How to be Modern: The Darantière Press and Anglo-American Writers in France
The collaboration between Sylvia Beach, James Joyce, and the Dijon printer Maurice Darantière that resulted in the first printing of Ulysses in 1922 was commemorated in a 1988 study by the modernist scholar Jean-Michel Rabaté: Maurice Darantière, les années vingt: bibliographie d’imprimeur. The bibl...
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Association Française d'Etudes Américaines
2023-06-01
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| Series: | Transatlantica |
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| Online Access: | https://journals.openedition.org/transatlantica/20866 |
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| author | Fiona McMahon |
| author_facet | Fiona McMahon |
| author_sort | Fiona McMahon |
| collection | DOAJ |
| description | The collaboration between Sylvia Beach, James Joyce, and the Dijon printer Maurice Darantière that resulted in the first printing of Ulysses in 1922 was commemorated in a 1988 study by the modernist scholar Jean-Michel Rabaté: Maurice Darantière, les années vingt: bibliographie d’imprimeur. The bibliography appended to the investigation of Darantière's publishing history (1900-1928) reveals a remarkable number of volumes of English-language poetry, essays and fiction during this period. Along with French translations of a range of English-language short stories (by Sherwood Anderson or Edgar Allan Poe), Darantière’s catalogue boasts over a dozen English-language volumes, including those by some of the key figures of anglophone literary modernism (Bryher, Robert McAlmon, Gertrude Stein, William Carlos Williams, H.D.). Darantière’s willingness to print books in a language other than French is a tribute not only to the audaciousness of his enterprise but to the network of influence established among Anglo-American writers, publishers and booksellers in France in the first decades of the twentieth century. What can a new examination of the Darantière collection (Bibliothèque municipale, Dijon) bring to light about the mediation of avant-garde Anglo-American writing in France and what Lawrence Rainey has called the “commodification” (44) of modernist print culture? The contribution of Darantière in the dissemination of Anglo-American literary experiment will be measured alongside the expanding role of the printer, from craftsman to vector of the new expatriate writing. |
| format | Article |
| id | doaj-art-ce5eadf974b0453aa6ed8227abb54ba6 |
| institution | Kabale University |
| issn | 1765-2766 |
| language | English |
| publishDate | 2023-06-01 |
| publisher | Association Française d'Etudes Américaines |
| record_format | Article |
| series | Transatlantica |
| spelling | doaj-art-ce5eadf974b0453aa6ed8227abb54ba62025-01-30T10:42:50ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662023-06-01110.4000/transatlantica.20866How to be Modern: The Darantière Press and Anglo-American Writers in FranceFiona McMahonThe collaboration between Sylvia Beach, James Joyce, and the Dijon printer Maurice Darantière that resulted in the first printing of Ulysses in 1922 was commemorated in a 1988 study by the modernist scholar Jean-Michel Rabaté: Maurice Darantière, les années vingt: bibliographie d’imprimeur. The bibliography appended to the investigation of Darantière's publishing history (1900-1928) reveals a remarkable number of volumes of English-language poetry, essays and fiction during this period. Along with French translations of a range of English-language short stories (by Sherwood Anderson or Edgar Allan Poe), Darantière’s catalogue boasts over a dozen English-language volumes, including those by some of the key figures of anglophone literary modernism (Bryher, Robert McAlmon, Gertrude Stein, William Carlos Williams, H.D.). Darantière’s willingness to print books in a language other than French is a tribute not only to the audaciousness of his enterprise but to the network of influence established among Anglo-American writers, publishers and booksellers in France in the first decades of the twentieth century. What can a new examination of the Darantière collection (Bibliothèque municipale, Dijon) bring to light about the mediation of avant-garde Anglo-American writing in France and what Lawrence Rainey has called the “commodification” (44) of modernist print culture? The contribution of Darantière in the dissemination of Anglo-American literary experiment will be measured alongside the expanding role of the printer, from craftsman to vector of the new expatriate writing.https://journals.openedition.org/transatlantica/20866Franceavant-gardemodernismDarantièreprint culturediffusion |
| spellingShingle | Fiona McMahon How to be Modern: The Darantière Press and Anglo-American Writers in France Transatlantica France avant-garde modernism Darantière print culture diffusion |
| title | How to be Modern: The Darantière Press and Anglo-American Writers in France |
| title_full | How to be Modern: The Darantière Press and Anglo-American Writers in France |
| title_fullStr | How to be Modern: The Darantière Press and Anglo-American Writers in France |
| title_full_unstemmed | How to be Modern: The Darantière Press and Anglo-American Writers in France |
| title_short | How to be Modern: The Darantière Press and Anglo-American Writers in France |
| title_sort | how to be modern the darantiere press and anglo american writers in france |
| topic | France avant-garde modernism Darantière print culture diffusion |
| url | https://journals.openedition.org/transatlantica/20866 |
| work_keys_str_mv | AT fionamcmahon howtobemodernthedarantierepressandangloamericanwritersinfrance |