Abstract
As one of men of 1914, Wyndham lived in a violent age, and in the big bloodless brawl prior to Big Blood Letting,' he was widely recognized as a dangerous antagonist. His friend T. E. Hulme had a knuckle-duster carved in brass by Henri GaudierBrzeska, and although did have a legendary fistfight with Hemingway, his brand of violence was not physical; it was rather intellectual and verbal. Lewis conceived world as an arena where various insurrectionary forces struggled to outwit each other in game of artistic power politics.2 entered polemical arena with zeal and defeated Marinetti, futurist, in lecture halls of London, toppled D. H. Lawrence and Sherwood Anderson in The Enemy, and in Time and Western Man iconoclastically hacked away at reputations of Joyce, Pound, and Gertrude Stein. Revolutionary Simpletons all, they are floored within a few pages by a brilliant rhetorical invective which leaves reader gasping. The titles of Lewis' periodicals, Blast and The Enemy, suggest public persona he adopted, and in his autobiographical poem-sequence, proudly defines his own character:
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