The critic-historian begins confidently with Symbolism and Naturalism, and soon finds himself involved with Expressionism, Imagism, Futurism, Ultraism, Dada, Trans-sense, Vorticism, Surrealism, Functionalism, Social Realism, the New Apocalypse, the Movement, New Romantics, Beats, Angries, Renascents, Projectivists, Lettrists, Concretists, Zeroists, and their rivals and splinters.