William Morris: An Annotated Bibliography

William Morris: An Annotated Bibliography 1998-1999 David and Sheila Latham This bibliography is the tenth instalment of a biennial feature of The Journal. Some items inadvertently omitted ftom the 1996-97 bibliogtaphy ate added hete. Though we exclude book reviews, we include reviews of exhibitions as a record of temporal events. 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 Parr I include new editions, reprims, and translations of Morris's own publications, and are arranged alphabetically by title. The entries in Parr II 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 Politics 5-36 37-71 72-98 99-107 108-121 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 121 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 loan services and personal travel, we would appreciate receiving copies of publications. They can be sent to us at 42 Belmont Street, Toronto, Ontario M5R IP8, or bye-mail attachment to <di6tham@yotku.ca>.

PART I: WORKS BY MORRIS 1. L'Age de J'Ersatz: et Qutres Textes contre la Civilisation Moder'1le. Ed. Olivier Barancy. Paris: Edirione de l'encyclopedie des Nuisances, 1996. 155 pp. Not seen. 2. A Note on His Aims in Founding the Ke/mseott Press. Mission, R.C.: Barbarian Press, 1998. 2 pp. An excerpt from Morris's 1895 lecture is used to illustrate examples of Poliphilus and Blado 2 typefaces. 3. The William Morris Collectioll. London: Elecrric Book Company, 1998. CD ROM and Adobe Acrobat Computer Files. This computer file provides browsable access to Morris's major prose and poetry, including The Defence of ClIellevere, The Volsllllga Saga, A Dream ofjohll Ball, News from Nowhere, The Well at the World's Elld, and such lectures as "The Lesser Arts of Life," "The Prospects of Architecture," "Art and Socialism," "The Aims of Art," "Architecture and History," "Art and the People," "Gothic Architecture," "The Revival of Handicraft,'" "Art under Plutocracy," "How We Live and How We Might Live," "How I Became a Socialist,"and "Art, Wealth, and Riches," in addition to most of his comributions to Justice and Commonweal, and j.w. Mackail's The Life of William Morris. Illustrations of his wallpapers, textiles, and book designs are included. 4. William Morris 011 Art and Socialism. Ed. orman Kelvin. Mineola, NY: Dover, 1999. 208 pp. Delivered between 1881 and 1896, seven political lectures on the intrinsic relationship between art and society are reprinted: "Art: A Serious Thing," "Art under Plutocracy," "Useful Work vs. Useless Toil," "The Dawn of a New Epoch," "Of the Origins of Ornameoral Art," "The Society of the Future," and "The Present Outlook of Socialism." PART ri: PUBLICATIONS ON MORRIS GENERAL 5. Ajioka, Chiaki. "A Revaluation of William Morris's Influence in japan." The JOllrnal of the WilIiam Morris Society, 12 (Spring 1998), 21-28. Morris influenced the ceramic folk craft of Tomimoto, who had studied at the Victoria and Albert Museum between 1908 and 1910; Tomimoro then introduced Morris's writings to Yanagi, who founded the Mingei movement in the 1920s to promote the beauty of anonymous folk crafts. 6. Faulkner, Peter. "Morris at Alphingron-or Alfingroo?" Notes alld Queries, ns 46 (Decembet 1999), 482. Morris recalled spending the summer of 1852 with his tutor in Alphington, bur the village in Devon near Ottery was more likely Alfington. 7. Faulkner, Peter and Peter Preston, eds. William Morris: Cemenary Essays; 11

Papers from the Morris Centenary Conference Organized by the William Morris Society at Exeter College Oxford, 30 June - 3 July 1996. Exeter: U of Exeter P, 1999. xi, 298 pp. In their "Introduction: Morris in 1996" Faulkner and Preston present an overview of the year's events and publications, indicating Morris's increasing reputation and "extraordinary versatility." (See individual entries for Beade #73, Blissert #39, Boos #110, Corrado #41, Dentith #42, Galloway #113, Hodgson #46, Kelvin #49, Kinna #114, Leard-Coolidge #81, Lochhead #83, Londraville #16, Marsh #18, Miles 103, Mineo 58, Panayotidis-Srortz #22, Poulson #88, and Talbot #71.) 8. Fiell, Charlorre and Peter Fiell. William Morris. Cologne: Tasehen, 1999. 176 pp. This general survey of Morris's life and work is supported by a wealth of full-colour illustrations. The text is trilingual: English, German, and French. 9. Friemert, Chup. "Auf ghet's! Van nowhere nach now here." In Wi/liam Morris Zyklus. Ed. Chup Friemert. Berlin: form + zweek Verlag, 1998, 3-15. Morris campaigned for a resistance movement to encourage us to envision a utopia now here. (See individual entries for Hanebutt-Beng #100, Locher #55, Lottes #56, Moldensehardt #86, Negt #117, and Sehumann #93.) 10. Heywood, Andrew. "Craftsman's Art: WilIiam Morris and Music." Musical Times, 139 (Autumn 1998), 33-38. Showing a keen sensibility to choral music, plainsong, and medieval melody, Morris played the Regal, planned with Arnold DolmelSeh to publish Henry VIII's music book, and influenced the revival of interest in "early music" authentically performed. 11. - -. "The Gospel of Intensity: 'arry, William Morris & the Aesthetic Movement." The Journal of the William Morris Society, 13 (Autumn 1999), 14-25. Harry Quilter's 1880 article, "The New Renaissance; or the Gospel of Intensity," is analyzed as a contemporary view of Morris as an associate of a morally corrupt group of aesthetes. 12. Kay, John. "John Brandon-Jones (1909-1999)." The Journal of the William Morris Society, 13 (Autumn 1999), 4. One of the founders of the Society, Brandon-Jones was an active member of the Art Workers' Guild and SPAB and, in his youth, a friend of Sydney Cockerel!. 13. Latham, David. "Pre-Raphaelitism: An Introduction." In Scarlet Hunters: Pre-Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 1998, 1-30. Morris not only clarified the original naturalistic, narrative, and ornamental principles of Pre-Raphaelitism but developed its Arts and Crafts direction and further politicized it by "adding a radicalized ideology to Ruskinian aesthetics and Marxist economics.)l 14. Latham, David and Sheila. "William Morris: An Annotated Bibliography, 1994-95." The Journaf of the William Morris Society, 12 (Spring 1998), I-XVI. Of the 112 works annotated, 9 are works by Morris, 35 are general III

