Anthologies & Periodicals

 Anthologies & journals that served as vehicles of collaboration, exchange, and discourse for avant-garde communities.
The archive holds substantial collections of four 19th Century periodicals--see "Annales Romantiques Collection" , "Figaro Collection" , "Les Guêpes Collection" & "Revue Anecdotique Collection" tabs for catalogue and commentary.

A few periodicals are also listed under other headings when their focus is quite specific; see "Historiography," "Music," & "Nervaliens".

l'Almanach de France. Ed. Émile Girardin. (1834). Sole Edition. Société pour l'émancipation intellectuelle, Paris. w/Postcard of previous owner.


Les Annales Politiques et Littéraires (Political and Literary Annals). ed. Adolphe Brisson. Year 21, No. 1044 (June 28, 1903). Paris. Folio, 24 pp.

(Left: Magazine cover. Right: Table of Contents for Jan–July, 1903)

 The Political and Literary Annals was a journal dedicated to literary and cultural history, composed of both short articles and republications of archival documents, on a similar model to the older Anecdotal Gazette (see tab for this archive's collection) and its predecessors, but aimed at a broader public and larger circulation. Its format is therefore different from chapbooks of the former journal, which catered to a smaller readership; the Annales is folio size, on cheaper paper. Wider distribution was also paid for via advertising, in the form of an exterior wrap packed with four pages of adverts (themselves an interesting window into mainstream society at the time), while the journal itself was ad-free. It also includes a supplement for "The Woman," which includes articles and images on fashion and etiquette, health, society events, and some embroidery patterns and targeted adverts.
(Advertising Wrap)
This issue is loosely themed around Victor Hugo, including the "Battle of Hernani." Articles include one on Gautier's 'red waistcoat' worn at Hernani, one on Hugo's visual art along with reproduced drawings, some of his reprinted correspondence, a few articles touching on the recently inaugurated Victor Hugo museum (housed in his home) along with some photographs, sheet music by Saint-Saëns to a Hugo poem. There is also a memoir by George Sand about the Romanticist activist, philosopher and publisher Pierre Leroux, with whom she had collaborated on a Socialist newspaper. There is also a geological essay about volcanic activity on Haiti, on one cooking thermometers, and another on a new photographic technique; "political and literary" affairs was indeed interpreted broadly...


Les Annales politiques et Littéraire: Revue Universelle, Illustré, Hebdomadaire. ed. Adolphe Brisson. (Aug 23, 1925). Paris. Paperback Quarto. 26 pp. With Sheet Music Supplement: La Musique des Annales. Paperback Octavo, 8 pp.
Les Annales politiques et Littéraire: Revue Universelle, Illustré, Hebdomadaire. ed. Adolphe Brisson. (Oct. 11, 1925). Paris. Paperback Quarto.

These two issues of Les Annales politiques et Littéraire's were published 20 years after the issue above, and demonstrate both the changes in printing technology and the continuity of the magazine's interests. Its editor, Brisson had pronounced right-wing leanings, and although the magazine itself was ostensibly apolitical in mandate, the fact that it took such a continuous interest in Romanticism throughout its long existence (see the 1903 issue focusing on Hernani, also collected in the Revenant Archive) is evidence of the extent to which the legacy of the movement's mainstream – and to a certain extent its more radical forms as well – had been pacified and co-opted by bourgeois culture by century's end, to the extent where fanfic about Romanticist subculture in the 1830s is included alongside a nationalistic text by Maurice Barrés,whose parodic "trial" had recently been the pretext for the dissolution of the Paris Dada group, and a racist pro-colonial article by the contemptible ethnologist Gustave le Bon (whose personal copy of Gautier's History of Romanticism, used to research his published attacks against the avant-garde, is held in the Revenant Archive; see Historiography).
These issues include episodes 4 and 12 of an illustrated serial novel, Les Enfants d'Hernani (The Children of Hernani) by Tancrède Martel, a spirited and light-hearted saga of young Romanticist writers and artists. Essentially Romanticist fanfic avant le lettre, it is packed with references, in-jokes, and trivia regarding the subculture, and the Romantics themselves would no doubt appreciate its local colour. It boasts a huge cast of characters, including historical avant-gardists such as Petrus Borel, Gérard de Nerval, Camille Rogier, Frédéric Lemaitre, Devéria, Hugo, d'Angers, Vabre, etc. etc. etc. In fact Martel, one of the most respected historical novelists of his day, had been close to many of the Parnassian and older Decadent writers such as Théodore de Banville, Jean Richepin, Barbey d'Aurevilly, and with the aging Hugo himself. The novel never seems to have published on its own, which is a shame. There seems no way to recover it short of tracking down and acquiring every issue, but some parts of it can be found in issues online at Gallica HERE.
Additionally, the August Issue includes a supplement of sheet music containing three short songs, One, La Ronde autour du monde (The Ring Around the World), contains lyrics by the Symbolist Paul Fort (see his manuscript poem and inscribed copy of Hélène en fleur et Charlemagne held in the Revenant Archive). Another has passed through so many translations and adaptations that six musicians and writers share credit – La Veuve joyeuse (The Joyous Widow), by Franz Lehar, with G.-A. de Caillavet, & Robert de Flers, after Meilhac, Victor Léon, & Léo Stein. The last is Premier Amour (First Love) by G. Michiels.

