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Although the rise of the bureaucratic state was one of the most startling transformations of early twentieth-century British society, novelists raised on a diet of laissez-faire liberalism tended to shy away from direct representations of bureaucracy (with some prominent exceptions, such as the Circumlocution Office in Charles Dickens's Little Dorrit or Anthony Trollope's Three Clerks). Although squarely set within the "governing-class spirit" of Westminster and populated with a bevy of civil servants, Virginia Woolf's Mrs Dalloway tends to be read as maintaining a strict public-private division with a marked preference for the richness and beauty of private life. This article argues that Woolf, no stranger to the civil service through her family and personal networks, had a more strained and ambivalent response to bureaucracy as an idea and government form. A close reading of the structural importance of Hugh Whitbread's character, a minor figure who is often read as an empty, flat Dickensian caricature of the gentleman, shows a more ambivalent response to how bureaucracy and its forms impacted the wider concerns raised about governmentality in Woolf's novel. [ABSTRACT FROM AUTHOR]

This essay examines Ezra Pound's behind-the-scenes control of the little review Four Pages, which ran for fifteen issues from 1948 to 1951. After his return to the United States in 1945 to face charges of treason, Pound was declared mentally incompetent and institutionalized in amental hospital in the nation's capital. With his publishers attempting to rehabilitate Pound's public standing by spotlighting his purely "literary" efforts, Pound had to resort to anonymous publication to continue to have a say on contemporary matters. This essay shows how Pound essentially created and edited a little review to have a venue that pushed his social and political ideas at a time when doing so openly was problematic for legal and political reasons. The use of anonymity as a writer and editor was part of the wider "literary camouflage" that Four Pages engaged in to advance Pound's wider cultural and political agenda. [ABSTRACT FROM AUTHOR]

An essay on a Romanian and French avant-garde poet, essayist and performance artist Tristan Tzara is presented. It mentions that the poet was born April 16, 1896 in Romania. It informs that he was known best for being one of the founders and central figures of the anti establishment Dada movement in the country.

The article critiques the diary section of the book "Blindness," by Henry Green, interpreting it as a reflection on the author's own life. It addresses the common reading of the diary section as a means of establishing the protagonist's artistic abilities, and refutes this interpretation based on the amount of personal information contained in the diary section. It comments on errors in the book's chronology, speculations into Green's life, and reading the novel as an autobiography.

The essay discusses the professionalization of novel-writing in Great Britain throughout the 1920s. Emphasis is given to the publishing of young British writers largely affected by the destruction of World War I. The author explains that young authors were published because post-war youth culture became largely synonymous with British national identity in this era. The importance of Alec Waugh's "The Loom of Youth," which dealt with Great Britain's public school system, to the increased popularity of young authors and literature dealing with youth is assessed.