Esprit de Corps: The Art of the Parisian Avant Garde and the First World War, 1914-1925 (London: Thames and Hudson, 1989). On the modernist preoccupation with primitivism, see for example William Rubin (ed.),

2 vols (New York: Museum of Modern Art, 1984). Also Robert Goldwater,

(Cambridge, Mass., and London: Harvard University Press, 1986; first published 1938); Marianne Torgovnik,

Gone Primitive: Savage Intellects, Modern Lives (Chicago and London: Chicago University Press, 1990); and J. Lloyd,

German Expressionism: Primitivism and Modernity (New Haven and London: Yale University Press, 1991).

On the devlopment of modernist music in America, see Carol J. Oja,

Making Music Modern (New York and Oxford: Oxford University Press, 2000). On the relationship of modernist music to earlier models, see for example Joseph N. Straus,

Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, Mass.: Harvard University Press, 1990). For some appreciation of the many influences on

The Waste Land , see Lawrence Rainey (ed.),

The Annotated Waste Land, with Eliot’s Contemporary

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