The October Issue, in addition to the episode of the novel, includes the article by Le Bon mentioned above, a short story by Colette, and an article on the theatrical riot at the premier of Wagner's Tannhauser in 1861.
L'Autographe.ed. G. Bourdin. No.1, Saturday Dec. 5, 1863. Softcover Folio, 8 pp.

L'Autographe was a large-format journal catering to historians and archivists of 19th century (primarily French cultural) history, and an influence for this archive's associated journal, Rêvenance. It reproduced an eclectic array of handwritten notes, drawings, and other documents. The items in this issue of particular interest for the Revenant Archive include a notes by the avant-garde composer Hector Berlioz (see his Grotesques of Music in the Archive), the revolutionary activist Garibaldi, the Romanticist writers Alfred de Musset, Jules Sandeau (George Sand's estranged husband) and Jules Janin (enemy of frenetic ultra-Romanticism), the moderate Romanticist Léon Gozlan (probable coiner of the term "bousingo" in his satirical attacks on Radical Romanticism), plus a drawing by the liberal cartoonist Cham, a number of whose satires of Anarchism are included in the archive.


Anthologie de la Nouvelle Poésie Française. (Anthology of the New French Poetry) Ed. Simon Kra. (1928). Kra, Paris.
Read Text Online
l'Arc. Ed. Stephane Cordier.  Documents 34: Intervention Surréaliste, No. 37. (Undated, 2nd half of 1968). Republication of Intervention Surréaliste with new introduction, 1934. Paris.


Bief ("Connector") was published by the Paris Surrealist group from 1958–1960. Both its title and subtitle ("Surrealist Junction") underscore its primary role of serving as a conduit between the Paris group and the widely-scattered international Surrealist community, which had grown to include dozens of local groups in North and South America, Africa, and Europe; indeed, by the 1950s it could be argued that Paris was no longer the centre of Surrealist activity, which flourished in the Caribbean and Latin America. As a result, these issues display a constant concern with anti-colonial struggle and contain many contributions from Surrealists working in the French colonies and former colonies, including Joyce Monsour and Robert Benayoun.
 The Revenant Archive currently holds four issues, one third of the magazine's run.

Bief: Jonction Surrealiste. ed. Gérard Legrand. No. 4, Feb. 15, 1959. Le Terrain Vague: Paris. Softcover Quarto, 12 pp.


Highlights include: a statement by Benjamin Péret about the Church, the Military, and Colonialism; an André Breton essay, 'En Vrac' (In Shambles); three poems by Martiniquan poetess Joyce Mansour; an attack on Abstract Expressionism by Jean Schuster, and a study by Elie-Charles Flamand 'Sur un cryptogramme Nervalien' (On a Nervalian Cryptogram).

Bief: Jonction Surrealiste. ed. Gérard Legrand. No. 5, March 15, 1959. Le Terrain Vague: Paris. Softcover Quarto, 12 pp.

Highlights include: An essay on the I-Ching by Moroccan Surrealist Robert Benayoun, poems by Egyptian Surrealist Joyce Mansour, several open letters from various Surrealist groups, and an essay by Gérard Legrand:  "Is God a Positivist?"


Bief: Jonction Surrealiste. ed. Gérard Legrand. No. 8, July 15, 1959. Le Terrain Vague: Paris. Softcover Quarto, 12 pp.

Highlights include: A feminist text by Joyce Mansour, a statement supporting Algeria's rebellion against French occupation, a text on Surrealism's relationship to Zen Buddhism by Guy Cabanel, a visual poem-essay by the Croatian Surrealist Radovan Ivsic, an essay on Nabokov's Lolita by Robert Benayoun, an attack on the Cubist poets for selling out, and another against Chagall, and an essay by Gérard Legrand on the intersection of avant-garde linguistics, mysticism, and psychoanalysis,


Bief: Jonction Surrealiste. ed. Gérard Legrand. No. 12, April 15, 1960. Le Terrain Vague: Paris. Softcover Quarto, 12 pp.

This is the final issue of the journal. Highlights include: an index of all texts published during the journal's run, an essay by Breton on Marxist theory, with a reproduced letter to him from Trotsky, a drawing by Matta, an announcement of an exhibition by Belgian Surrealist Toyen, a contentious essay regarding censorship of an upcoming edition of Artaud and the psychiactric measures applied to him during his incarceration at Rodez, and an international collection of definitions (in French) of Surrealism by Joyce Mansour (Egypt), Robert Benayoun (Morocco/France), Octavio Paz (Mexico), Nora Mitrani (Bulgaria), and the Franco-English Surrealist Jacques Brunius, who had broadcast them in English in a BBC broadcast on the movement that February.

Cahiers du Sud. Ed. Francis Dumont. Les petits romantiques français. (1949) Cahiers du Sud, Marseilles. Sextodecimo Paperback, 300 pp. w/printed Band for cover. Essays by Tristan Tzara, Robert Desnos, Raymond Queneau, et. al. Texts by Petrus Borel, Aloysius Bertrand, Alphonse Esquiros, Charles Nodier, etc.

