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Imprints of the New Modernist Editing Application Pack

Screenshot from New Modernist Editing Network edition of a short fiction by Virginia Woolf

(https://nme-digital-ode.glasgow.ac.uk/)

1. Questions and definitions

The definition of ‘modernism’ which the New Modernist Editing Network

employed was: ‘broadly experimental literature of the late nineteenth to

early twentieth century’; while the texts we have chosen reflect this definition, we are open to broader definitions of modernism prompted by

the questions raised by the NME Network.

Questions raised by the Network that might be of interest include:

• What is the significance of the frequent cross-fertilisation of the visual

and the literary in the art of the period in responding to these texts?

• How to take account of the particular technological and economic

context in which these texts were written? Increased authorial revision

made possible by technologies of textual reproduction (cheaper

printing, the typewriter); the economics (and aesthetics) of the little

magazine/journal/periodical; the economics of larger publishing

houses…

• What is the particular status of the typescript as manuscript? What

challenges are posed by working with typescripts? - such as how to

identify and treat ‘obvious typos’; how to respond to the physical

qualities of the typescript (visual, tactile), etc.

• How do we respond to the notion of authorial intention? For example:

do we assume that obvious spelling errors ought to be corrected? Do

we treat a ‘juvenile’ text differently from a mature work? – etc etc.

• Given their experimental quality, do some modernist texts project an

ideal future reader, that somewhere, one day, there will be a reader

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who will have a perfect understanding of the text? And if so, does that

then suggest a model of the ideal editorial and reading practice?

• Are there different sets of editorial rules for treating poetry, prose,

playscripts, letters, diaries…?

• How exhaustive can/ought annotation (explanatory notes) be?

• What are the risks and rewards of new digital technologies in

responding to modernist texts?

• How do readers (born digital or otherwise) relate to iconic twentieth-

century texts?

For further information about the original New Modernist Editing Network,

including summaries of the discussions at their events, please visit

https://newmodernistediting.glasgow.ac.uk/

2. Suggested editions

Below is a list of editions of (mainly) modernist works suggested by

members of the original New Modernist Editing Network, the Imprints of

the Modernist Editing project team including project partners, and core

artists invited to participate in the project. It is thus, necessarily, selective

rather than representative, reflecting a range of personal interests. But

we hope it gives a flavour of the kinds of issues around editing this project is interested in exploring. We have grouped the texts under titles

which draw attention to possible kinds or features of editions; the groups

are, of course, not all mutually exclusive. While your proposal does not

have to directly respond to any of these texts to be accepted, it must

engage with some aspect of editing (a) modernist text(s) in order to meet

the project rubric.

NLS = National Library of Scotland

SNGMA = Scottish National Gallery of Modern Art

The items listed as being held at either of these locations will be explored

at a workshop facilitated by MyBookcase as part of the Imprints of the

New Modernist Editing project, to which all are invited to apply (see

section 3 below) Date TBC; information forthcoming on the Imprints of

the New Modernist Editing website and via #imprintsnme. Individuals are

also welcome to contact the NLS or SNGMA to arrange inspection.

Scholarly Editions

Virginia Woolf, Between the Acts, ed Mark Hussey (1941; Cambridge

University Press, 2011) [This edition follows Woolf’s typescript, rather than

the first edition which was posthumously edited and published by Woolf’s husband:

https://www.cambridge.org/gb/academic/subjects/literature/english-

literature-1900-1945/between-acts?format=HB

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James Joyce, Ulysses : A Critical and Synoptic Edition, prepared by

Hans Walter Gabler with Wolfhard Steppe and Claus Melchior, 3 vols.

(1922; New York & London: Garland Publishing Inc., 1984) [This essay

by Gabler is the best place to go for images of the edition, as well as a

discussion of its rationale: https://www.openbookpublishers.com/htmlreader/978-1-78374-363-

6/ch15.xhtml - search for Synoptic]

D. H. Lawrence, Women in Love, ed David Farmer, Lyndeth Vasey and

John Worthen (1920; Cambridge University Press, 1987) [details here:

https://www.cambridge.org/vi/academic/subjects/literature/literary-texts/women-love?format=PB&isbn=9780521280419]

See also:

• D. H. Lawrence, The First ‘Women in Love’, ed John Worthen and Lyndeth

Vasey (Cambridge University Press, 2002) [details here:

https://www.cambridge.org/vi/academic/subjects/literature/literary-

texts/first-women-love?format=PB]

Virginia Woolf ‘Evening over Sussex: Reflections in a Motor Car ’ in

Virginia Woolf, Collected Essays. Vol. 6. ed Stuart N. Clarke (1942;

London: Hogarth, 2011), 453-456.

