Described by Katherine Mansfield in 1921 as 'a great cold sword between you and your dear love Adventure', in the early twentieth century the English Channel, 'or La Manche in French', represented both a political and intellectual barrier between European avant-gardism and British conservatism, and a bridge for cultural connection and aesthetic innovation. Organised around key terms 'Translating', 'Fashioning' and 'Mediating', this book presents ten original essays by scholars working on both sides of the Channel. Cross-Channel Modernisms historicises the artistic exchanges between Britain, France and beyond, and proposes a rich conceptual apparatus of 'crossings' and 'channels' through which we can read modernism and understand it as emerging from, and intervening in, an always-already shifting, multivalent, transnational context.