publications about Morris, 23 are about his literature, 30 are about his decorative arts, 7 are about his book designs, and 8 are about his politics. 15. -. "William Morris" An Annotated Bibliography: 1996-1997." The Journal ofthe William Morris Society, 13 (Autumn 1999), i-xxxiv. Of the 240 works annotated, 18 are works by Morris, 72 are general publications about Morris, 39 are about his literature, 68 are about his decorative arts, 21 are about his book designs, and 22 are about his politics. 16. Londraville, Janis. "Lady Grise/da's Dream: May Morris's Forgotten Play." In William Morris: Centenary Essays. Ed. Peter Faulkncr and Peter PrestOn. Exeter: U of Exeter P, 1999,207-14. In May Morris's 1898 play, the central character suppresses her creativity for her absent lover in a situation similar to May's relation with John Quinn and to scenes from Man and Superman by her close friend Shaw. 17. Marsh, Jan. «'Rupes Topseia': A New Suggestion." The Journal of the William Morris Society, 12 (Spring 1998), 3-6. Rossetti's cartoon, hitherto ascribed to the 1874 dissolution of the Firm, is more likely the «funny cartoon" of 1869 mocking Warington Taylor's fears that Morris's careless expenditures would ruin the Firm. 18. --. "William Morris and Victorian Manliness." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 185-99. Though Morris challenged much of the prevailing ideology of Victorian masculinity, he practised physical combat at school, engaged in fraternal bonding and glorified chivalric quests at university, and wrote poems and stories filled with sex and violence. 19. Morrissey, Kim. Clever as Paint: The Rossettis in Love. Imrod. Beth Charten. Toronto: Playwrights Canada Press, 1998. xi, 66 pp. Chanen's introduction provides an historical framework and commentary on Morrissey's many-sided depiction of Siddal's and Rosseni's stormy relationship. The play unfolds in a series of snapshots and tableaux with Siddal, Rossetti, and Morris which illustrate the clashes of aesthetics and human decency that riddle the conventional romantic myths of artistic creatton. 20. Panayotidis Stortz, E. Lisa. "Artist, Poet, and Socialist: Academic Deliberations on William Morris at the University of Toronto, Canada.'" The Journal of the William Morris Society, 12 (Spring 1998),36-43. Articles on Morris in Acta VictOriana and by Classics Professor John Robertson, who preferred Plato's spiricual ideal of "elite thinkers" to Morris's materialistic ideal of a "mass of makers," represent the debate over the social role of education in Toronto in the early 1900s. 21. --. "James Mavor: Culrural Ambassador and Aesthetic Educator to Toronto's Elite." Scarlet Hunters: Pre Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 19~8, 161-73. The professor of political economy exploited his friendship with Morris in order to promote the Arts and Crafts Movement in Toromo. 22. - -. "'Every Artist Would Be a Workman, and Every Workman an Artist': Morrisian and Arts and Crafts Ideals at the Ontario Education Association, IV

1900-1920." In Wifliam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 165-71. Addresses by members of the Ontario Educational Association reveal how Morris's social aesthetic ideals were incorporated into "the formation of Ontario's early technical education policy.". 23. Petersen, Alice E.H. "Barges's 'Ulrike': Signature of a Literary Life.» Studies in Short Fiction, 33, (Summer 1996), 325-3l. In his tale "Ulrike," Jorge Luis Barges rewrites a section of Morris's translation of the Vblsunga Saga, setting the story in an English room decorated with Morris wallpaper. 24. Poulson, Christine. "Burne-Jones, Morris, and God." The Journal of the WilJiam Morris Society, 13 (Autumn 19981,45-54. Raised as evangelicals, attracted to the Oxford Movement and then to Christian Socialism, Burne-Jones and Morris epitomize the religious turmoil of the Victorian age, with Burne-Jones turning to mysticism and Morris to socialism and an aggressive atheism. 25. --. "David Rodgers (1942-1999)." The Joumal of the WilJiam Morris Society, 13 (Autumn 1999), 5. The curator of Kelmscott House from 1991 to 1999, Rodgers was the author of William Morris at Home and prepared a catalogue of the Society's collections. 26. - -. Wiltiam Morris. Royston, Herr.: Eagle Editions, 1998. 128 pp. Reprint of the 1989 Quintet edition. 27. Rodgers, David. '''Rupes Topseia': Further ThoughtS." The Joumal of the WilIiam Morris Society, 13 (Spring J999), 54-55. The caricature's style and iconography support Jan Marsh's re-dating and reinterpretation (see #17), and the two sages (probably representing God and Christ) may be Rossetti's joke on pious Warington Taylor. 28. Salmon, Nicholas. "A Friendship from Heaven: Burne-Jones and William Morris." The Journal of the William Morris Society, 13 (Autumn ]998), 3-13. A biographical survey of the 43-year relationship is traced from their Oxford student days to Red Lion Square, work for the firm, marital troubles, the Eastern Question Association, Socialist incompatibility, and Kelmscott Press ventures. 29. --. "The Unmanageable Playgoer: Morris and the Victorian Theatre." The Journal of the William Morris Society, 12 (Spring 1998), 29-35. Though Morris would grumble aloud during plays he disliked, he defended Ibsen, occasionally performed on stage for the Socialist League, and remained involved in modern drama through his friendship with William Archer and Henry Arthur Jones. 3D, Sharp, Frank C. "William Morris and Emma Lazarus." The Journal of the William Morris Society, 13 (Autumn 1999), 6-13. Lazarus's letters provide new details about her relationship with Morris and the extent of Morris's collaboration with het article on Menon Abbey. 31. --. "William Morris's Kelmscott Connections," The Journal of the William Morris Society, 13 (Spring 19991, 44-53. v

