William Morris: an annotated bibliography 1990-91 David and Sheila Latham This bibliography is the sixth instalment of a biennial feature of The Journal. Some items inadvertently omitted from the 1988-89 bibliography are added here. Though we exclude book reviews, we include reviews of exhibitions as a record of temporal evenrs. We give each original entry a brief annotation meant to describe its subject rather than evaluate its argument. We have arranged the bibliography into six subject categories, appended by an author index. The entries in Part I include new editions, reprints, and translations of Morris's own publications, and are arranged alphabetically by title. The entries in Parr 11 include books, pamphlets, articles, exhibition catalogues, and dissertations on Morris, arranged alphabetically by author within each of the following five categories: General Literature Decorative Arts Book Design Polirics

8-39 40-115 116-165 166-179 180-189

The General category includes biographical surveys and miscellaneous details as well as studies that bridge two or more subjects. The Author Index provides an alphabetical order as an alternative means for searching through the 189 items of the bibliography. Though we still believe that each of Morris's interests is best understood in the context of his whole life's work, we hope that the subject categories and author index will save the impatient specialist from having to browse through descriptions of woven tapestries in search of critiques of 'The Haystack in the Floods.' With the rising costs of inter-library services and personal travels, we would appreciate receiving photocopies of publications. They can be sent to us at the University of Lethbridge, Lethbridge, Alberta, Canada Tl K 3M4.

PART I: WORKS BY MORRIS 1. El Bosque del fin del Mundo. Trans. Elias Sarhan. Madrid: Miraguano, 1990. 160 pp. A Spanish translation of The Wood Beyond the World.

2. How We Live and How We Might Live: With a Modern Assessment. London: The Socialist Patty, 1990. 36 pp. A reprint of the 1884 lecture is accompanied by "modern assessment" claiming that Morris provided with News from Nowhere a "useful contribution in the struggle to persuade workers to want more," and that most of his ideas are still relevant today. 3. Kunde von Nirgendwo oder ein Zeitalter der Ruhe: einige Kapitel aus einer Utopischen Romanze. Trans. CarmenJanetzki. Berlin: Aufbau-Taschenbucher, 1991. 229 pp. A German translation of News from Nowhere.

4. Matthew Arnold and William Morris. Ed. James P. Cadey. Woodbridge Suffolk: Boydell Press, 1990. 84 pp. The text of the first four Arthurian poems of The Defence is accompanied by analysis of Morris's adaptations from Malory and his pervasive use of reversals in colours, in the power and failure of story-telling, and in the roles of defendanr and prosecutor, of Guenevere and Galahad.

5. La Storia della Pianura Seducente. Milan: Tranchida, 1990. 174 pp. An Italian translation of The Story of the Glittering Plain. 6. The Widow's House by the Great Water. Ed. Helen Timo. New York: William Morris Society, 1990. 64 pp. The text for this aborted draft of The Water of the Wondrous Isles is printed from the manuscript in the British Library collection (Add Ms 45324) and is annotated. Timo's "Introduction" is reprinted from The Journal of the William Morris Society,

8 (Spring 1989), 7-16.

7. William Morris. Part 4: Art, Book Design and Literary Papers from Kelmscott Manor, the Society of Antiquaries, London, and the British Library Department of Printed Books. Reading: Research Publications, 1990. 5 reels of 35 mm silver-halide positive microfilm. Included are the calligraphic manuscripts of Lancelot du Lac and The Story of Egil, the committee minutes for SPAB, and Cockerell's collection of Kelmscott Press designs and proofs.

PART 11: PUBLICATIONS ON MORRIS GENERAL 8. Adams, Katherine. An Earthly Paradise. Berkeley: Bancroft Library Press, 1990. 11 pp. This "memorial address" on the subject of Morris and his daughter, May Morris, was given at the Women's Guild of Arts at the Bancroft Library, Berkeley, and printed on an Albion Press in a limited edition of 30 copies. 11

9. Anikst, Aleksandr A., et al. Estetika Morrisa i sovremennost'. Moskva: Izobrazitel' nove iskusstvo, 1987. 224 pp. The eight essays by A. A. Anikst, E. A. Nekrasova, V. y. Vanslov, V. P Shestakov, K. A. Makarov, T. F. Verizhnikova, N. M. Pazareva, and E. N. Kucherova discuss the decorative arts, aesthetic and socialist utopias, book design, and such successors of Morris as Frank Brangwyn.

10. Arwood, Philip. 'The Stillmans and the Morrises." The Journal of the Wi//iam Morris Society, 9 (Autumn 1990),23-28. Letters from Marie 5tillman and her daughters, lisa and Effie, reveal their friendship with the Morrises. 11. Baker, Lesley A. "Earrh's Voices as They Are Indeed." The Journal ofthe Wi//iam Morris Society, 9 (Autumn 1991), 9-18. With sensitive detail throughout his poetry, fiction, lectures, and letters, Morris advocated the pastoral virtues of a garden society modelled after the seasonal cycles of nature. 12. Calvera i Sague, Anna. "Sobre la Formaci6 del Pensament de William Morris." Diss. U. of Barcelona, 1988, The early lectures before 1883 show the formation of Morris's socialism and the consistency of his theories on design, practice as a designer, and technical choices as a manager. 13. The Cambridge Guide to the Arts in Britain, Vo!. 7: The Later Victorian Age. Ed. Boris Ford. Cambridge: Cambridge U.P., 1989. 363 pp. Introduced as a "key figure" in this volume, Morris is mentioned frequently throughout and discussed in detail in sections on "Literature" by John Holloway and on "William Morris and Colleagues" by Gillian Naylor, which consider Morris's extension of Ruskin and Marx, his establishment of Morris & Co. and the Merton Abbey workshops, and his creation of the Kelmscott Press. 14. Cavendish, Richard. "The William Morris Society." History Today, 40 (June 1990),62-3. Begun in 19S3 at Red House, and merging in 1966 with the Kelmscoll Fellowship (founded in 1918), the William Morris Society is headquartered at Kelmscott House in Hammersmith from where it organizes lectures and publishes its Journal as well as books and pamphlers. 15. Coote, Stephen. Wi//iam Morris: His Life and Work. London: Garamond, 1990. 224 pp. This well-illustrated survey is supported with excerpts from Marx, Rossetti, and Prince Albert, and from Morris's poems, letters, and Commonweal essays. General COntrasts between Morris and the garish vulgarity of Victorian design from the Crystal Palace to Kidderminster ~arpets end with perceptive comparisons of textile designs by Morris and by his star apprentice Dearle. 16. Dean, Ann S. The Wi//iam Morris Christmas Book: The Christmas Story in Stained Glass by Morris and Burne-Jones and in Verses by Morris and Others. Malvern: Heritage Press, 1990. 16 pp. The Christmas story progresses from the Annunciation illustrated in stained glass ro "The Shepherds' Carol" sung in The Earthly Paradise. lU

17. Dore, He/en. William Morris. London, Pyramid Books, 1990. 128 pp. In her well-illustrated survey of Morris's life and accomplishments, Dore emphasizes the decorative arts. Engravings and watercolours illustrate the residences and schools of Morris's youth, while his own an and priming illustrate his maturity.

18. "Eric Heffer." The Journal of the William Morris Society, 9 (Autumn 1991), 3. An obituary of Society member Eric Heffer (1922-1991) praises his achievements. 19. Evans, Timothy H. "Folklore as Uropi., English Medievalists and the Ideology of Revivalism." Western Folklore, 47 (Ocrober 1988), 245-68. A scholar of European folklore texts and traditional folk arts, Morris wrote News from Nowhere with a "child-like ... pure folk spirit," revived crah techniques, and inspired American usettlement schools."

20. Faulkner, Peter. Editorial. The Journal of the William Morris Society, 9 (Autumn 1991),2. Asa Briggs is thanked for his distinguished and humane Presidency of the Morris Society. 21. Hardy, Dennis. "William Morris's Legacy to Planners," Planner, 27 July 1990, 11-14. By inverting Bellamy's vision of the cenrealism of a uniform city with the localism of diverse neighbourhoods, News from Nowhere influenced Raymond Unwin ro invert Le Corbusier, and Ruth Rendell and Colin Ward to invert the multi-functional technopolis. 22. Harrley, Anthony. "Learning from William Morris." Encounter 74 (May 1990),

76-77. As the socialist dream fades, Morris's cultural importance grows: he pioneered "the idea of the house designed as a whole" and his battle "to make art enter the very texture of society" is now, in part, the campaign of Prince Charles.

