By Charles Ferrall
Charles Ferrall argues that the politics of Yeats, Pound, Eliot, Lawrence, and Wyndham Lewis used to be a reaction to the separation of paintings from an more and more industrialized society. Fascism turned appealing to those writers since it promised to reintegrate artwork into society whereas concurrently ensuring its autonomy. but except for Pound and Yeats, those writers all eventually rejected fascism, who prefer as an alternative to determine the classy as a sphere in everlasting competition to liberal democracy, instead of the foundation for a brand new social order.
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