On January 2, 2020, T. S. Eliot announced from the grave that he and Emily Hale never had sex and that marrying her would have killed the poet in him. [1] At the New York Times, the arts and culture piece on Eliot scheduled for January 9 was bumped up to breaking news. [2] Always the canny publicist, Eliot controlled the narrative of the day on which his 1, 131 letters to Hale were opened to view at the Princeton Library.

In the opening days of 2020 modernists may have rejoiced over two significant events. On January 1, works published in 1924 entered the public domain. On January 2, Princeton University opened to the public the recently uncrated 1,131 letters from T. S. Eliot to Emily Hale. In these two opposing examples of the modernist archive 2020 stages a central tension between diffusion and enclosure, between the dream of a universal library—which paradoxically and simultaneously enacts a “library without...

Southern Vancouver Island’s 100-kilometer-long BC-14 Highway slides predominantly east to west along British Columbia coastline through traditional Coast Salish territory. Beneath the old-growth trees that are the marrow of this lush ecosystem is the small, unincorporated community of Shirley, and the Cook Kettle Press (fig.1). Though small, the press is a regional hotbed of letterpress activity. As a print shop, it provides opportunities for artists to use its space and equipment. It also acts...

“Times have changed, and so have merchandise and business methods,” The Western Home Monthly declared in its July 1919 editorial, as the visuality of modern design and advertising began to enter its pages after two decades of continuous publication, and as it made other strategic changes in apparent attempts to capture a modernizing readership. [1] Rather than addressing a wide-open swath of “the great middle classes” it had sought to attract in its early days at the turn of the century, the magazine now pledged itself to the service of “the thousands of women in this country who were no longer satisfied with the idea that things were good enough ‘because mother did it that way’” and promised that it would seek to satisfy “the human needs of a woman’s life.” [2] No doubt hoping to avoid alienating older long-time male readers, such as the “Octogenerian” whose letter of praise addressed the magazine as “Dear Old W.H.M.,” the periodical nonetheless began to court a younger, predominantly female audience. [3] While WHM remained largely a household magazine, addressing, as Faye Hammill and Michelle Smith have identified, “women of several different generations” and “all the members of a middle-class family,” the age of the Modern Girl was dawning on the prairie, and her image began appearing throughout the pages of the periodical where she registered as both the object and subject of address. [4] Characterised by her bobbed hair, increasing use of cosmetics, a willing embrace of glamour and commodity culture, and her frank acknowledgment of inner life, her image emblazoned the cover of magazines with increasing frequency in the late 1920s and heightened intensity in the early 1930s. This was true of Canada’s The Western Home Monthly (1899–1932) as much as elsewhere, though her absence in Canadian literary history is particularly acute. Her presense in this Canadian publication potentially challenges established narratives of the Canadian literary past, and destabilizes established hierarchies of cultural value, as she not only appeared as a commercial icon but also infiltrated literary aspects of the magazine, including its illustrated serialised novels and short stories.

Located in Special Collections at the University of Victoria is a little studied folder that contains fifty-one letters written by the British modernist author Mary Butts (1890-1937) to friend and fellow British modernist Douglas Goldring (1887-1960), with some few to Goldring’s second wife, Malin.

Alice Walker began 1982 with Virginia Woolf. Walker would spend the year recording events, plans, and phone numbers in spiral-bound pages of a calendar she had acquired filled with photographs of Woolf and her contemporaries. As Walker crossed out days, her purple ink seeped through one page, partly obscuring Woolf’s photograph on the verso. [1] The lines meet Woolf’s likeness, a purple X just passing her eye. The range of inks that Walker used throughout her calendar suggest that this was chance, but the ink also recalls Walker’s novel published the same year, The Color Purple; likely unbeknownst to Walker, it was also a color in which Woolf preferred to write. [2] It is the materiality of circumstance that makes this artifact a vestige of mass culture, everyday life, and artistic creation.

Using the modernist archive requires finding it first. The modernist archive does not live in one collection at one repository, such as a single university special collections department or one pivotal private library. Rather, the modernist archive is a term used to conceptualize a networked set of collections across many repositories in the United States or abroad. [1] The fact that the modernist archive is dispersed rather than centralized is critical because each institution’s holdings are more or less discoverable based on local application of user experience (UX) principles. Weave, a Journal of Library User Experience defines UX as employing a variety of methodologies to inform improvements to physical and digital space so that the user can easily access collections and services. Th US Department of Health and Human Services provides an overview of UX basics that, adapted for libraries and archives, would require repositories to identify their users, what they want, what skills they have, and which they don’t. According to Coral Sheldon-Hess, when UX is properly implemented, users of all levels of expertise can more easily access what they need. When UX is ignored or poorly applied, users are more likely to perpetuate pre-existing archival silences as well as less likely to have successful searches.

Nancy Cunard began printing alone in 1927—in a heat wave no less, as she notes in her posthumously published memoir, These Were the Hours (1969)—and struggled her way through the difficult early stages of learning how to make serviceable prints on an Albion press. [1] She quickly realized, however, that she would need help if the Hours Press were ever to become a successful small publishing house. In 1928, she therefore initiated her well-known collaboration with her lover, the jazz musician Henry Crowder, turning the printing room into a space where, as Jeremy Braddock has recently argued, “Cunard’s advocacy of radical race politics” was often perceived by others as working “in concert with the open publicizing of her own romantic relationships with black men.” [2]

The past twenty years, along with the promises and perils of the digital turn, have seen a robust engagement with the modernist archive. One can map nearly point for point the rise of the New Modernist Studies and the Modernist Studies Association with the rise of digital resources that have reenergized the field: the Modernist Journals Project (1997), the Modernist Magazines Project (2006), the Blue Mountain Project (2012), the Modernist Versions Project (2012), ModNets (2013), and the Modernist Archives Publishing Project (2013), among others, have all contributed to the “ expansive” forces enlarging the universe of material modernity.