She worked with Sollers on Tel Quel (an avant-garde little magazine which became notorious for its support for Maoism), whose editorial board she joined in 1971. In New York, in 1976, she became a Permanent Visiting Professor in the French Department at Columbia University . The autumn 1977 issue of Tel Quel was devoted to New York. Later academic appointments have included one as visiting professor at the University of Toronto in 1992.

One year after the death of her lover Henry Peter Higginson , Chavelita Dunne (later GE ) fell in love with the avant-garde realist author Knut Hamsun (whose real name was Knut Pedersen ).

Writer, critic, and caricaturist Sir Max Beerbohm was IT 's half-uncle, the youngest son from Sir Herbert Beerbohm Tree's father's second marriage. Best remembered for his drawings and caricatures of the famous, Beerbohm also wrote one novel (Zuleika Dobson, 1911), a collection of seventeen parodies of contemporary authors (A Christmas Garland, 1912), a collection of short stories (Seven Men, 1919), and numerous essays, many of which he broadcasted for the BBC . In A Christmas Garland, he parodies authors such as Henry James , Rudyard Kipling , H. G. Wells , Thomas Hardy , Arnold Bennett , John Galsworthy , Frank Harris , George Bernard Shaw , and George Moore , among others. For each, he writes a story presumably by that author (whose name he fills in with asterixes, such as R*d**rd K*pl*ng), but the story is really a parody of that author's themes and style.He contributed caricatures to the avant-garde journal The Yellow Book, and from 1898 to 1910 he was a drama critic for the Saturday Review. His work is known for its satirical qualities and for expressing a certain nostalgia for the past. He was a close friend of Oscar Wilde , and attended the second trial in 1895, at which Wilde was accused of indecency and sodomy.Beerbohm often visited the Trees' family home, Walpole House, and when IT lived in Italy, as he did, she visited him frequently. In 1920 he edited a volume of memoirs entitled Herbert Beerbohm Tree: Some Memories of Him and of His Art, to which IT contributed.

The Hogarth Press published HM 's avant-garde poem Paris, in an edition of 175 copies, as one of its earliest publications.

Writing in The Listener on 3 June 1971 of Jane Arden 's avant-garde feminist play A New Communion for Freaks, Prophets and Witches (and a panel discussion of it), she poured scorn on extremist women. Writing of Nancy Friday 's pop psychology book My Secret Garden in October 1975 she poured scorn on women's sexual fantasies.

The sisters were in general popular in Oxford society, but Rhoda, although at first she dined regularly at the table of scholar Benjamin Jowett ,, was then ostracized in some circles because of her risqué fiction and satire on Oxford society. Jowett stopped inviting her, and Lewis Carroll snubbed her outright, saying he could not bring himself to meet Miss Rhoda Broughton, of whose novels I greatly disapprove. An anti-Broughton camp was established by Eleanor Elizabeth Smith , a governor of the Radcliffe Infirmary —who maintained an unshakeable misapprehension that the new arrival was in fact Mary Elizabeth Braddon . RB understandably resented this hostility, and became quite sensitive to what she termed the cold incivility of Oxford society. She herself, however, was a warm friend to literary undergraduates, as several of them recalled in the Times a hundred years after her birth. Her appearance with W. L. Courtney at a meeting of the Oxford Robert Browning Society (then something of an avant-garde organization) caused some excitement.

In July 1927 Bryher and Macpherson founded Close Up magazine, dedicated to avant-garde film theories and practices. Both as editor and contributor, Bryher used Close Up as a forum to develop and share her ideas on the links between psychological, political, and cinematic expression, as well as the impact of film technology on modern education. The magazine also functioned as a forum for leading European and American directors, photographers, and writers. Inspired by the intellectual dialogue which they were printing, Bryher, MacPherson, and H. D. (along with others) began to experiment with film-making at this time.

Critic Stephanie Forward has pointed out that at this date the colour yellow signified avant-garde and slightly dangerous fashion, as had been recognised in such literary works as Mona Caird 's The Yellow Drawing-Room and Charlotte Perkins Gilman 's The Yellow Wallpaper (both written in 1890, though they took a year or two to reach print) and The Yellow Book, launched in April this year, 1894.

