Read Tarr (Oxford World's Classics) Online
Authors: Wyndham Lewis
Mao, Douglas, and Walkowitz, Rebecca L. (eds),
Bad Modernisms
(Durham, NC: Duke University Press, 2006).
Materer, Timothy,
Vortex: Pound, Eliot, and Lewis
(Ithaca, NY: Cornell University Press, 1979).
——
Wyndham Lewis, the Novelist
(Detroit: Wayne State University Press, 1976).
Meyers, Jeffrey,
Wyndham Lewis, a Revaluation: New Essays
(London: Athlone Press, 1980).
Miller, Tyrus,
Late Modernism: Politics, Fiction, and the Arts between the World Wars
(Berkeley and Los Angeles: University of California Press, 1999).
Normand, Tom,
Wyndham Lewis the Artist: Holding the Mirror up to Politics
(Cambridge and New York: Cambridge University Press, 1992).
Peppis, Paul,
Literature, Politics, and the English Avant-Garde: Nation and Empire, 1901–1918
(Cambridge: Cambridge University Press, 2000).
Peters Corbett, David (ed.),
Wyndham Lewis and the Art of Modern War
(New York: Cambridge University Press, 1998).
Puchner, Martin,
Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes
(Princeton: Princeton University Press, 2006).
Sherry, Vincent B.,
Ezra Pound, Wyndham Lewis, and Radical Modernism
(New York: Oxford University Press, 1992).
Wagner, Geoffrey,
Wyndham Lewis: A Portrait of the Artist as the Enemy
(New Haven: Yale University Press, 1957).
Wees, William C.,
Vorticism and the English Avant-Garde
(Toronto: University of Toronto Press, 1972).
Further Reading in Oxford World’s Classics
Ford, Ford Madox,
The Good Soldier
, ed. Thomas Moser.
Joyce, James,
A Portrait of the Artist as a Young Man
, ed. Jeri Johnson.
Lawrence, D. H.,
Women in Love
, ed. David Bradshaw.
1882 | (18 Nov.) Percy Wyndham Lewis born to Charles Edward and Anne Stuart Lewis in Amherst, Nova Scotia, Canada, by Lewis’s account on his father’s yacht. |
1888–93 | Family lives on Isle of Wight. |
1893 | Parents separate. Lives with mother in England. |
1897–8 | Educated at Rugby School. |
1898–1901 | Attends Slade School of Art in London; expelled. |
1904–8 | Moves to Paris. Travels within France, Germany, Holland, and Spain, which provided the subject matter for his earliest fiction. |
c | Begins to draft first version of |
1908 | (Dec.) Returns to London. |
1909 | Meets Ezra Pound and Ford Madox Ford (then known as Ford Madox Hueffer). Earliest stories published in |
1910 | Art critic Roger Fry mounts revolutionary art exhibition ‘Manet and the Post-Impressionists’ in London. Early stories appear in |
1911 | Joins the Camden Town Group of artists. |
1912 | Displays large canvas |
1913 | Briefly joins Roger Fry’s Omega Workshop, then breaks with Fry over accusation of stolen commission for the Ideal Home Show. Portfolio of drawings for Shakespeare’s |
1914 | Founds Rebel Art Centre with Kate Lechmere. (20 June) first issue of Vorticist journal |
1915 | Meets T. S. Eliot. (July) Second and last issue of |
1916 | Enlists in the Royal Garrison Artillery, as Gunner and then Bombardier. Fights in third battle of Ypres. |
1917 | Gains commission as an official war artist for Canadian Corps headquarters. Short story ‘Cantleman’s Spring Mate’ published in |
1918 | Tarr |
1919 | First one-man show, exhibition of war art, ‘Guns’ at Goupil gallery. |
1920 | (9 Feb.) Mother dies. Lewis forms ‘Group X’, which disbands after single exhibition in March. Meets James Joyce with T. S. Eliot during trip to Paris. |
1921 | (Apr.) Edits first issue of arts journal |
1922 | (Mar.) Second and last issue of |
1924 | (Feb.–Apr.) Two excerpts from |
1926 | The Art of Being Ruled |
1927 | Time and Western Man |
1928 | The Childermass |
1929 | Paleface: The Philosophy of the ‘Melting Pot’ |
1930 | The Apes of God |
1931 | Hitler. The Diabolical Principle |
1932 | The Doom of Youth. Filibusters in Barbary. Snooty Baronet |
1933 | The Old Gang and the New Gang. One Way Song |
1934 | Men Without Art |
1936 | Left Wings over Europe, or How to Make a War about Nothing. The Roaring Queen |
1937 | Blasting and Bombardiering |
1938 | The Mysterious Mr Bull |
1939 | The Jews, Are They Human? |
1940 | America, I Presume |
1941 | Anglosaxony: A League that Works. The Vulgar Streak |
1945 | (Aug.) Returns to London. |
1946–51 | Art critic for |
1948 | America and Cosmic Man |
1949 | (May) Retrospective Exhibition, Redfern Gallery. |
1950 | Rude Assignment |
1951 | Loses sight. ‘The Sea-Mists of the Winter’ (essay on blindness). |
1952 | The Writer and the Absolute |
1953 | Special Lewis issue of |
1954 | Self Condemned |
1955 | Monstre Gai |
1956 | The Red Priest |
1957 | (7 Mar.) Death, Westminster Hospital, London. |
1973 | The Roaring Queen |
1977 | Mrs Dukes’ Million |
1979 | (Apr.) Death of Froanna. |
TARR
P
UBLISHED
ten years ago,
Tarr
, my first book, in a sense the first book of an epoch in England, is often referred to and a new edition has, for several years, been in demand. But in turning back to it I have always felt that as regards form simply it should not appear again as it stood, for it was written with extreme haste, during the first year of the War, during a period of illness and restless convalescence.
*
Accordingly for the present edition I have throughout finished what was rough and given the narrative everywhere a greater precision. A few scenes have been expanded and some material added.
W
YNDHAM
L
EWIS
.
November
1928
II
.
DOOMED, EVIDENTLY
—
THE
‘
FRAC
’
IV. A JEST TOO DEEP FOR LAUGHTER
L’ouvrage eust été moins mien: et sa fin principale et perfection, c’est d’estre exactement mien. Je corrigerois bien une erreur accidentale, dequoy je suis plain, ainsi que je cours inadvertemment: mais les imperfections qui sont en moy ordinaires et constantes, ce seroit trahison de les oster. Quand on m’a dit ou que moy-mesme me suis dict: ‘Tu es trop espais en figures: Voilà un mot du cru de Gascoingne: Voilà une frase dangereuse (je n’en refuis aucune de celles qui s’usent emmy les rues françoises; ceux qui veulent combattre l’usage par la grammaire se mocquent): Voilà un discours ignorant: Voilà un discours paradoxe: En voilà un trop fol. [Tu te joues souvent, on estimera que tu dies à droit ce que tu dis à feinte.]—Ouy, fais-je, mais je corrige les fautes d’inadvertence non celles de coustume. Est-ce pas ainsi que je parle par tout? Me represente-je pas vivement? suffit.’
Montaigne
, Liv. III, ch. v.
Le plus simplement se commettre à nature, c’est s’y commettre le plus sagement. O que c’est un doux et mol chevet, et sain, que l’ignorance et l’incuriosité, à reposer une teste bien faicte!’
Montaigne
, Liv. III, ch. xiii, ‘De l’expérience.’
*