23. Harvey, Charles and Jon Press. "The City and Mining Enterpris", The Making of the Morris Family Fortune." The Journal ofthe William Morris Society, 9 (Autumn 1990),3-14. With his successful financier father serving as managing partner of Sanderson & Co. and director of the Devon Great Consols, Morris was exposed to business problems and strategies from an early age. 24. Kesserii, Katalin. "The Workshops of God61l6: Transformations of a Morrisian

Theme." Journal of Design History, 1, No. 1 (1988), 1-23. The Hungarian G6doll6 Artists' Colony was partly inspired by Morris, whose life work was characterized by the unification of "escapism and commitment, artistic and social activities, moral conduct and theoretical interpretation, idealism and pragmatism. " 25. Lambert, Elizabeth. "Visiting a Pre-Raphaelite Shrine in Scotland." Architectural

Digest, 48 (Seprember 1991), 52-58, 60. Once a popular summer retreat for Morris and his friends, Penkill castle, with its ceiling of original Morris paper, is now owned by American Elton

Eckstrand. IV

26. Latham, David and Sheila Latham. An Annotated Critical Bibliography of Wi//iam Morris. London: Harvester Wheatsheaf, 1991. vii, 423 pp. This is the first bibliography to include publications bX and about Motris from the 19th and 20th centuties (1854-1990), and the fitStto categorize the criticism (from poetry to politics, from the general to the specific-News from Nowhere, stained glass, calligraphy, etc.). The author- and detailed subject-indices complement the organization of the categories. 27. Latham, David and Sheila Latham. "William Morris: An Annotated Bibliography 1988-89." The Journal of the William Morris Society, 9 (Autumn 1991), i-xviii. The biennial bibliography appears in The journal in the Autumn issues of oddnumbered years. 28. Lutchmansingh, Larry D. "Ananda Coomaraswamy and William Morris." The Journal of the Wil/iam Morris Society, 9 (Autumn 1990),35-42. The Sinhalese Orientalist and art historian developed a set of philosophical principles based upon Morris's ideas of the relationships between art and morality. 29. Myhill, John. "When Mastery Changes to Fellowship." The Journal of the Wil/iam Morris Society, 9 (Autumn 1990), 2. A poem in six stanzas contrasts the shabby present with Morris's utopian world after the revolution. 30. Ousby, lan. "William Morris." The Blue Guide to Literary Great Britain and Ireland. 2nd Edition. London: A & C Black, 1990,313-17. Walthamstow, Epping Forest, Marlborough College, Exeter College, Oxford Union, Red Lion Square, and the Kelmscott residences are places associated with Morris. 31. O'Sullivan, Paddy. "Introduction: Who Was William Morris?" Wi//iam Morris & News from Nowhere: A Vision for Our Time. Hartland, Devon: Green Books, 1990,15-34. A surveyor Morris's life reveals how he synthesized "apparently disparate areas of thought" into an original analysis of society. 32. Pinto-Machado Duarte-Silva Barry, Luisa. "El Grupo Nos y eI Movimienro Prerrafaelisra Britanico: £Studio de Afinidades Y Acercamientos." Diss. City U. of ew York, 1990. Affinities are identified between the Galician Nos movement in Spain (interested in nature, folk crafts, and medievalism) and William Morris and the Pre-Raphaelites. 33. Purkis, John. The Icelandic Jaunt: A Study of the Expeditions Made by Wil/iam Morris to Iceland in 1871 and 1873. London: William Morris Society, 1991. 28 pp. A reprim of the 1962 William Morris Society edition. The proceeds of the sale support the Peter Floud fund. 34. Richardson, Linda. "William Morris and Women: Experience and Representation." Diss. Oxford, 1989. Morris's life, literature, and political work reveal his development as a feminist as temaining publicly moderate while being personally more advanced than other socialists. v

35. Richardson, Linda. "William Morris's Childhood and Schooling." The Journal of the William Morris Society, 9 (Autumn 1990), 15-19. Through the Queen, his mother, and his sisters, Morris grew up associating power

and sensitive friendship with women, an experience replicated only by the "Brotherhood" at Oxford.

36. Stetz, Margaret D. and Mark Samuels Lasner. England in the 18805: Old Guard and Avant-Garde. Charloltesville: U. Press of Virginia, 1989. 139 pp. Catalogue of the February-March 1985 exhibition ar the U. of Virginia Library includes a revised manuscript for the 1892 Kdmscott edition of A Dream ofJohn

Ball and a teapot, cup, bowl, and creamer believed to be designed by Morris as a wedding gift for the folklorist joseph jacobs. 37. Strachan, WaIter T. "Around WiIliam Morris." Contemporary Review, 257 (September 1990), 147-52. A former teacher of E. P. Thompson comments on Morris's life and many accomplishments.

38. Thompson, Paul. The Work of William Morris. 3rd edition. Oxford: Oxford U. P., 1991. 318 pp. Reprint of the 1977 Quartet edition with revised references to recent scholarship.

39. "William Morris (1834-96)." The Oxford l/lustrated Encyclopaedia of the Arts, Ed. John julius Norwich. Oxford: Oxford U. P., 1990,304-05. Morris's life and accomplishments are briefly summarized.

LITERATURE 40. Bacon, Alan "Deliver Us from Two (or more) Professors of Criticism." The

Journal of the William Morris Society, 9 (Aurumn 1990),29-34. The context of Morris's 1886 letter ro rhe Pall Mall Gazette protesting a proposed Professorship of English Literature explains his dislike of the tcaching of criticism and his "distaste for the promoters of 'culture. ' "

41. Baker, Lesley. "An Old House amongsr New Folk." The Journal of the William Morris Society, 8 (Spring 1990), 24-27. Ellen's observations on Kelmscott Manor complement Morris's lectures and letters about the role of a beautiful house as the «fit guardian" for the harmony of nature and humanity. 42. Belsey, Andrew. «Getting Somewhere: Rhetoric and Politics in News from

Nowhere." Textual Practice, 5 (Winter 1991), 337-51. The convoluted narrative framework which makes the identity of the narrator uncertain and the inconsistent temporal chronology which makes the future uncertain leave the reader with "engaging enigmas" to interrogate.

VI

43. Boos, Florence. "An (Almost-) Egalitarian Sage: William Morris and Nineteenth· Century Socialist-Feminism." In Victorian Sages and Cultural Discourse: Renegotiating Gender and Power. Ed. Thais Morgan. New Brunswick, N. J.: Rutgers U.P., 1990, 187-206. Though guilty of a pragmatic, unprincipled avoidance of feminist controversies in the Commonweal, Morris gradually shifted to a more inclusive language in his lectures and advocated female autonomy as a socialist ideal in his "Pilgrims of Hope" and News from Nowhere; Ellen serves as the first female sage figure in a "utopian work by a man." 44. Boos, Florence Saunders. The Design of William Morris' ;The Earthly Paradise'. Lewisron, N. Y.: Edwin Mellen Press, 1991. 531 pp. An account of Morris's social and poetic evolution leads to a study of the framework and Prologue of The Earthly Paradise, the seasonal pattern of its tales, and the sophistication of its design. Detailed analyses of Jason, "Cupid and Psyche," "Ogier the Dane," "Lovers of Gudrun," "Fostering of Aslaug," "Ring Given to Venus," and "Orpheus and Eurydice" are concluded with a review of the poem's critical reception. 45. Boos. Florence S. "Justice and Vindication in WiIliam Morris's 'The Defence of Guenevere.... In King Arthur Through the Ages, I/. Ed. Valerie M. Lagorio and Mildred Day. New York: Garland, 1990, 83-104. Personal alienation replaces Malory's courtly comradeship as Morris's iconoclastic support for romantic love and self-determination aligns Guenevere with the forces of nature that offer liberation to the victims of social convention. 46. Boos, Florence S. "Narrative Design in The Pilgrims of Hope." In Socialism mtd the Literary Artistry of \ViIliam Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouri P., 1990,147-66. The protagonists are a working-class and egalitarian couple whose troubled marriage serves as a subplot for exploring the utopian motive: personal alienation sets us in search of communal salvation. 47. Boos, Florence S. and William Boos. "News from Nowhere and Victorian Socialist·Feminism." Nineteenth-Century Contexts, 14, No.1 (1990),3-32. Of the female characters depicted in "The Pilgrims of Hope," the prose romances, and News from Nowhere, Ellen beSt embodies the ideal socialist woman envisioned by Augusr Bebel and by Eleanor Marx wirh Edward Aveling. 48. Boos, Florence and William Boos. "Or-veil's Morris and Old Major's Dream." English Studies, 71 (Augusr 1990), 36J-71. George Orwell marured "from casual early contempt to qualified respect" for Morris, as similar passages in Animal Farm and Morris's lectures and romances suggest that Old Major is modelled after Morris. 49. Boos, Florence S. and Carole G. Silver, eds. Socialism and the Literary Artistry of Wil/iam Morris. Columbia: U. of Missouri P., 1990. 177 pp. Boos's Introduction explains how the ten essays explore a range of Morris's efforts to express in literature the millenarian ideals of socialist humanism. See individual entries for essays by Boos (46), Donaldson (60), Holzman (75), Lurchmansingh (183), MacDonald (85), Sargent (102), Suvin (105), Talbor (106) and Waters (11'\). VII

50. Bossert, Rex Thomas. "Oneiric Architecture: A Study in the Ideology of Modern

Utopian Fiction." Diss. Stanfotd U., 1988. The relation between author and reader "sets the ideological tone of the utopian worlds depicted" in News from Nowhere and Looking Backward. 51. Brake, Laurel. "Morris, WiHiam." In Reference Guide to English Literature. 2nd

Edition. Vo!. 2. Ed. D. L. Kirkparrick. Chicago: St. James Ptess, 1991, 994-97. The dates of Morris's personal and public life as well as of his publications are followed by a brief summary of his literature.