Morris's local community contacts included his landlord (Robert Hobbs), Crom Price, two clergymen (Oswald Birchall and William Fulford Adams), the American painter Edwin Austin Abbey, various Oxford intellectuals, the family of landowner Alexander Henderson, Kelmscott villagers, and the manor's own servants and caretakers. 32. Sociery of Antiquaries of London. Kelmscott Manor: An lllustrated Guide. London: Sociery of Anriquaries of London, 1999.43 pp. Based on rhe guide written by A.R. Dufty in 1969 and revised in 1984, this new edition was revised by John Cherry, with a section on the Morris family by Jan Marsh. 33. Stansky, Peter. From William Morris to Sergeant Pepper: Studies in the Radical Domestic. Palo Alto, Calif.: Society for the Promotion of Science and Scholarship, 1999. viii, 352 pp. These previously published reviews, articles, and pamphlets include Stansky's writings on Morris as a businessman, Morris and Ashbee, Morris and Bloomsbury, and Morris and George Orwell. 34. Walsdorf, John ]. Elbert Hubbard: WilIiam Morris's Greatest Imitator. Council Bluffs, Iowa: Yellow Barn Press, 1999. ix, 24 pp. The first 40 copies of this limited edition of 150 contain a leaf from rhe Kelmscon Gothic Architecture and the Roycroft Rip Van Winkle. 35. Wandel, Reinhold. "There is More to the Man than Wallpaper... Zu William Morris' 100. todestag." Hard Times [Berlin], No. 58 (1996),46-48. Not seen. 36. Zaczek, lain. Essential WilIiam Morris. [nrrod. Claire I.R. O'Mahony. Bath: Parragon, 1999. 256 pp. Following O'Mahony's ten-page biography of Morris are Zaczek's commentaries on 130 coloured illustrations of Morris's paintings, drawings, calligraphy, furniture, panels, tiles, textiles, wallpapers, carpets, stained glass, and Kelmscott Press books. Each commentary discusses in two or three paragraphs the medium, context, and significance of the illustrated Item. LITERATURE 37. Alama, Pauline Julia. "From Curiosity to Canon: Nineteenth-Century Translations of 'Beowulf.''' Diss. U of Rochester, 1998. Morris's medievalism influenced his translation of Beowulf 38. Benrley, D.M.R. "William Morris and the Poets of the Confederation." Scarlet Hunters: Pre-Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 1998, 31-44. Morris affected two different literary communities in Canada: the medieval side of his early poetry influenced the Fredericton poers Charles G.D. Roberts, Bliss Carman, and Francis Sherman, while the utopian side of his socialist prose influenced the Ottawa poet Archibald Lampman. 39. Blissett, William. "Shadow of Turning in The Earthly Paradise." In William VI

Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exetet P, 1999, 49-59. As "a poetry of celebration generates a poem of apprehension and despair," The Earthly Paradise is a poem of actively turning to and turning from or of passively turning with the age of time, all exemplified in "The Doom of King Acrisius." 40. Bullen, J.B. The Pre-Raphaelite Body, Fear and Desire in Painting, Poetry, and Criticism. Oxfotd: Clatendon, 1998, 79-86. Set within the Victorian attitude of censure and celebration, conscience and desire, Morris treats the adulterous body in his Defence of Guenevere poems with corporeal power and passion, rather than shame and remorse. 41. Corrado, Adrianna. "Bearrice and Ellen: Ideal Guides from Hell to Paradise." In William Morris: Ce1ttenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 80-93. News from Nowhere and Dante's Divine Comedy share "structural and thematic analogies" as their pilgrims are regenerated by women who guide them to envision justice and freedom. 42. Dentith, Simon. "Sigurd the Volsung: Heroic Poetry in an Unheroic Age." In WilJiam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 60-70. While Hegel dismisses Nordic mythology as an irrelevant part of the unbridgeable past, Morris wishes to revive the values of a lost heroic age, yet cannot avoid ironic language that undermines the epic genre. 43. Dewan, Pauline. "Circular Designs in Morris's The Story of the Glittering Plain." The ]oumal ofthe William Morris Society, 12 (Spring 1998), 15-20. The surface of The Glittering Plain initially appears paradisal but the various patterns of enclosures reveal a narrow, circumscribed world that lacks the temporal and generational cycles of nature. 44. Herbert, Karen. "'A Moment Where the Path Grew Sunlighted': Francis Sherman and the Voice of Canadian PreRRaphaelitism." Scarlet Hunters: Pre-Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 1998, 45-63. Throughout his poetry, Francis Sherman shows the influence of Morris's Defence of Guel1evere and Earthly Paradise while adapting Pre-Raphaelite techniques to the Canadian landscape. 45. Hobbs, Vivian L. Williams. "Guinevere through the Ages: Character and Concept." Diss. Florida State U, 1997. In "The Defence of Guenevere" Morris presents "an elliptical analysis of a defiant, deceptive queen." 46. Hodgson, Amanda. "The Tray Connection: Myth and History in Sigurd the Vo/sung." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999,71-79. Morris wrote Sigurd the Volswlg in the context of the Victorian debate about whether Tray was historical or mythical, temporally progressive or degenerative. 47. HoHm, Jan. Die Angloamerikanische Okotopie: Literarische Entwurfe einer Grunen Welt. Frankfurt: Peter lang, 1998, 74-125. VII