The periodical Cahiers de Sud published many fringe and ex-Surrealists. This issue focuses on avant-garde Romanticism, including (among many fascinating essays) the Oulipian and Pataphysician Raymond Queneau (see "Literature") writing on the ultra-obscure frenetic novelist Defontenay, Surrealist Robert Desnos writing on the socialist-occultist Alphonse Esquiros (whom Desnos counts as a member of the Bouzingo), and Dada co-founder Tristan Tzara writing on "The Bousingos as Social Phenomenon", in which he claims that:
"La tradition des Bousingos est restée vivante à... a vu une sorte de couronnement dans Dada et la surreálisme de la premier epoch. [ . . . ] Ils ont contribué à diriger la révolte du poète sur la voie de cette liberté que quelque-uns reconnaissant aujourd'hui, pleinement réalisable, dans les buts de l'avant-garde révolutionaire, sur la terrain de l'action practique et dans la practique de l'action."
           Very roughly translated: 
"The tradition of the Bousingos remained active to... have seen a sort of crowning in Dada and Surrealism in its first epoch [ . . . ] They helped to lead the poet onto the path of that liberty which some recognise today, fully achievable, in the goals of the revolutionary avant-garde, on the terrain of practical action and into the practice of that action."
Another copy of this book exists in the archive, listed under 'Historiography'.

Le Charivari (The Hullabaloo). Year 2, No. 333 (Wednesday, Oct. 30, 1833) Paris. Paperback Quarto, 4 pp.

The satirical magazine Charivari was one of the most vocal opponents of the July Monarchy, repeatedly prosecuted by the government for sedition and libel against the King. It served as the model for the famous British satire magazine Punch, which was subtitled "The London Charivari".

Founded by the political cartoonist Charles Phillipon, the journal attracted many of the leading Romanticist illustrators, caricaturists and draftsmen, including Bouzingo co-founder Célestin Nanteuil, Honoré Daumier, Tony Johannot, and Grandville (many of whose work can be found in elsewhere in the Revenant Archive), and would later become one of the key links between visual Romanticism and Realism. Oddly, the only drawings contained in this issue are a series of tiny naturalistic tableaux of "Various Little Subjects" as the title indicates, signed 'Jules 1831' in tiny lettering. Other features include a satirical comedy sketch about the National Guard, a fake gossip column about the hated government minister Tallyrand, an actual gossip column with bits of news about the Romantic poet Lamartine and career politician Thiers, a column of assorted topical one-liner jokes, a poem entitled "Political Cipher", some barbs thrown in debates with various other newspapers, and a listing of the plays currently showing at each of the city's 19 theatres (among which are included the Diorama and Panorama).

For the Revenant Archive's mandate, the main interest in this issue is a review of the novel Ainsi soit-il: Histoire du coeur (So Be It: Story of the Heart), by Alphonse Brot, co-founder of the Bouzingo. Brot is one of the more obscure writers of this obscure group, and this is one of the few traces of his activity and reputation during its lifespan--four years after he first described himself and his comrades in print as "the avant-garde of Romanticism".

O'Neddy–one of Brot's oldest friends in the Romanticist community–later recalled that his work was considered too conservative by his comrades (he was attempting to merge Classicism and Romanticism, a feat that would not find support in the avant-garde for another decade). The anonymous reviewer here also notes that Brot's plot–a love triangle between an aging Napoleonic general, his son, and her fiancé–is conventional, but praises the novel for the way in which the plot is handled: "But the happy, truly original idea of Mr. Alphonse Brot's novel, is to have summoned all of the interest onto [the General] Luigi's passion. Everywhere else, amorous old lechers are almost constantly ridiculed . . . Things pass more humanely in So Be It. One sensed that the love of a young man, beneath the withered features of the old man, was something tragic rather than clownish..."

At the end of the positive review, the reviewer notes that he has criticized Brot in the past for his "forced situations" and "pretentious style" (both, especially the latter, probably referring to Frenetic / avant-garde elements) and congratulates Brot on reigning the novel in to a more acceptable standard of naturalism and common language, adding that, "we expect still more from Alphonse Brot's talent." We can glimpse here some of the critical pressure exerted upon those in the avant-garde to conform their work to the consolidating expectations of the literary market, visible elsewhere in the review of Gautier's Les Jeunes-France in Revenant Archive's copy of Les Temps, published less than two months before this.
Indeed, Brot's short Preface to So Be It (link above) is worth reading if one knows french; it responds to past criticisms of his previous books, relates his  present work to it, and lays out his future plans, eliciting further comment. In his 1829 Chants d'amour (Songs of Love) he floated a passage from a projected play in verse, promising to complete it if the public showed interest; apparently it did not, because it never appeared and in fact Brot stopped writing verse. He did successfully conform to market demands and went on to a successful literary career, his seminal role in founding the avant-garde largely forgotten even before his death; but since then he has disappeared entirely from cultural memory, even in France. Other items in the archive relating to Brot include his novels reproduced in L'Écho des Feuilletons in the "Anthologies" section, his collaborative novel Le Déesse Raison (The Goddess Reason) in "Literature," and an 1880 promotional card for the latter novel, in "Ephemera".


Le Charivari (The Hullabaloo). Year 2, No. 333 (Wednesday, May 7, 1835) Paris. Paperback Quarto, 4 pp.