Other editions of interest:

• ‘Evening over Sussex’ in Virginia Woolf, The Death of the Moth and Other

Essays (Hogarth: 1942) [First edition] • ‘Evening over Sussex’ in Virginia Woolf, Selected Essays ed David

Bradshaw (Oxford University Press, 2009) 204-206

https://global.oup.com/ukhe/product/selected-essays-

9780199556069?cc=gb&lang=en&

Student Editions

Virginia Woolf, ‘Blue and Green’ in The Complete Short Fiction of Virginia

Woolf ed Susan Dick, (2nd edn; Harcourt, 1989) [secondhand copies widely

available online]

Other editions of interest:

• ‘Blue and Green’ in ‘Kew Gardens’ in Virginia Woolf, Monday or Tuesday with woodcuts by Vanessa Bell (Hogarth: 1921) [some page images here,

though not of ‘Blue and Green’: https://www.bl.uk/collection-

items/monday-or-tuesday-by-virginia-woolf] See page images attached –

Appendix I.

Gertrude Stein, Tender Buttons: the corrected centennial edition (1914; San Francisco, CA: City Lights Publishers, 2014) [a pdf of some sample

pages is available here:

http://www.citylights.com/book/?GCOI=87286100683310]

Other editions of interest:

• Tender Buttons (1914; Mineola, NY: Dover Publications, 1998) [the most

widely available version at present]

• Tender Buttons (New York, NY: Claire Marie, 1914)

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Jean Toomer, Cane (1923; London and NY; Norton Critical Editions,

2011) [https://tinyurl.com/y6j2zfx9; these editions include lots of notes and

secondary material, so are an interesting example of a specific kind of edition]

Alain Locke, ed., The New Negro: Voices of the Harlem Renaissance,

introduction by Arnold Rampersad (1925; New York: Touchstone, rpt. ed. 1997)

See also:

• Locke, Alain, ed. 1925. The New Negro. New York: Albert and Charles Boni

[frontispiece and title page significantly different to the 1997 reprint]

Trade Editions

E. M. Forster The Machine Stops (1909; London: Penguin 2011)

Sylvia Townsend Warner, Lolly Willowes (1926; London: Virago, 1993)

[see attached images from the copy, bought second-hand, belonging to project

leader Bryony Randall, including paper found inside back cover – see Appendix

II] Other editions of interest:

• Lolly Willowes (1926; London: Virago, 2012) with an introduction by Sarah

Waters [https://www.virago.co.uk/titles/sylvia-townsend-warner/lolly-

willowes/9780748131778/]

• Lolly Willowes (London: Chatto & Windus, 1926)

Zora Neale Hurston, Their Eyes Were Watching God (1937; London:

Virago, 2008); hardcover design by Harlem renaissance artist Lois Mailou Jones

and an introduction by Zadie Smith [https://www.virago.co.uk/titles/zora-

neale-hurston/their-eyes-were-watching-god/9781844085286/].

Other editions of interest:

• Their Eyes Were Watching God (1937; London: Virago, 2018) [paperback version of the above with different cover. NB part of Virago Modern

Classics 2018 40th anniversary collection of 13 “deluxe” illustrated

paperbacks: https://www.thebookseller.com/news/virago-modern-classics-

marks-40th-anniversary-series-716576]

• Their Eyes Were Watching God (Philadelpia, PA: J. B. Lippincott Company,

1937)

D. H. Lawrence, Lady Chatterley’s Lover (1928; Penguin, 1960) [i.e. the

edition that was subject of the obsenity trial]

(Editions including) Facsimiles

Blast N1. 1 (1914; Black Sparrow Press, 1983) – facsimile edition [NLS

and SNGMA also have first editions]

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Emily Dickinson, The Gorgeous Nothings, ed Jen Bervin and Marta

