Reviewed by: Wyndham Lewis and the Cultures of Modernity Michael Nath Wyndham Lewis and the Cultures of Modernity. Andrzej G.asiorek, Alice Reeve-Tucker, and Nathan Waddell, eds. Burlington, VT: Ashgate, 2011. Pp. xiii + 265. $99.95 (cloth). A dozen essays (some of them worked up from conference proceedings) appear in this volume. Its aim, in the words of the editors, is to focus on "contexts, relationships and writings that are not well known in order to extend our understanding of Lewis's work and his engagement with the modernity he analysed and attacked in equal measure" (3). Part one ("Friends and Enemies") discusses Lewis's use of quotation; his relationships with David Bomberg and William Roberts, Rebecca West and Naomi Mitchison, and John Rodker; and the reception of Blast. Part two ("Media and Mass Society") deals with music, cinema, patronage, and Evelyn Waugh. In part three ("Culture and Modernity"), we have essays on anthropology, the 1930s, and shellshock. This is a broad and enterprising collection, and is justified both by the variety of Lewis's creative and critical activity and of his associations. Furthermore, while it is hard on the prejudices [End Page 619] (as in Ian Patterson's essay on Lewis and Rodker), and large errors of judgement (as in Andrzej Gasiorek's on Lewis and commitment in the 1930s), it is free of the pantomime disapproval that regularly accompanies responses to Lewis. These essays will be of benefit to the growing number of undergraduates and postgraduates who are electing to work on Lewis; they also have much that is new to offer both the browsing generalist and the Lewis scholar. I myself learned, for instance, from Alan Munton's essay on quotation, Alexander Ruch's on patronage, Jodie Pearson's on Blast, and Victor Barac's on anthropology. The first provides the best examples of close reading in this volume. The second deals with the question that had occupied Lewis since his rift with middle-brow Bloomsbury in 1912, namely, who pays for modernism? To which it provides the surprising answer, the BBC. It was this institution that, late in Lewis's career, paid him to complete the Human Age trilogy. The rift itself is illuminated in Pearson's account of contemporary responses to vorticism, led by John Squire (81-84). Barac compares Lewis and Eliot as ethnographers, and suggests that Lewis's contribution to anthropology, notably in The Art of Being Ruled (1926), is not only superior in kind to Eliot's cultural criticism, but important in its own right (e.g., in its conception of gender determination and bipedalism). The superiority supposedly consists in the fact that Eliot could not sever the idea of culture from religion, whereas Lewis's critical methods were historical and scientific (199-200). The last claim has a bright sound to it, though it may need to be considered alongside the fact that Lewis's imaginative practice was at home with the supernatural, The Human Age being modernism's most substantial encounter of this kind (the trilogy takes place in an afterlife and the satire, if we can still use that word, is aimed at the Devil's party). But Lewis's critical observations were not alien to the supernatural anyway: "If you say that creative art is a spell, a talisman, an incantation—that it is magic, in short, there, too, I believe you would be correctly describing it. That the artist uses and manipulates a supernatural power seems very likely."1 This statement, from Time and Western Man (1927), exemplifies the difficulty of defining what Lewis was actually up to, when he wasn't being an artist. The introduction to this volume presents him as a "philosopher-critic" (3), so, as well as rational anthropologist, Lewis appears as opponent of Bergson in James Mansell's essay on music and modernism, as sociologist in Nathan Waddell and Alice Reeve-Tucker's essay on Lewis, Waugh, and the "Child-Cult," and as critical theorist in the manner of Adorno and Marcuse in Gasiorek's essay. Waddell and Reeve-Tucker notice "how far Lewis's account of satire intersects with religious idioms" (170), though Gasiorek reckons that Lewis's conception of...