Contact (Journal) - Philosophical Concept | Alexandria
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Contact (Journal): A crucible of early Modernist thought, Contact was more than just a periodical; it was a declaration. Published briefly in the early 1920s, the journal aimed to forge a new aesthetic rooted in American experience. Not simply a literary magazine, Contact actively distanced itself from European traditions, seeking instead a uniquely national artistic expression. Yet, was its rejection of Europe a true abandonment, or a veiled dialogue?
The first iteration of Contact, edited by William Carlos Williams and Robert McAlmon, appeared in December 1920. This coincided with post-World War I disillusionment and a growing desire among American artists for autonomy from European literary dominance. Letters between Williams and McAlmon during that year reveal a passionate commitment to discovering and promoting artists who engaged with the raw realities of American life. This period was charged with cultural tension, as the “Lost Generation” grappled with themes of alienation and the search for authenticity.
Contact served as a platform for writers who would later define American Modernism, including Marianne Moore and Ezra Pound, despite Pound's own expatriate status. The journal championed direct language, experimental forms, and the gritty details of industrial society. Its influence, though brief, resonated throughout the burgeoning modernist movement, impacting subsequent publications and artistic collectives. One anecdote suggests that the very title, Contact, was chosen to emphasize the need for art to connect directly with lived experience, a radical departure from the more ornate, intellectualized styles prevalent at the time. What if this "contact" also implied a more subversive connection – a subtle resistance against established norms?
Though Contact ceased publication in 1923 after only five issues, its spirit endured. It is remembered not only for its literary contributions but also for its defiant stance on artistic independence. Today, the journal remains a subject of study, a testament to the enduring quest for authentic artistic expression within the complexities of American identity. Does the legacy of Contact challenge us to uncover similar pockets of resistance and innovation in contemporary art, and to reconsider the ever-shifting boundaries of cultural influence?