Counter-revolution of the Word explores in great depth the antimodernist literary movement of the mid 20th century. Alan Filreis, author of Modernism from Right to Left: Wallace Stevens, the Thirties, & Literary Radicalism, here investigates the question: Why did American conservatives react so strongly against modernism?
In preparing for this book Filreis dug deeply into archives across the country, sifting through original documents and correspondence, to examine how the anticommunist witch hunt of the mid 20th century combined with, and helped fuel, antimodernist attacks on new poetry and experimental writing.
To conservatives, the language of modernism was a 'linguistically heretical' mode that sought to 'destroy the designed order.' Conservative poet Robert Hillyer and others considered linguistic 'difficulty' part of a grand design to reduce Americans to a state of helpless confusion.
All this seems surreal, almost unbelievable. Yet look around and see how some people even today brand others as 'unAmerican' simply because they prefer to think for themselves and draw their conclusions independently of what the power structure would have them believe.


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