News from Nowhere is discussed as the prototypical utopian romance. 48. lanowitz, Anne. LyTic and LabouT in the Romantic Tradition. Cambridge: Cambridge UP, 1998, 196-234. Paired as a mirror figure with political activist and artisan W.]. Linton, Morris is discussed as a poet within a Romantic communitarian tradition of Chartist poets like Ernest lones, with serious analyses of Chants for Socialists and The Pilgrims ofhope. 49. Kelvin, Norman. "News from Nowhere and The Spoils of Poynton: Interiors and Exteriors." In Wil/iam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exerer: U of Exerer P, 1999, 107-21. While News from Nowhere associates "pleasure in beauty, history, and externality" and Henry lames's novel associates an appreciation of beauty with taste and inwardness, both writers believe that an aesthetic love of the otherness of art encourages the individual self to embrace social relationships. 50. Lawton, Lesley. "Lineaments of Ungratified Desire: William Morris's News from Nowhere as Utopian Romance." Anglophonia: French Journal of English Studies, 3 (1998), 113-23. Not seen. 51. Le Bourgeois, John Y. "William Morris and J.W. Mackail." Notes and Queries, ns 45 (June 1998), 220-21. On the basis of Mackail's reference to the autobiographical nature of The Earthly Paradise, Le Bourgeois suggests that Morris "traded the certainty of domestic bliss for a chance at worldly success." 52. --. "William Morris and the Word 'Brother... Notes And Queries, ns 45 (June 1998), 221. Jack Lindsay and Fiona MacCarthy both leap to conjecture that Georgiana Burne-Jones is the woman who cries out "Brother" in Morris's poem about a passionate consummation, despite both biographers referring earlier to the romantic attachment of the young Morris to his sister Emma. 53. Levitas, Ruth. "Utopia as Literature, Utopia as Politics." In Zeitgenossische Vtopieentwurfe in Literatur ulld Gesellschaft: Zur Kontrollerse seit den achtziger Jahren. Ed. Rolf Jucker. Amsterdam: Rodopi, 1997, 121-37. Reviewing the readings of News from Nowhere by Bloch, Thompson, Meier, Goode, Parrinder, and Pinkney as exemplifying the difference between political theorists and literary critics, Leviras maintains the importance of literal readings of utopian literature. (A revision of her "Utopian Literature and Literality," News from Nowhere, 9 [1991), 66-79.) 54. - -. "Utopian Fictions and Political Theories: Domestic Labour in the Work of Edward Bellamy, Charlotte Perkins Gilman and William Morris." In A Very Different Story: Studies on the Fiction of Charlotte Perkil/s Gilman. Ed. Val Gough and Jill Rudd. Liverpool: Liverpool UP, 1998, 81-99. Whereas Bellamy and Gilman sought to abolish domestic labour with a kitchenless house, Morris would more radically revolutionize the conditions of domestic labour, though he still assumed the sexual division of labour as natural. (A revised version of "'Who Holds the Hose: Domestic Labour in VI11

the Work of Bellamy, Gilman and Morris," Utopiall Studies, 6, No. 1 [19951,65-84). 55. Locher, Kurt. "William Morris' 'Earthly Paradise' und Edward Burne-Jones' Stutgarter Perseus-Zyklus." In Wil/iam Morris 7vklm. Ed. Chup Friemert. Berlin: form + lweck Verlag, 1998, 33-47. Burne-jones's eight paintings for Arthu! Balfour's drawingroom are based closely on Morris's story of Perseus from The Earthly Paradise. 56. LOlles, Wolfgang. "Das literarische Werk von William Morris." In Wi//iam Morris Zyklus. Ed. Chup Friemert. Berlin: form + lweck Verlag, 1998, 65-79. A brief survey of Morris's poetry and prose romances is set within the framework of his life. 57. McSweeney, Kerry. "The Old High Way of Love: Morris and Dante Rossetti." In his Supreme Attachments: Studies in Victorian Love Poetry. Aldersholt, Hants: Ashgate, 1998, 113-32. Morris's recollected passion for ]aney is finely expressed in "Thunder in the Garden,» while his "hopeless longing for an unrequited or lost love" is metronomically and morbidly expressed in the monthly lyrics of The Earthly Paradise. 58. Mineo, Ady. "Beyond the Law of the Father: The 'New Woman' in News from Nowhere." In William Morris: Celltellary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 200-06. In News from Nowhere Morris envisions an egalitarian society free of the discrimination common to the patriarchal order. 59. Mooney, Susan. "'She and He': Morris or Cockerell?" The jot/mal of the Wi/liam Morris Society, 13 (Spring 1999), 64-68. An erotic line from Morris's 1896 poem "She and He" may have been revised by Sydney Cockerell in order to conceal Morris's love for Georgiana Burne-Jones. 60. Onorari, Maria Giovanna. "Mondi Reali e Mondi Sognati: Strategic di Utopia nei Romanzi di Morris e Bellamy." Athanor: Rivista d'arte, Letteratt/ra, Semiotica, Fi/osofia, 6 (1995), 165-72. Not seen. 61. Pinkney, Tony. "Cycling in Nowhere." The jourllal of the William Morris Society, 13 (Spring 1999),28-33. Despite the popularity of socialist cycling clubs beginning in 1887, and the appropriatness of cycling as a means for bridging city and country and for enjoying fresh air, exercise, and self-propulsion, disappointingly there is no cycling in News from Nowhere. 62. Rogers, Shannon Leah. "' ew Wine in Old Bollles': Making Popular History in Nineteenth-Century Britain." Diss. Pennsylvania State DJ 1999. Morris's medieval romances were more political than historical 63. Shishin, Alex. "Gender and Industry in Herland: Trees as a Means of Production and Metaphor." In A Very Differellt Story: Stt/dies ill the Fiction of Charlotte Perkills Gilmall. Ed. Val Gough and Jill Rudd. Liverpool: Liverpool UP, 1998, 100-14. Gilman's Her/and is similar to News from Nowhere in its anticipation of IX

