Cover

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Title Page, Copyright Page

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Contents

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p. vii

Illustrations

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pp. ix-x

Abbreviations

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pp. xi-xii

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Preface

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pp. xiii-xx

In his 1993 play Arcadia, Tom Stoppard features the concept of geometry in two conspicuously different lights: at moments, it is construed as the discipline that illuminates the elegant patterns underlying chaotic human life—and at...

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Acknowledgments

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pp. xxi-xxii

I still remember the fi rst time I encountered Jerome Mc- Gann’s persuasive argument that textual production was an inherently social and collaborative process. Although this book has largely been a solo endeavor, I know, in hindsight, ...

Permissions and Sources

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p. xxiii

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Introduction

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pp. 1-26

A famous injunction, engraved on the front of the Pythagorean Academy and reiterated by Plato, dissuaded any from entering the academy who were “ignorant of Geometry.” Although knowledge of geometry was not quite a prerequisite...

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Chapter 1

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pp. 27-88

In 1915, Wyndham Lewis characterized Blast, the British little magazine of which he was editor, as a “history book.” In his prefatory remarks to the latter-day reprint of the magazine by the Black Sparrow Press, Bradford Morrow underscores Lewis’s use of this phrase to describe Blast—so it has become familiar to...

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Chapter 2

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pp. 89-132

Between 1925 and 1930, as he warmed to the project of The Cantos, Ezra Pound brought out three deluxe editions of installments of his “Poem of Some Length”: A Draft of xvi. Cantos appeared through William Bird’s Three Mountains Press in Paris in 1925, A Draft of the Cantos 17–27 through John Rodker in London 1928...

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Chapter 3

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pp. 133-186

Near the end of H.D.’s novella Nights (1935), protagonist Natalia Saunderson meditates on the geometric forms of her sister-in-law’s house.1 With lyric intensity— developed through H.D.’s characteristic prose techniques of parataxis, syntactic parallelism, and insistent repetition—Natalia not only admires the...

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Chapter 4

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pp. 187-244

Among the moderns, W. B. Yeats and H.D. have become fabled, at times even notorious, for their intense fascination with the occult. As Materer notes, while several of the chief modernists, including Pound and Eliot, have been widely recognized in recent scholarship for their interest in esoteric wisdom, Yeats and...

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Epilogue

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pp. 245-254

At the outset of this study, I addressed the ways in which chronicles of modernism’s history have repeatedly displayed an investment in a caricature of the periodical Blast as pugnacious, antic, larger than life. This confined, easily...

Notes

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pp. 255-304

Bibliography

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pp. 305-318

Index

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pp. 319-332