18.Ibid., pp. 209–10.
19.Ibid., p. 240.
20.Ibid., p. 265.
21.Ronald W. Clark, Freud: The Man and the Cause, New York: Random House, 1980, p. 349.
22.Clark, op. cit., p. 350.
23.Penguin Freud Library, Sigmund Freud, The Origins of Religion, London: 1985, p. 40 (vol. 31 of Freud’s Collected Works, p. 13).
24.Ibid.
25.Quoted in Henry Idema III, Freud, Religion and the Roaring Twenties, A Psychoanalytic Theory of Secularization in Three Novelists: Anderson, Hemingway and Fitzgerald, Savage, MD: Rowman & Littlefield, 1990, pp. 5–6.
26.Penguin Freud Library, op. cit., p. 40.
27.Clark, op. cit., p. 352.
28.Ibid., p. 355.
29.Peter Gay, A Godless Jew: Freud, Atheism and the Making of Psychoanalysis, New Haven and London: Yale University Press, 1987, p. 147.
CHAPTER 4: HEAVEN: NOT A LOCATION BUT A DIRECTION
1.Robert Hughes, The Shock of the New, London and New York: Thames & Hudson, 1980, 1991, p. 9.
2.Hughes, op. cit., p. 10.
3.Ibid., p. 36.
4.Otto Reinert (ed.), Strindberg: A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1971, p. 16.
5.Malcolm Bradbury and James McFarlane (eds.), Modernism: A Guide to European Literature 1890–1930, London: Penguin Books, 1976, 1991, p. 499.
6.Ibid.
7.Errol Durbach, Ibsen the Romantic: Analogues of Paradise in the Later Plays, London: Macmillan, 1982, pp. 4–5.
8.Durbach, op. cit., p. 6.
9.Ibid., p. 7.
10.Bradbury and McFarlane, op. cit., p. 501.
11.Durbach, op. cit., p. 15.
12.Ibid., p. 9.
13.Ibid., p. 26.
14.Toril Moi, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy, New York and Oxford: Oxford University Press, 2008. John Northam, Ibsen: A Cultural Study, Cambridge, UK: Cambridge University press, 1973, pp. 222–23.
15.Durbach, op. cit., p. 129.
16.Ibid., pp. 177–79.
17.Naomi Lebowitz, Ibsen and the Great World, Baton Rouge: Louisiana State University Press, 1990, pp. 82, 95, 100, 107.
18.Durbach, op. cit., p. 192.
19.Reinert, op. cit., p. 8.
20.Ibid., p. 33.
21.John Ward, The Social and Religious Plays of Strindberg, London: Athlone Press; Atlantic Highlands, NJ: Humanities Press, 1980.
22.Reinert, op. cit., p. 81.
23.J. L. Wisenthal (ed.), Shaw and Ibsen: Bernard Shaw’s The Quintessence of Ibsenism and Related Writings, Toronto: University of Toronto Press, 1979, pp. 30–51.
24.Robert F. Whitman, Shaw and the Play of Ideas, Ithaca, NY: Cornell University Press, 1977, p. 23.
25.Whitman, op. cit., p. 36.
26.Ibid., p. 37.
27.Ibid., p. 41.
28.Ibid., p. 42.
29.Sally Peters, Bernard Shaw: The Ascent of the Superman, New Haven and London: Yale University Press, 1996, p. 95.
30.Whitman, op. cit., p. 98.
31.Ibid., p. 109.
32.A. M. Gibbs, The Art and Mind of Shaw, Basingstoke: Macmillan, 1983, pp. 32ff.
33.Whitman, op. cit., p. 131.
34.Ibid., p. 139.
35.Gareth Griffith, Socialism and Superior Brains: The Political Thought of Bernard Shaw, London: Routledge, 1993, p. 159.
36.Whitman, op. cit., p. 201.
37.Ibid., pp. 208–9.
38.Ibid., p. 226.