52. Bulck, Adam. "A Matket by the Way: The Economics of Nowhere." Wil/iam Morris & News from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Hardand, Devon: Green Books, 1990, 151-68. Morrls's communism, with its absence of buying and selling, its local need-based production, its freely accessible goods and services, and its community decisionmaking offers a practical way of satisfying human needs in harmony with nature.

53. Burns, Marjorie J. "Echoes of William Morris's Icelandic Journals in J. R. R. Tolkien." Studies in Medievalism, 3 (Winter 1991), 367-73. Bilbo's adventure through Middle-earth in The Hobbit shows remarkable resemblances in landscape, weather, incident, and diction to Morris's experiences recorded in his Icelandic Journals. 54. Carley, James P. «'Heaven's Colour, the Blue': Morris's Guenevere and the Choosing Cloths Reread." The Journal of the Wil/iam Morris Society, 9 (Autumn

1990),20-22. Guenevere's reference to the choice of coloured cloths suggests the iconography of bannersj hence, the poem must be read as "visual rather than verbal art."

55. Coleman, Stephen and Paddy O'Sullivan, eds. William Morris & News from Nowhere: A Visio>! for Our Time. Hardand, Devon: Green Books, 1990. 213 pp. Coleman's preface, "The Use of Utopia: History and Imagination," explains how the utopian dreamer subverts the tyranny of Realism by showing that change is

possible, that "history can explode." See individual enrries for essays by Buick (52), Coleman 156), Crump (58), Hampton 168), Marsh (87), O'Sullivan (92), Pearson 197), Ward (110), and Watkinson (112). 56. Coleman, Stephen. "How Matters are Managed: Human Nature and Nowhere." Wil/iam Morris & News from Nowhere: A Visio>! for Our Time. Ed. Stephen Coleman

and Paddy O'Sullivan. Hartland, Devon: Green Books, 199075-89. Rejecting the belief of the Augustinian sinner, Darwinian predator, and Freudian egotisr that human nature is depraved and antithetical to God, Morris believed that if human behaviour is historical then cooperative fellowship may arise from sharing a common social interest after the elimination of class strife. 57. Cranney-Francis, Anne. Feminist Fiction: Feminist Uses of Generic Fiction.

Cambridge: Polity Press, 1990,7-9,112-25,199-201. The pervasive textual reflexivity of New from Nowhere deconstructs the middleclass ideology of realist literature and anticipates feminist texts by refusing to use the love story for closure and by constructing a role for an interrogative reader to turn dream into political activism against the social order. VILl

58. Crump, John. "How the Change Came: News from Nowhere and Revolution." In Wi/liam Morris & ews from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Hartland, Devon, GrPen Books, 1990,57-73. In describing in chapter 17 the four stages of communist revolution-resolution, mass meetings, general suike, and civil war-Morris strains credulity by confining the revolution to Britain, by accepting the palliatives that support state capitalism, and by overlooking the bureaucratic behaviour of union leaders. 59. Denrith,Simon. "News from Nowhere: The Rhetoric of Utopian ism in the Writing of William Morris and Edward Carpenter." A Rhetoric of the Real: Studies in PostEnlightenment Writing from 1790 to the Present. Hemel Hempstead: Harvester WhealSheaf, 1990, 119-47. Though the "negative pragmatics" of News from Nowhere centre its focus on inversions of the contemporary world, its interest in a "backward-looking, simplifying" medievalisrn creates an equivocation between present conditions and nostalgic desires. 60. Donaldson, Laura. "Boffin in Paradise, or the Artistry of Reversal in News from Nowhere." In Socialism and the Literary Artistry of William Morris. Ed. Florence S. Boos and Carole G. Silver. Columbi., U. of Missouri P., 1990, 26-37. The reverse of Dickens' dark Boffin in Our Mutual Friend, Morris's Boffin is this embodiment of the light, hope, and utopian regeneration offered in a just world. 61. Faulkner, Peter. "'The Haystack in the Floods,' Poem by Williarn Morris, 1858." In Refere'JCe Guide to English Literature. 2nd Edition. Vol. 3. Ed. D. L. Kirkpatrick. Chicago, Sr. James P., 1991, 1618. Withholding commentary on the dramatic action, Morris presents passion and violence without chivalry, morality, or glamour. 62. Fellman, Michael. "Bloody Sunday and News from Nowhere." The Journal of the William Morris Society, 8 (Spring 1990), 9-18. With romantic alterations of the consciousness responsible for the defeat at Trafalgar Square, Morris projects the success of his purist program through a violent revolution based on the actual Trafalgar events. 63. Frye, Northrop. "The Meeting of Past and Future in William Morris." Myth and Metapho" Selected Essays, 1974-1988. Ed. Robert Denham. Charlorresvill" U. of Virginia P., 1990,322-39. A reprint of the article from Studies"" Romanticism, 21 (Fall 1982), 303-18. 64. Goode, John. "Now Where Nowhere: William Morris Today." News from Nowhere, 9 (Aurumn 1991),50-65. Critics of News from Nowhere should note that Morris's writing is similar to his design work wherein the pragmatic dimension is revealed through the inrertextuality of his poems and through the sense of history in his prose. 65. Goodwin, K. L. "The Realism of Magic in the Fantasy Tradition ofWiUiam Morris." In The Victorian FmJtasists: Essays on Culture, Society and Belief in the Mythopoeic Fiction of the Victorian Age. Ed. Kath Filmer. London, Macmillan, 1991, 6~8. Metamorphoses and plain diction are the subject and style of The Earthly Paradise and the prose romances, as Morris down plays the magical momentoftransforrnation, considering it as analogous to the serpentine line of his decorative art and to the "pattern of life swinging from happiness to sorrow/' from hope to fear. IX

66. Gordon-Wise, Barbara Ann. The Reclamation ofa Queen: Guinevere in Modern Fantasy. Westport, Conn.: Greenwood, 1991, 19-20,94-96, 110-11. Morris's Guenevere is the archetypal maiden "who actively chooses, speaks in defense of herself, and elicits sympathy," a precursor of the queen "we find in modern Arthurian fantasy," while his oil portrait of GueneverelIseult presents a frustrated queen gazing beyond the bedside Bible in her claustrophobic room. 67. Greer,John. Three William Morris Songs for Soprano and Piano. London: William Morris Society, 1990. 16 pp. "Margaret's Song" ("The Hollow Land"), "In Prison," and "Paean to March" (from The Earthly Paradise) were first performed for the Morris Society in Toronto in March 1985. 68. Hampton, Christopher. "The Feast's Beginnings: News from Nowhere and the Utopian Tradition." In \ViIliam Monis & News from owhere: A Vision for Our Time. Eel. Stephen Coleman and Paddy O'Sullivan. Hartland, Devon: Green Books, 1990,43-55. A brief survey of the utopian efforts of Milton, Winstanley, Shelley, and Marx sets a context for the dialectical view of histOry and the love of art that motivated Morris to write News from Nowhere. 69. Harrison, Anthony H. "An is Enough: Morris, Keats, and Pre-Raphaelite Amatory Ideologies." Victorian Poets and Rommltic Poems: Intertextuality and Ideology. Charlortesville: V.P. of Virginia, 1990, 144-76. Maintaining that "dreams constitute reality for those" empowered by love, Love is Enough repudiates the amatory ideology of Morris's previous elegiac Keatsian poetry for the more visionary Keats of Edymion which in turn is repudiated in "The Pilgrims of Hope." 70. Hasse", Constance W. "The Style of Evasion: William Morris' The Defence of Guenevere, and Other Poems." Victorian Poetry, 29 (Summer 1991), 99-114. Cruel maimings, awkward gestures, graphic coding, and semantic collapses are physically alienating and verbally destabilizing as Morris's poems resist "the autonomy of the individual and the normal behaviour of language." 71. Hcrbert, Isolde Karen. "'Veracity of Vision': Narrative Perspective in William Morris's Prose Romances and Political Fictions." Diss. U. of Western Ontario, 1990. The "fluctuating narrative perspectives" of the late fiction «reshape the indeterminacies of the early tales into subversive devices" that alienate the reader from conventional ideologies. 72. Herbert, lsolde Karen. "'A Strange Diagonal': Ideology and Enclosure in the Framing Sections of The Princess and The Earthly Paradise." Victorian Poetry, 29 (Summer 1991), 145-159. In contraSt to Tennyson'sconstrainingenclosures, the polyphony of dramatic personae in the self·reflexive Prologue of The Earthly Paradise provides Morris with strategies for suppressing the authoritarian voice and for liberating and renewing perception. 73. Herbert, Isolde Karen. "No 'Fourth Wall': The Experience of Drama in William Morris's Love is Enough. n E1lglish Studies in Canada, 17 (September 1991),301-17 Exemplifying Brecht's rheory, the tale of Pharamond is an «allegorical meditation on the frame's drama of spectacle and politics," wherein resolution is transferred

