He criticized the Western notion of progress and affirmed the role of philosophy in teaching and assisting people in understanding. Robert Fulford described it then as stunningly effective: 'Grant's talks, obviously the product of a supple and curious mind, were models of their type - learned but clear, original but persuasive, highly personal but intensely communicative.'Grant's analysis of lhe paradox of modernity is no less intriguing today. The need to reconcile freedom with the moral law 'of which we do not take the measure, but by which we are measured and defined' is still an issue in our times.William Christian has restored the text of the original 1959 edition. He has supplemented it with material from the broadcast version of the lectures, including a ninth lecture, not previously published, in which Grant responded to listeners' questions. The controversial introduction to the 1966 edition appears as an appendix.

    It argues that the institutionalization of literary theory, particularly in American universities, has led to an intellectual sterility in which the actual power and scope of literature are overlooked. The book demands to be read by all teachers of literature and theory, and by anyone concerned with the future of literary studies.

    His autobiography from this period, translated for the first time into English, tells the story of the Parisian art world he knew so well, and offers a unique account of the individuals and ideas that created modernism.Here we encounter painters and sculptors such as Matisse, Picasso, Modigliani, Braque, Gris, Dufy, L�ger, Delaunay, Duchamp, Lipchitz, and De Chirico; the literary figures Marinetti, Paul Fort, Apollinaire, Cocteau, Reverdy, and Jarry; and also the philosopher and writer Maritain, composers Eric Satie and Igor Stravinsky, and the impresario of the Ballets Russes, Sergei Diaghilev. Severini shared their experiences in the studios, galleries, and caf�s of Montmartre and Montparnasse, and re-creates the passionate debates that animated those gatherings. We witness not only the maturing of Severini's art and aesthetic theory but also the intellectual and political turbulence that brought forth a wealth of approaches to art in the first two decades of this century, including futurism, cubism, surrealism, constructivism, dadaism, and metaphysical painting.Beginning with an honest, humorous description of his financially ill-fated family in Tuscany, Severini goes on to describe the triumphs and mistakes of his adolescence in the Roman art scene, where he fraternized with Balla and Boccioni. His down-to-earth tone pervades his anecdotes and assessments of the Parisian art world, enabling a casual reader to grasp the many issues at stake. As Severini's status as an important painter gains widespread recognition, this autobiography serves as a valuable resource for critics and a thoroughly delightful, engaging account for anyone interested in learning more about this artist who sheds new light on many of the crucial movements of the century.