This issue of the groundbreaking Romanticist satirical magazine Charivari, in addition to various satires of contemporary Parisian culture, features a weird and whimsical cartoon by the ground-breaking Romanticist cartoonist Granville, who pioneered the humorous anthropomorphic style that has since become the paradigm for both children's cartoons. (Compare to his cover illustration for Alphonse Karr's underground journal The Wasps in this archive.) Here, he portrays a high-society ball in the form of a swarm of dancing insects, each representing an individual well-known to the Parisian dance scene; each individual is captioned.
Le Charivari (The Hullabaloo). March 7, Year 11, No. 66 (Monday, March 7, 1842) Paris. Paperback Quarto, 4 pp.

Despite its early association with Romanticism and continued publication of Romanticist cartoonists, the satirical journal Charivari had established a position outside the Romanticist-Classicist debate by the 1840s, and was in a position to skewer both sides. By 1842, Classicism was experiencing a resurgence as Romanticism, now infiltrating every aspect of French culture, was beginning to split into several divergent subcultures and cultural tendencies, many adherents to which felt little connection with the movement in its current, mainstream form. While young people in the Romanticist orbit did not remember the movement in its underground, revolutionary stage but simply as the backdrop of further innovation, young Classicists were now able to see themselves as rebels against Romanticist hegemony. 
In 1842, a renewed Classicist campaign was launched, ultimately aiming to bring down the impending premier in 1843 of Hugo's new Romanticist play The Burgraves. This issue of Charivari contains a quirky relic of this critical campaign, which resulted in a Classicist riot at the premier, and the end of organised Romanticism in France. It addresses the critical debate swirling around Victor Hugo's Romantic travel guide of The Rhine, between the "Hugophiles" (Romanticists) and "Hugophobes" (Classicists), though generally sympathetic to Hugo. At issue is an argument about a side-comment there in which Hugo suggests the orthography Asculum for a (possibly apocryphal) Roman town briefly mentioned in Horace, OEquotuticum, which Hugo argues cannot be scanned within a French alexandrine line of verse. The Classicist press, it seems, was outraged, asserting that one must retain the Latin at all costs; as more publications joined the fray, this spiraled into a heated battle about poetic scansion. The article pokes fun at both sides in the debate, but unequivocally blames the Classicists for stirring it up, hearkening back to, "the beautiful evening on which the two enemy camps [the Romantics and Classicists] had at it not only with the mouth, but even with hair in the stalls of the Théâtre-Français, over the first performance of Hernani."

The featured cartoon in this issue caricatures a group of dandies (or "lions" in Parisian slang) at the opera, peering about the audience with opera-glasses from their private box. It is labelled "The Lions' Pit" (a double-pun, since the cheapest seats, below them, were known as "the pit"). One dandy exclaims, "Naught shall have talent, save us and our friends," to which his companion/s respond in English: "Yes!" Dandy subculture was strongly anglophilic, owing in part to the movement's British roots.



L'Écho des Feuilletons: Recueil de nouvelles, légendes, anecdotes, épisodes, etc. (Echo of the Serials [or 'Re-Runs']). Ed. Dufour, Mulat & Boulanger; Serials by Alphonse Brot, Auguste Fabre, Alexandre Dumas, fils, Frédéric Soulié, et. al.  (1853) Sole Edition. Paris. 


La Frontières de la poésie. Chroniques No. 3, 1927. ed. Jacques Maritan. Le Roseau d'or Ouvres et Chroniques, Plon: Paris. Softcover Octavo, 378 pp.

This anthology offers a glimpse into a period of great flux within the avant-garde, as Surrealism was rapidly growing in influence and affiliation, but had not yet completed their near-hegemony over the French avant-garde. This volume includes many of the prominent underground writers not yet associated with Surrealism, including a number of ex-Dadas and Cubists. The editor, Maritan, contributed a sizeable text examining the avant-garde in light of Christian theology and mysticism, which is enough alone to explain the absence of anybody associated with Surrealism. Nonetheless it contains work by many avant-garde writers including Jacques Rivière (the famous correspondent with Artaud), Pierre Reverdy, Cocteau, T.S. Eliot (in translation), Max Jacob, Georges Hugnet, Jacques Reynaud, and others.

L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 1, No. 1. Ed. Arturo di Pietro. Oct. 1, 1923). La Rinascenza Publishing Society, New York.

l'Idea was a leftist anti-Fascist journal published primarily for the Italian refugee community in America. Its editor, Arturo di Pietro, was one of the first three political leaders to be stripped of his property and Italian citizenship by Mussolini; in America he founded l'Idea and became one of the leaders of the Anti-Fascist Alliance of North America. The nine copies of the journal in the archive were owned by the same unidentified subscriber in Chicago, who labelled the set; it includes two copies of Vol. I, No. 6.

L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 1, No. 2. Ed. Arturo di Piettro. Oct. 16, 1923). La Rinascenza Publishing Society, New York. 

L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. I, No. 4. Ed. Arturo di Piettro. Nov. 16, 1923). La Rinascenza Publishing Society, New York. 
L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 1, No. 5. Ed. Arturo di Piettro. Dec. 1-15, 1923). La Rinascenza Publishing Society, New York. Missing Covers.
L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 1, No. 6. Ed. Arturo di Piettro. Dec. 16-31, 1923). La Rinascenza Publishing Society, New York.  [Two Copies. one w/ detatched cover]
L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 2, No. 1-2. Ed. Arturo di Piettro. Jan. 1924). La Rinascenza Publishing Society, New York. 
L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 2, No. 3. Ed. Arturo di Piettro. Feb., 1923). La Rinascenza Publishing Society, New York. 

