New Modernist Studies, while reviving and revitalizing modernist studies through lively, scholarly debate about historicity, aesthetics, politics, and genres, is struggling with important questions concerning the delineation that makes discussion fruitful and possible. This volume aims to explore and clarify the position of the so-called `core' of literary modernism in its seminal engagement with the Great War. In studying the years of the Great War, we find ourselves once more studying `the giants,' about whom there is so much more to say, as well as adding hitherto marginalized writers - and a few visual artists - to the canon. The contention here is that these war years were seminal to the development of a distinguishable literary practice which is called `modernism,' but perhaps could be further delineated as `Great War modernism,' a practice whose aesthetic merits can be addressed through formal analysis. This collection of essays offers new insight into canonical British/American/European modernism of the Great War period using the critical tools of contemporary, expansionist modernist studies. By focusing on war, and on the experience of the soldier and of those dealing with issues of war and survival, these studies link the unique forms of expression found in modernism with the fragmented, violent, and traumatic experience of the time.