x

from the stage to the audience's judicial sense of the dialectical interplay of toil and desire, of life and art. 74. HillOn, Rodney. The Change Beyond the Change: A IYream ofJohn Ball. Kelmscorr Lecture. London: William Morris Society, 1990. 20 pp. The historic context of the clerical John Ball is foregrounded to show that Morris was wise in seeing 1381 as a starting point of the uneven progress towards socialism: a fluctuating succession of defeats and triumphs from Ball's subversion of the threeestate order of aristocracy, clergy, and peasantry to Morris's dream of Ball preaching fellowship, revolt over charity, and freedom from the lords who exploit the peasants' labour. 75. Holzman, Michael. "The Encouragement and Warning ofHistory: William Morris's A Dream ofJohn Ball." In Socialism and the Literary Artistry of William Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouti P., 1990,98-116. Morris interrupted theserializationof Socialism from the Root Up in Commonweal with his Dream ofJohn Ball's failed rebellion against feudalism in order to animate his thesis that the present capitalist conditions should not be attributed to historical inevitability. 76. Kennedy, Veronica M. S. "'The Haystack in the Floods': An Uncharacteristic PreRaphaelite Poem." University of Mississippi Studies in English, 8 (1990), 29-3S. Written in the wake of the Crimean War and Indian Mutiny, the poem "dwells on the harsh rather than the picturesque aspects of medieval life, .. and is thus prophetic of the rain-sodden France of this century's world wars. 77. Kirchhoff, Frederick. William Morris: The Constmction of the Male Self, 1856-1872. Athens: Ohio U. P., 1990. 248 pp. The theories of Heinz Kohut, H. S. Sullivan, and Paul Schilder lead to a study of the "images of men and women" and the forms of expression embodying Morris's "shifting conceprualizations of the self." From his earliest prose to Love is Enough, Morris therapeutically moved beyond the romantic fantasies of the male power system to recover the tribal consciousness of "a new kind of man." 78. Kirchhoff, Frederick. "Revision and the Pre·Raphaelite Text." In Victorian Authors and Their Works: Revision Motivations and Modes. Ed. Judith Kennedy. Athens: Ohio U. P., 1991, 18-27. Similar to his manner of designing two-dimensional patterns with infinite repetition, Morris composed poetry in large forms, "retelling" predetermined, traditional stories without Rossetti's regard for fussy details. 79. Kumar, Krishan. Utopianism. Milton Keynes: Open Univ. P., 1991,47,103-04. As the forerunner of the ectopia of the 1970s and 19805, News from Nowhere establishes beauty as the "cardinal standard of society" for promoting creativity, social harmony, and a garden landscape. 80. Lang, John Thomas Fife. "Art and Life in Nineteenth Century England: The Theory and Practice of William Morris." Diss. York U. (Canada), 1990. Neither literary fantasy nor Marxist polemic, News from Nowhere illustrates a Hegelian philosophical ideal and a society functioning as an organic whole. XI

81. Lawson, Robert Bland. "William Morris's Embodiment of Dreams." Diss. Florida Srare U., 1990. This reappraisal of the literary dream in Morris begins with a discussion of the influence ofCarlyle and Ruskin, and follows with explorations of dream in Morris's fiction, poetry, and political lectures. 82. LeMire, Eugene D. "Mind in Morris's England." The Journal of the William Morris Society, 9 (Spring 1991),2-11. News from Nowhere was conceived as a vision of a new world informed by a secular religion in which belief in freedom, equality, and love leads to the greatest human good and happiness. 83. Lerner, Laurence. "Love Blight on Utopia." The Times Higher Educational Supplement, 12 Ocrober 1990, 13, 17. Posing questions about violent revolutionary change, the functioning of society, and sexual love in News from Nowhere, Lerner concludes that Morris's utopia is one of poetic vision rather than political analysis. 84. Levitas, Ruth. "The Education of Desire: The Rediscovery of William Morris." The Concept of Utopia. London: Philip Allan, 1990, 106-30. After reviewing the critical debate over the place of News from Nowhere in Marxist thought, Levitas distinguishes Ernesr Block's interest in the consumption of art from Morris's emphasis on the production of art as the central utopian acrivity. 85. MacDonald, Alexander. "Bellamy, Morris, and the Great Victorian Debate." In Socialism and the Literary Artistry ofWilliam Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouri P., 1990,74-87. The quancitative values and centralization praised in Bellamy's Duke ofStock bridge and Looking Backward provide an opposite paradigm to the organic diversity and individual beauty enjoyed in A Dream ofJohn Ball and News from Nowhere. 86. MacCarthy, Fiona. "A Living Vision of England." The Observer lLondonj, 22 July 1990, 52. News from Nowhere is erotic, ecological, heartfelt, personally revealing, and yet now "safe enough" for the BBC's selected Book at Bedtime. 8? Marsh, Jan. "Concerning Love: News from Nowhere and Gender." In William Morris & News from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Hartland, Devon: Green Books, 1990, 107-25. News from Nowhere appears to be a response to Engels' rhetorical questions concerning patriarchal oppression despite the extent to which "reactionary gender relations do form the bedrock of Morris's...masculine vision of paradise." 88. Marsh, Jan. "News from Nowhere as Erotic Dream." The Journal of the Wjlliam Morris Society, 8 (Spring 1990), 19-23. Morris exploits the recurrent motif of arousal and disappointment, as in Guest's courtship with Ellen, who personifies the alluring but unattainable new age, arousing the reader's desire for paradise without quenching it. [An abridged version of her chapter "Concerning Love" 87.} 89. McMaster, Roland. "Tensions in Paradise: Anarchism, Civilization, and Pleasure in Morris's News from Nowhere." English Studies in Canada, 17 (March 1991),73-87. XII

Standing ideologically between Edward Carpenter and J. S. Mill, Morris tempered anarchistic freedom with communal coercion, and subverted the doctines of Christian sin and the commercial work ethic by en"isioning a "radical idea of pleasure" as the norm for life in a paradise regained.

90. Menocal, Narciso G. "The Sources of Frank L10yd Wright's Architectural Utopia: Variations on a Theme of Nature." In Utopian Vision, Technological Innovation and Poetic Imagination. Ed. Klaus L. Berghahn, et. a1. Heidelberg: Winter, 1990, 111-30. Wright's description of a splendid breakfast meal in his Autobiography is likened to Morris's description of Boffin, the golden dustman, in News from Nowhere. 91. O'Reilly, Sally, "Identifying William Morris' 'The GilliAower of Gold.'" Victorian Poetry, 29 (Autumn 1991),241-46. The botanical identity and symbolic importance of the gilliflower are the keys to understanding Morris's poem about a medieval knight'S faithful love for his dead lady.

92. O'Sullivan, Paddy. "The Ending of the Journey: William Morris, News from Nowhere and Ecology." In Wil/iam Morris & News from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Hartland, Devon: Green Books, 1990, 169-81. Morris'sconcept of work, with its emphasis on conservation ofenergy and resources and its use of small-scale alternative technology in a steady state economy, is "an unrivalled contribution both to revolutionary thought, and to environmentalism." 93. O'Sullivan, Paddy. "The Struggle for rhe Vision Fair: Morris and Ecology." The Journal of the William Morris Society, 8 (Spring 1990), 5-9. An unrivalled ecologist, Morris shows how the equation of work and leisure renders production for need, not wants, eliminating the surplus value of capitalism which exploits and wastes the environment. 94. Parrinder, Patrick. "Ruskin and Morris. '" Authors and Authority: English and American Criticism: 1750-1990. Rev. ed. New York: Columbia U.P., 1991, 139-43. Attacking literary culture for what he called the "hierarchy of intellect in the arts,'" Morris "was prepared to see art die'" to make way for a new communal tradition. 95. Parrinder, Patrick. "News from the Land of No News." Foundation: The Review of Science Fiction, 51 (Spring 1991),29-37. In a future when newspapers, history, and the act of reading arc no longer valued, Guest is a ghost conjured from the seance to remind the utopians neither to forget nor romanticize the past. 96. Pearce, Lynne. "Guenevere: Emergent Heroines." Womanllmagerrext: Readings in Pre-Raphaelite Art and Literature. London: Harvester Wheatsheaf, 1991, 114-29, 148. In "The Defence of Guenevere, '" Launcelot, Guenevere, and Arthur are victims of the competing ideologies of courtly love, romantic love, and sanctioned marriage. Claiming that "sufficient evidence exists for it to be thought of as Queen Guenevere," Pearce [mislreads La Belle lseult as the defiant Guenevere, actively in control of her domestic space. XIII

