Let S Murder The Moonshine

A selection of polemical writings and memoirs by the founder of the Futurist art movement.

A new look at modernism's relationship to human feeling and the public sphere

This publication offers for the first time an inter-disciplinary and comparative perspective on Futurism in a variety of countries and artistic media. 20 scholars discuss how the movement shaped the concept of a cultural avant-garde and how it influenced the development of modernist art and literature around the world.

In 1909 the poet Filippo Tommaso Marinetti published the founding manifesto of Italian Futurism, an inflammatory celebration of "the love of danger" and "the beauty of speed" that provoked readers to take aggressive action and "glorify war--the world's only hygiene." Marinetti's words unleashed an influential artistic and political movement that has since been neglected owing to its exaltation of violence and nationalism, its overt manipulation of mass media channels, and its associations with Fascism. Inventing Futurism is a major reassessment of Futurism that reintegrates it into the history of twentieth-century avant-garde artistic movements. Countering the standard view of Futurism as naïvely bellicose, Christine Poggi argues that Futurist artists and writers were far more ambivalent in their responses to the shocks of industrial modernity than Marinetti's incendiary pronouncements would suggest. She closely examines Futurist literature, art, and politics within the broader context of Italian social history, revealing a surprisingly powerful undercurrent of anxiety among the Futurists--toward the accelerated rhythms of urban life, the rising influence of the masses, changing gender roles, and the destructiveness of war. Poggi traces the movement from its explosive beginnings through its transformations under Fascism to offer completely new insights into familiar Futurist themes, such as the thrill and trauma of velocity, the psychology of urban crowds, and the fantasy of flesh fused with metal, among others. Lavishly illustrated and unparalleled in scope, Inventing Futurism demonstrates that beneath Futurism's belligerent avant-garde posturing lay complex and contradictory attitudes toward an always-deferred utopian future.

Examines the role that race played in the inception of the airline industry Empire in the Air is at once a history of aviation, and an examination of how air travel changed lives along the transatlantic corridor of the African diaspora. Focusing on Britain and its Caribbean colonies, Chandra Bhimull reveals how the black West Indies shaped the development of British Airways. Bhimull offers a unique analysis of early airline travel, illuminating the links among empire, aviation and diaspora, and in doing so provides insights into how racially oppressed people experienced air travel. The emergence of artificial flight revolutionized the movement of people and power, and Bhimull makes the connection between airplanes and the other vessels that have helped make and maintain the African diaspora: the slave ships of the Middle Passage, the tracks of the Underground Railroad, and Marcus Garvey’s black-owned ocean liner. As a new technology, airline travel retained the racialist ideas and practices that were embedded in British imperialism, and these ideas shaped every aspect of how commercial aviation developed, from how airline routes were set, to who could travel easily and who could not. The author concludes with a look at airline travel today, suggesting that racism is still enmeshed in the banalities of contemporary flight.

Anglo-American modernist writing and the modern mass democratic state emerged at the same time, during the period of 1900-1930. Rachel Potter charts the changes in the ideas of democracy and discusses the wide range of reactions to these changes. She argues that modernist poems were shaped by rapidly evolving and complicated ideas of democracy.

Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

Focuses on the appropriation of visual elements of the classical, medieval, and Renaissance past in Mussolini's Italy.