Werner (New Directions Press, 2013) Though writing in the mid

nineteenth-century, often considered avant-garde or proto-modernist; this is a

highly innovative edition: https://www.ndbooks.com/book/the-gorgeous-

nothings/; more images:

https://www.poetryfoundation.org/poetrymagazine/articles/70065/studies-in-scale

John Aubrey Brief Lives with An Apparatus for the Lives of our English

Mathematical Writers, 2 vols, ed Kate Bennett (Oxford University

Press, 2015). Paperback in two volumes – Aubrey’s in-text doodles,

illustrations, insertions, marginalia etc. all set on the page, print-ready files produced by the editor herself. Not a modernist author but included given the

innovative editorial approach https://global.oup.com/academic/product/john-

aubrey-brief-lives-with-an-apparatus-for-the-lives-of-our-english-

mathematical-writers-9780198806479

Gerard Manley Hopkins, The Collected Works of Gerard Manley

Hopkins: Volume VII: The Dublin Notebook, ed Lesley J. Higgins and Michael F. Suarez (Oxford University Press, 2014) A proto-

modernist author? GM Hopkins’s notebook pages presented en face with

transcriptions in a large format volume.

https://global.oup.com/academic/product/the-collected-works-of-gerard-

manley-hopkins-9780199534029

First Editions

Virginia Woolf, ‘A Haunted House’ in Virginia Woolf, Monday or

Tuesday with woodcuts by Vanessa Bell (London: Hogarth, 1921) [copy

@ NLS; page images here: https://www.bl.uk/collection-items/monday-or-

tuesday-by-virginia-woolf]

James Joyce, Ulysses (Paris: Shakespeare and Co., 1922) [copy @ NLS]

E. M. Forster What I Believe (London: Hogarth, 1939) [copy @ NLS]

Nancy Cunard, Parallax (London: Hogarth, 1925) [copy @ NLS; regarded

as in part a response to T. S. Eliot, The Waste Land – also copy @ NLS, see

video showing a first British edition here: https://www.youtube.com/watch?v=KI-1Ls88Fio]

Text and image

Sonia Delaunay, and Blaise Cendrars, La prose du Transsibérien et de

la Petite Jehanne de France (Paris: Blaise Cendrars, 1913) [images

widely available online; copy available @ SNGMA]

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• French text here:

http://www.library.yale.edu/~nkuhl/Prose.French.Wgcp.pdf

• An English translation here: http://nowheremag.com/2011/04/the-prose-

of-the-trans-siberian-and-of-little-jeanne-of-france-blaise-cendrar/

Marcel Duchamp, La Mariée mise à nu par ses célibataires même, (Boîte verte), 1934 [available @ SNGMA]

See also:

• Richard Hamilton, The Bride Stripped Bare By Her Bachelors, Even, A

Typographic Version, 1960 [copy @ NLS]

Stephane Mallarmé, Un coup de dés jamais n'abolira le hasard in Revue Cosmopolis, n° 17, April-May 1897

See also:

• Stephane Mallarmé, Un coup de dés jamais n'abolira le hasard (1897;

private issue, 1914) [first book version]

• Marcel Broodthaers, Un coup de dés jamais n'abolira le hazard, 1969 [copy

@ SNGMA]

• Michalis Pichler, Un coup de dés jamais n'abolira le hazard, 2009 [see images here http://www.buypichler.com/books/un-coup-de-des-jamais-

nabolira-le-hasard-sculpture; copy @ SNGMA]

Natalia Goncharova et al, Mirskontsa [Worldbackwards] (1912)

https://www.moma.org/collection/works/10364 [copy @ SNGMA]

Neue Jugend broadsheets (1917) [copy @ SNGMA] (images available in

this article:

https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1280&context=dadasur)

Celine Arnauld (ed.,) Z (1920) [copy @ SNGMA] (See page images here:

http://sdrc.lib.uiowa.edu/dada/z/1/index.htm; translation available in Dada’s Women by Ruth Hemus (Yale University Press, 2009))

Fernand Leger/Blaise Cendrars La Fin du Monde (1919) (images here:

https://blogs.slv.vic.gov.au/news/new-la-fin-du-monde/) [copy @ SNGMA]

Early twentieth century copies of Architectural Review magazine,

particularly the 1930s [see archive, though only going back to 1940s, here: https://www.architectural-review.com/essays/archive/by-decade

Editions as collaborations

Virginia Woolf, ‘Kew Gardens’, in Virginia Woolf and Mark Haddon,

Two Stories (Hogarth Press, 2017)

https://www.penguin.co.uk/books/111/1114295/two-stories/9781781090671.html

Other editions of interest:

