Between the two World Wars, there was an unprecedented need for new houses in Britain which resulted in a building boom. While only a small percentage of this building took the form of Modernism, there was still a significant number of semis and terraces built for the workers and middle-class families in the 1920s and 1930s built in this style. This book examines these modest Modernist houses within the broader context of the Modern Movement in Europe, as well as the inter-war building boom in suburban Britain. Illustrated with line drawings and photographs of more than 30 examples from around the country, and based on little-known contemporary material such as catalogues, advertisements, radio broadcasts and letters, it shows how these houses speak of a time of political, social and artistic unrest, and a world where the avant-garde architects sought to capture the spirit of modern technology in their designs for the average home owner. While the Modernist houses never became popular with the general public, the fact that so many are still standing and now sought after by twenty-first century families speak for their endurance and special appeal.

Between the two World Wars, there was an unprecedented need for new houses in Britain which resulted in a building boom. While only a small percentage of this building took the form of Modernism, there was still a significant number of semis and terraces built for the workers and middle-class families in the 1920s and 1930s built in this style. This book examines these modest Modernist houses within the broader context of the Modern Movement in Europe, as well as the inter-war building boom in suburban Britain. Illustrated with line drawings and photographs of more than 30 examples from around the country, and based on little-known contemporary material such as catalogues, advertisements, radio broadcasts and letters, it shows how these houses speak of a time of political, social and artistic unrest, and a world where the avant-garde architects sought to capture the spirit of modern technology in their designs for the average home owner. While the Modernist houses never became popular with the general public, the fact that so many are still standing and now sought after by twenty-first century families speak for their endurance and special appeal.

Henry Miller and Modernism: The Years in Paris, 1930-1939 represents a major reevaluation of Henry Miller, focusing on the Paris texts from 1930 to 1939. Finn Jensen analyzes Miller in the light of European modernism, in particular considering the many impulses Miller received in Paris. Jensen draws on theories of urban modernity to connect Miller's narratives of a male protagonist alone in a modern metropolis with his time in Paris where he experienced a self-discovery as a writer. The book highlights several sources of inspiration for Miller including Nietzsche, Rimbaud, Hamsun, Strindberg and the American Transcendentalists. Jensen considers the key movements of modernity and analyzes their importance for Miller, studying Eschatology, the Avant-Garde, Dada, Surrealism, Expressionism, and Anarchism.

Henry Miller and Modernism: The Years in Paris, 1930-1939 represents a major reevaluation of Henry Miller, focusing on the Paris texts from 1930 to 1939. Finn Jensen analyzes Miller in the light of European modernism, in particular considering the many impulses Miller received in Paris. Jensen draws on theories of urban modernity to connect Miller's narratives of a male protagonist alone in a modern metropolis with his time in Paris where he experienced a self-discovery as a writer. The book highlights several sources of inspiration for Miller including Nietzsche, Rimbaud, Hamsun, Strindberg and the American Transcendentalists. Jensen considers the key movements of modernity and analyzes their importance for Miller, studying Eschatology, the Avant-Garde, Dada, Surrealism, Expressionism, and Anarchism.