Exiles in Print

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Acknowledgements

Our book project on expatriate little magazines published in Europe was sparked in California some years ago, and has since then taken us on transatlantic journeys and other border crossings, visiting large and sometimes overwhelming archives and libraries, as well as quieter venues. In this way, the project has practiced both travel, tourism and, not least, the crossing of borders of academic disciplines, hence in several ways taking on the legacy of the expatriate magazine projects.

We are indebted to many, but especially want to point out Ulla Haselstein for inspiring an interest in modernist little magazines at a modernist seminar at UC-Irvine. We also want to thank friends and colleagues at the University of Gothenburg for help and support, and especially the late Professor Gunilla Florby for her encouragement and interest in the project. We have had the opportunity to present parts of our study at conferences and want to acknowledge these audiences for their interest in our project, not least the conference participants at the 2014 ESPrit-conference.

We also wish to acknowledge the funding of this study by the Swedish Research Council and the Birgit and Gad Rausing Foundation, making this project at all possible. We are also grateful for financial support for carrying out research at archives and libraries abroad from the Knut and Alice Wallenberg Foundation, the Ax:son Johnson Foundation, and the Magn. Bergvall Foundation.

Harry Ransom Research Center, University of Texas and Special Collections and the Special Collections of the University Library at the University of Wisconsin-Madison have been vital for the project through their generous help. Our study has also benefited from archival research at the Bibliothèque Nationale de France, Bibliothèque Kandinsky, Bibliothèque littéraire Jacques Doucet, and the Cambridge University Library.

This book is dedicated to Celia’s children Louise and Staffan Rydsjö and to the memory of AnnKatrin’s beloved and intensely missed sister Britt-Marie Carlsson (1955-2013).

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List of Illustrations

Cover: Advertisement page, Transatlantic Review 1, no. 2 (February 1924): ii. In private possession of authors

1.1 Advertisement, This Quarter 1, no. 4 (Spring 1929): n.pag.

In private possession of authors

1.2 Advertisement pages, Gargoyle 1, no. 1 (July 1921): n.pag.

Courtesy of Harry Ransom Humanities Research Center, University of Texas, Austin.

1.3 Cover, Caravel, no. 3 (Summer 1935)

In private possession of authors

1.4 Cover, Echanges, no. 5 (December 1931)

Courtesy of Harry Ransom Humanities Research Center, University of Texas, Austin.

1.5 Cover, New Review 1, no. 2 (May-June-July 1931)

In private possession of authors

1.6 Advertisement, Broom 4, no. 1 (December 1922): n.pag.

Courtesy of Harry Ransom Humanities Research Center, University of Texas, Austin.

1.7 “The editors, E.W. and E.M. at Chillon, 1925,” photograph, This Quarter 1, no. 4 (Spring 1925): n.pag.

In private possession of authors

1.8 “Observation (Drawing),” Gargoyle 1, no. 3 (September 1921): 20.

Courtesy of Harry Ransom Humanities Research Center, University of Texas, Austin.

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Introduction

This is a study of Anglo-American little magazines edited and printed in Paris and other European locations during the 1920s and 30s. Providing a unique forum for experimental literature, criticism and discussions of politics, reading practices and culture, their generous publishing policies contributed to the process of legitimizing and canonizing modernist and avant-garde texts, and now iconic writers such as Ezra Pound, Gertrude Stein, James Joyce, and Ernest Hemingway appeared regularly in these publications. From this perspective, the expatriate little magazines were instrumental in shaping modernism as we know it.

The expatriate little magazines included in our study are: Gargoyle (1921–1922); Broom (1921–1924);² Secession (1922–1924);³ Transatlantic Review (1924); This Quarter (1925–1932); Exile (1927–1928);⁴ transition (1927–1938);⁵ Tambour (1929–1930); Echanges (1929–1931); New Review (1931–1932); Booster – later Delta (1937–1938); Trilingual Morada (1931),⁶ Close-up (1927–1933); Caravel (1934–1936); and Epilogue (1935–1938).⁷ ← 11 | 12 →