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Wyndham Lewis.
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In his long life Wyndham Lewis produced a remarkable quantity and variety of artistic work. He began his career as a painter and became one of the greatest English artists of the century, known for hi...
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In the following excerpt from an early review, Taylor finds the "noise and fury" of Lewis's satire in The Wild Body distasteful
In The Wild Body Mr. Wyndham Lewis finds matter for...
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In the following afterword to a collection of Lewis's stories, Lafourcade, following Lewis's own example, catalogues the six basic "Attributes " of the Wild Body stories, w...
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In the following excerpt, Anspaugh argues that the protagonist of Lewis's story "The Doppelgänger" can be seen to represent Lewis's friend Ezra Pound, while the ...
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In the following review of The Wild Body, originally published in the New York Post in 1928, Aiken admires what he considers Lewis 's first-rate narration in his psychological short stories, bu...
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In the following essay, the foreword to his volume of stories Rotting Hill, Lewis characterizes his work in the collection as showcasing the "universal wreckage and decay"prevalent in po...
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In the following essay, Wagner argues that the collection of stories The Wild Body embodies Lewis's theory and practice of satire, explaining that his political thinking and comic sense have th...
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In the following excerpt, Kenner contends that the protagonist of Lewis's short story "Cantelman 's Spring-Mate " is a fusion of two characters, Tarr and Kreisler, from his...
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In the following excerpt from a book-length study of Lewis's life and work, Pritchard considers Lewis's collection of stories Rotting Hill an artistic failure, noting that the collection...
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In the following essay, Materer discusses Lewis's comic theory and sense of irony in The Wild Body, arguing that the narrator of the sequence of stories, Ker-Orr, like Lewis, views the world fr...
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In the following introduction to a collection of Lewis's short fiction, Fox and Chapman provide an overview of Lewis's work in the genre and touch on some major elements that mark his sh...
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In the following essay, Chapman examines the development of Lewis's style and themes in his early stories and their later revision in The Wild Body, pointing out that Lewis's early socio...
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In the following essay, Russell examines elements of tragedy in Lewis's novel, Revenge for Love.
One of the easiest things to forget about the two heroes and the heroine of Wyndham Lewis'...
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In the following excerpt, Anspaugh examines Lewis's critical reaction to the writings of Virgina Woolf and James Joyce.
It has been with considerable shaking in my shoes … that I have ta...
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In the following excerpt, Stockton traces Lewis's political and philosophical development.
Wyndham Lewis is best known for what he termed his “enemy” rhetoric—a discourse t...
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In the following excerpt, Edwards declares Lewis more successful as a visual artist, and explores Lewis's short story “The Death of the Ankou.”
The least manageable of modernist w...
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In the following excerpt, Quema identifies Lewis as an unfairly neglected master of modernist literature.
Metaphors of gigantic, totemic statues buried in dust, preserved in their primitive state, and...
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In the following essay, Tuma discusses Vorticist tenets as evidenced by the material Lewis wrote or accepted for the journal Blast.
Several critics and literary historians have noted Wyndham Lewis...
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In the following essay, Campbell identifies key philosophical influences on Lewis's critical theories, fiction, and nonfiction, including Oswald Spengler, Albert Einstein, and Julien Benda.
The...
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In the following excerpt, Klein places Lewis within the early twentieth-century's avant-garde, and declares Lewis's play, The Enemy of the Stars, an important example of Vorticist art.
W...
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In the following excerpt, Schenker declares that Lewis's politics and morality prevent him from receiving acknowledgement as a major cultural figure.
In a few lines of verse from his satiric se...
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In the following excerpt, Cassidy presents biographical details of Lewis's childhood to explain his later inability to focus his art.
Everyone seems to have heard of Wyndham Lewis (1882-1957), ...
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In the following excerpt, Hewitt responds to Fredric Jameson's conclusions in Fables of Aggression: Wyndham Lewis as Fascist, and explores Lewis's attitudes toward nazis and homosexuals....
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In the following excerpt, Sherry examines Lewis's visual art as well as his body of written work to support his claim that Lewis failed to present a philosophically cohesive, unified body of wo...
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In the following excerpt, Lowenstein presents a detailed analysis of Lewis's body of work to identify Lewis as a misogynist, nazi, and homophobe.
Introduction: Why Study Wyndham Lewis
One could...
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