97. Pearson, Mark. "The Hammersmith Guest House Again: William Morris and the Architecture of Nowhere." In Wi/Iiam Morris & News from Nowhere: A Vision of Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Harrland, Devon: Green Books, 1990, 137-49. Morris developed his theory of architecture independently but in parallel with We bb, presenting architecture in News from Nowhere as collective cranwork rather than as the work of a single architect. 98. Pearson, Richard. "'The Novel on Blue Paper': An Additional Page." The Journal of the William Morris Society, 9 (Autumn 1991), xix-xx. Page 96 from the manuscript of the unfinished "Novel on Blue Paper" was acquired by the Hunringron Library from S. C. Cockerell's colleaion in 1972 and is reprinted here. 99. Pearson, Richard. "'Silence and Pity': An Unpublished Fair Copy." The Journal of the William Morris Society, 9 (Spring 1991), 12-15. The third of five poems in 1869 concerning the division between Morris and janey, "Silence and Pity" was carefully revised but excluded from" A Book of Verse" and Poems by the Way. 100. Penning-Rowsell, Edrnund. "Charles Gere and William Morris." The Journal of the William Morris Society, 8 (Spring 1990),28-31. The artist who drew Kelrnscorr Manor for the frontispiece of the Kelmscon News from Nowhere remembers Morristumbling from bed in the mornings,conversing on country walks, playing draughts with jane, and composing at night with quill pens. 101. Pinkney, Tony. "Postmodern Space and Morris's Utopia." News from Nowhere, 9 (Autumn 1991),29-49. Within the context of Soja's spatialisation, de Cerreau's spatial stories, Foucault's heterotopia, and Jameson's postmodern sublime, News from Nowhere is revealed to be a dystopian theme park and heritage museum wherein utopia is Stephen [sic] Guest's "guest, not he its." 102. Sargenr, Lyman Tower. "William Morris and the Anarchist Tradition." In Socialism and the Literary Artistry ofWilliam Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouri P., 1990, 61-73. Despite Morris's self-proclaimed opposition to anarchism, the consensual theory of decision·making envisioned in The Tables Turned and News from Nowhere is consistent with the anarchist tradition. 103. Silver, Carole G. "Socialism Internalized: The Last Romances of William Morris." In Socialism and the Literary Artistry of William Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouri P., 1990, 117-26. Whereas realist novels reflect the individualist ideology of capitalism, Morris's prose romances depict class struggle being replaced by the work, love, and fellowship ideology of socialism. 104. Slapper, Clifford. "Synopsis of News from Nowhere." In Wil/iam Morris & News from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'Sullivan. Hardand, Devon: Green Books, 1990, 35-42. The "shoft chapter-by-chapter summary...is intended to help first·time readers of the novel." XIV

105. Suvin, Darko. "Counter-Projects: William Morris and the Science Fiction of the 1880s." In Socialism and the Literary Artistry of William Morris. Ed. Florence S. Boos and Carole G. Silver. Columbia: U. of Missouri P.,1990, 88-97. Of the many "future alternative history" narratives, The Socialist Revolution of 1888 (1884) and The Next 'Ninety Three (1886) depict Morris as the only sensible socialist, while Edward Dering's In the Light ofthe Twentieth Century (1886) and Waiter Besant's The Inner House (1888) may have inspired Morris to write News from Nowhere as a subversive counterproject. 106. Talbot, Norman. "A Guest in the Future: News from Nowhere." In Socialism and the Literary Artistry of William Morris. Ed. Flotence S. Boos and Carole G. Silver. Columbia: U. of Missouri P., 1990, 38-60. The narrative framework invites the subscribers of Commonweal to share a personal story of a vision of paradise that is vulnerable and yet consoling.

107. Timo, Helen. "News from Somewhete: The Relevance of Morris's Tbought in 1990." The Journal of the William Morris Society, 8 (Spring 1990), 3-5. Unlike other Victorians, Morris targets himself in his social criticism, as he was haunted by the class suppression on which his own lifestyle depended.

108. The Victorian Fantasists: Essays on Culture, Society and Beliefin the Mythopoeic Fiction of the Victorian Age. Ed. Kath Filmer. London: MacmiIlan, 1991. 221 pp. Anne Cranny-Francis's "The Education of Desire: Late Nineteenth·Cenrury Utopian Fiction and Its Influence on Twentieth-Century Feminist Fantasy" and Norman Talbot's "'Heroine as Hero: Morris's Case against Quest Romance in The Water of the Wondrous Isles" are reprinted from The Nameless Wood: Victorian Fantasists, ed.]. S. Ryan, 1986; Bruce L. Edwards,]r.'s "Towards a Rhetoric of Fantasy Criticism: C. S. Lewis's Readings of MacDonald and Morris" is reprinted from Literature and Belief, 3 (1983); K. L. Goodwin's essay is new (See Goodwin 65).

109. WaIle, Alf H. "WiIliam Morris's News from Nowhere: Socialist Theory in an Age of Flux." Zeitschrift fur Anglistik und Amerikanistik, 38, No. 3 (1990),230-33. In a briefoverview, Walle claims that socialist critics, genre critics, and psychological critics have failed to recognize that Morris wrote News from Nowhere as an argument with other socialists. 110. Ward, Colin. "An Old House Amongsr New Folk". In WiIliam Morris & News from Nowhere: A Vision for Our Time. Ed. Srephen Coleman and Paddy O'Sullivan. Hartland, Devon: Green Books, 1990, 127-36. Three factors that give buildings a high News from Nowhere quotient-joy in construction, gracefully ageing materials, and planted greenery-are looked for in the architecture of Raymond Unwin's garden cities and of Waiter Segal's modern "self-build" timber-framed house. 111. Waters, Christopher. "Morris's 'Chants' and the Problems of Socialist Culture." In Socialism and the Literary Artistry of William Morris. Ed. Florence S. Boos and Ca role G. Silver. Columbia: U. of Missouri P., 1990, 127-46. Though unoriginal in theme and imagery, Chants for Socialists is more sophisticated and less sentimental than other socialist songs because of its "analysis of oppression and ...call for revolution" and its concrete distinctions between the dismal present and the utopian future.

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112. Watkinson, Ray. "The Obstinate Refusers: Work in News from Nowhere. In William Morris & News from Nowhere: A Vision for Our Time. Ed. Stephen Coleman and Paddy O'SulJivan. Hartland, Devon: Green Books, 1990,91-106. As Old Hammond makes it clear that machinery is useful to do tedious tasks, Morris moves beyond Marx and Ruskin by depicting in Nowhere a society saved "from alienation and degradation imposed by industrial capitalism" so that work, combined with art, is a necessity of human life. 113. Wiens, Pamela Bracken. "The Reviews Are In: Reclaiming the Success of Morris's 'Socialist Interlude...• The Journal of the William Morris Society, 9 (Spring 1991),16-21. Reviews and recollections of The Tables Turned; or NupkhlS Awakened suggest Morris's skills as an actor and dramatist and his lasting influence on Bernard Shaw. I J4. Woodcock, George. "News from Nowhere. Fiction by William Morris, 1890." In Reference Guide to English Literature. 2nd Edition. Vo!. 3. Ed. D. L. Kirkpatrick. Chicago: St James, 1732-33. News from Nowhere is a charming tract too didactic to be a novel but is refreshingly free of the authoritarian nature of utopias. 115. Workman, Nancy Victoria, "A Victorian 'Arabian ights' Adventure: A Study in Intertextuality." Diss. Loyola U. of Chicago, 1989. Among the Victorians whose sources are found in the Arabian Nights, Morris "greatly expanded a short story" into "The Man Who Never Laughed Again" for inclusion in The Earthly Paradise.

DECORATIVE ARTS 116. Aldous, Tony. "Morris's Red House." London /l/ustrated News, 279 (Winter 1991),6. Anticipating the Arts and Crafts Movement and inspiring the Bauhaus, Red House is a fusion of Webb's skill and Morris's imagination. 117. Anscombe, Isabelle. Arts & Crafts Style. Oxford: Phaidon, 1991. 232 pp. The new gospel is surveyed from its Gothic origins to twentieth-century modernist reinterpretations. Interesting manifestations of the movement include maypole festivities, whimsical nursery environments, and the elevation of women's work. 118. Banham, Joanna, Sally MacDonald, and Julia Porter. Victorian Interior Design. London: Cassell, 1991, 81-105. This illustrated overview of the activities of the Firm deals with Red House, stained glass, textiles, and wallpapers. 1]9. Barcan, Deborah. "William Morris and His Wallpapers." Victorian Homes. 9 (Winter 1990),38-43. Following illustrated descriptions of a selection of Morris's designs, Barcan notes that N. Willis Bumstead imported Morris wallpaper to Boston in 1870, six years prior to [he 1876 Philadelphia Exposition. XVl