L’Idea: Rivista Politico-Sociale di Cultura e di Propaganda, Vol. 2, No. 4. Ed. Arturo di Piettro. May, 1923). La Rinascenza Publishing Society, New York. 


The Lindfield Reporter; or Philanthropic Magazine, No. 6. ed. William Allen & W. Eade. June 1835. Schools of Industry, Lindfield / Longman & Co.: London. Softcover Sextodecimo, 15 pp (paginated 89–104).

This little pamphlet was published by the intentional community at Lindfield, England. However, it was drew on and was directed to the international network of radical activism spread across Britain, North America, and Europe, and deals with a gamut of the radical causes of the time: the abolition of slavery, universal education (the cover article is about a school for African-American children), temperance, working-class libraries, the abolition of the death penalty, as well as reports on new scientific agricultural methods.

The Lindfield utopian colony was a rural socialist experiment similar to those of Robert Owen, and a precursor of the Arts & Crafts movement of Morris. The community apparently had substantial Quaker ties, and this Quaker-associated magazine had grown out of the earlier Philanthropic Magazine. The journal ran from Jan. 1835–Dec. 1842.

There is only one set of the journal publicly available in North America.


Le Livre de beauté: Souvenirs historique (The Book of Beauty: Historical Memories). ed. Louis Janet? (1834) Sole Edition? Louis Janet: Paris. 239 pp.

This interesting volume indicates how closely related historiography and poetics were considered among the early avant-garde, and reveals the increasing strain between mainstream and Frenetic Romanticism. In French Romanticism, the revolution in historiography and that in creative culture were considered part of the same continuum, and the founders of modern French historiography–Michelet, Méry, Lacroix, Maquet, etc.–incorporated both academic history and historical fiction into their larger historiographic projects (sometimes to the despair of later historians). We see here that this general tendency was also reflected within the extremist fringes of the broader movement.

Published (and likely edited) by Louis Janet, whose ultra-Romanticist press published the comprehensive yearly avant-garde anthology Les Annales Romantiques, this anthology presents a selection of 14 texts about historical women, most written by people known primarily as radical Romanticist poets and playwrights, including four members of the Jeunes-France/Bouzingo. The contributors were young, most ranging from their mid-20s to mid-40s, and included the most radical exponents of Frenetic Romanticism, Petrus Borel and Charles Lassailly, and ultra-Romanticists such as Aimable Tastu (the only female contributor), Cordellier Delanoue, Gustave Drouineau, Henri Martin, and Jean-Pierre Lesguillon. Their chosen subjects diverge from mainstream selections in such collections, which typically focused on women known for their moral correctness, social compassion, and self-sacrifice–traits traditionally associated with 'the weaker sex'. Instead, here we find women notable for their political influence, in some cases exerted as strong monarchs, in other cases as royal mistresses. Many of the texts are hybrid constructions, which shift between traditional scholarly reportage and historical fiction, punctuated by contemporary commentary.
It seems that the book once contained portraits of each woman, by artists who were equally associated with Frenetic and Avant-Garde Romanticism, including Jeunes-France members Louis Boulanger and both of the Devéria brothers.

This copy of the book lacks the illustrations (there is no obvious evidence of removal, leaving open the possibility that it was a reduced, cheaper edition, possible bound from overstock when the tipped-in engravings ran out). Nonetheless, according to worldcat there are only two surviving copies of the book held in public libraries, both in Europe, possibly making this the only copy of the book available in the Western hemisphere.
The anthology begins with a surprisingly ambivalent preface by Charles Nodier, and reflects the awkward place in which he found himself in 1834, when the divergence of mainstream Romanticism from the nascent avant-garde was becoming definitive. As the organiser of the Cénacle group, he had overseen the cultural coup-d'état that was swiftly making Romanticism the dominant force in nearly every domain of contemporary culture. But through his experimental, sometimes hallucinatory gothic-horror novels he was also the half-intentional father of the dark, violent, gothic substream known as Frenetic Romanticism, around which had built up the even-more radical community beginning to call itself the avant-garde, which was proving a political and aesthetic embarrassment as the movement's leaders settled into relative respectability. After a few predictable pages of the usual commonplaces regarding the virtues of Love (cf. "Women are the masterpieces of Divinity", Nodier ends his Preface by stating his disappointment at the low moral character of many of the women chosen for the anthology, and exhorting his readers to focus on the uplifting contributions such as the one on Queen Elizabeth. One feels that Nodier is fulfilling a contractual obligation, fearful of endorsing an anthology destined for critical attack from the respectable mainstream press.

In addition to Janet assembling this collection and publishing dozens of female writers in his anthologies, journals and books, his editor for the Annales Romantiques, Charles Malo, had also published his own book of feminist biographies several years earlier (see Historiography tab). Closely associated with the Frenetic and other extremist currents, Janet's fortunes seem to have been tied to it, and he appears to have ceased publishing by the time that it had subsided at the end of the 1830s and the energies of the avant-garde diverted away from Romanticism.
This copy was owned by the Institution Hortus (Here is a prospectus of the school the year of Huysmans' graduation), and was probably in the library while it was attended by the future Decadent novelist J.-K. Huysmans, who attended from the age of eight to eighteen, and would himself later contribute famously to the avant-garde intertwining of history, fiction, and social theory.

