This study returns to the year in which Ulysses and The Waste Land were published to replace those works among the other cultural productions of the year, in the hope of giving a new start to critical controversies about aesthetic modernism and modern culture. It makes the claim that relations between these are a good deal closer and more complex than recent criticism has been willing to allow, and it illustrates these relations in its mode of organization, in order to reconstruct the larger public world into which these works were introduced.