Waste Land and Other Poems

ISBN-10: 1593082797
ISBN-13: 9781593082796
Edition: N/A
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Description: Considered the most important poem of the twentieth century, T. S. Eliot's "The Waste Land" is an oblique and fascinating view of the hopelessness and confusion of purpose in modern Western civilization. Published in 1922--the same year as Joyce's  More...

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Book details

List price: $6.95
Publisher: Barnes & Noble, Incorporated
Publication date: 3/3/2005
Binding: Paperback
Pages: 160
Size: 5.00" wide x 8.00" long x 0.25" tall
Weight: 0.286
Language: English

Considered the most important poem of the twentieth century, T. S. Eliot's "The Waste Land" is an oblique and fascinating view of the hopelessness and confusion of purpose in modern Western civilization. Published in 1922--the same year as Joyce's equally monumental "Ulysses"--"The Waste Land" is a series of fragmentary dramatic monologues and cultural quotations that crossfade into one another. Eliot believed that this style best represented the fragmentation of society, and his poem portrays a sterile world of panicky fears and barren lusts, and of human beings waiting for some sign or promise of redemption. Mirroring the destruction and disillusionment of World War I, "The Waste Land" had the effect of a bomb exploded in a genteel drawing room, just as its author intended. This volume also includes "Prufrock and Other Observations" (1917) and "Poems" (1919). Prufrock contains the poem that first put Eliot on the map, "The Love Song of J. Alfred Prufrock, " in which the title character is tormented by the difficulty of articulating his complex feelings. Among other masterpieces, "Poems" features "Gerontion," a meditative interior monologue in blank verse--a poem like none before it in the English language.

T. S. Eliot is considered by many to be a literary genius and one of the most influential men of letters during the half-century after World War I. He was born on September 26, 1888, in St. Louis, Missouri. Eliot attended Harvard University, with time abroad pursuing graduate studies at the Sorbonne, Marburg, and Oxford. The outbreak of World War I prevented his return to the United States, and, persuaded by Ezra Pound to remain in England, he decided to settle there permanently. He published his influential early criticism, much of it written as occasional pieces for literary periodicals. He developed such doctrines as the "dissociation of sensibility" and the "objective correlative" and elaborated his views on wit and on the relation of tradition to the individual talent. Eliot by this time had left his early, derivative verse far behind and had begun to publish avant-garde poetry (including "The Love Song of J. Alfred Prufrock" (1915), which exploited fresh rhythms, abrupt juxtapositions, contemporary subject matter, and witty allusion. This period of creativity also resulted in another collection of verse (including "Gerontian") and culminated in The Waste Land, a masterpiece published in 1922 and produced partly during a period of psychological breakdown while married to his wife, Vivienne Haigh-Wood Eliot. In 1922, Eliot became a director of the Faber & Faber publishing house, and in 1927 he became a British citizen and joined the Church of England. Thereafter, his career underwent a change. With the publication of Ash Wednesday in 1930, his poetry became more overtly Christian. As editor of the influential literary magazine The Criterion, he turned his hand to social as well as literary criticism, with an increasingly conservative orientation. His religious poetry culminated in Four Quartets, published individually from 1936 onward and collectively in 1943. This work is often considered to be his greatest poetic achievement. Eliot also wrote poetry in a much lighter vein, such as Old Possum's Book of Practical Cats (1939), a collection that was used during the early 1980s as the basis for the musical, Cats. In addition to his contributions in poetry and criticism, Eliot is the pivotal verse dramatist of this century. He followed the lead of William Butler Yeats in attempting to revive metrical language in the theater. But, unlike Yeats, Eliot wanted a dramatic verse that would be self-effacing, capable of expressing the most prosaic passages in a play, and an insistent, undetected presence capable of elevating itself at a moment's notice. His progression from the pageant The Rock (1934) and Murder in the Cathedral (1935), written for the Canterbury Festival, through The Family Reunion (1939) and The Cocktail Party (1949), a West End hit, was thus a matter of neutralizing obvious poetic effects and bringing prose passages into the flow of verse. Recent critics have seen Eliot as a divided figure, covertly attracted to the very elements (romanticism, personality, heresy) he overtly condemned. His early attacks on romantic poets, for example, often reveal him as a romantic against the grain. The same divisions carry over into his verse, where violence struggles against restraint, emotion against order, and imagination against ironic detachment. This Eliot is more human and more attractive to contemporary taste. During his lifetime, Eliot received many honors and awards, including the Nobel Prize for literature in 1948.

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