks and writing spaces. So the future is not with GUTENBERGs plain vanilla texts but editions of texts or linkages of texts with dbases in ways that allow for new forms of reading and study. So NINES/Juxta/Collex.
\n\n
109-20 deals with CommentPress: its history, its subsequent ramification into other platforms, its potential as a model for scholarly interaction.
\n--started with support from Institute for the Future of the Book: goal was to take the blog, which excels at quick, occasional writing and formally emphasizes the present, and transform it \"to enable social interaction around long-form texts\" (see \"About CommentPress\" on the Institute for the Future of the Book site).
Qtd. 109.
--KF notes that blogs, \"arguably the first successful web-native mode of electronic publishing,\" are set up in ways that \"privileges immediacy.\" So CommentPress reformats the shape of the blog to facilitate long-form reading and writing (109-10).
\n--Sketch of history of development: Wark's Gamer Theory,Michell Stephens's \"Holy of Holies\" piece, Iraq Study Group on Lapham's Quarterly via digress.it, KFs own expereince with the ms of this book (111-15).
\n--development fork when CP stopped working well with WP: digress.it in 2008, then new CP via Institute in 2009 (117).
\n--KFs basic argument, besides just giving narrative sketch and her anecdotal sense of its usefulness, is that the tech only works if it plugs into a community whose needs mesh with it: motivated, experienced, intensive readers who want to inscribe the text.
\n\n
ch4: Preservation
\nKF starts with a paradox: we think that cyberculture's vulnerability is the hardware, but the HD is actually quite durable, whereas the software (esp private and proprietary versions) is ephemeral )(123). And issues of cultural preservation thus require thinking carefully about not just content, but medium and potential future needs. Section on standards follows, showing how HTMLs development, anchored in SGML and now XML, shows how durable standards-driven development can prove with the right buy-in.
\nNOte that HTML is not a language but a DTD (document type definition) that is the child of the parent XML language defined by a set of tags that are dynamic. Or, perhaps, its a language whose construction unfolds within a \"metalanguage.\" For another example, the TEI, from the early 90s to the present, has created a compatible set of standards for presenting and preserving scholarship.
\nMetadata is crucial for scholars, since Google uses as metadata criteria such as popularity that are not especially relevant for us, and without coherent metadata helping to link documents, we will not be able to locate and use the massive heritage we are amassing online (138-9). So, basically, we need two overlapping strategies for markup: a) expert-driven ontologies and b) user-generated tagging (140).
\n\n
There's also something on DOI (the digital object identifier system): I guess it helps create a directory of digital objects (like what?) that is not dependent on location but rather a more stable name. So we should all use it when we create objects so everyone can find everything (144).
\n\n
Finally, there's backup: LOCKSS (lots of copies keeps stuff safe) and CLOCKSS (controlled LOCKSS), as well as Portico, a pay service run by JStor that libraries use. KFs point is that no preservation system is foolproof or free, and that institutions need to pony up and keep rethinking backup to ensure that our cultural heritage is preserved.
\n\n
ch5: the university
\n\n
KF takes a hard look at the structure of UP publishing: the creeping understanding that UPs must largely support themselves (average subsidy of 8%); the host/guest relationship between UPs and Us; the weird economics, whereby the \"real\" work is the loss leader/prestige driver and the \"soft\" stuff has to pay the bills; the absurd relationship between libraries and UPs, with two antagonists squaring off in the marketplace but being parts of the same \"body\" (157-9). So KF writes, \"We can't beat them, and we can't join them; what we can do is change the game entirely\" (159).
\n\n
So, in journals, we have Willinsky's PUBLIC KNOWLEDGE PROJECT, with its Open Journal System and Open Monograph Press to create cheap ways to disseminate free content; in traditional publishing, we have subventions that allow UPs to put out books that otherwise wouldn't fly in the marketplace;
\n\n
Check out digital culture books, U MI Ps initiative for free monographs on media studies.