Isaac Bickerstaff [Richard Steele, Joseph Addison & Jonathan Swift], The Lucubrations of Isaac Bickerstaff, Esq., Revised and Corrected by the Author.  1728. E. & R. Nutt, J. Knapton, J. & B. Sprint, D. Midwinter, J. Tonson, R. Gosling, W. & J. Innys, J. Osborn & T. Longman, R. Robinson, and B. Motte: London. Full Leather Sextodecimo, 352 pp. (Bound Collection of The Tatler, Vol. III, No. 115–189, Tues. Jan. 3, 1709–Sat. June 24, 1710.) Inscribed in Pencil in 18th/ early19th Century hand: Mr. Thos. Kil?????? / Ho??????? / Y????? & six illegible lines plus a title on following recto page. Some light dog-earring by previous reader/s.

The most vibrant intellectual life of Eighteenth-Century Britain was played out less in the academies than in the dozens of small periodical journals and occasional pamphlets that established the forms that were later taken up by micropress and zine publishers. It was supported by the readership and participation of the patrons of a dense network of coffeehouses that served as public forums of the emerging political, cultural, and scientific ideas of their day.

The satirical little magazine The Tatler, edited and primarily written by Richard Steele, offered a weekly run-down of the London coffeehouse scene, via an eclectic mix of poetic parodies, gossip columns, transcriptions of debates and orations, reports of current topics of scientific, cultural, or political interest, and many hybrid forms. Articles were written from the perspective of the fictional editor "Isaac Bickerstaff" (the distant ancestor of later satirical "journalists" including Punch (of the British magazine) and Alfred E. Neuman (Mad Magazine). Each week, the magazine was written at a different Coffeehouse, whose name was noted on the masthead; it was rumoured that the Tatler's secret correspondents included Jonathan Swift and Joseph Addison. Its combination of social chronicle, intellectual stimulation, and gossip provided a framework later taken up by other small-run journals such as Gustave Karr's Les Guêpes (collected in this archive), Le Chat Noir (also collected here), Maintenant, Littérature, Fuck You: A Magazine of the Arts, and eventually Zine culture.
The importance of The Tatler was quickly recognised, and edited collections reprinted. This is an early reprint, produced in 1728. The magazine's low-budget, small-press roots are reflected by the consortium of eleven publishers or patrons contributing to print this volume. This copy was well-used by its first owner/s, but unfortunately the very light, fading pencil and indecipherable (to me) hand of the inscriptions make it difficult to learn more. The fly-leaf contains an inscription of several lines, topped by what seems to be a title, but I am unable to guess at more than one or two words. (I welcome readings or hypotheses concerning the inscriptions shown.) 

 Le Mercure de France, No. 357. Ed. Alfred Vallette. (May 1912). Paris.


Némésis: Satire hebdomadaire. Ed. Auguste Barthélemy. (1845). Perrotin: Paris. Hardbound Quarter-leather octavo, 456 pp. Reprint of original periodical run, March 1831 –April 1832. Title-page embossed: “E. Saynes / Proprietaire / à Aigueperse / (Puy-de-dôme)”


Pastels in Prose. Ed. & Trans. Stuart Merrill. Preface by William Dean Howells. (1890). Sole Edition. Harper & Brothers, NY. Bookplate of James Rudolph Garfield, U.S. Secretary of the Interior, & Inscription by C.M. Kirkland.
Stuart Merrill, son of an American diplomat who had spent most of his youth in Paris, was a writer, theorist, leftist activist, a close friend of Mallarmé and a central figure in the Symbolist community. Pastels in Prose is an anthology of French avant-garde prose poems by 23 writers from the Frenetic Romanticist Louis (Aloysius) Bertrand through the Parnassian group to Merrill's own friends and colleagues in the Decadent and Symbolist community--including work by Huysmans (see "Literature") and Judith Gautier, daughter of Théophile (see elsewhere in the archive)--translated by Merrill during a short stint in the US while he trained for Law. This is the only book Merrill published in English, and the only one ever published in his native country; the following year he moved back to Europe forever. The brief introduction by the American Realist critic William Dean Howells initially seems an odd choice since Howell's strictures on text were diametrically opposed to what this collection represented; he was a close friend of Merrill, whose affinities were probably largely political--both were vocal supporters of the anarchists and workers implicated in the Haymarket riots and were otherwise involved with anarchist and socialist activity, for which Merrill's father disinherited him. Howell encouraged him to write in English for the more popular and lucrative American market, but Merrill consistently refused. 
       This copy has a particularly interesting history: its first owner is inscribed as C. C. Kirkland, with the date December 30th 1890"; at some point it passed into the hands of James Rudolph Garfield, the son of the American president--his bookplate has been positively identified. J.R. Garfield was a leader of the Progressive Party, a close adviser to Teddy Roosevelt, and served as Secretary of the Interior under him. The book was obtained on ebay for $25.00 postpaid; the seller did not mention the provenance of the copy.


