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'The nearest the general run get to art is Action: sex is their form of art: the battle for existence is their picture.'

Tarr tells the blackly comic story of the lives and loves of two artists, played out against the backdrop of Paris before the start of the First World War - the English enfant terrible Frederick Tarr, and the middle-aged German Otto Kreisler, a failed painter who finds himself in a widening spiral of militaristic self-destruction. When both become interested in the same two women - Bertha Lunken, a conventional German, and Anastasya Vasek, the ultra-modern international devotee of 'swagger sex' - Wyndham Lewis sets the stage for a scathing satire of national and social pretensions, the fraught relationship between men and women, and the incompatibilities of art and life.

In his introduction and notes Scott W. Klein explores Lewis's stylistic experimentation within the context of avant-garde movements in painting, and offers new insights into Tarr as a work of mordent wit and enduringly ferocious irony.

Self Condemned, originally published in 1954, tells the story of Professor Ren? Harding and his wife, Essie, as they find themselves in Momaco, a fictionalized version of Toronto, following Ren?'s resignation as an academic in London, England. Reduced to a position at the second-rate University of Momaco, Ren? and Essie suffer through a bleak and oppressive isolation in a dreary and alien city.

The novel, a devastating, disturbing satire of life in wartime Canada, explores the difficulty individuals face as they struggle to adapt to new surroundings while preserving their sense of wholeness, as well as the bond that develops between people during a shared experience of isolation. Hailed by T.S. Eliot as "the greatest prose writer of my generation," Lewis wrote Self Condemned after he lost his vision in 1951

Published in the shadow of the Spanish Civil War, The Revenge for Love is a political thriller attacking the fraudulence and feeble-mindedness of life in the Britain of the 1930s. A brilliant satire on a world that has lost its sense of self and been seduced by the appeal of Communism, it is one of a handful of books (it could be compared to Orwell's Coming Up for Air or Koestler's Darkness at Noon) which defined a particular mood and to today's audience gives an unparalleled sense of how Europe turned toxic on the eve of the Second World War.


A major statement by a great artist and writer The Revenge for Love now deserves a new generation of readers and is the perfect introduction to Lewis's work.

Tutored by a 60-year-old Albino dilettante, Dan travels through the London art world. He is horrified, confused and bored by the contrived "broadcasts" of the "apes", a series of pseudo artists who resemble, on the one hand, absurd mechanical dolls, and on the other, specific personages of the era.

The Childermass is the first volume of the unfinished epic "The Human Age" and is unarguably the most radical, outlandish, and formally experimental work in Lewis’s oeuvre. The novel follows the adventures of two Englishmen, Sattersthwaite and Pullman, presumably killed in the Great War, as they posthumously navigate a bizarre purgatorial afterlife while awaiting admission to something called The Magnetic City. Lewis in "The Childermass" spends a good deal of time dramatizing his theoretical, political, and aesthetic concerns. Along the way, he produces extensive parodies of the styles of both James Joyce and Gertrude Stein, while also pushing the inimitable Lewisean sentence he had developed in Tarr to its extreme limits.

Blast was the short-lived literary magazine of the Vorticist movement in Britain. Two editions were published: the first on 2 July 1914 (dated 20 June 1914, but publication was delayed) and featured a bright pink cover, referred to by Ezra Pound as the "great MAGENTA cover'd opusculus"; and the second a year later on 15 July 1915. Both editions were written primarily by Wyndham Lewis. The magazine is emblematic of the modern art movement in England, and recognised as a seminal text of pre-war 20th-century modernism.