\n\n
Big argument comes as KF shifts from diagnosis to prescription: Us should synch up UPs, libraries, and IT departments, and they should also prioritize publishing the work of their own faculty. I must admit, I get the first part of the argument but don't see how the second follows: why shouldn't the new model take all comers just like the present one does? Why should UPs be hyperlocal and, arguably, provincial as a result? KF develops this idea via Readings on \"excellence\": we have to discard the industrial model of productivity and embrace a model of \"thinking\" and \"dialogue\" that is well fitted to the kind of writing spaces KF prioritizes. KFs revision of Readings discards the high theory emphasis on \"waste\" and embraces the more palatable figure of \"growth\" (174) on the logic that the latter is more marketable to our stakeholders on boards of universities, state legislators, etc. She wants us to engage in public outreach by doing our thinking in publicly accessible channels and doing it in more accessible rhetorics as well. She also argues that UPs should shift to free delivery of content not because it's cheaper (it may or may not be) but because it's part of the \"infrastructure\" that the U exists to build and maintain (174). My note: there's a useful analogy with health care. Rather than produce commodities for a fickle and highly maniupated market, employ public servants to do valuable work on a salaried basis: thus we get cost savings and a reconceptualization of the output as \"health\" or \"thinking\" rather than \"fee for service\" or \"cultural goods.\" See 174.
\n\n
Case history of the U of CA P system reveals the recency of the current profit-centered press and the relatively recent memory of UPs that gave away content (in the form of pamphlets and articles) in a gift economy, one that existed through the e20thC. See 177.
\nThe least convincing argument--that UPs should be local--is butressed with a vision of smaller/cheaper instittuions bundling in consortiums or hitching on to bigger UPs for a fee (181-2).
\nLog for 306: Kristeva, \"Word, Dialogue, and Novel\" in the K reader, pp. 34-61.
\n\n
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\"Sensation of sensations\" -- The Spanish gaze -- The notary’s son -- Bohemian Paris -- Little cubes -- Modernist tide -- The Armory Show -- The return to order -- A Parisian in America -- Surrealist bridges -- Europe’s chessboards -- Flight of the avant-garde -- Art in revolt -- The readymade -- Picasso’s last stand -- The Duchampians -- Year of Picasso, age of Duchamp.
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\nEssay starts from contrasting images of black womanhood from two tendencies in the New Negro movement: on the one hand, a beatific \"Brown Madonna\" by Winhold Reiss from the 1925 New Negro anthology edited by Locke, and on the other, a more Magdalene-like \"Mary Madonna.\" In brief, he shows \"how The New Negro and its less pious literary successors produce a cultural dialogue out of the dueling rhetorics of consecration and desecration, of prophecy and profanation\" (541).
Long, boring reading of Du Bois/Locke's essay at the end of the NNA: basically Du Bois was already apocalyptic and messianic, and Locke doubled down. So what we get in the essay, and in the anthology as a whole, is a Christian dialectic of the unity that is both imminent and immanent: already there in some shadowy form, yet eagerly awaited in its fulfillment.
\nBut the \"niggerati\" had their own counter-theology rooted, Pinkerton argues, in the narrative of the \"rebel angels,\" apostates who propose a liberated alternative to the patriarchial order (544). A signal strategy here was to send up the \"christ\" imagery of Locke's coterie, especially vis a vis Toomer, whose halo was looking a little more tarnished as he failed to produce work and renounced his blackness (545).
\nP traces further the extremity of this pagany, reading the first couple of pieces in the FIRE!! journal: Hughes's rather impure \"fire\" in his anti-spiritual and especially Thurman's affectionate portrait of a \"chippie\" in the first story. Quick survey of other heterodoxies: the emphasis on the suffering black body via lynching (as an alternative christ); the defense of Van Vechten's decadent emphasis on black bodies in NIGGER HEAVEN.
\nEssay ends with examination of Nugent's scandalous piece from FIRE!! linking spirituals to profane same-sex desire. For Pinkerton, this linkage explores an alternative spirituality reminiscent of Bataille's in the period: a celebration of the animality and extremity of embodied ecstatic experience. Through this moment, and its broader movement, we can glimpse an element of the New Negro movement and of modernism more broadly that has been repressed by a) the \"uplift\" ethos of Locke and b) the equation of secularity and modernism in the broader tradition.
