This chapter examines what is arguably Cavendish’s most famous publication, her proto-science fiction novel The Blazing World, from a textual bibliographical perspective, for the purpose of showing that textual bibliography and more traditional literary interpretive analysis can and should be brought together in Cavendish studies. The printed volume in which Cavendish’s novel was originally published, the 1666 collection, printed in London, includes both a treatise and the novel together. I establish a collation formula for this book, and examine the binding, signature marks, pagination, running titles, and systematic hand corrections. These textual bibliographical details demonstrate that the original intention was for Blazing World to end with what we now call Part I, and that Part II was hastily sent to the printer after Part I and the Epilogue had already been printed as a completed whole. The essay ends by showing how this bibliographical fact might change our reading of the narrative itself, and might also prompt us to ask new questions of Cavendish’s writing methods.

Illustrated magazines provided some of the main vehicles for expressing ideas of modernity and modernism in the Brazilian context. The chapter focuses on three pioneering art nouveau magazines of the early 1900s (Atheneida, Kósmos, Renascença) and their mass-circulation successors (O Malho, Fon-Fon!, Careta, Para Todos) over the 1910s. The experimental work produced in the arena of design and photography by artists K. Lixto and J. Carlos, among others, is proof that an alternative version of modernism was already in place in Rio de Janeiro long before the modernist movement of 1922, focused not on fine art but mainly on graphic art and photography. By examining the complex linkages between the magazines and their personnel, the chapter demonstrates that this alternate modernism was a self-conscious and deliberate movement. The writings of leading art critic Gonzaga Duque provide the theoretical underpinnings that tie together the efforts of a broad group of practitioners. Interestingly, their vision of modern art weds the symbolist decadentism of Rubén Darío’s modernismo with a political outlook that ranges from anarchism to socialism and communism.