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2 results

  • Chapter 13 - Italian Fascism

  • from Part III - Culture and Politics
  • Edited by Mark Byron, University of Sydney
  • Book:
    The New Ezra Pound Studies
    Published online:
    17 October 2019
    Print publication:
    07 November 2019, pp 208-226

  • Summary

    It is a curious accident of history that 1922 marks the annus mirabilis of both aesthetic modernism and Italian Fascism. Mussolini’s epoch-making March on Rome on 28 October came on the heels of Virginia Woolf’s Jacob’s Room, published by Hogarth Press just two days earlier. Other landmarks of modern art and literature to arrive on the scene that year include T. S. Eliot’s The Waste Land, James Joyce’s Ulysses, Jean Cocteau’s Antigone, Edith Sitwell’s Façade and Pablo Picasso’s Two Women Running on the Beach, to name but a few. None of these modernist mavericks supported Fascism, of course – quite the contrary. Radical politics was stirring nonetheless in the ashes of the First World War. The avant-garde would not remain on the sidelines for long. The Italian Futurists led the way on the right.