As well as a writer, EDA was an editor, assistant to Henry Harland on the avant-garde Yellow Book, published by John Lane of the Bodley Head . Sources agree on this, though she herself downplayed her role: I was around a good bit . . . and I helped as I could. But I never was really an editor. Harland was the new magazine's literary editor; the artistic editor was Aubrey Beardsley . Beardsley, however, was dismissed from this position in May 1895, a year into the journal's lifetime and a month after Oscar Wilde 's arrest, apparently because a wrongly perceived connection with Wilde made hostile crowds attack the building. Some scholars say D'Arcy summoned Harland, who was away, to decide on Beardsley's dismissal. Benjamin Franklin Fisher claims, citing a letter now in the Clark Library , USA, that she was responsible for the dismissal in Harland's absence (though this was apparently not what she told Katherine Mix ). The ODNB entry on Beardsley does not mention her.

To earn a living for himself and his wife, Eliot became a schoolteacher, a prolific reviewer, an extension lecturer for London University , and the literary editor of the avant-garde magazine The Egoist.

EF was editor of the first number of Prospect, a literary magazine published this winter at Cambridge University . She used her editorship (continued until the fifth issue) to introduce an American avant-garde influenced by Ezra Pound , including Charles Olson and Denise Levertov .

Recent criticism, however, has valued this volume highly. Ana I. Parejo Vadillo argues that its achievement is not only that the subject, the observer, is given sexual agency, but that the object is given agency too, and, thus, powerful images of women such as Venus refuse the gaze of the avid and always consuming subject. She sees the authors as putting forward a theory of visuality that values the autonomy of the object, foreseeing the avant-garde revolution of the object.Jill Ehnenn points to the new possibilities forged by the collection's queer and feminist aesthetic, involving women's agency against traditional readings of the paintings. The poems, she writes, create speaking-spaces for female characters and artists' models—spaces to be perceived by women readers and spectators. Sight and Song thus rewrites the histories of the figures depicted, criticizes the history of art criticism, and conveys new authority upon the possibilities of a female gaze.

View reference

Ehnenn, Jill. “Looking Strategically: Feminist and Queer Aesthetics in Michael Fields Sight and SongVictorian Poetry, Vol.

42

, No. 3, 2004, pp. 213-59.

217

(Vanessa launched a parallel meeting for artists on Fridays: the Friday Club .) VW wrote that the Thursday evenings were the germ of all that has since come to be called—in newspapers, in novels, in Germany, in France—even, I daresay, in Turkey and Timbuktu—by the name of Bloomsbury.Hermione Lee writes that the three words the Bloomsbury grouphave been so much used as to have become almost unusable—and, to some, almost unbearable.

HMW . it seems, had a life partner: English businessman and fellow radical John Hurford Stone , whom she met when she first visited Paris. He was married, but his wife had taken lovers, and the relationship between him and Williams was considered appropriate in avant-garde Revolutionary culture. However, it was considered scandalous back in England, shocking her friends including Hester Lynch Piozzi . Stone's wife divorced him in 1794. At that time—although he and Williams never married, and some scholars believe they were simply close friends—most people came to accept that they had a liaison, and Stone lived with Williams for almost twenty-five years as an accepted member of her family.

Henry Miller and Alfred Perles published three poems by AW , including Epitaph, in their avant-garde magazine The Booster.

During her marriage she and Edgar entertained the literary and avant-garde world: she later regaled her grand-daughter with irreverent stories of Joseph Conrad , Jean Rhys (Such a louche young woman),Ford Madox Ford , Violet Hunt (She saw herself as very grand and artistic),Henri Gaudier Brzeska , Wyndham Lewis , George Bernard Shaw , Ezra Pound , and E. Nesbit . Of H. G. Wells she said, All we young women . . . wanted a baby by H. G. . . . And of course poor dear Rebecca [West] went and did it.

The young EW , having recently been suicidally depressed, completed his deeply pleasurable work on The Balance, his first serious piece of fiction, a long, avant-garde story (clearly autobiographical, published 1926).