120. Berman, Avis. "Antiques: Arts and Crafts Carpets.» Architectural Digest, 48 (April 1991), 168-73, 214. "As the missionary angel of aesthetic taste,» Morris wai joined by Dearle, Voysey, Mackmurdo, Day, Butterfield, and Crane to make Britain the "major producer of Arts and Crafts carpets." 121. Bowe, Nicola Gordon. "Two Early Twentieth-Century Irish Arts and Crafts Workshops in Context: An Tur Gloine and the Dun Emer Guild and Industries." Journal of Design History, 2, No.2/3 (1989), 193-206. The influence of Morris is traced through the works of Sarah Purser and Evelyn Gleeson, who founded (Wo arts and crafts workshops based on Morrisian socialist ideas and production methods. 122. Bowman, Leslie Greene. America" Arts & Crafts: Virtue in Design. A Catalogue of the Palensky Collection and Related Works at the Los Angeles County Museum of Art. Los Angeles and Boston: Los Angeles County Museum and Bullfinch Press, 1990. 255 pp. Caralogue of rhe September 1990-January 1991 exhibition considers the influence of Morris & Co. on the thought of Charles Eliot Norton and Oscar Lovell Triggs and on the craft work of Gustave Stickley, Elbett Hubbard, and Charles Limbett. 123. Burrows, John. "The Morris Interior." Old House Journal, 18 (SeptemberOcrober 1990), 56-{;0. Morris's designs are now more popular in America since becoming available during the past decade through such firms as Bradbury & Bradbury, J. R. Burrows, and Arthur Sanderson. 124. Carruthers, Annette. "The Arts and Crafts Movement at Cheltenham Art Gallery and Museum.'" The Furniture History Society Newsletter, 97 (February 1990),6. A new gallery in Cheltenham features a collection of pieces by Morris and his associates, including C.F.A. Voysey's Kelmscott Chaucer cabinet, illustrated. 125. Checkland, Sarah Jane. "Tread Carefully on a Morris." The Times, 25 May 1991,19. Paul McCartney, Jimmy Page, and EIton John are among the "creative connoisseurs" owning Morris & Co. carpets, which now cost as much as £220,000 for a Dearle design. 126. Coleman, Roger. "Design and Technology in Nowhere." The Journal of the William Morris Society, 9 (Spring 1991), 28-39. In Morris's vision of an ideal future, technology is sympathetic to the environment, appropriately applied, and well integrated with art and invention. 127. Crowley, David. Introduction to Victorian Style. New York: Mallard Press, 1990,89-133. An illustrated discussion of Morris & Co., the Queen Anne movement, and the Arts and Crafts Movement. 128. Cumming, Elizabeth and Wendy Kaplan. The Arts and Crafts Movement. XVII

London: Thames and Hudson, 1991. 216 pp. While Cumming surveys the British movement and Kaplan surveys the American, both show how Morris extended his influence by recognizing the need for cooperation between crah and commercial industry. The movement forged four principles: design unity, joy in labour, individualism, and regionalism.

129. Curl, James Stevens. Victorian Architecture. London: David & Charles, 1990, 120-22. Morris's ideas were disseminated through the Arts and Crafts Exhibition Society which , promoted British arts and crafts internationally. 130. Duli«e, Cecile. "The House as a Total Work of Art." UNESCO Courier, 43 (August 1993),22-26. The first "to apply artistic principles to the fabrication of everyday objects," Morris influenced the work of Crane, Voysey, Van de Velde, and Horta. 131. Dean, Ann S. Burne-Jones and William Morris in Oxford and the Surrounding Area. Malvern, Worcs.: Heritage Press, 1991, 80 pp. Places to visit include the Oxford Union, Christ Church, and Kelmscott Manor. 132. Durant, Stuart. The Decorative Designs of eF.A. Voysey: From the Drawings Collection, the British Architectural Library, the Royal Institute of British Architects. Cambridge: Lutterworth Press, 1990. 96 pp. Voysey's designs for houses resemble those of the future as described in News from Nowhere, while his decoration has a mechanical imprecision, an intentional informality that is different from Morris's. 133. Ginsburg, Madeline. The I/lustrated History of Textiles. London: Studio Editions, 1991,74-76,125-6,142-44. Morris initiated the arts and crafts ethic and remains the best·known European carpet designer of the last century. 134. Green, Nicolette. The WiJJiam Morris Gift Boxes. London: Darling KindersJey, 1991. 48 pp. Press·out boxes in cardboard shapes-eircle, heart, obelisk, pyramid, rectangle, cube, hexagon-are printed with designs by Morris. 135. Greensted, Mary. Gimson and the Barnsleys. Stroud, Gloucestershire: Alan Sutlon, 1991. 224 pp. A paperback re·issue of Mary Comino's 1980 Evans Bros. edition. 136. Harvey, Charles and 10n Press. "Morris & Company in Manchester." The Journal of the Willia... Morris Society, 9 (Autumn 1991),4-8. Aher receiving critical acclaim for Morris & Co. products shown at the Manchester Fine Art and Industrial Exhibition in 1882, Morris rented retail space as well as cahinetry and upholstery premises in a prosperous Manchester shopping area. 137. Harvey, Charles and Joo Press. William Morris: Design and Enterprise in Victorian Britain. Manchester: Manchester U. P., 1991. 257 pp. This well-documented history of each of Morris's business enterprises presents Morris as an ambitious and shrewd businessman and a caring employer. Never losing sight of his goal to raise standards of design and execution in a number of XVIII

ancient trades, he created in Morris & Co. a small and diversified firm which may be considered as "one of the most important business ventures of the Victorian era.»

138. Haslam, Malcolm. "The Carper Designs of C.F.A. Voysey." The Magazine of Antiques, 140 (September 1991), 402-11. After suggesting that Voysey's uncluttered designs are overtaking the populariry of Morris's dense gothic patterns, Haslam describes Voysey's "River" pattern as a tribute to News from Nowhere.

139. Haslam, Malcolm. "The Masrer." Arts and Crafts Carpets. London: David Black, 1991,40-89. The well-illustrated chapter on Morris describes him as a towering figure and pioneer who revived carpet weaving while introducing original patterns, twenty

of which he designed himself.

140. Hollamby, Edward. Red House. London: Architecture Design and Technology Press, 1991. [60] pp. Among the earliest expressions of the Arts and Crafts movement, Red House is "a unique work of collaboration between artist/designer, client and architect." The house is analyzed in terms of its origins, design, decoration, and history. Webb's

original drawings are well-supplemented by photographs. 141. Huygen, Frederique. British Design: Image & Identity. London: Thames and Hudson in association with Museum Boymans-Van Beuningen, 1989, 15-20,25.

38-9,42-44,100-101,109. British design today has been shaped by the crah tradition with the "heavily social and moral slant that began with William Morris" and his firm.

142. Kavanagh, Robert. "The Art of Earth and Fire: The Aesthetics of Robin George Collingwood and the Craft of the Studio Potter." Diss. Concordia U., 1990. Morris's theories of art and labour offer counter arguments against Collingwood's theory of the distinctions between craft making and art making.

143. MacCarthy, Fiona. "The Beauty of the Earth." The National Trust Magazine, 64 (Autumn 1991),18-20. After describing a Morris & Co. window at Cragside, Northumberland,

MacCarthy compares the Pre-Raphaelite "palace style" of Wighrwick Manor with the Arts and Crafts "cottage" style of Standen. 144. Mancoff, Debra N. The Arthurian Revival in Victorian Art. New York: Garland.

1990,155-58,162-64,261-2,269-72. Mancoff's descriptions of "La Belle Iseult" and stained glass are less reliable than hercomparisons of Beardsley's illustrations for J. M. Dent with the Kelmscon Press and Jessie King's illustrations for John Lane with Morris's poetry.

145. Meller, Susan and Joost Elfers. Textile Designs: Two Hlmdred Years ofEll ropean and American Patterns for Printed Fabrics Organized by Motif, Style, Color, Layollt, and Period. New York: Abrams, 1991,407-08,442. Morris's designs attest to his desire to "reassert the value of beauty in this brave new world."

146. Moeran, Brian. "Bernard Leach and the Japanese Folk Craft Movement: The XIX

Formative Years." Journal of Desigll History, 2, Nos.2I3 (1989), 139-44. That Leach introduced Yanagi Muneyoshi in 1912 to Tomimoto Kenkichi (who had published in 1911 a long article about Morris) adds evidence that Yanagi was indeed influenced by .Morris. 147. Morgan, Hilary. "Pre-Raphaelitism Today." The Journal of the William Morris Society, 9 (Autumn 1990),43-45. A review of the 1989-90 Newcastle exhibition at the Laing Art Gallery of "PreRaphaelires: Painters and Patrons in the North-East." 148. ayIor, Gillian. "Theory into Practice: William Morris." The Arts and Crafts Movement: A Study of its Sources, Ideals and Influence on Design Theory. London: Ttefoil, 1990,96-112. A paperback reprint of the 1971 Studio Vista edition. 149. Newman, Teresa and Ray Watkinson. Ford Madox Brown and the PreRaphaelite Circle. London: Chatta and Windus, 1991. 226 pp. Morris purchased Brown's The Hayfield in 1856, transformed (with Webb) Brown's many cartoons for stained glass, and angered Brown by dissolving the Firm quickly in 1874. 150. Paine, Melanie. Textile Classics: A Complete Guide to Furnishing Fabrics and Their Uses. London: Mitchell Beazley, 1990, 146-49, 198. Using vegetable dyes, which lent a unique quality to his prints, and influencing designers such as Voysey and Butterfield, Morris was the most influential designer and craftsman of the Arts and Crafts Movement. 151. Phillips, Barty and Mary Schoeser. Fabrics and Wallpapers: Sources, Designs and Inspiration. New York: Little Brown, 1991, 157-63. Morris's floral designs for wallpapers and textiles developed from his free-flowing patterns of the 1860s and early '70s to the more formal, structured, and complex patterns of 1876 through 1890. 152. Poulson, Christine. «Arthurian Legend in Fine and Applied Art of the Nineteenth and Early Twentieth Centuries: A Subject Index." In Arthurian Literature X. Ed. Richard Barber. Cambridge: D. S. Brewer, 1990, 111-34. A companion index to« A Catalogue of Artists" published in Arthurian Literature IX, the Arthurian artworks created between 1815 and 1935 are indexed under the headings of 15 Arthurian characters. 153. Powel!, Ken. " Sugden's Morris Dance: Leek, Staffordshire, Victorian Buildings." Country Life, 23 July 1987, 108-09. Morris influenced the architectural designs of William Lamer Sugden in the industrial town of Leek. 154. Raguin, Virginia Chieffo. "Revivals, Revivalists, and Architectural Stained Glass." journal of the Society of Architectural Historians, 49 (September 1990), 327-29. Politicizing the ethics of restoration, Morris refused to design new windows for ancient buildings and refused to imitate the styles of other traditions. 155. Rangeley, Sue and Richard Speed. Embroidery in Kelmscott. London: William Morris Society, 1991. 20 pp. Community projects in 1990 included embroidering designs associated with the xx

River Thames, News from Nowhere, and Kelmscott Manor, and children's designs based on Morris's designs

156. Rudoe, Judy. Decorative Arts 1850-1950: A

Catal~gue

of the British Museum

Collection. London: British Museum Press, 1991, 91.