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P. B. (Helena Petrova Blavatsky) -- From The golden bough 1890-1915 / J. G. Frazer -- From The crowd: a study of the popular mind 1895 / Gustave Le Bon -- From The theory of the leisure class 1899 / Thorstein Veblen -- From The education of Henry Adams 1907 / Henry Adams -- From The interpretation of dreams 1900 / Sigmund Freud -- From 'The metropolis and mental life; 1903 / Georg Simmel -- From Woman under socialism 1904 / August Bebel -- From The souls of black folk 1903 / W. E. B. Du Bois -- From Creative evolution 1907 / Henri Bergson -- From Abstraction and empathy 1908 / Wilhelm Worringer -- From 'Ornament and crime' 1908 / Adolf Loos -- 'The good conduct medal' 1909 / Karl Kraus -- From 'Women's suffrage' 1911 / Millicent Garret Fawcett -- From The Freud journal of Lou Andreas-Salome 1912, 1913 / Lou Andreas-Salome -- From The decline of the west 1918-22 / Oswald Spengler From review of Nathaniel Hawthorne's Twice-told tales 1842 / Edgar Allan Poe --From preface to Leaves of grass 1955 / Walt Whitman -- From letter to Mlle Leroyer de Chantepie, 18 March 1857 / Gustave Flaubert -- From 'On the modern element in literature' 1857 / Matthew Arnold -- From 'The painter of modern life' 1959-60 / Charles Baudelaire -- From letter to Paul Demeny, 15 May 1871 / Arthur Rimbaud -- From Lectures on art 1870 ; From Arartra Pentelici 1872 / John Ruskin -- From conclusion to The renaissance (1873) 1893 / Walter Pater -- From preface to Miss Julie 1888 / August Stringberg -- Preface to The picture of Dorian Gray 1890 / Oscar Wilde -- 'The science of fiction' 1891 / Thomas Hardy -- From 'Crisis in poetry' 1886-95 / Stephane Mallarme -- From 'Introduction to the method of Leonardo da Vinci' 1895 / Paul Valery -- 'Prelimary address at the first performance of Ubu Roi, 10 December 1896' / Alfred Jarry -- From preface to The nigger of the 'narcissus' 1897 / Joseph Conrad -- From The symbolist movement in literature 1899 / Arthur Symons -- From 'The symbolism of poetry' 1900 / W. B. Yeats -- From 'Days of reading: I' 1905 / Marcel Proust -- From 'Henrik Ibsen: philosopher or poet' 1905 / William Archer -- From 'The art of fiction' 1894 ; From preface to The Princess Casamassima 1906 / Henry James -- From 'The actor and the Uber-marionette' 1907 / Edward Gordon Craig -- From My life 1927 / Isadora Duncan -- From The sanity of art 1908 / George Bernard Shaw From Realist manifesto 1855 / Gustave Courbet -- From 'Naturalism on the stage' 1880 / Emile Zola -- 'The post-impressionists' 1910 / Desmond MacCarthy -- From 'Romaniticism and classicism' 1911 / T. E. Hulme -- From The man-made world or our androcentric culture 1911 / Charlotte Perkins Gilman -- 'The French group' 1912 / Roger Fry -- 'The English group' 1912 / Clive Bell -- 'Light' 1912 ; 'Notes on the construction of the reality of pure painting' 1912 / Robert Delaunay -- 'The musician's day' 1913 ; 'Some notes on modern music' 1919 / Erik Satie -- From 'The cubist room ' 1914 / Wyndham Lewis -- From 'In these great times' 1914 / Karl Kraus -- From 'Zurich 1916, as it really was' 1928 / Richard Huelsenbeck -- 'Art and the war: concerning an allied exhibition' 1916 ; Programme for Parade, 18 May 1917 / Guillaume Apollinaire -- 'Marinetti the revolutionary' 1916 ; 'Theatre and cinema' 1921 / Antonio Gramsci -- From 'Art as technique' 1917 / Victor Shklovsky -- From Ten days that shook the world 1919 / John Reed -- 'A member of the audience: storming the Winter Palace' 1920 -- From The theory of the novel 1920 / Georg Lukacs -- From Literature and revolution 1923 / LeonTrotsky -- From 'Make way for the winged Eros' 1923 / Alexandra Kollontai -- From 'A Kino-eyed discussion' 1924 / Dziga Vertov -- 'Suburbs' 1923 / Luis Bunuel -- From 'The reconstruction of the theatre' 1929 / Vsevolod Meyerhold -- From 'Basic principles of sociological drama' 1929 / Erwin Piscator Futurism. 