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George S. Schuyler's caricatured scene of bohemian life in 1925 provides a fitting introduction to this special issue of American Periodicals, which examines the integral role played by little magazines in the development of modernism. Schuyler's coffee house is set in Greenwich Village, a center of cultural innovation dur ing an era of particularly rapid transformation, and the scene he pres ents is notable both for its shabby heterogeneity and for its unifying elements. The room is a hodgepodge of modernist styles, the patrons are in noticeable financial difficulty, and their potential class politics is underscored by the waitress's costume, which gestures toward rev olutionary Russia. The final touch to this scene?the element that holds everything together?is the Dial, one of modernism's most influ ential little magazines. Schuyler's parody of Bohemia was published in the Messenger, which was the most politically radical journal little magazine of the Harlem Renaissance, and his sketch rather handily il lustrates the centrality of little magazines to modernism, because in "At the Coffee House," little magazines simultaneously constitute an original site of publication, a concrete element of modern life, and a significant aesthetic detail. The essays in this issue recover such mo |
