There RR lent out estate cottages to avant-garde writers younger than herself, such as Martin Amis , Julian Barnes , and Jeanette Winterson , to provide them with a place to write.

KR 's poetry, which focusses on archetypal forms of being, is influenced by Swedenborg and the Neo-Platonists. She was also fascinated by the avant-garde movements of her era: Bloomsbury Humanism, Freud ianism, Wittgenstein 's and Russell 's Positivism, Behaviourism, Marx ism, Imagism and Le Corbusier 's Functionalism. KR , however, felt torn between her own beliefs and feelings and those promoted by these movements, and her work always expresses a woman's plight: sorrow, loss, and defeat, inviting comparison with other English women poets such as Edith Sitwell and Anne Ridler . She speaks of her work as recognising the eternal, in and through the temporal.

Andrew Gallix opened his review with a summary of AQ 's critical reception during her lifetime as one of experimentalism (and her gender) rejected: Reduced to an anomalous footnote in British literary history—a female, working-class, avant-garde author. The publishers of this volume quoted accolades for AQ 's work in general: Lee Rourke calling her one of our greatest ever novelists . . . . a new British working-class voice that had not been heard before: it was artistic, modern, and—dare I say it—ultimately European and Deborah Levy saying she understood she was on to something new and she took herself seriously, in the right way; she had a serious sense of her literary purpose.

As well as his close acquaintance with members of the French avant-garde, AG was a friend of the British writers Oscar Wilde and Dorothy Bussy .

During this period she added film to stage performance in it droppeth as the gentle rain, a surrealist work by Albie Thoms (who was later an avant-garde film-maker of some fame). Designed to be shown as part of a festival of the absurd along with various well-known plays, the film was banned at the last moment for using bad language, but Greer forwarded her theatrical reputation by appearing in more than one of the plays (and painting scenery). Later she undertook the name role in Brecht 's Mother Courage.

NH , deadly serious and determined to get on (whereas most of the girls there were marking time until marriage), studied under an old Scotsman who painted curious pictures of Highlanders and romantic scenes at dawn [which] did not seem to me to mean much, and took a life class with Arthur Cope (who was later knighted). She learned anatomy from a skeleton belonging to a medical student she was in love with. She won a silver medal at Pelham for landscapes, but also first became conscious of her distaste for Classical and Romantic aesthetics, and the appeal of more avant-garde techniques. Camille Mauclair's book on the French impressionists was a revelation to her. Her suspicion that the RA was not the right fit for her was confirmed at an evening sketching class at the London School of Art in Earl'sCourt (later the Royal College of Art), where the students drew from clothed models, workpeople and character models. This window on the real world, which had been witheld from her at Pelham, convinced NH that she was far more interested in painting life around her than the carefully composed, idealized version of it beloved by the Academy. She subsequently decided against the free teaching at the Royal Academy and instead persuaded her reluctant grandmother to fund, for a while, her education at the London School of Art.

Mirrlees had published an avant-garde poem (with the Hogarth Press in 1919) about Paris, where the two women now first lived at the Hotel de Londres and then the American University Women's Club.

During 1927-33 HD contributed to the avant-garde, influential film magazine Close Up: Devoted to the Art of Films, which Bryher funded and of which Kenneth Macpherson was the official editor. It had a temperate beige color and a refreshingly noncommercial makeup, which conspired to deflect attention from its iconoclasm. Contributors in the second number included the founding trio, as well as Gertrude Stein , Dorothy Richardson , and (with photographs) Man Ray .

VH purchased from her mother the lease of South Lodge, their home since 1896 and a gathering place of both established and avant-garde artists in London.

Briefly back in London in 1944, she returned to the stage as the mother of a troupe of performing acrobats in a stage adaptation of Margery Sharp 's novel The Nutmeg Tree. In 1951 she lectured on the history of the theatre (pouring scorn on Ibsen as new-fangled). She was later persuaded by Harold Lang to star in a surrealistic radio play, The Quest for Corbett, on which he collaborated with Kenneth Tynan . She took this part although her first reaction had been that she didn't understand a bloody word of this avant-garde tripe, and even though the protagonist, an outsize, celebrity woman writer, was modelled on herself. The play was printed in 1960.

This collection feels like a transitional work, between Levy's avant-garde theatre and her later prose fiction. A Little Treatise on Sex and Politics in the 1980s uses various contrasting type-faces and combines prose with verse, lists, dramatic dialogue. The Feminist Companion called the title story a witty and unnerving fable about the nuclear family and nuclear society.

WL was an avant-garde painter and writer. His paintings were shown in the second Post-Impressionist exhibit, held in London in 1912, and for a time he worked with Roger Fry and the Omega Workshops . (They quarrelled and Lewis left on bad terms, however.) With Ezra Pound and others, Lewis launched the Vorticist movement, an English variant on Italian Futurism that thrived between 1912 and 1915.

PL 's aunt Rachel Reckitt was (like her mother, Penelope's grandmother) a woman of strong social conscience. She worked as a volunteer during the Second World War in East London, finding billets for evacuees and working with bombed-out families. This experience made her a life-long socialist. She was also an avant-garde artist: a wood-engraver, painter, and sculptor in metal, creator of unique pub signs as well as sculpture for churches.

There she gained entrance to the circle of expatriate and avant-garde writers and artists who gathered at the apartment of Walter Arensberg . Chief among these was Marcel Duchamp .

It is set in a strange community composed of the residents of an experimental 1930s building called the Nautilus, once avant-garde and now passée. Several of the inhabitants follow or once followed artistic pursuits (including the surviving female partner from the architect couple who idealistically designed the building), but they also include a scrap merchant.

MMmade her modernist debut in New York in November 1915, meeting all the avant-garde. Her friendship with Ezra Pound began by letter in 1918. She had already written a poem titled with his name in March 1915, some months after the first issue of Wyndham Lewis 's magazine Blast; this poem concludes: Bless Blast. She and Pound continued their friendship through the medium of letters. It was twenty years before they met, and they met seldom, yet Pound, by then largely mute, read at a memorial service for Moore when she died.

The last issue of the avant-garde Bruno's Weekly, edited by Guido Bruno , was published in New York.