39.Bernard Shaw, John Bull’s Other Island; and Major Barbara; also How He Lied to Her Husband, London: Constable, 1911.
40.Whitman, op. cit., p. 236.
41.Ibid., p. 242.
42.J. L. Wisenthal, Shaw’s Sense of History, Oxford: Clarendon Press, 1988, pp. 121ff.
43.Whitman, op. cit., p. 278.
44.Ibid., p. 286.
45.Joe Andrew, Russian Writers and Society in the Second Half of the Nineteenth Century, London: Macmillan, 1982, p. 152.
46.Andrew, op. cit., p. 153.
47.Ibid., p. 163.
48.Ibid., p. 168.
49.Philip Callo, Chekhov: The Hidden Ground: A Biography, London: Constable, 1998, p. 296.
50.Andrew, op. cit., p. 184.
51.Ibid., p. 189.
CHAPTER 5: VISIONS OF EDEN: THE WORSHIP OF COLOR, METAL, SPEED AND THE MOMENT
1.Robert Hughes, The Shock of the New: Art and the Century of Change, London and New York: Thames & Hudson, 1980, 1991, p. 9.
2.Hughes, op. cit., pp. 118–21.
3.Ibid., p. 124.
4.Ibid., p. 114.
5.Delmore Schwartz, Seurat’s Sunday Afternoon along the Seine [a pamphlet], Warwick: Greville Press, 2011.
6.Hughes, op. cit., p. 139.
7.Ibid., p. 141.
8.Christine Poggi, Inventing Futurism: The Art and Politics of Artificial Optimism, Princeton and Oxford: Princeton University Press, 2009, pp. 1–16.
9.Hughes, op. cit., p. 61.
10.Ibid., p. 273.
11.Ibid., p. 277.
12.Ibid.
13.Roger Shattuck, The Banquet Years: The Origins of the Avant-Garde in France 1885 to World War I, London and New York: Vintage, 1968, p. 40. It is from this book that I have taken the term “avant-guerre” for Part One’s title.
14.Shattuck, op. cit., p. 32.
15.Ibid., p. 33.
16.Hanna Segal, Dreams, Phantasy and Art, Hove: Brunner-Routledge, 1991, pp. 86–87.
17.Hughes, op. cit., p. 41.
18.Ibid., p. 331.
19.David A. Wragg, Wyndham Lewis and the Philosophy of Art in Early Modernist Britain: Creating a Political Aesthetic, Lewiston, NY: Edwin Mellen Press, 2005, p. 336.
20.Hughes, op. cit., p. 345.
21.Ibid., p. 348.
CHAPTER 6: THE INSISTENCE OF DESIRE
1.Everett Knight, Literature Considered as Philosophy: The French Example, London: Routledge & Kegan Paul, 1957, p. 97.
2.Harold March, Gide and the Hound of Heaven, Philadelphia: University of Pennsylvania Press, 1952, p. 312.
3.March, op. cit., p. 231.
4.Knight, op. cit., p. 81.
5.March, op. cit., pp. 262, 362.
6.Ibid., p. 385.
7.Knight, op. cit., p. 98.
8.March, op. cit., p. 298.
9.Knight, op. cit., p. 99.
10.Ibid., p. 105.
11.Ibid., p. 112.
12.Roger Kempf, Avec André Gide, Paris: Grasset, 2000, p. 45.
13.Knight, op. cit., p. 123.
14.Pericles Lewis, Religious Experience and the Modernist Novel, Cambridge, UK: Cambridge University Press, 2010, p. 57.
15.Ross Posnock, The Trial of Curiosity: Henry and William James and the Challenge of Modernity, New York and Oxford: Oxford University Press, 1991, pp. 29–34.
16.Lewis, op. cit., p. 55.
17.Ibid., p. 57.
18.Ibid., p. 60.
19.Ibid., p. 61.
