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overboard from the Ship of Modernity.( Burliuk 51-51)The new technology, it seems, has changed everything.

If all artists were to see the crossroads of these heavenly paths, says Malevich, referring in 1915 to the brilliance of electric lights and growling of propellers of the modern city, if they were to comprehend these monstrous runways and intersections of our bodies with the clouds in the heavens, then they would not paint chrysanthemums.(116-135) Who was it that did paint chrysanthemums?

And Bayard refers us to Herbert Marcuses argument that far from representing a breakthrough, the innovative typographic devices of the Concretists dissolve the very structure of perception in order to make room . When, in other words, an avant-garde movement is no longer a novelty, it is the role of the arrire-garde to complete its mission, to insure its success.

As Antoine Compagnon puts it in his study of Barthes in the Marx collection, the role of the arrire garde is to save that which is threatened.

One cant imagine Marinetti or Malevich using the words of their nineteenth-century precursors as epigraphs, but Fahlstrm certainly does so.

And the Brazilian Noigandres group specifically derives its names from a passage in Pounds Cantos. ) as this arrire-garde was vis--vis the normative verse or painting of its own day, transformed the Utopian optimism and energy of the pre-World War I years into a more reflective, self-conscious, and complex project of recovery.

Monet for one, Renoir for another: artists of the great Impressionist movement who were now considered passist.

The arrire-garde, in contrast, treats the propositions of the earlier avant-garde with respect bordering on veneration.

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For psychology, Marinetti insisted, we must substitute matter, specifically such categories as noise, weight, and smell.

The Utopian avant-garde, of which Marinetti was very much of a representative, believed in definitive rupture with the stultifying past.

A roaring motorcar, Marinetti declared famously in the First Manifesto (1909), is more beautiful than the Winged Victory of Samothrace (Marinetti 13).

At the time I was in the process of writing “Rethinking Literary Feminism: Three Essays onto Shaky Grounds” in response to an invitation from scholars Lynn Keller and Cristanne Miller for their collection : The same tempest of mindas ever, controls the girl.[1] Despite the fact that gender identities are in increasingly complex conversation with biology and cultural construction the reductive force of patriarchy, with its sidekick misogyny, remains the catastrophic constant.

— Left: Nathaniel Mackey at Vision Festival, New York, 2015, courtesy of Nathaniel Mackey.

And Marinetti exemplifies this new poetry by reciting from his onomatopoeic battle poem Zang tumb tuuum with its cataloguing of such items as lead lava 300 stinks 50 sweet smells paving mattress debris horseshot carrion Like Marinetti, Fahlstrm has little time for the conventional pieties of his day: his manifesto begins with a satiric thrust at the Sigtuna lake-front art colony (rather like our Yadoo or Mc Dowell summer colonies), whose cultural hero was the neo-Romantic poet Bo Setterlind, the author of a long poem called Mooncradle.