The Philistine: A Periodical of Protest. Vol. 21. ed. Elbert Hubbard (June--Nov. 1905). The Society of Philistines, Aurora, New York. Hand-bound Hardcover 16-mo., 193 pp.

The Philistine was an American journal published by the Society of Philistines, a collective working in the Aestheticist-Socialist tradition most famously exemplified in Britain by Oscar Wilde and William Morris. In fact, here is a contemporary description from an earlier issue of The Philistine of its editor, the satirist, activist and bookmaker Elbert Hubbard, calling him the "American William Morris." Inspired by the agrarian socialism of Morris and the British Arts & Crafts movement, Hubbard founded the utopian community at Roycroft in New York, which thrived for twenty years until Hubbard was killed in the sinking of the RMS Lusitania, which precipitated US entry into World War I. Toward the end of his life however, Hubbard drifted toward the right in economic matters, becoming an advocate for Free Trade.

Beautifully designed and hand-printed on letterpress, each copy was wrapped in rough butcher-paper. Hubbard used the journal to attack all aspects of establishment culture, soaked in tongue-in-cheek humour rife with gags and neologisms. (Here is an entry on Hubbard and the Philistine in the Encyclopedia of American Humorists.) In doing so, he made a great many enemies among mainstream American  intellectuals, as shown in this hateful obituary by an enemy. His thought and work is preserved and continued today by a group of bibliophiles called The Roycrofters.

Poèsies sociales des ouvriers. (Social Poetry by Labourers) Ed. Olinde Rodrigues (1841). First Ed. Paulin: Paris. Hardbound Octavo, 572 pp. Rebound w/ Library Binding on Aug. 24, 1937 by Hehn & Hoth; Bookplate etc., Stamps, Card etc. from library of Meadville Theological School, Chicago.

This anthology collects socialist poetry, songs, and plays written by both male and female auto-didact working-class writers, most of whom were otherwise unpublished; each piece notes not only the author's name but also the trade by which they earned their living. One of the first anthologies dedicated to giving unschooled manual labourers a voice within the developing socialist movement, it was edited by the radical Jewish activist and mathematician Olinde Rodrigues. Rodrigues was one of the leaders and principal theorists of the Saint-Simonist proto-Socialist movement, having been Saint-Simon's close friend and secretary prior to the latter's death. He was also responsible for coining the term "avant-garde" in its modern sense, in his 1825 essay, "L'artiste, le savant et l'industriel" ("The Artist, the Intellectual, and the Industrialist") in which he called for the formation of a community of experimental artists who would evolve new forms of culture, thought and behaviour to usher forth revolutionary change by peaceful means. Four years later Alphonse Brot, a co-founder of the Bouzingo, referred to himself as an adherent of the "avant-garde of Romanticism," at a time when his comrades O'Neddy, Borel, Duseigneur, and others are known to have been attending Saint-Simonist lectures and would soon describe their own activity in very similar terms. In fact, O'Neddy is known to have owned a copy of this book. This volume, with an extended preface by Rodrigues, re-affirms his project of poetry as a socially revolutionary force.

The copy in the Revenant archive was at one point housed in the library of the Unitarian Meadville Theological School in Chicago, probably as of 1937 when it was re-bound, where--according to the card, it was never checked out.


Les Poètes libertins: anthologie de Poésies Légères du XVe siècle a nos jours. Ed. Georges Normandy. (1909). Louis-Michaud, Paris. Stamped "MARTIN ALDAO / PARIS, 1909", inscribed w/illegible signature & dated Aug. 28, 1985, w/light text corrections in pencil by previous reader.


Présence Africaine: Africa's Own Literary Review. ed. Alioune Diop. No. 51, English Edition, Vol. 23 (Winter 1964). Presence Africain: Paris. Softcover Octavo, 189 pp.


Presence Africain is one of the leading international journals associated with Négritude and other pan-African socialist intellectual movements. Through its association with Négritude, it published both black and white Surrealists committed to anti-colonial activism, including Aimé Césaire, Leopold Sédar Senghor, and Michel Leiris, alongside Franz Fanon, Richard Wright, and several of the existentialists. In keeping with its pan-African mission, an English-language edition was published for some time. Wikipedia wrongly states that the English-language version ran only during 1961, but this issue proves that it was published at least intermittently into 1964. The journal is still published today

In addition to the lead articles listed in the cover image, this issue contains 'Problems of African Sociology' by L.V. Thomas, 'The Problem of African Languages' by P.F. Lacroix, 'Long Live Belisaire! (A Short Story)', by Guy Tirolien, 'On "Atheism" ' by J. Nfoulou, ' "La Tragedie du Roi Christophe" or African Independence Seen Through Haitian Eyes' by Lyliane Lagneau-Kesteloot, 'Dinah Sifou: King Oh the Nalus' by Baba Ibrahima Kaké, and 'The Batetala Rising in the 19th Century' by A.Z. Zousmanovitch, in addition to numerous small comments on recent events, book reviews, and poems.

This inscribed copy belonged Jimmy Garrett, a leading African-American activist, playwright, and political writer in San Francisco and, a few years later, in Washington, D.C. where he co-founded the Drum and Spear Bookstore. The shop was a hub of civil rights activism, hosting readings and workshops with activists from around the world. Among many other activities, Garrett went on to co-organise the Sixth Pan-African Congress in Tanzania in 1974.
Real Needs: A Magazine of Co-ordination. Ed. & written by Charles A. Lindbergh. Vol. I, No. I. (March, 1916) Sole Edition. Self-Published, Little Falls, Minnesota / Washington, D.C. 