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• Kew Gardens with woodcuts by Vanessa Bell (Hogarth: 1919) [First

edition: page images here: https://www.bl.uk/collection-items/kew-

gardens-by-virginia-woolf-1919 ]

• ‘Kew Gardens’ in Virginia Woolf, Monday or Tuesday with woodcuts by

Vanessa Bell (Hogarth: 1921) [some page images here, though not of

‘Kew Gardens’: https://www.bl.uk/collection-items/monday-or-tuesday-by-virginia-woolf]

• ‘Kew Gardens’ in A Haunted House and Other Short Stories ed Leonard

Woolf (Hogarth: 1944)

• ‘Kew Gardens’ in The Complete Short Fiction of Virginia Woolf ed Susan

Dick, (2nd edn; Harcourt, 1989)

• ‘Kew Gardens’, illustrated by Livi Mills (Kew Publishing, 2015) https://shop.kew.org/kew-gardens-by-virginia-woolf

The Blue Guitar: Etchings by David Hockney Who Was Inspired by

Wallace Stevens Who Was Inspired by Pablo Picasso (1977) [Published

both as a book and print portfolio: https://thedavidhockneyfoundation.org/series/the-blue-guitar]

Digital editions

Virginia Woolf, ‘Ode Written Partly in Prose on Seeing the Name of

Cutbush above a Butcher’s Shop in Pentonville’ (1934) (https://nme-

digital-ode.glasgow.ac.uk/)

Only other published editions: • ‘Ode Written Partly in Prose on Seeing the Name of Cutbush above a

Butcher’s Shop in Pentonville’ in The Complete Short Fiction of Virginia

Woolf ed Susan Dick, (2nd edn; Harcourt, 1989)

Ezra Pound, The Cantos Project:

http://thecantosproject.ed.ac.uk/index.php

Online case study for a digital touchscreen exhibition of the Mallarmé

manuscripts held in University of Glasgow Special

Collections: https://dandtnetwork.glasgow.ac.uk/recreations-postales/

James Joyce, Ulysses: A Digital Critical and Synoptic Edition, prepared

by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior; online edition by Ronan Crowley and Joshua Schäuble

http://ulysses.online/index.html [the online version-in-progress of the hard

copy edition listed above]

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3. Workshop and Exhibition Details

The project will run 12 August 2019 – 11 August 2020. The events will

comprise:

1. A workshop about the book as physical object of social and cultural

exchange and its relationship to the reader and the post-reading

act, in collaboration with the social enterprise MyBookcase (led by

Cristina Garriga, MyBookcase founder and project partner, to be

held at the National Library of Scotland and the archives of the

Scottish National Gallery of Modern Art)

2. A practical workshop on letterpress typography and print at the

Glasgow School of Art (led by Edwin Pickstone, project CoI)

3. A practical workshop on pochoir technique and the image/text

relationship at the Edinburgh College of Art (led by Jane Hyslop,

project CoI and Network member)

4. A workshop on the languages of editing and culture writing

(facilitated by Sarah Auld, Chris McCormack, Andrew Thacker and

Nick Thurston,)

5. An exhibition of works made in response to the selected

constellation of texts, to be held at Shandy Hall in collaboration with

The Laurence Sterne Trust at Shandy Hall (project partner)

6. A workshop responding to the exhibition about the relationship

between text and non-verbal elements as they are presented at art

exhibitions, to be held at Shandy Hall.

The workshops are open to all; travel, accommodation and catering will

be covered. Details of how to apply will be forthcoming via the Imprints of

the New Modernist Editing website.

4. Full Application Details Full application details can be found on the CuratorSpace website here:

https://www.curatorspace.com/opportunities/detail/imprints-of-the-new-

modernist-editing/3792

Please make your submission via CuratorSpace. You will be asked for the

following:

- A brief artist’s statement.

- A proposal detailing your intentions, the text or artwork that you

have selected to respond to and offer a full description of proposed

work (word count – 500 max).

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- Evidence of other relevant works or projects that you have been

involved in. You may upload up to four images or photographs in

JPG, GIF, or PNG format. These should be no more than 4MB in

size. If you wish to submit material in a different file format or size,

please contact the project organisers.

- A CV

Notes – All work included in the exhibition must not have been exhibited

previously.

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Appendix I

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Appendix II

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