ecological concerns and its acknowledgement that violence is necessary for social change. 64. Smyth, Datla S. "The Dialogue of Arthurian Mythology by Tennyson, Arnold, Morris, Swinburne and Hardy." Diss. New York U, 1999. Morris's interest in the Tristram myth was expressed in his The Defence of Guenevere, and Other Poems and in a series of stained glass windows for the Harden Grange. 65. Sparks, Julie. "The Evolution of Human Virtue: Precedents for Shaw's 'World Betterer' in the Utopias of Bellamy. Morris, and Bulwer-Lytton." In Shaw and Other Matters: A Festschrift for Stanley Weintraub on the Occasion of His Forty-Second Anniversary at The Pennsylvania State University. Ed. Susan Rusinko. Selingsgrove, Penn.: Susquehanna UP, 1998, 63-82. Not seen. 66. Spinelli, Martin. "Communication Technology and Literary Community: From Utopia to Paralogy." Diss. State U of New York at Buffalo, 1999. Morris's News from Nowhere and Bellamy's Looking Backward provide "a foundational vocabulary for discussions of the hopes for, and effects of, emergent communication technologies on literary commumty and experiment." 67. Spinozzi, Paola. "'Pittura in Poesia': Metamorfosi Interartistiche nel Poemi Iconici di William Morris." Jl Lettore di Provincia, 98 (April 1997), 55-80. Morris's poems "The Blue Closet" and "The Tune of Seven Towers" are compared with Dante Rossetti's paintings in this analysis of the relation between word and image. 68. Talbot, Norman. Betwixt Wood-Wotna1t. Wolf, and Bear: The Heroic-Age Romances of William Morris. New Lambton, Australia: Nimrod Publications, 1997. 24 pp. The House of the Wolf;,zgs and The Roots of the Mountains are introduced as Morris's heroic-age romances concerned with the relationship between nature and culture, masculine and feminine roles, and the hero and his social community. The overriding focus is on the identification of each warrior with a totemic animal, the concept of totemism Morris adapted from the Icelandic sagas. 69. --. "The First Modern 'Secondary World' fantasy: Morris's Craftsmanship in The Story of the Glittering Plain." The Journal of the William Morris Society, 13 (Spring 1999), 3-11. Challenging Pauline Dewan (see #43), Talbot argues that the characters, physical geography, and folk culture of Morris's plain do not have similar counterparts on his Isle of Ransom. 70. --. "'[ Seek No Dream... but Rather the End of Dreams'; The Deceptions of The Story of the Glittering Plain." Mythlore: A Journal of J.R.R. Tolkien, c.s. Lewis, Charles Williams, and the Genres of Myth and Fantasy Studies, 22 (Autumn 1997), 26-31. Not seen. 7]. - -. "William Morris and the Bear: Theme, Magic and Totem 10 the x

Romances." In \'(Ii/liam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 94-101. As traditional romances, The House of the \'(I0/fitlgS, Roots of the Mountains, and Story of the Glittering Plain are interlaced with "solar and vegetative ritual, animal totemisffi, medieval heraldry, and timelessly popular folk,ale motifs." DECORATIVE ARTS 72. Baker, Lesley A. "'What's in a Name?': Morris & Co.'s Stained Glass in Australia." The JOt/mal of the William Morris Society, 13 (Spring 1999), 39-43. The firm's reputation developed from the visits of Australians to the firm's London showrooms, from windows installed in the Adelaide Stock Exchange and several churches, and from advertisements in The Church Standard boldly presenting "MORRIS AND BURNE-JONES." 73. Beade, Pedro. "WiIliam Morris in New England: Architecture and Design in Late Nineteenth-Century Rhode Island." In Wi/liam Morris: Centenary Essays. Ed. Peter Faulkner and Peter PrestOn. Exeter: U of Exeter P, 1999, 145-55. Sydney Budeigh's "Fleur de Lys" home (1885) made Providence, RI, the centre for Arts and Crafts design in conjunction with the Providence Art Club and the Rhode Island School of Design. 74. Bond, David and GIynis Dear. The Stained Glass Windows of William Morris and His Circle in Hampshire and the Isle of \Vight. Hampshire Papers. Winchester: Hampshire County Council, 1998. 28 pp. The hjsrory of the area's ecclesiastical windows, ranging from those at Lyndhurst and Gatcombe commissioned in the 1860s to later windows at Winchester Cathedral, is traced with the help of original manuscript letters and sketches held in the Hampshire Record Office and various archives. 75. Bowe, Nicola Gordon and Elizabeth Cumming. The Arts and Crafts Movement in Dublin and Edinburgh. Dublin: Irish Academic Press, 1998. 232 pp. Morris was influential through his 1889 speech in Edinburgh to the National Association for the Advancement of Art and its Application to Industry, through the Yeats sisters' efforts in Ireland, and generally through the adoption of principles aimed at improving the lives of the working classes and teaching the applied arts. 76. Curl, James Stevens. "Morris, William (1834-1896)_" A Dictionary of Architecture. Oxford: Oxford UP, 1999,436. Morris "had a profound effect on architecture" with the building of Red House, the founding of Morris & Co., the founding of SPAB, as a "founding father of the Arts and Crafts Movement," and as l'the inspiration behind the establishment of the Art Workers' Guild." 77. Grieve, Alastai.r. "The Content and Form of Furniture in Rossetti's Art of 1848-58." joumal of Pre-Raphaelite Studies, ns 8 (Fall 1999), 9-28. XI