The writer, critic, and caricaturist Sir Max Beerbohm was VT 's uncle. A son of her grandfather's second marriage, he retained the original surname. Best remembered for his drawings and caricatures of the famous, Beerbohm also wrote one novel (Zuleika Dobson, 1911), a collection of seventeen parodies of contemporary authors (A Christmas Garland, 1912), a collection of short stories (Seven Men, 1919), various other short stories have been frequently dramatized, such as his parody of Oscar Wilde, and numerous essays, many of which he broadcast for the BBC . In A Christmas Garland, he parodies authors such as Henry James, Rudyard Kipling, H. G. Wells, Thomas Hardy, Arnold Bennett, John Galsworthy, Frank Harris, George Bernard Shaw, and George Moore, among others, writing a story in the manner of each and giving their names with asterixes, as for example R*d**rd K*pl*ng. He contributed caricatures to the avant-garde The Yellow Book, and from 1898 to 1910 he was a drama critic for the Saturday Review.VT contributed a memoir to Max Beerbohm's volume Herbert Beerbohm Tree: Some Memories of Him and of His Art, 1920. In her own autobiography, Castles in the Air, VT described her uncle as one with whom I had always and shall have the greatest fun—but the carefulness and beauty of his work fill me with awe—and he makes me feel common clay.

The character Ida twins herself in the beginning of the novel: as Ida came, with her came her twin, so there she was Ida-Ida.The story progresses with Ida moving and losing her family, and in the end losing her twin because [i]f you make her you can kill her.Ida is an example of GS 's writing at its most difficult. One of the last texts published during her lifetime, it displays the extreme forms of her avant-garde experiments with language and narrative instability.

She later recounted the ructions that cost her her Poetry Society job. She set out to raise the quality of the Poetry Review, to cease railing against the moderns, to render an amateur enterprise professional, to pay contributors instead of allowing them sometimes to pay to be published. From the outset, poet John Heath-Stubbs thought her too avant-garde for them. Her programme of reform made her many impassioned enemies, including Marie Stopes and the poet William Kean Seymour (husband of novelist Rosalind Wade ), each of whom responded to literary argument with personal attack. In no other job have I ever had to deal with such utterly abnormal people. Yes, it is true, poetry does something to them. Though the membership voted against an enquiry into her handling of the society's affairs, the resignation of a group of the more conservative members proved unforgiveable by others. In the end she chose to be dismissed rather than resign, for sake of three months' pay. A plan by Spark and her supporters to set up a rival poetry society came to nothing.

Back in London they saw at the Little Theatre run by dancing teacher Margaret Morristhe drama of our dreams: voice and movement and picture accurately synthesized. They then founded the radical, avant-garde Greenleaf Theatre as a universal travelling theatre which aimed to make of drama a synthesis of the other arts, by emphasising minstrelsy, rhythm and gesture in emulation of the medieval troubadours and of ancient techniques for managing a continuous, kinetic visual spectacle, such as friezes and frescoes. CS wrote, directed, and documented the performances while her husband designed.

Field had concealed his prison record and impressed Osbert Sitwell with his avant-garde literary connections. His transactions with Lady Ida had involved her for about three years in court cases and in debts which her husband had covered, but at last he took a moral stance and refused to pay any more. Lady Ida let it be said in court that she had been seeking to discharge the debts of her son Osbert. Edith (who wrote that Osbert had paid his own debts of less than ten pounds) held this against her mother most of all.

LR , an American who spent crucial years of her astonishingly productive life in England and Europe, was an important modernist poet, critic, and theorist, who regarded her poetry as a tool in the search for truth. One of the remarkable features in her career was her capacity to inspire and energise other writers to contribute to her large-scale collaborative projects: a kind of encyclopaedia, a periodical, an unusual dictionary. Generally oppositional, unconcerned about being out of step with most avant-garde opinion, she maintained her own viewpoint tenaciously as the only correct one, and claimed to have influenced and been borrowed from by many of the most distinguished names of her generation. She refused to let her work appear in all-women contexts. When she lost confidence in poetry as a vehicle for the truth (moving instead towards aspects of the study of language), she almost entirely gave up writing it, and allowed reprinting of her own earlier work only with prefatory material to explain her new and different position.