In the following excerpt, Lowenstein presents a detailed analysis of Lewis's body of work to identify Lewis as a misogynist, nazi, and homophobe.

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 work.

In the following excerpt, Stockton traces Lewis's political and philosophical development.

In the following excerpt, Quema identifies Lewis as an unfairly neglected master of modernist literature.

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.

In the following excerpt, Edwards declares Lewis more successful as a visual artist, and explores Lewis's short story “The Death of the Ankou.”

In the following excerpt, Schenker declares that Lewis's politics and morality prevent him from receiving acknowledgement as a major cultural figure.

In the following excerpt, Cassidy presents biographical details of Lewis's childhood to explain his later inability to focus his art.

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-psychological concerns were later abandoned for a greater interest in more abstract philosophical ideas.

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.

In the following essay, Tuma discusses Vorticist tenets as evidenced by the material Lewis wrote or accepted for the journal Blast.

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.

In the following excerpt, Anspaugh examines Lewis's critical reaction to the writings of Virgina Woolf and James Joyce.

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 their roots in the conflict between the savage body and the cultivated intellect, and further that satire is at the heart of Lewis 's realism.

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, which are "a real presence," "fascination," "comedy, " "tragedy, " "The grotesque, " and "The absurd. "

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 from a detached but not disinterested perspective and sees comedy as springing from the discrepancies between human beings' physical bodies and intellectual aspirations.

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 short stories, including their peculiar sense of dark comedy; rootedness in the politics and culture of the day; unsympathetic portrayal of women; interest in violence; and recurrence of the figure of the Impostor.

In the following essay, Russell examines elements of tragedy in Lewis's novel, Revenge for Love.

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 novel Tarr, and embodies Lewis's interest in the interrelated conflicts between mind and body, logic and emotion, intellect and animal nature.

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 politics and social life in post-World War II, socialist Britain.

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 's lack of vitality and imagination mirrors the grey austereness of socialist Britain that was the target of Lewis's reproach in the stories.

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 "Stranger" who in the tale proves to be the protagonist's alter ego and superior as a poet, scholar, and man, is a symbol for Lewis himself

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, but finds that the writer's self-conscious theorizing mars his otherwise brilliant work.

In the following excerpt from an early review, Taylor finds the "noise and fury" of Lewis's satire in The Wild Body distasteful