20.William James, The Varieties of Religious Experience, New York: Longmans Green, 1925 (35th imp.). See also Michael Ferrari (ed.), The Varieties: Centenary Essays, Exeter: Imprint Academic, 2002.
21.Lewis, op. cit., p. 78.
22.Rosalynn D. Haynes, H. G. Wells: Discoverer of the Future, London and Basingstoke: Macmillan, 1980, p. 242.
23.Haynes, op. cit., p. 86.
24.Ibid., p. 96.
25.Ibid., p. 124.
26.Ibid., pp. 125–27.
27.Michael Sherborne, H. G. Wells: Anoth
er Kind of Life, London: Peter Owen, 2010, p. 239.
28.Haynes, op. cit., p. 95.
29.W. Warren Wagar, H. G. Wells: Traversing Time, Middletown, CT: Wesleyan University Press, 2004, chapters 3, 6, 9 and 11.
30.Haynes, op. cit., pp. 148–50.
31.Ibid., p. 151.
32.See John Partington, Building Cosmopolis: The Political Thought of H. G. Wells, Aldershot: Ashgate, 2003, chapter 3 for general context.
33.See also Roger Shattuck, Proust’s Way: A Field Guide to In Search of Lost Time, London: Allen Lane, 2000, p. 212.
34.Lewis, op. cit., p. 86.
35.Ibid.
36.Margaret Topping, Proust’s Gods: Christian and Mythological Figures of Speech in the Works of Marcel Proust, Oxford: Oxford University Press, 2000.
37.Lewis, op. cit., p. 83.
38.Ibid., p. 92.
39.Ibid., pp. 97–98.
40.Ibid., p. 109.
CHAPTER 7: THE ANGEL IN OUR CHEEK
1.Jean-Paul Sartre, Mallarmé, or the Poet of Nothingness, trans. Ernest Sturm, University Park and London: Pennsylvania State University Press, 1988, p. 4.
2.Sartre, op. cit., p. 94.
3.Ibid., p. 145.
4.Anna Balakian, The Fiction of the Poet: From Mallarmé to the Post-Symbolist Mode, Princeton and Oxford: Princeton University Press, 1992, p. 4.
5.Balakian, op. cit., p. 7.
6.Ibid., p. 16.
7.Ibid., p. 17.
8.Sartre, op. cit., p. 188.
9.Balakian, op. cit., p. 42.
10.Robert E. Norton, Secret Germany: Stefan George and His Circle, Ithaca and London: Cornell University Press, 2002, p. 504.
11.Norton, op. cit., p. xii.
12.Ibid., p. 74.
13.Ibid., p. 135.
14.Ibid., p. 225.
15.Melissa Lane and Martin A. Ruehl, A Poet’s Reich: Politics and Culture in the George Circle, Rochester, NY: Camden House, 2001, pp. 91–94.
16.Norton, op. cit., p. 230.
17.Ibid., p. 267.
18.Ibid., p. 286.
19.Jens Rieckmann (ed.), A Companion to the Works of Stefan George, Rochester, NY: Camden House, 2005, pp. 145, 189.
20.Norton, op. cit., p. 410.
21.Ibid., pp. 412–13.
22.Ibid., p. 429.
23.Lane and Ruehl, op. cit., pp. 58ff and 91ff.
24.Ibid., p. 437.
25.Ibid., p. 486.
26.Ibid., p. 492.
27.Ibid., pp. 480–81.
28.Rieckmann, op. cit., pp. 161ff.
29.Norman Suckling, Paul Valéry and the Civilized Mind, Oxford: Oxford University Press, 1954, p. 161ff.
30.Suckling, op. cit., p. 17.
31.Ibid., p. 19.
32.Ibid., p. 31.
33.Ibid., pp. 46, 94.
34.Otto Bohlmann, Yeats and Nietzsche: An Exploration of Major Nietzschean Echoes in the Writing of William Butler Yeats, London and Basingstoke: Macmillan, 1982, p. xi.
