Futurism and the Arts: A Bibliography 1959–73 by Jean-Pierre Andreoli-deVillers (review)

434 LETTERS IN CANADA supported long enough not only to overcome possible weaknesses in plan and performance but to become the indispensable tool of research into Canadian life, literature, and culture that it promises to be. (R.E. WATTERS) Jean-Pierre Andreoli-deVillers, Futurism and the Arts: A Bibliography 1959-73. Toronto: University of Toronto Press 1975, 144, $17.50 This is an annotated bibliography of works pertaining to Futurism and the Futurist movement, covering the period 1959-73. Mr AndreolideVillers has thrown a fairly wide net, and lists the following areas to define his subject: Futurism and literary movements of the nineteenth century; Futurism and Cubism; Futurism and Apollinaire; First Futurism; Second Futurism; Italian Futurism; Russian Futurism; Futurism and Vorticism; Futurism in Milan; Futurism in Florence; Futurism in Rome; Futurism and the theatre; Futurism and plastic arts; Futurism and Lacerba; Futurism and Papini; the relationship between Futurism and Dadaism; the relationship between Futurism and Surrealism ; Sant'Elia, Futurism, and their impact on architecture; various interpretations of Futurism; Futurism as a total questioning of life; Futurism and language ; Futurism and politics. There is a brief introduction, provided in English, French, and Italian, in which the author outlines the major studies of bibliographical interest that have appeared since 1959, identifies significant manuscript collections , and argues the importance of futurism. The bibliography itself includes listings of books and articles, and exhibitions, with annotations generally in French. The ordering is chronological (by year), then alphabetical , and the entries (1835 of them) are numbered. An index is provided, and there is a supplementary list of periodicals that have devoted special issues to the subject. There are a few curiosities, such as the reference in the English Introduction to 'Futurism and literary movements of the nineteenth century' and in the French and Italian versions to 'futurisme et mouvements decadents du xixeme siecle' and 'Futurismo e movimenti decadenti del xixesimo secolo' to cover the same category. Mr Andreoli-deVillers's sense of the importance of futurism is, I think, somewhat exaggerated, though understandably so after the commitment that he has obviously made to the cause of furthering our knowledge of the subject. The bibliography itself is remarkably complete within its limits, and represents a formidable piece of research, well executed. The most considerable absence is of German, and to some extent of American, material. The author acknowledges this, though his publishers take care to obscure this fact in their introductory puff. Furthermore, I do think that the NATURE 435 categories (such as 'Futurism and plastic arts') which are described (and listed above) might be modified to take into account and make the reader more aware of this focus. Once again, the University of Toronto Press has played about with typography and design, in an apparent effort to confuse the reader and increase the price. Still, this is no fault of the author's, and his work is well worth the attention of all scholars of futurism and the arts. (J.E. CHAMBERLIN) NATURE R.D. Symons, Siltan Seasons: From the Diary of a Countryman. Toronto: Doubleday Canada 1975, xiv, 200, $7.95 Drawn by the challenge of the opening Canadian West, R.D. Symons left a secure English home before the First World War to live the free and demanding life of cowboy, woodsman, and rancher in this new land. From a long, self-reliant career he and his wife retired to Silton, a small village in Saskatchewan, in an area he had known as a youth, where they spent the last few years of his life before his death in 1973. This book is a record of those years and of his views on life in general. No matter what his work or position Symons always lived close to nature, sensitive to her every mood, conscious and appreciative of all his fellow-creatures in the natural world, be they bird, plant, or animal. Artistic son of an artist father, he has always been able to draw, paint, and depict his fellows of the wild with perceptive conviction, as his other books bear witness. In these last years of his retirement he shows the same interests and ability, so that the delicacy of the prairie crocus...