On January 24, 1922, in a series of correspondence about the edits to The Waste Land, just over a week before James Joyce's Ulysses would be published, Ezra Pound wrote from Paris to T. S. Eliot that "It is after all a grrrreat littttterary period." 1 2022 has been a year of commemoration in modernist studies, looking back at the key works of high modernism's annus mirabilis from their centenaries. As we progress through another twenties coping with and coming out of a global pandemic, troubled by global conflict, labor issues and financial depression, our professional lives in modernist studies will be shaped by anniversaries and commemoration, particularly centenaries. These are likely to become repetitious, overwhelming, merely interesting (to follow Sianne Ngai). What role do commemorative practices play in shaping the way that we read and understand modernist literatures? Is a critical commemoration possible, and what might it look like? This cluster interrogates commemoration, its boundedness by cultural, social, scholarly and political structures, and the possibility for subverting them. Its essays deliberately look away from the men of 1914 and the canonical authors of 1922, looking anew, again and askew at detective fiction, camp, the Harlem renaissance, and late modernist reminiscence.The possibility and problem of the anniversary is that there is always another one. The facility of round numbers, along with the many potential objects of commemoration, permits an almost perpetual celebration of the same people, works and things, if required: 5, 10, 20, 25, 50, 75, 100, 150, 200 years; births, deaths, meetings, events, publications, time spent in particular locations. Anniversaries, in their various contexts, contain the potential for bringing