35.Bohlmann, op. cit., p. 26.
36.Richard Ellmann, The Identity of Yeats, London: Macmillan, 1957, pp. 214, 231ff.
CHAPTER 8: “THE WRONG SUPERNATURAL WORLD”
1.Richard Ellmann, The Identity of Yeats, London: Macmillan, 1957, p. 58.
2.Ibid., p. 60.
3.Ibid., p. 65.
4.Ibid., p. 66.
5.Ann Saddlemyer, Becoming George: The Life of Mrs. W. B. Yeats, Oxford: Oxford University Press, 2002. See also Ann Saddlemyer (ed.), W. B. Yeats and George Yeats: The Letters, Oxford and New York: Oxford University Press, 2011, pp. 400–401.
6.Ellmann, op. cit., p. 107.
7.Ibid., p. 125.
8.Ibid., p. 129.
9.Terence Brown, The Life of W. B. Yeats: A Critical Biography, Oxford: Blackwell, 1999, p. 134.
10.Ellmann, op. cit., p. 189.
11.Ibid., p. 197.
12.Ibid., p. 205.
13.Ibid. See also Keith Alldritt, W. B. Yeats: The Man and the Milieu, London: John Murray, 1997, p. 177.
14.Ellmann, op. cit., p. 225.
15.Ibid., p. 239.
16.Ibid., p. 252.
17.Ibid., p. 269.
18.Ibid. See also David Dwan, The Great Community: Culture and Nationalism in Ireland, Dublin: Institute for Irish Studies, University of Notre Dame, 2008, p. 184, for other advice to the son from his father.
19.Ibid., p. 295.
20.Ibid., p. 278.
21.Marjorie Howes and John Kelly (eds.), The Cambridge Companion to Yeats, Cambridge, UK: Cambridge University Press, 2006, p. 147.
22.Eugene Taylor, Shadow Culture, Psychology and Spirituality in America, Washington, DC: Counterpoint, 1999, p. x.
23.Taylor, op. cit., p. 9.
24.Ibid., p. 113.
25.Ibid., p. 177.
26.Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History, Cambridge, UK: Cambridge University Press, 1995, 1998, p. 56.
27.Winter, op. cit., p. 57.
28.Ibid., p. 147.
29.Helmut Friedel and Annegret Hoberg, with contributions by Evelyn Benesch et al., Vasily Kandinsky, Munich and London: Prestel, 2008. See also Hedwig Fischer and Sean Rainbird (eds.), Kandinsky: The Path to Abstraction, London: Tate Gallery Publishing, 2006.
30.Robert Hughes, op. cit., p. 202.
CHAPTER 9: REDEMPTION BY WAR
1.Peter Watson, The Modern Mind: An Intellectual History of the Twentieth Century, New York: HarperCollins, 2001, p. 146.
2.Steven Aschheim, The Nietzsche Legacy in Germany, p. 132.
3.Ibid., p. 143.
4.Max Scheler, On the Eternal in Man, London: SCM, 1960. Max Scheler, On the Nature of Sympathy, trans. Peter Heath, with an Introduction to the general works of Max Scheler by W. Stark, London: Routledge & Kegan Paul, 1954.
5.Aschheim, op. cit., p. 146.
6.Ibid., p. 134.
7.Judith Malina, The Piscator Notebook, London: Routledge, 2012, p. 4, says Piscator was “ashamed” in the war.
8.Ibid., p. 102.
9.Ibid.
10.Roland N. Stromberg, Redemption by War, Kansas City: Regents Press of Kansas, 1982, p. 28. It is from Professor Stromberg’s book that I have taken the title for this chapter.
11.Stromberg, op. cit., p. 34.
12.Ibid., p. 23.
13.Ibid., p. 12.
14.Ibid., p. 40.
15.Ibid., p. 13.
16.Quentin Bell: A Man of Many Arts (exhibition catalogue), foreword by Norbert Lynton, Charleston Trust, 1999.
