This chapter sketches the contexts, both broadly historical and more narrowly cultural, for Hemingway’s life and work from the 1910s through the 1950s, including the wars he experienced and the literary scenes that his work both shaped and was shaped by.

Baron’s chapter uses the lenses of periodical culture and reception studies to situate Joyce’s writing after Ulysses in the context of his involvement with the internationalist avant-garde editorially spearheaded by Eugene Jolas and Elliott Paul in transition. As Edmund Wilson stated in 1948, “without transition, it’s an open question whether Finnegans Wake would be comprehensible at all.” This chapter first reads letters around the serializations of Ulysses and Work in Progress to argue that Joyce learnt from his dealings with The Little Review how to use transition to orchestrate the exegesis and apologia of his rule-flouting project. The chapter examines the strategies that established the Wake’s reputation as an avant-garde triumph rather than a fraudulent con; for example, Joyce’s instigation of the publication of numerous essays devoted exclusively to the praise, explanation, and defense of his work as well as his incorporation of negative views. Most importantly, the chapterwill go on to uncover the ways in which transition brought Joyce into collaborations with a cohort of admiring idealists – involving him in relationships which in turn nourished and inflected the text as he wrote it.