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A new edition of Laura Riding's landmark 1928 poetry manifesto

Laura Riding’s Contemporaries and Snobs is one of modernism’s most audacious and overlooked manifestos, a book that drew a sharp line through the literary world of the late 1920s that is still visible today. In it, Riding dismantles the pretensions of the “snobs”—critics and poet-professionals who sought to codify modern poetry into systems—and champions the “contemporaries,” those who practiced poetry as an eccentric, individual act of creativity. 

In eight incisive essays, Riding takes readers on a tour of the literary scene of her day, exposing how the institutionalization of modernism threatened to clog the wellsprings of poetic originality. With ferocious wit, she critiques the philosophical dogmas of T. S. Eliot, Allen Tate, and the critical machinery of The Criterion, while elevating Gertrude Stein as the figurehead of a radical alternative, a “barbaric” poetics rooted in linguistic freshness. Riding’s defense of the poet as person, her skepticism toward impersonality, and her insistence on poetry’s autonomy from systems of thought anticipate later feminist and avant-garde critiques, making this volume a cornerstone for rethinking modernist traditions. In an era when debates about authenticity, individuality, and the institutional pressures on art feel more urgent than ever, Contemporaries and Snobs offers a counter-history, a reminder that poetry thrives not in conformity but in idiosyncrasy. Riding’s voice, imperious yet visionary, speaks directly to contemporary concerns about creative freedom and the commodification of literature. 

Nearing the centenary of its first publication, Contemporaries and Snobs will interest scholars of modernism and literary criticism, readers of Gertrude Stein and experimental poetics, feminist critics and theorists of authorship, and readers fascinated by the intellectual battles that shaped twentieth-century poetry.

The Teaching Archive shows us a series of major literary thinkers in a place we seldom remember them inhabiting: the classroom. Rachel Sagner Buurma and Laura Heffernan open up “the teaching archive”—the syllabuses, course descriptions, lecture notes, and class assignments—of critics and scholars including T. S. Eliot, Caroline Spurgeon, I. A. Richards, Edith Rickert, J. Saunders Redding, Edmund Wilson, Cleanth Brooks, Josephine Miles, and Simon J. Ortiz. This new history of English rewrites what we know about the discipline by showing how students helped write foundational works of literary criticism and how English classes at community colleges and HBCUs pioneered the reading methods and expanded canons that came only belatedly to the Ivy League. It reminds us that research and teaching, which institutions often imagine as separate, have always been intertwined in practice. In a contemporary moment of humanities defunding, the casualization of teaching, and the privatization of pedagogy, The Teaching Archive offers a more accurate view of the work we have done in the past and must continue to do in the future.