17.Stromberg, op. cit., p. 43.
18.Nicholas Murray, The Red Sweet Wine of Youth: The Brave and Brief Lives of the War Poets, London: Little, Brown, 2010, Prologue, pp. 1–10.
19.Stromberg, op. cit., p. 103.
20.Ibid., p. 90.
21.Hannah Arendt, Reflections on Literature and Culture, ed. and with an Introduction by Susannah Young-ah Gottlieb, Stanford, CA: Stanford University Press, 2007.
22.Stromberg, op. cit., pp. 98–99.
23.Ibid., p. 191.
24.Ibid., p. 198.
25.Murray, op. cit., p. 8.
26.Paul Fussell, The Great War and Modern Memory, Oxford: Oxford University Press, 1975, p. 134.
27.Fussell, op. cit., p. 139.
28.Ibid., p. 255.
29.Ibid., p. 29.
30.Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History, Cambridge, UK: Cambridge University Press, 1995, 1998, p. 64.
31.Gordon Graham, The Re-enchantment of the Worl
d: Art versus Religion, Oxford: Oxford University Press, 2004, p. 58.
32.Graham, op. cit., p. 59.
33.Ibid., pp. 59–60.
34.David Lomas, The Haunted Self: Surrealism, Psychoanalysis, Subjectivity, New Haven and London: Yale University Press, 2000, p. 74.
35.Max Ernst: A Retrospective, ed. and with an introduction by Werner Spies, London: Tate/Prestel, 1991.
36.Patrick Elliott, Another World: Dalí, Magritte, Miró and the Surrealists, Edinburgh: National Galleries of Scotland, 2010, pp. 1–5.
CHAPTER 10: THE BOLSHEVIK CRUSADE FOR SCIENTIFIC ATHEISM
1.Roland N. Stromberg, Redemption by War, Kansas City: Regents Press of Kansas, 1982, p. 130.
2.Bernice Glazer Rosenthal, New Myth, New World: From Nietzsche to Stalinism, University Park: Pennsylvania State University Press, 2002, p. 117.
3.Peter Watson, A Terrible Beauty: The People and Ideas That Shaped the Modern Mind, London: Weidenfeld & Nicolson, 2001, p. 345.
4.Peter Watson, Ideas: A History of Thought and Invention from Fire to Freud, New York: HarperCollins, 2005, p. 768.
5.Ibid., p. 769.
6.Watson, A Terrible Beauty, op. cit., p. 293.
7.Paul Froese, The Plot to Kill God: Findings from the Soviet Experiment in Secularization, Los Angeles, Berkeley and London: University of California Press, 2008, p. 60.
8.Froese, op. cit., p. 55.
9.Rosenthal, op. cit., pp. 2, 173, 179.
10.Ibid., p. 15.
11.Ibid., p. 9.
12.Ibid., pp. 126–27.
13.See A. G. Bulakh, N. B. Abakumova, J. V. Romanovsky, St. Petersburg: A History in Stone, St. Petersburg: St. Petersburg University Press, 2010, ch. 17, pp. 139–40, for an outline of St. Petersburg architecture in 1917.
14.Rosenthal, op. cit., p. 56.
15.Ibid., p. 61.
16.Ibid., p. 74.
17.See also A. L. Tait, Lunacharsky, Poet of the Revolution (1875–1907), Birmingham: University of Birmingham Department of Russian Language and Literature, 1984, p. 91, for Lunacharsky’s views of the amateurs in the arts.
18.Rosenthal, op. cit., p. 83.
19.Ibid., p. 98.
20.Ibid., p. 109.
21.Alexander Rabinowitch, The Bolsheviks Come to Power, Bloomington: Indiana University Press, 2008, p. 150.
22.Ibid., p. 152.
23.The classic account is Robert H. McNeal, Bride of the Revolution: Krupskaya and Lenin, London: Gollancz, 1973, p. 157.
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