A Publisher's Paradise: Expatirate Literary Culture in Paris, 1890-1960

Notes

279 Notes Introduction 1.  Maurice Girodias, preface to The Paris Olympia Press, by Patrick Kearney (Liverpool: Liverpool University Press, 2007), x. I discuss many of these Paris editions, and their bibliographies, in the chapters that follow, but in brief: Randiana or Excitable Tales (Paris: Société des Bibliophiles [Carrington], 1898); Oscar Wilde, The Picture of Dorian Gray (1901; Paris: Charles Carrington, 1905); Barbary Birchenough, Rachel Rodskiss (London and Paris: n.p. [Roberts and Dardaillon], 1909); James Joyce, Ulysses (Paris: Shakespeare and Company, 1922); D. H. Lawrence, Lady Chatterley’s Lover (Paris: Lecram Press, 1929); Evelyn Waugh, Vile Bodies (1930; Boston: Little, Brown, 1944), 22–23; James Joyce, Haveth Childers Everywhere (Paris: H. Babou and J. Kahane, 1930); Henry Miller, The Tropic of Cancer (Paris: Obelisk Press, 1934); Frank Harris, My Life and Loves (Paris: Obelisk Press, 1934);andValerie Solanas,SCUM Manifesto (NewYork:Olympia Press,1968). 2. Noel Fitch Riley, Sylvia Beach and the Lost Generation: A History of Literary Paris in the Twenties and Thirties (London: Norton, 1985); and Hugh Ford, Published in Paris: A Literary Chronicle of Paris in the 1920s and 1930s (New York: Macmillan, 1988). Also see Midnight in Paris, film, directed by Woody Allen (2011; DVD,Warner Home Video, 2012). 3. D. H. Lawrence, Lady Chatterley’s Lover (Harmondsworth: Penguin, 1960). 4. Peter Mendes,Clandestine Erotic Fiction in English,1800–1930:A Bibliographical Study (Aldershot: Scolar Press, 1993), 23. 5. See, for example, Jonathan Crary, Techniques of the Observer: OnVision and Modernity in the Nineteenth Century (Cambridge:MIT Press,1990);Suspension of Perception: Attention, Spectacle, and Modern Culture (Cambridge: MIT Press, 1999); Mary Ann Doane, The Emergence of CinematicTime: Modernity, Contingency, the Archive (Cambridge: Harvard University Press, 2002); and Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century FrenchThought (Berkeley: University of California Press, 1994). 6. Colette Colligan, The Traffic in Obscenity from Byron to Beardsley: Sexuality and Exoticism in Nineteenth-Century Print Culture (Basingstoke: Palgrave notes to pages 4–8 280 Macmillan, 2006). Also see Abigail Solomon-Godeau, Photography at the Dock:EssaysonPhotographicHistory,Institutions,andPractices(Minneapolis: University of Minnesota Press, 1991); and Linda Williams, Hard Core: Power, Pleasure, and the Frenzy of theVisible (Berkeley: University of California Press, 1989). 7. James Joyce, Ulysses (London: John Lane, 1936); and John Cleland, Fanny Hill: Memoirs of a Woman of Pleasure (1749; London: Mayflower Books, 1970). 8. Allison Pease, preface to Modernism, Mass Culture, and the Aesthetics of Obscenity (Cambridge: Cambridge University Press, 2000), xi–xvi. 9. Guillaume Apollinaire, Fernand Fleuret, and Louis Perceau, L’Enfer de la Bibliothèque nationale: bibliographie méthodique et critique de tous les ouvrages composant cette célèbre collection (1913; Paris: Bibliothèque des curieux, 1919). The bibliographies of these titles are complex, but production can be traced to Paris: see, for example, Untrodden Fields of Anthropology: Observations on the Esoteric Manners and Customs of Semicivilized Peoples (Paris: Librairie des Bibliophiles [Carrington], 1896); The Initiation of Aurora Trill (London [Paris]: n.p. [Hirsch] 1903); and Memoirs of a Russian Ballet Girl, by E.D. (London [Paris]; n.p. [Hirsch], 1903). For further bibliographical information on the English entries, see Mendes, Clandestine Erotic Fiction in English. 10. See Walter Benjamin, “On the Concept of History” and “Paralipomena to ‘On the Concept of History,’” in Selected Writings, 1938–1940, vol. 4, ed. Michael W. Jennings and Howard Eiland (Cambridge: Belknap Press of Harvard University Press, 2002), 389–400 and 401–11. 11. Ian Balfour, “Reversal, Quotation (Benjamin’s history),” MLN (Modern Language Notes) 106, no. 3 (1991): 624–47, see 647. 12. Benjamin,“On the Concept of History,” 391; Balfour,“Reversal, Quotation (Benjamin’s history),” 636. 13. Balfour, “Reversal, Quotation (Benjamin’s history),” 646. 14. Benjamin, “Paralipomena,” 406. 15. See “The State Disseminator of Obscenity,” Truth (June 10, 1897), 1468–70. 16. D. H. Lawrence,“Pornography and Obscenity,” in Late Essays and Articles, ed. James T. Boulton (Cambridge: Cambridge University Press, 2004), 250. 17. Vernon Lee, “A Wicked Voice,” in Hauntings (London: Heinemann, 1890); and see Vineta Colby’s Vernon Lee: A Literary Biography (Charlottesville: University of Virginia Press, 2003), 242, 245. 18. Benjamin wrote extensively about Paris, where he lived for a number of years, but see, for example,“Paris, the Capital of the Nineteenth Century,” in Selected Writings, 1938–1940, 32–49. 19. Raymond Williams, The Politics of Modernism: Against the New Conformists (London: Verso, 1989), 45; quoted in Brent Hayes Edwards, The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism (Cambridge: Harvard University Press, 2003...