Wyndham Lewis: Painter and Writer (Hardcover)

~ Professor Paul Edwards (Author)

Editorial Reviews

From Publishers Weekly

British novelist-painter Lewis (1882-1957) has long been recognized as one of the most intriguing figures in modernist arts circles, a combative friend and colleague of figures like Pound, Eliot and Joyce. Well explicated over the years by critics like Hugh Kenner and Frederic Jameson, Lewis's harsh satiric novels like Apes of God and Monstre Gai still resonate with a vigor that places them above mere experiments. But this vast and well-illustrated volume is the first to fully blend discussion of Lewis's writing and his art. Author Edwards lectures in the English department of Bath Spa University in England. His strength is in rather dense analyses of Lewis's writings; not as fun to read as Kenner, Edwards fully confronts Lewis's often ghastly anti-Semitism, a fault Lewis famously shared with Eliot and Pound, although past critics' apologetics have sometimes obscured this. Edwards, however, has a less acute eye for visuals. Sometimes the works are read curiously: a 1912 pen and ink, Two Mechanics, showing men inert like academic nudes or posed musclemen, are described as "plodding through a... landscape," whereas the painting The Crowd (1914-1915) is termed one of Lewis's "most important," though it looks here like nothing better than a weakly decorative wallpaper design. The author tends to skirt the erotic implications of paintings like The Pole Vault or a suggestion of oral sex in 1933's The Convalescent, as he does with a series of nude drawings, which may form the basis for Lewis's greatest achievement in art, Lewis's portraits of Pound, Eliot and Joyce. The man Lewis remains elusive, even as his books and paintings (via more than 300 illustrations, evenly split between b&w and color) are usefully assembled together for further analysis. (Aug.)
Copyright 2000 Reed Business Information, Inc.

From Library Journal

Wyndham Lewis (1882-1957) was one of those unusual talents who worked at a high level in both painting and literature. As this detailed but ultimately unsatisfying biography makes clear, however, it was as a painter, not a writer, that Lewis displayed the most talent. The book's lavish illustrations trace Lewis's early career as an abstract painter and his role in the Vorticism movement, documenting his insightful portraits of society members and such leading literary lights of his era as James Joyce, T.S. Eliot, and Ezra Pound. Unfortunately, with his dense, professorial, and needlessly opaque text, Edwards (English, Bath Spa Univ. Coll.) makes Lewis's fascinating (if sometimes ugly) life slow going. Detailed commentary on and extensive quotations from Lewis's mostly forgotten literary output contribute to a murky portrait. Extensive notes and a detailed bibliography of primary and secondary works will provide interested readers with more information about Lewis. Recommended for larger collections of 20th-century art.DMartin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC
Copyright 2000 Reed Business Information, Inc.

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Product Details

• Hardcover: 592 pages
• Publisher: Yale University Press / Paul Mellon Centre for Studies in British Art; 1st edition (July 11, 2000)
• Language: English
• ISBN-10: 0300082096
• ISBN-13: 978-0300082098
• Product Dimensions: 10.1 x 7.6 x 2 inches
• Shipping Weight: 4.7 pounds (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon.com Sales Rank: #2,167,776 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

13 of 13 people found the following review helpful:

5.0 out of 5 stars A clear gaze on a murky fellow, October 28, 2001

By	Jeff Bursey - See all my reviews

Every reader knows of authors who were all the rage when they were alive and publishing, only to be forgotten or relegated to obscurity upon their death, if not before. They disappear for decades or generations, admired or consulted by those few who read in specialized fields; or they are the subject of intermittent articles in this or that journal. Thanks to the Internet they can be seen shimmering, a sort of astral projection, on web sites and list-serves with spotty attendances. In these venues situated on rural roads in the republic of letters they are argued with, championed, held up as the acme of what's misbegotten, or pegged as simply typical of a period. For fans, bitter consolation lies in their man or woman being reviled, as such shrill attention does indicate that the core of the oeuvre has not ceased to be dynamic, and perhaps threatening.