A free-blown wine glass designed in 1860 by Philip Webb for Morris's own use at Red House was sold in a simpler version by Morris & Co.

157. Schoeser, Mary and Ce/ia Rufey. English and American Textiles from 1790 to the Present. London: Thames and Hudson, 1989. 242 pp. The "most influential designer of the century," Morris is frequently mentioned in relation to his principles of pattern design and his use of natural dyes such as indigo and madder. 158. Smart, C. M. Jr. "Art in Architecture: Stained Glass of the Morris Firm-1861 to the End of the Century-An Architectural Evaluation." Victorians Institute Journal,

18 (1990),53-97. An analysis of twenty-five windows-in terms of colour, form, light, composition, and architectonics-conc1udes that the Firm's best work occurred in the mid-1870s "as a result of the active cooperation of the painter-decorator~architect design team."

159. Sykes, Marjorie. "The Dyer's Hand." Antique Collector, 62 (ApriI1991), 58-61. The master dyer of Leek, Thomas Ward le advised and worked with Morris and Arrhur Liberty, and printed Morris's early fabrics.

160. Warner, Pame/a. Embroidery: A History. London: Batsford, 1991,167-73. A summary of Morris's embroideries for his home, his firm, and the Royal School of Art Needlework is accompanied by line illustrations of three of his motifs.

161. Watkinson, Ray. Pre-Raphaelite Art alld Design. London: Trefoil, 1990. 208 pp. A paperback reprint of the 1970 Studio Vista edition. 162. Whitaker, Mucie!. The Legends of King Arthur in Art. Cambridge: D. S. Brewer,

1990,185-205,241-2,259-60,266-7. Illustrated discussions of the Oxford Union murals and of Morris & Co. tapestries and stained glass include analysis of the iconographic details of "La Belle Iseult" and of Beardsley's japonesque imitations of the soulful medievalisrn of the Kelmscott books, an imitation that angered Morris. 163. Wichmann, Hans. Von Morris his Memphis: TextiJen der Neuen SammJung

Neende 19 bis Neende 20. Jahr Hlmde Art. Berlin: Birkhauser, 1990. 463 pp. Morris's contribution to the history and development of textile design in the context of the decorative arts tradition is featured in this well-illustrated book.

164. Wilhide, Elizabeth. Wil/iam Morris: Decor and Desigll London: Pavilion, 1991. 192 pp. Following an introductory chapter on the work of Morris, the author presents the context of Morris's interior design work with a chapter on nineteenth-century interiors. Subsequent chapters entitled "Decorating with Pattern," "Walls and Finishes," "Curtains and Treatments," and "Furniture and Furnishings" provide practical advice for home decoration based on Morris's principles of interior design.

XXI

165. Wilson, Richard Guy. "'Ralph Adams Cram, Dreamer of the MedievaL" In Medievalism in American Culture: Papers of the Eighteenth Annual C01lference of the Center for Medieval Q7ld Early Renaissa,zce Studies. Ed. Bernard Rosenthal and Paul E. Szarmach. Binghamton, N. Y.: Medieval and Renaissance Texts and Studies, 1989,193-214. First steeped in Boston Bohemianism and Anglo-Catholicism, Cram promoted medieval culture through his founding of the Boston Society for Arts and Crafts and the Church of the Carpenter, as well as through his architecture.

BOOK DESIGN

166. Albert, Samuel D. '''My Work Is the Embodiment of Dreams': Morris, Burnejones, and Pre·Raphaelite Influences on Book Design." In Pocket Cathedrals: PreRaphaelite Book Illustration. Ed. Susan P. Casteras. New Haven: Yale Center for Brirish Arr, 1991, 93-10J. Adapting the emotional intensity and visual stasis of the Pre-Raphaelite tradition, Morris and Burne-Jones coordinate all the elements on a page as revealed in the similar structure of "Prologue" and "Knight's Tale" whose borders and tri-planar divisions retain a rectilineariry and a division of image and text that was being overcome only in the unfinished Froissarr's Chronicles. 167. Bruckner, D. J. R. Frederic Gaudy. 'ew York, Abrams, 1990,38-9,44,50,138. Goudy designed a rype which he said was based on "the types of jenson, as exhibited in Morris' Golden type, the Doves, f\10ntaigne, Merrymounr, and types of that ilk." 168. Casteras, Susan P. Pocket Cathedrals: Pre-Raphaelite Book Illustration. New Haven, Yale Center for Brirish Arr, 1991. 112 pp. Catalogue of the March-May 1991 exhibition at Yale includes drawings, engravings, proof sheets, books, and bindings that exemplify Morris's effort ro achieve "the consummate unity of word and design." (See individual essay by Alber, 166.). 169. Cotton. Alberr Louis. The Ke/mscott Press and the New Printing. Documents on the History of Books and Priming. Beccroft, N.S.W.: Brandywine Press and Archive, 1989.[221-31 pp.J This limited edition of200 numbered copies is a reprint of the article first published in C01ltemporary Review, 74 (August 1898),221-31. 170. Depas, Rosalind, "Medievalism and the Art of the Book in Germany in the Jugendstil Period." Studies in Medievalism, 3 (Spring 1991), 515-25. The Kelmscort Press inspired Melchoir Lechrer, Heinrich Vogeler, and Otto Eckmann to pursue the Medieval ideal of harmonious unity between text and decoration. 171. Franklin, Colin with John R. Turner. The Private Presses. 2nd Edition. Aldershot: Scolar Press, 1991. 378 pp. Reprint of the 1969 Studio Vista edition is appended with Turner's new bibliography, including 16 pages of recent prices for Ke1mscott Press books. XXII

172. Gallant, James Jerome. "The Influence of Late Medieval An on the PreRaphaelites." Diss. U. of connecticut, 1988. Morris's illuminated manuscript of the Odes of Hora.e is analyzed as the central example of Pre-Raphaelite illumination and missal painting.

173. In Self-Respect and Decent Comfort: An Exhibition of Books and Manuscripts from the William Morris Collection ofSan ford and Helen Berger, Marking the lOOth Anniversary of the Kelmscott Press. Pala Alto, Calif.: Cecil H. Green Library, Stanford U., 1991. 16 pp. Catalogue of the November 1991-January 1992 Palo Alto exhibirion ar Stanford of Kelmscott printing. 175. Kelmscott Centennial: William Morris and His Heirs: Leonard Baskin. Claire Van Vlietand Victor Hammer. Minneapolis: Minnesota Centerlor Book ArtS, 1991. 39 pp. Catalogue ofthe April-June 1991 Minneapolis exhibition at the Minnesota Centre for Book Arts surveys the work and influence of Morris.

176. Peterson, William S. The Kelmscott Press; A History of William Morris's Typographical Adventure. Oxford: Clarendon, 1991. 372 pp. Peterson eleganrly and definitively documents the adventure that became "an event of major cultural significance." A survey of Victorian printing and of Morris's earlier efforts is followed by analyses of the artistry, production, close friendships, and "commercial shrewdness" that characterized and sustained the Press, well exemplified by the production histories of Poems by the \Vay, The Golden Legend, Blum's poems, and the Chaucer. 177. Peterson, \'Villiam S. The Kelmscott Press Golden Legend: A Documentary History of Its Production Together with a Leaf from the Kelmscott Edition. Council Bluffs, Iowa: Yellow Barn Press, wirh U. of Maryland Library, 1990. vi, 32 pp. Letters, diaries, advertisements, and a publishing contract, along with Peterson's "Introduction," document the story of the printing of the Kelrnscott Press Golden Legend in 1892. An after-word by John Walsdorfdcscribes rhe purchaseofunbound leaves in 1978. 178. Riley, David W. "'A Definite Claim to Beauty': Some Treasures from the John Rylands Private Press Collection." Bulletin ofthe John Rylands Library, 72 (Summer

1990), 73-88. Mrs. John Rylands collecred for her husband's memorial library all rhe Kelmscotf Press books, as well as a 1894-95 brochure Morris printed for Manchester's Ancoars Brotherhood and C.H. St. John Hornby's 1901 announcement for his new typeface, Subiaco. 179. Roylance, Dale. "The Art of the English Book from William Morris co Eric Gill." Princeton University Library Chronicle, 53 (Spring 1991), 367-83. An exhibition of English private press publications from libraries and special collections at Princcton included several Kelmscott Press books.

