We have come to know Wyndham Lewis as one of modernism's most vocal advocates of static, self-contained ego. In Time and Western Man, Lewis insists that only terra firma in a boiling and shifting world is... our 'self.'1 He then suggests that this formally fixed (TWM, 133) self cohere for us to be capa ble at all of behaving in any way but as mirror-images of alien realities, or as most helpless and lowest organisms, as worms or sponges (TWM, 132). In other words, the Ego must be constituted as a static 'substance' (TWM, 298) in order to prevent itself from being absorbed into fluid time-mind of mass society. And as Vincent Sherry points out, this does not merely constitute a per sonal credo for Lewis. Shunning ontological blurring of acoustic empathy and demotic fellow feeling2 allows one to resist hypnotic effects of mass political movements. Individuality and stability, it seems, are last lines of for tification against sensationalism of crowd-life.3 But what of Lewis who writes in 1932 that such artists as Shakespeare or Dickens are very little individuals at all—they are, as a matter of fact, a very great and numerous crowd?4 And what of Lewis who writes in 1925 that the