The central argument of this book is that the First World War catalysed the transformation of an integrated art milieu, previously shaped by upper-class art patrons, into divided and highly nationalised art markets driven by capitalist incentives of investment and speculation. Discourses on ‘art profiteers’, art looting in war zones, large-scale confiscations, and attempts to use expropriated art to alleviate national exchange rate crises are all phenomena that can be traced back to 1914. This year also marked the start of a nationalisation process that would lead to the decline of the international ‘collecting class’ that had shaped the trade in art in the last three decades of the nineteenth century. The seeds of the contemporary dominance of Anglophone auction markets were sown during the First World War, laying the foundation for the ‘modern market’ to emerge as a financial entity.

This book has historicized the quest for individual freedom in twentieth-century Europe by highlighting conflict-ridden expansion: more and more people claimed the status of free individuals, but they did so in very different ways, in various contexts, and more often than not in the face of powerful opposition. The Conclusion brings out the overarching narrative centered around ordinary Europeans’ efforts to expand their realm of control in spite of obstacles, to carve out a space for themselves, and to live freely according to their own preferred understandings. It also argues that these efforts stood in tension with various political movements that aspired to combine individual and collective freedom. This tension eased when the quest in its unheroic versions, having put both democracies and dictatorships under pressure to adapt, could be pursued in the more favorable context of détente and affluence. With the end of the Cold war, it seemed indeed to have prevailed. But the relationship between individual freedom and Europeanness was never entirely exempt from conflict and complexity and has recently become more controversial again.

This book explores what Europeans in the twentieth century understood by individual freedom and how they endeavored to achieve it, often against the odds. The Introduction lays out its conceptual bases, arguing that the quest was multi-faceted and unfolded in nonlinear ways, which jars with teleological narratives of the rise and decline of “the individual.” It disputes Annelien de Dijn’s recent account of one dominant concept of modern liberty and is attentive to mainstream as well as marginalized versions of individual freedom, questioning Michel Foucault’s idea that the former were “imposed on us” through disciplinary power. Instead, the book borrows from sociologist Georg Simmel and political philosopher Isaiah Berlin to stress the subjective, gradual, and unpredictable character of individual freedom and the fact that it was pursued against a range of obstacles and constraints. It tells a story of conflict-ridden expansion. Men and women had to claim their personal freedom in a context marked by world wars, the expanding power of the state, the constraints of work life, pre-established moral norms, the growing influence of America, and the uncertain future of colonial rule.

This chapter demonstrates the importance of viewing socioeconomic and political relationships between sedentary and herding societies from the perspective of long-term shifts in climate. Such a perspective offers the possibility of reconsidering the socioeconomic features of conflicts that appeared between similar communities in South Asia, the American West, Africa, Australia, and the Middle East in the nineteenth and twentieth centuries.

This chapter explores the tensions produced by Vaughan Williams’s desire to make a significant contribution to English cultural life as a leading composer while also not discussing his compositions in any detail in a public forum. Vaughan Williams conceived a path for himself as a musical activist, leading practical amateur music-making, while creating new works that reflected his community. Yet the experience of his first large-scale premiere, A Sea Symphony, at the Leeds Musical Festival in 1910, revealed that public attention, while necessary, could also be discomforting.

In private, Vaughan Williams was more relaxed: he was the centre of attention at parties and enjoyed the company of younger women, with whom he sometimes flirted under the nickname of ‘Uncle Ralph’. He was also deeply committed to his composition pupils, supporting them in ways that went far beyond any contractual responsibility, and often enjoyed working with conductors preparing his new works. Yet public scrutiny was always a source of anxiety, even in his final years. Coping strategies, including avoidance and deflection, enabled Vaughan Williams to navigate the public demands of his role while focusing on the process of composition.

The international outlook of any community, at any stage in its development, is likely to be determined very largely by the interaction of four overlapping factors: geographic position with its strategic requirements; racial composition and resulting prejudices; economic interests, actual and potential, and, by no means least in importance, traditional policies and ideological trends. The relative strength of these several influences varies from period to period. Their individual content may change considerably under pressure of events either inside or outside the community, including the impact of party politics and of powerful personalities. They nevertheless have much to contribute to an understanding of the involved and complicated behaviour patterns of democratic societies in their relations with foreign states and peoples.

Chapter 2 explores the Ecuadorean rainforest landscape, its inhabitants, and their first interactions with the oil industry before large-scale oil extraction started in the late 1960s. It starts by looking back at the millennia of gradual changes when the history of crude oil and the tropical rainforest environment started to intersect. An exploration of the geographical properties of the Amazon landscapes, as well as their flora and fauna including human inhabitants, visualizes the lively environment encountered by the first oilmen visiting the area in the period between the 1920s and the 1960s. Two multinational oil companies, the Leonard Exploration Company and Shell, undertook major efforts to discover petroleum reserves in the Ecuadorean Amazon. Even though their exploration programs failed in the end, their pioneering work of mapping and surveying the rainforest and its subsoil laid the foundation for large-scale petroleum extraction decades later.

This chapter highlights the importance of newspapers as essential publishing venues for American essayists during the 1880–1920 period. During this time, newspaper columns or editorials were some of the most powerful manifestations of the American essay. A new kind of personal essay emerged, revealing tensions between various categories: the genteel and the modern, progressivism and prejudice, subjectivity and objectivity. While essayistic objectivity aspired to provide verifiable evidence and to be “truthful” in its interpretations of the world, essayistic subjectivity attempted to engage the reader by means of the essayist’s own perceptions and experiences. Significantly, during this period, the essay sought new vessels for authorial subjectivity, be it in the form of fiction or nonfiction, expanding the possibilities of the personal essay. Important essayists, columnists, and editorialists of the period included H. L. Mencken, Anna Julia Cooper, Robert Benchley, Ida B. Wells, and Heywood Broun. For many of these writers, the political and personal are inseparable, and the essay often functions as a form of authorial mediation, of narrative outrage, and a call to social action.

This chapter begins with the little magazines of the late nineteenth and early twentieth centuries and ends with contemporary online literary magazines, highlighting the radical changes that have taken place as print yielded to digital culture. Motivated by the contrarian personalities of their founding editors against commercial tastes, small-circulation periodicals prioritized aesthetic experimentation and established themselves as an avant-garde force in the arts. During the twentieth century, literary magazines would become institutionalized and relinquish their financial and intellectual independence. Their avant-garde status, once represented by a collectively upheld editorial persona, would become overshadowed by individual cults of personality around popular writers. Magazines’ social programs would become watered down, and instead writers would make themselves into social actors. The arrival of New Journalism in the 1960s and ’70s radically changed long-form journalism, rendering it more literary. The chapter ends with the contemporary literary magazine ecosystem, showing that what magazines have lost in materiality, they have gained in generic hybridity and global access.