XXIII

POLITICS 180. Faulkner, Peter... A Note on Morrisand Imperialism." TheJoumal ofthe William Morris Society, 9 (Spring 1991), 22-27. Letters, lectures, News from Nowhere. and E. P. Thompson's quotations from meetings show Morris consistendy hating British imperialism as a monstrous exploitation. 181. Latham, David. "WiHiam Morris." In Classics in Cultural Criticism. Voll. Ed. Bernd-Peter Lange. Berne: Lang, 1990, 193-227. The consistency of Morris's political vision is traced through his poetry, his lectures, and his prose romances as he revolutionized the Pre·Raphaelite, Gothic Revival, and Socialist movements. His socialism is analyzed in terms of its aesthetic (1877· 82), militant (1883-90), and visionary (1891-96) phases. 182. Lindsay,Jack. Wi1/iam Morris: Dreamer of Dreams. Ed. David Gerard. London: Nine Elms Press, 1991. 18 pp. Morris's political ideals are traced from Carlyle and Ruskin, the Eastern Question, and his lectures on arc, to his involvement with socialist panies. For Morris, artistic expression, combined with collaboration and cooperation, was the key to rescuing the individual's creative potential. 183. Litton, A. G. "'A Great Resource to Us': America and William Morris's Vision in News from Nowhere." Nineteenth Century Prose, 17 (Summer 1990),15-25. The events surrounding the Chicago Haymarket Affair of 1887led Morris to believe that his vision of a socialist England could be realized only through class conflict and not through democratic reform. 184. Lutchmansingh, Lawrence D. "Archaeological Socialism: Utopia and Art in WiUiam Morris:' In Socialism and the Literary Artistry of Wil/iam Morris. Ed. Florence S. Boos and Ca role G. Silver. Columbia: U. of Missouri P., 1990,7-25. Similar to FredricJameson, Morris lectures on the relation of art and work to reveal "capitalism as appropriating labor to its central purpose in a manner that simultaneously ensures the effacement of the worker's human presence from the hisrorical and archaeological record." 185. MacDonald, Bradley James. "William Morris and the Aesthetic Foundations of Political Theory." Diss. U. of California, Los Angeles, 1991. In pursuing his ethical notion of beauty and its revival within Victorian life, Morris shows how art can "constitute political knowledge and action."

186. Nash, D. S. "The Leicester Secular Society: Unbelief, Ftee Thoughr, and Freedom in a Ninereenth Cenrury City." Diss. U. of York (U.K.), 1990. The person who made the deepest impression on the Leicester Secular Society (1852-1920) was Morris, whose ideas are described as "Owenism recast." 187. Shaw, Christopher, "\Villiam Morris and the Division of Labour: The ldea of Work in News from Nowhere." The Journal ofthe William Morris Society, 9 (Aurumn 1991),19-30. In opposition to Adam Smith's capitalism, the intellectual roots of the principle of "good work" being essential to humanity are found in the moralistic British Schillerian tradition of German Romantic idealism which Morris politicized. XXIV

188. Thompson, Paul. Why William Morris Matters Today: Human Creativity and the Future World Development. Kelmscon Lecture. London: WiIliam Morris Society,

1991. 29 pp. Morris's analysis of the relations between society and nature, creativity and economy, anticipated today's environmental crises. His three great experiments-Morris & Co., the Arts and Crafts movement, and the socialist visions-neglect the need for population control, for a creative science and technology, and for a central government to preserve the world.

189. Waters, Chris. British Socialists and the Politics of Popular Culture. Manchester: Manchester U. P., 1990. 252 pp. Morris's utopian vision is compared with that of his contemporaries (Robert

Blatchford, Philip Frankford, William Thompson) as are his socialist songs (with those of Edward Carpenter, Tom MacGuire). Opposed to reformers wishing to replace the labourer's "poverty of desire" with "rational recreation," Morris argued that the capitalist consumer system" blocked the expression of the innate desire for genuine pleasure." (See 111).

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AUTHOR INDEX Adams, Katherine 8 Aniksr, Aleksandr A. 9

Albert, Samuel D. 166 Aldous, Tony 116 Anscombe, Isabelle 117 Atwood, Philip 10 Bacon, Alan 40

Duliere, COcile 130 Durant, Stuan 132 Elfers, Joost 145 Evans, Timothy H. 19

Lang, John Thomas Fife 80

Faulkner, Peter 20,

181 Latham, Sheila 26,27

61,180 Fellman, Michael 62 Franklin, Colin 171 Frye, Northrop 63

Lasner, Mark Samuels 36 Latham, David 26, 27,

Lawson, Robert Bland

Baker, Lesley A. 11,41 Banham, Joanna 118 Barcan, Oeborah 119

Gallant, James Jerome

Belsey, Andrcw 42 Berman, Avis 120

Ginsburg, Madeline 133

Lindsay, Jack 182

Goode, John 64 Goodwin, K. L. 65 Gardon- Wise, Barbara Ann 66

Litton, A. G. 183 Lutchmansingh, Larry D.

Green, Nicolerre 134 Greensted, Mary 135

143 MacDonald, Alexander 85 MacDonald, Bradley James 185 MacOonald, Sally 118 Mancoff, Debra N. 144 Marsh, Jan 87,88 McMaster, Roland 89 Meller, Susan 145

Boos, Florence 43-49 Boos, William 47-48 Bossert, Rex Thomas 50 Bowe, Nicola Gardon t 21 Bowman, Les\ic Greene

122 Brake Laurel 51 Bruckner, O. J. R. 167 Buick, Adam 52 Burns Marjorie]. 53 Burrows, John 123 Calvera i Sague, Anna 12 Carley, James P. 4,54 Carruthers, Annette 124 Casteras, Susan P. 168

Cavendish, Richard 14 Check land, Sarah Jane 125 Coleman, 5rephen 55, 56, 126 Coore, Stcphcn 15 Cotton, Alberr Louis 169 Cranney-Francis, Annc

57 Crowley, David 127 Crump, John 58 Cumming, Elizabeth 128

Curl, James Stevens 129 Dean, Ann S. 16, 131 Dentith, Simon 59 Oopas, Rosalind 170 Donaldson, Laura 60 Dore, Helen 17 XXVI

172

Greer, John 67 Hampton, Christopher 68 Hardy, Dennis 21 Harrison, Anrhony H. 69

Hartley, Anthony 22 Harvey, Charles 23, 136, 137 Haslam, Malcolm 138,

139 Hassett, Constancc W. 70 Herbert, Isolde Karen

71-73 Hilton, Rodney 74

Hollamby, Edward 140 Holloway, John 13 Holzman, Michael 75 Huygen, Frederique 141 Janetzki, Carmen 3

Kaplan Wendy 128 Kavanagh, Roberr 142 Kennedy, Veronica M. S.

76 Kesserii, Katalin 24 Kirchhoff, Frederick 77,

78 Kumar, Krishan 79

Lambert, Elizabeth 25

81 LcMire, Eugene D. 82 Lerner, Laurence 83 Levitas, Ruth 84

28,184 MacCarrhy, Fiona 86,

Menocal, Narciso G. 90 Moeran, Brian 146

Morgan, Hilary 147 Morris, William 1-7

Myhill, John 29 Nash, D. S. 186 Naylor, Gillian 13, 148 Ncwman, Teresa 149

O'Reilly, Sally 91 O'Sullivan, Paddy 31, 92,93 Ousby, lan 30 Paine, Melanie 150 Parrinder, Patrick 94, 95 Pearce, Lynne 96 Pearson, Mark 97 Pearson, Richard 98, 99 Penning-Rowsell,

Edmund 100

Peterson, William S. 176, 177 Phillips, Barty 151 Pinkney, Tony 101 Pinto-Machado DuarteSilva Barry, Luisa 32 Porter, Julia 118 Poulson, Christine 152 Powell, Ken 153 Press, Jon 23, 136, 137 Purkis, John 33 Raguin, Virginia Chieffo 154 Rangeley, Sue 155 Richardson, Linda 34, 35 Riley, David W. 178 Roylance, Dale 179

Rudoe, Judy 156 Rufey, Celia 157 Sargent, Lyman Tower 102 Sarhan, Elias 1 Schoeser, Mary 151,157 Shaw, Christopher 187 Silver, Carole G. 103 Slapper, Clifford 104 Smart, C. M. Jr. 158 Speed, Richard 155 Stetz, Margaret D. 36 Strachan, WaIter T. 37 Suvin, Darko 105 Sykes, Marjorie 159 Talbot, Norman 106 Thompson, Paul 38, 188 Timo, Helen 6, 107

Turner, John R. 171 Walle, Alf H. 109 Ward, Colin 110 Warner, Pamela 160 Waters, Christopher 111, 189 Watkinson, Ray 112, 149, 161 Whitaker, Murie1162 Wichmann, Hans 163 Wiens, Pame1a Bracken 113 Wilhide, Elizabeth 164 Wilson, Richard Guy 165 Woodcock, George 114 Workman, Nancy Victoria 115

XXVll