The close relationship between Dante Rossetti and Morris is traced through their furniture, art, and poetry, with particular attention to Morris's design for tusked tenon joints which so impressed Rossetti with their authentic medieval style. 78. Jenkins, Simon. England's Thousand Best Churches. London: Alien Lane, Penguin, 1999. 822 pp. The significance of the Society for the Protection of Ancient Buildings is acknowledged and references to churches decorated by Morris and Burne-Jones abound in this colourful compendium. 79. Jill, Duchess of Hamilton, Penny Hart, and John Simmons. The Gardens of William Morris. London: Frances Lincoln, 1998. 160 pp. The principles in Morris's lectures for natural gardening with native plants are well illustrated by the gardens he cultivated at Red House, Kelmscott Manor, Kelmscott House, and Merton Abbey. An eloquent account of his work is followed by an illustrated catalogue of the flowers and trees he used in his designs. 80. Keeble, Rtian. Art: For Whom and for What. Ipswich: Golgonooza Press, 1998. 169 pp. Keeble defends the handicraft tradition against two centuries of our divisive industrial system, but he prefers the religious commitment of Samuel Palmer, Eric Gill, and David Jones as a better model than Morris's dream of a secular utopia. 8!. Leard-Coolidge, Lindsay. "William Morris and Nineteenth-Century Boston." In William Morris: Centenary Essays. Ed. Peter Faulkner and Petet Preston. Exetet: U of Exeter P, 1999, 156-64. Morris's influence on American design began in Boston, first through writers like Henry James, W.D. Howells, and C.E. Nonon, then through architects like H.H. Richardson, and later through the Boston Foreign Fair of 1883. 82. Lewis, Gifford. "Rediscovered Embroideries of Lily Yeats." Irish Arts Review Yearbook, 14 (1998), 147-50. Illustrations of Lily Yeats's embroideries include the famous hangings on Morris's bed at Kelmscott Manor, for which Lily did much of the work. 83. Lochhead, Ian J. "The Dilemma of Place: Arts and Crafts Architecture in the Antipodes." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 172-82. New Zealand architect Samuel Hurst Seager learned from Morris that for an Arts and Crafts style to succeed in New Zealand it would have to be adapted to the new land. 84. Marsh, Jan. The Pre-Raphaelite Circle. Character Portraits series. London: National Portrait Gallery, 1998. 64pp. Not seen. 85. - -. "The Red Lion Square Chairs: Chronology and Iconography." The Journal of Pre-Raphae/ite Studies, ns 8 (Fall 1999), 29-48. Tracing the history of the "Rossetti Morris" chairs from Red Lion Square, Marsh focuses on their collaborative "painting of the two pictorial scenes on XII

the chairbacks"-one of Gwendolen and the other of Galahad-and their relation to Rosserti's paintings and Morris's poems. 86. Moldenschardt, Hans Heinrich. "Williarn Ivlorris und die Architekrur.» In William Morris Zyklus. Ed. Chup Friemerr. Berlin: form + zweck Verlag, 1998,97-111. The houses Morris lived in and the aims of Morris & Co. 3ce described, and the uwpian environment of News from Nowhere is compared with the utopias of Thomas More and H.G. Wells. 87. ewron, Charles. Victorian Designs for the Home. London: Victoria & Albert Publications, 1999. 128 pp. Complete decorating schemes for parlour rooms show shifting tastes from Gothic and Rococo Revival to Act Nouveau. 88. Poulson, Christine. "Sacred and Profane Love: The Oxford Union Murals and the Holy Grail Tapestries." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 125-32. With the Oxford Union murals Morris's and Burne-Jones's Arthurian imeresrs were steered by Rossetti from the spiritual Galahad to the erotic passion of characters like Guenevere, and 30 years later the two returned to the same erotic theme with Morris now as its Arthurian victim. 89. Proctor, Helen. The Holy Grail Tapestries Designed by Edward Burne Jones, William Morris and J.H. Dearle for Morris & Co. Birmingham: Birmingham Museums and Art Gallery, 1997.44 pp. After summarizing the development of Morris's interest in tapestry and in the Grail legends, Proctor briefly describes the dimensions, production, design, and subject matter of the GraB tapestries, with accompanying colour illustra tions. 90. Relei, Carolyn. William Morris Stained Glass Pattern Book. Mineola, NY: Dover, 1998. 64 pp. Included are 120 designs for stained glass adapted from Morris's designs for textiles and wallpapers, illustrated in circular, oval, and rectangular frames adaptable as templates for do-it-yourself stained glass projects. 91. Rodgers, David. "A Catalogue of the Otiginal Designs by Morris and Company in the Collection of the William Morris Society." The Journal of the William Morris Society, 13 (Autumn 1998), i-vii. The first instalment of an illustrated catalogue based on the 1978 typescript Catalogue Raisonne by George Monk and Waiter Gooch of the 87 original designs bequeathed to the Morris Society (along with Kelmscorr House) includes designs for Saint Marrin-on-the-Hill church, the Oxford Union ceiling, St. James Palace, Carbrook, Holland Park, and Jew Park. 92. - -. "A Catalogue of the Original Designs by Morris and Company in the Collection of the William Morris Society." The Journal of the William Morris Society, 13 (Spting 1999), i-vii. The second instalment of this catalogue includes designs for seven wallpapers (Larkspur, Jasmine, Sunflower, Grafton, Honeysuckle, and two for Pink and Poppy) and designs for one woven textile (Bird) and one printed textile (Windrush). 93. Schiirnann, Carl-Wolfgang. "William Morris Textilien." In William Morris XIII

Zyklus. Ed. Chup Friemert. Berlin: form + zweek Verlag, 1998,49-63. Illustrations of chintzes, embroideries, and tapestries accompany Morris's descriptions of his techniques for designing, dyeing, and weaving. 94. Stapleton, Annamarie. "British Arts and Crafts Textiles," World Interiors, 19 (Oerober 1999), 287. A review of the October 1999 exhibition of Morris's textiles by the Fine Arts Society in London. 95. Tinniswood, Adrian. The Arts & Crafts House. London: Mitchell Beazley, 1999, 6-21. The grandfathers of the Arts and Crafts house were "two lunatics"-pugin and Ruskin-but the "father was imminenrly sane": Morris. 96. Uchiyama, Takeo. Modan Deza;n no Chichi Wiriamu Morisu. losakal: NHK Osaka Hosokyoku, NHK Kinki Media Puran, 1997. 203 pp. A catalogue of the exhibition of Morris's designs held at the National Museum of Modern An in Kyoto from 18 March to 11 May, at the National Museum of Modern Art in Tokyo from 27 May to 13 July, and at rhe Aiehi Prefeerural Museum of An from 25 July to 31 Augusr 1997. Texr in Japanese. 97. Walchuk, Gary. "Bed of Your Dreams: William Morris Furniture Combines Hearty Strength with Elegant Refinement." Canadian W/orkshop, 21, No. 11 (1998),30-34. Instructions for building a Morris-inspired bed are written for the hobbyist carpenter. 98. Wallace, Ann and Phil Bard. Arts and Crafts Textiles: The Movement in America. Layton, Urah: Gibbs Smirh, 1999. 96 pp. Morris's influence on American Arts and Crafts textiles is discussed briefly. BOOK DESIGN 99. Friedl, Friedrich and Nicholaus Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques throughout History. New York: Black Dog & Levenrhal, 1998, 58, 324-25, 392-93. The Golden and Troy types are illustrated with a brief account of the Kelmscott Press. 100. Hanebutt-Beng, Eva-Maria. "Kelmscott Press." In William Morris Zyklus. Ed. Chup Friemert. Berlin: form + zweck Verlag, 1998, 8] 95. Morris's love of books and medieval manuscripts led him to study every aspect of printing and book production in order to perfect the products of the Kelmscott Press. 101. Kelvin, Norman. "Bernard Quaritch and William Morris." The Book Collector [Special 150th anniversary issue], 46 (1997), 118-33. Selected letters suggest that Quaritch played a more substantial and positive role in Morris's book-collecting and publishing interests than was acknowledged in Mackail's biography. XIV