Occasionally authors have risen from the dust of library shelves, which is the closest we can now get to witnessing the Phoenix. These rescued figures become the product of cottage industries, but a well-timed nod from hollywood can escalate their reputations and swell their audience. Many of the latest literary finds are those whose work means something quite particular to current audiences - at times, but not in all cases, a retro chic - comprising enthusiasts, popular authors in a position to repay literary debts, scholars who have revisited past figures in search of their postmodern `nowness,' and because of groundswells of curiosity from disparate parts. There is a lovely unpredictability in the resurgence of these artists which fosters hope in those whose favourite choice has not yet bounced back into the limelight. (In an attempt at a shove back onto the stage, see my Amazon review of Lewis' _Rude Assignment_.)

It is unlikely that Wyndham Lewis will ever again receive the attention, negative or positive, that his paintings and writings garnered during his lifetime, yet if any critical work of recent years could restore his dented reputation and, more fruitfully, bring his ideas back into view for a fresh examination, then it is this book by Paul Edwards.

In his combination of literary analysis and art criticism Edwards writes with economy, clarity, intelligence and sensitivity about Lewis' paintings, drawings, short fictions, novels and a mass of philosophically-minded and politically generated essays and speculative works. One realizes that Lewis, perhaps the most probing Modernist in the anglo-united statesian family, left no major concern of the 20th century ignored, even if only to swipe at it with pen and brush. It is to Edwards' credit that he maintains a focus on his subject's wide-ranging thoughts and positions, especially as they are transformed with the passing of time and as events, historical and personal, transform Lewis.

Certain aspects of this book call for special commendation: the examination of _Tarr_, Lewis' first novel; the analyses of _Time and Western Man_ , the central non-fiction work of Lewis' writings, and of _The Human Age_, his last fiction; and the constant engagement with the art works. Art criticism is often written in an abstract and coded way, and academic criticism is often larded with unnecessary polysyllabic constructions, but a key benefit of Edwards' style is that one can argue with his conclusions or suggested interpretations because he has made himself understood. There is no dancing with words, or playfulness in a deconstructionist sense, to obscure his points.

In the aftermath of this book it was instructive, in a disappointing way, to read a review by irish novelist John Banville of _The Crisis of Reason: European Thought, 1848-1914_, written by J.W. Burrow, which appeared in _The New York Review of Books_ (October 4, 2001, pp.38-40). On p.40 Banville responds to what Burrow says about Nietzsche:

"[...] There is a study to be made of the influence on modernism of Nietzsche's thinking, which is insufficiently acknowledged even by the most philosophically-minded of the modernists - it is hard to recall, for instance, a single mention of Nietzsche's name anywhere in Eliot's prose criticism."

Banville is mistaken when he says Nietzsche was not regarded sufficiently by "the most philosophically-minded" modernists, for as Edwards makes plain throughout his almost 600-page book (not a page too long), Lewis engaged Nietzsche in a constant debate (and dealt with many others as well). Pointing out this error on Banville's part is not meant to cast a slur against him; it merely shows how far Lewis has sunk below the critical horizon.

The book's layout is very good. In most cases, when art work is discussed the painting or drawing is at hand without needless flipping through the book. While as a rule footnotes are preferable, in this instance the use of endnotes is justified.

This book has given far greater pleasure than many others recently. For those unfamiliar with Lewis it is an excellent primer; for those just stepping into his sea of words it is an invaluable guide; and for those who are well acquainted with Lewis' concerns and motifs there is much to deliberate on, and hopefully respond to, in Edwards' original findings and his engagement with other critics.

Paul Edwards deserves more laurels than he is likely to get for writing about an artist who is underrated, over-scorned, difficult, and not very likely to experience a surge in popular appreciation. He also merits praise for writing in a direct manner, tackling the contentious aspects of Lewis' life and works head on, for his generally even-handed treatment of others who write on Lewis, and the zest underlying every sentence. His discerning enthusiasm will urge a reader to read Lewis' books again, or for a first time. Not many academics or critics achieve that notable goal.