Revue du Dix-neuvième siècle. Vol. 4, No. 6 (Nov. 5, 1837). Paris. Saddle-stitched Paperback Octavo, 60 pp.


Revue de Paris. Vol. 7, No. 2, 13. Ed. Charles Malo. (July, 1834). Paris. Softcover Octavo, 71 pp, numbered 73-144.  With handrwitten historical & bibliographic notes from unidentified previous archivists.
During the mid-1830s the Revue de Paris was edited by Charles Malo (see also "Historiography" & "Personal Artifacts"), one of the most active and influential publishers of underground, as well as mainstream, Romanticism. His yearly Annales romantiques anthologies (see above) were the most condensed barometers of early avant-garde practice, making available the work of many writers otherwise almost unpublished, and the monthly Review de Paris provided a more constant stream of longer pieces, often in serial.
   The bulk of this issue consists of Vaux (called Vaux-Praslin in a note by a previous archivist, written in the corner of the cover), a piece of historical fiction by the mainstream Romantic Léon Gozlan, who was reputed to be the anonymous author of the smear-campaign of short stories parodying the Bouzingo (or Bousingot) group two years earlier in Le Figaro (see above), which had ironically done so much to establish their publish mythic persona. The copy belonged to at least two previous archivists, both of whom left contextual notes on the cover. The owner who wrote in pencil left an extensive note for future researchers (which I have yet to follow up, though I shall eventually):

"N.B. d'après un avis de la lie [Revue de Paris] de Juin 1834, p. 272 de T. VI, une eau-forte de Paul Huet, devoit accompagnée la présent livraison--M. Ph. Burty n'a pas connu cette eau-forte, et ne la cite pas si font elle ont qu'il[?] ait paru--dans sa Paul Huet, Dec. 1869. ni 8."


Revue de Paris. Ed. Charles Malo. Vol. 23-24 Collected (1840). Sole Collected Edition. Paris.
Revue de Paris. Ed. Charles Malo. Vol. 28 (1841). Sole Collected Edition. Paris.


Les Soirées de Médan (The Evenings in Médan). Ed. Émile Zola. (1897). New Edition. Charpentier: Paris. Hardcover Quarter-Leather Sextodecimo, entirely disbound. Ex-Libris Rutgers University Library.

Les Temps: Journal des progrès. Vol. 21, no. 864 (Tuesday, Sept. 12, 1833) Afternoon edition: Paris. Paperback folio, 4 pp.

Les Temps was a moderate Liberal daily newspaper representing the Capitalist centre-left, with close ties to the July Monarchy. This issue contains a review of Théophile Gautier's roman-à-clef of avant-garde subculture, Les Jeunes-France. While admitting Gautier's talent, the unsigned article admonishes him for his too-experimental use of language, his delight in outré, Frenetic themes, and his association with the Jeunes-France group itself, which is attacked and criticized as the greatest offender among the Romanticist avant-garde (Petrus Borel receives particular negative mention). Like most contemporary reviews of the Jeunes-France by moderate-Liberal critics, its over-riding theme is a plea to renounce the formal, political, and thematic "excesses" of radical Romanticism and return to an idiom acceptable to the bourgeoisie, with implicit promises of greater critical support should the writer "return to the fold."

This and articles like it reflect the pressure exerted upon young avant-gardists during the years 1833-36, as the July Monarchy was re-asserting control of the press, quelling massive proletarian protests and uprisings in Paris, Lyon, and other major cities, and mainstream Romantics associated with the regime, now in positions of critical and editorial control, silenced radicals by directly or indirectly closing them off from opportunities for publication. This movement toward hegemony (which reflected the destruction of the small press network in Paris, analyzed by Karr in his 1838 introduction to Les Guêpes) contributed to the dissolution of the Jeunes-France group by 1835, practically ended the literary lives of intransigent avant-gardists like Borel and O'Neddy, and forced others such as Nanteuil, Boulanger and Brot into hack-work. Gautier himself managed to re-figure his practice into one which maintained his real interests in a form acceptable (if not popularly appealing) to the emerging literary establishment.

The Tryout. Vol. 17, No. 6, (Oct. 1935). Ed. C.W. Smith. Self-Published: Haverhill, Massachusetts. Saddle-stitched softcover  16-mo., 24 pp.

Weird Tales: A Magazine of the Bizarre and Unusual. Vol. 34, No. 3 (Sept. 1939). New York. Softcover Octavo, 28 pp.


The Westerner: An Amateur Monthly. Vol. 2, No. 1 (May, 1899). Ed. Eugene D. Bedal. Self-Published, Printed by Guy N. Phillips: Sioux City, Iowa. Unbound softcover Octavo, 12 pp.

The Westerner: An Amateur Monthly. Vol. 1, No. 9 (Jan., 1899). Ed. Eugene D. Bedal. Self-Published, Printed by Guy N. Phillips: Sioux City, Iowa. Unbound softcover Octavo, 12 pp. Stamped: Specimen Copy [Review Copy?]

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