102. Lustig, Theodore. "A Doomed Quest for an 'Ideal Ink.'" Graphic Arts Monthly, 69 (July 1997),92. For his Kelmscott Chaucer, Morris used inks manufactured by Shackwell, Edwards from England and then by Gebruder Janecke from Germany but had problems with both; the ideal ink did not exist then, nor does it exist now. 103. Miles, Rosie. "The Beautiful Book rhat Was: William Morris and the Gift of A Book of Verse." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 133-43. A Book of Verse raises questions about the interplay between the verbal and the visual, the shift between medieval illuminated manuscripts and the printing press, the Lacanian context of lack and desire, and the Derridean critique of the economics of gift-giving. 104. Pohlad, Matk B. "William Motris, Photography, and Frederick H. Evans." History of Photography, 22 (Spring 1998), 52-59. Morris's interest in photography led to his friendship and working relationship with the pictorialist cathedral photographer Frederick H. Evans. 105. Stacey, Robert. "Harmonizing 'Means and Purpose': The Influence of Morris, Ruskin, and Crane on J.E.H. MacDonald.'" Scarlet Hunters: Pre-Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 1998,92-128. The Canadian artist MacDonald successfully applied Morrisian principles to a wide variety of graphic design, lettering, and illustration. 106. Stansky, Peter. Another Book that Never Was: William Morris, Charles Gere, The House ofthe Wolfings. San Francisco: Book Club of California, 1998.46 pp. Following Gere's successful design for the frontispiece for the Kelmscott edition of News from Nowhere, Morris proposed that Gere illustrate a planned Kelmscott edition of The House of the Wolfings, but later abandoned the project. Stansky reproduces excerpts from Morris's instructive letters and sketches along with 18 illustrations (14 by Gere) relating to the proposed book. 107. Uerscheln, Gabriele and Michaela Kalusok. Edward Burne-Jones und William Morris: Amor und Psyche: Eine Holzstichfolge fur das Buchprojekt "The Earthly Paradise," "Dem Buch, das Niemals War" (1866-1872). Neuss, Germany: Clemens-Sels-Museum, 1998. 263 pp. This catalogue of the exhibition held at Clemens-Sels Museum from 29 November 1998 to 17 January 1999 contains a set a proofs of wood engravings for the projected illustrated edition of "The StOry of Cupid and Psyche." The engravings were designed by Burne-Jones and cut by Morris and others. xv

POl.ITICS 108. Bevir, Mark. "William Morris: The Modern Self, Art, and Politics." History of European Ideas, 24, No. 3 (1998), 175-94. Merging a "Protestant everyday self" with a "romantic concern with natural harmony," Morris's views about the importance of art in daily life defined and inspired his socialism. 109. Boos, Florence S. "News from Nowhere and 'Garden Cities': Morris's Utopia and Nineteenth Century Town-Design." journal of Pre-Raphaelite Studies, ns 7 (Fall 1998),4-27. In News from Nowhere Morris incorporates Peter Kropotkin's theories of village economics and anticipates Ebenezer Howard's interest in voluntarism and communing with nature in Garden Cities of To-morrow, inspiring us with ecological and socialist alternatives to our modern megalopolises. 110. --. "An Aesthetic Ecocommunist: Morris the Red and Morris the Green." In Wi/liam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 21-46. Morris grounded his concerns for ecological preservation in historically informed views of nature and then promoted them to the widest audience by developing a "melodic and conversational 'rhetoric of fellowship'" consistent with his concepts of egalitarian engagement and human kinship. 111. Fasanella, R. Marc. "William Morris: Art and Life." The journal of the Wil/iam Morris Society, 13 (Spring 1999), 56-63. Morris's views on health, education, and art as three key elements of life are as important and relevant now as they were in the 19th century. 112. Faulkner, Peter. "Ethel Mannin and William Morris." The journal of the Wil/iam Morris Society, 13 (Spring 1999),21-27. Mannin's life-long enthusiasm for socialism and appreciation for News from Nowhere and The Earthly Paradise are evident in her novel (Comrade, 0 Comrade), in her discussion of utopianism (Bread and Roses), and in her autobiographical works. 113. Galloway, David. "E.P. Thompson and William Morris." In WilIiam Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 229-36. E.P. Thompson's career began with his 1955 book on Morris, and its revision in 1977 marked Thompson's conversion to libertarian communism. 114. Kinna, Ruth. "Morris, Anti Statism and Anarchy." In William Morris: Centenary Essays. Ed. Peter Faulkner and Peter Preston. Exeter: U of Exeter P, 1999, 215-28. Though Morris was closely involved with anarchists, his rejection of the individualism of anarchism may best be understood through a comparison of Peter Kropotkin's notion of art with Morris's and how Morris linked art with a public conscience. 115. Latham, David. "'Stepping Stones to Socialism': The Political Dissidence of Phillips Thompson." Scarlet Hunters: Pre-Raphaelitism in Canada. Ed. David Latham. Toronto: Archives of Canadian Art, 1998, 174-90. The poet and socialist Thompson emerged as a dissident intellectual from XVI