'The founding and manifesto of futurism 1909' ; 'The variety theatre; 1913 / Filippo Tommaso Marinetti -- 'Why we paint ourselves: a futurist manifesto' 1913 / Ilya Zdanevich and Mikhail Larionov -- 'Feiminist manifesto' 1914 / Mina Loy -- Cubism. From The cubist painter 1913 / Guillaume Apollinaire -- Imagism. Preface to Some imagist poets 1915 -- Expressionism. From 'The problem of form' 1912 / Wassily Kandinsky -- Dada. From 'Dada manifesto, 1918' ; 'Note on art' 1917 ; 'Note on Negro art' 1917 / Tristan Tzara -- From Merz 1921 ; From 'Consistent poetry' 1924 ; 'To all the theatres of the world' 1926 / Kurt Schwitters -- From 'Art is in danger' 1925 / George Grosz with Wieland Hezfelde -- Vorticism. From Blast 1914 -- Eccentricism. The eccentric manifesto 1922 -- Constructivism. From Constructivism 1922 / Aleksei Gan -- 'Constructivism and the proletariat' 1922 / Laszlo Moholy-Nagy -- Bauhaus. 'Manifesto of the Bauhaus, April 1919' / Walter Gropius -- From 'Economic living' 1924 / Annelise Fleischmann -- 'The new typography; 1923 / Laszlo Moholy-Nagy -- Diary extract 1927 / Oscar Schlemmer -- Manifesto issued by the Syndicate of technical workers, painters and sculptors, Mexico City, 1922 -- LEF manifesto 1923 -- Surrealism. From The first manifesto of surrealism 1924 / Andre Breton -- Transition. 'Suggestions for a new magic' 1927 ; 'Proclamation' 1929 / Eugene Jolas -- Anarchism. From The ABC of anarchism 1929 / Alexander Berkman From 'England's nest of singing birds' 1915 / (Margaret) Storm Jameson -- From 'On impressionism' 1914 / Ford Madox Ford -- From 'I am.' 1915 / Dora Marsden -- From 'Notes on sensationalism' 1916 / Fernando Pessoa -- From 'Against American literature ' 1916 / John Dos Passos -- From 'Anima hominis' 1917 / W. B. Yeats -- From preface to Tendencies in modernist poetry 1917 / Amy Lowell -- From prologue to Kora in hell 1918 / William Calos Williams -- From a review of Pilgrimage 1918 / May Sinclair -- From 'What is modern?' 1918 / Edwin Muir -- From 'The poetry of C. P. Cavafy' 1919 / E. M. Forster -- From reviews for the Athenaeum 1919 ; From letters to John Middleton Murry 1919 / Katherine Mansfield -- From Diaries 1918, 1919, 1920 / Thomas Mann -- From 'Tradition and the individual talent' 1919 ; From 'Ulysses, order, and myth' 1923 / T. S. Eliot -- From 'A retrospect' 1918 ; From preface to Remy de Gourmont's The natural philosophy of love 1926 / Ezra Pound -- From 'Notes on thought and vision' 1919 / H. D. (Hilda Doolittle) -- From 'Warsaw' 1922 / Alfred Doblin -- 'Recent German poetry' 1922 / Herman Hesse -- 'The moment: summer's night' 1927 ; From 'Mr. Bennett and Mrs. Brown' 1924 ; From 'Modern fiction' 1919 / Virginia Woolf -- Letter to Harriet Shaw Weaver, 15 August 1925 / James Joyce -- From 'The influence of Mr. James Joyce' 1921 / Richard Aldington -- From 'Ulysses: ein monolog' 1932 / Carl Jung -- From James Joyce and the making of 'Ulysses' 1934 / Frank Budgen -- Letter to A. W. McLeod, 2 June 1914 ; From letter to Edward Garnett, 5 June 1914 ; From preface to the American edition of New poems 1929 / D. H. Lawrence -- From introduction to The new Negro 1925 / Alain Locke -- From 'The Negro artist and the racial mountain' 1926 / Langston Hughes -- From 'Composition as explanation' 1926 / Gertrude Stein -- From 'English ascendancy in British literature' 1931 / Hugh MacDiarmid -- 'New poetry since 1912' 1926 / Marianne Moore -- From Modernist poetry 1926 / Robert Graves and Laura (Riding) Jackson -- From 'Echoes of the Jazz age' 1931 / F. Scott Fitzgerald -- From Being Geniuses together 1920-1930 1938 / Robert McAlmon -- 'A litter to Mr. James Joyce' 1929 / Vladimir Dixon -- From 'Dante . . . Bruno . Vico . . Joyce' 1929 ; From Proust 1931 / Samuel Beckett From 'The mass ornament' 1927 / Siegfried Kracauer -- From 'The state of contemporary social philosophy and the tasks of an institute for social research' 1931 / Max Horkheimer -- From 'The modern theatre is the epic theatre' 1930 / Bertolt Brecht -- 'Theater and cruelty' 1933 / Antonin Artaud -- From 'The dissection of the psychical personality' 1933 / Sigmund Freud -- 'Some notes on violence' 1932 ; 'Some notes on Miss L.' 1933 / Nathanael West -- From The word 'woman' 1934-35 / Laura (Riding) Jackson -- Foreword to Pilgrimage 1938 / Dorothy M. Richardson -- From A hope for poetry 1934 / Cecil Day Lewis -- From The use of poetry and the use of criticism 1933 / T. S. Eliot -- From 'Prefatio aut cimicium tumulus' 1933 / Ezra Pound -- From New bearings in English poetry 1932 / F. R. Leavis -- Review of leavis et al. 1933 ; From introduction to The poet's tongue 1935 / W. H. Auden -- From introduction to The Oxford book of modern verse 1892-1935 1936 / W. B. Yeats -- From introduction to The Faber book of modern verse 1936 / Michael Roberts -- From 'The irrational element in poetry' 1936 / Wallace Stevens -- From The strange death of liberal England 1935 / George Dangerfield -- From speech at the first all-union congress of Soviet writers 1934 / Andrei Zhdanov -- From 'What is revolutionary art?' 1935 / Herbert Read -- 'All art is propanganda' 1935 / Eric Gill -- From 'The writers take sides' 1935 / Christina Stead -- 'Note', A Scots quair 1932-34 / Lewis Grassic Gibbon -- From 'Lewis Grassic Gibbon' 1935-36 / James Barke -- 'Scotland a nation' 1935-36 -- From 'Recent problems of revolutionary literature' 1935 / William Phillips and Philip Rahv -- 'The writer as technician' 1935 / John Dos Passos -- From 'Left?' 1933-34 / John Cornford -- From 'A dialectic approach to film form' 1929 / Sergei Eisensein -- From 'Documents' 1937 / Storm Jameson -- From speech inaugurating the 'Great exhibition of German art', Munich 1937 / Adolf Hitler -- From 'Surrealism: the last snapshot of the Eruopean intelligentsia' 1929 ; From 'The work of art in the age of mechanical reproduction' 1936 / Walter Benjamin -- From letter to Walter Benjamin, 18 March 1936 ; From 'On the fetish character in music and the regression of listening' 1938 / Theodor Adorno -- From 'Realism in the balance ' 1938 / Georg Lukacs -- From The principle of hope 1938-47 / Ernst Bloch -- From 'Letter from the front line in Spain' 1938 / David Alfaro Siqueiros -- 'Manifesto: towards a free revolutionary art' 1938 / Andre Breton, Leon Trotsky and Diego Rivera -- From 'Inquiry into the spirit and language of the night' 1938 / Eugene Jolas et al. -- From 'Inside the whale' 1933 / George Orwell -- From 'The leaning tower' 1940 / Virfginia Woolf -- From 'How \"Bigger\" was born' 1940 / Richard Wright
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