the literary bohemia of Victorian Toronto with more similarities to Morris than any other Canadian, though the argument and imagery of the Politics of!.abor reveals his preference for social evolution rather than revolution. 116. Macdonald, Bradley J. Wil/iam Morris and the Aesthetic Constitution of Politics. Lanham, Md.: Lexingron Books, 1999. xix, 175 pp. The relation between aesthetics and politics is contextualized within the cultural politics of Victorian England from the Great Exhibition of 1851 to Ruskin's criticism and Pre-Raphaelite poetry. Morris's theories about the ethics of beauty show the political development of a profound theorist who reconciles art and politics. 117. egt, Oskar. "Der Sozial.ismus des William Morris. Ein andere VorsteUung von Arbeir." In WilUam Morris Zyklus. Ed. Chup Friemert. Berlin: form + zweck Verlag, 1998,17-31. Seeking alternative ways to organize work, Morris focussed on the relationship between the whole and the individual part as his model for society. 118. Salmon, Nicholas. "'The Down-Trodden Radical': William Morris's Pte-Socialist Ideology." The journal of the Wil/iam Morris Society, 13 (Autumn 1999), 26-43. Morris's letters and lectures reveal that his thinking prior to January 1883 about "key concepts such as alienation, dialectical historical change and even class war" was influenced not by Marx, Engels, or Kropotkin but by Cobbett, Carlyle, Arnold, and especially Ruskin. 119. Sypnowich, Christine. "WiUiam Morris's Egalitarian Perfectionism." The journal ofthe William Morris Society, 13 (Spring 1999), 12-20. Morris's pluralist approach to the concept of good, combined with his vision of an egalitarian society in which coercion is unnecessary, makes common sense today. 120. Wainwright, Hilary. "Warmer Heartbeats." New Internationalist, 307 (Novembet 1998),24. The Labour Patry followed the Fabian social-engineeting political model but should return now to the red-green, eeo-socialist politics practised by Morris and Edward Carpenter in their daily lives. 121. Wright, J.B. "'The Valiant Dead': William Morris and the Paris Commune of 1871." The journal of the William Morris Society, 13 (Spting 1999), 34-38. Morris's study of the 1871 Commune, evident in his speeches and portrayed in News (rom Nowhere and The Pilgrims of Hope, confirmed his belief that the regeneration of society is dependent upon the defeat of the capitalist state. XVII

AUTHOR INDEX Ajioka, Chiaki 5 Alama, Pauline Julia 37 Baker, Lesley A. 72 Bard, Phil 98 Beade, Pedro 73 Bentley, D.M.R. 38 Bevir, Mark 108 Blisseu, William 39 Bond, David 74 Boos, Florence S. 109-110 Bowe, Nicola Gardon 75 Bullen, J.B. 40 Chatten, Beth 19 Corrado, Adrianna 41 Cumming, EHzabeth 75 Curl, James $revens 76 Dear, Glynis 74 Dentirh, Simon 42 Dewan, Pauline 43 Fasanella, R. Marc 111 Faulkner, Peter 6-7, 112 Fiell, Charlotte 8 Fiell, Peter 8 Friedl, Friedrich 99 Friemert, Chup 9 Galloway, David 113 Grieve, Alastair 77 Hanebutt-Beng, Eva-Maria 100 Hare, Penny 79 Herbert. Karen 44 Heywood, Andrew 10-11 Hobbs, Vi vian L. WiHiams 4S Hodgson, Amanda 46 Hollm, Jan 47 Janowitz, Anne 48 jenkins, Simon 78 Jill, Duchess of Hamilton 79 Kalusok, Michaela 107 Kay, John 12 Keeble, Brian 80 Kelvin, Norman 49, 101 Kinna, Ruth 114 Latham, Sheila 14-15 Latham, David 13-15, 115 Lawton, Lesley 50 Le Bourgeois, John Y. 51-52 Leard-Coolidge, Lindsay 81 Levitas, Ruth 53-54 Lewis, GiHord 82 LOcher, Kurt 55 Lochhead, lan J. 83 Londraville, Janis 16 Lones, Wolfgang 56 Lustig, Theodore 102 Macdonald, Bradley J. 116 Marsh, Jan 17-18,84-85 McSweeney, Kerry 57 Miles, Rosie 103 Mineo, Ady 58 Moldenschardt, Hans Heinrich 86 Moaney, $usan 59 Morris, WiUiam 1-5 Morrissey, Kim 19 Negt, Oskar 117 Newton, Charles 87 Onorari. Maria Giovanna 60 Ott, Nicholaus 99 Panayoridis-Storcz, E. Lisa 20-22 Petersen, Alice E.H. 23 Pinkney, Tony 61 Pohlad, Mark B. 104 Poulson, Christine 24-26, 88 Preston, Peter 7 Proctor, Helen 89 Relei, Carolyn 90 Rodgers, David 27, 91-92 Rogers, Shannon Leah 62 Salmon, Nicholas 28-29, 118 Sehumann, Carl-Wolfgang 93 Sharp, Frank C. 30-31 Shishin, Alex 63 Simmons, John 79 Smyth, Darla S. 64 Society of Antiquaries of London 32 Sparks, JuHe 65 Spinelli, Martin 66 Spinozzi, Paola 67 Stacey, Robert 105 Stansky, Peter 33, 106 Scapleton, Annamarie 94 XVIII

Stein, Bernard 99 Sypnowich, Chrisrine 119 Talbot, Norman 68-71 Tinniswood, Adrian 95 Uchiyama, Takeo 96 Uerscheln, Gabriele 107 Wainwright, Hilary 120 Walchuk, Gary 97 Wallace, Ann 98 Walsdorf, John J. 34 Wande!, Reinhold 35 Wright, J.B. f21 Zaczek, lain 36 XIX