scholarly journals Considering The Waste Land for iPad and Weird Fiction as models for the public digital edition

2014 ◽  
Vol 0 (0) ◽  
Author(s):  
Alyssa Arbuckle
Keyword(s):  
The Waste Land ◽  
The Public ◽  
Digital Edition ◽  
Waste Land ◽  
Weird Fiction

May the Record Speak

2020 ◽  
Vol 66 (4) ◽  
pp. 431-462
Author(s):  
Frances Dickey
Keyword(s):  
Family Reunion ◽  
The Waste Land ◽  
The Public ◽  
Four Quartets ◽  
Waste Land ◽  
Princeton University ◽  
The Family ◽  
Vita Nuova

The over one thousand letters from T. S. Eliot to Emily Hale, opened to the public on January 2, 2020, reveal the poet’s emotional and creative dependence on Hale and illuminate the meanings of “Gerontion,” The Waste Land, Ash-Wednesday, “Landscapes,” Murder in the Cathedral, Four Quartets, The Family Reunion, and other works. This article surveys the contents of the long-awaited Eliot letters archived at Princeton University, focusing on Hale’s role in the poet’s personal and imaginative life. In addition to clarifying long-standing questions about their relationship, from their first encounters in Cambridge to their many clandestine meetings across decades, his letters explain personal references in his poems (Hale is the “Hyacinth girl”) and describe “moments” they shared together that he later worked into “Burnt Norton” and “The Dry Salvages.” The record of his letters shows that not marrying Hale fed Eliot’s imagination and inspired some of the most significant passages of his poetry. Eliot’s art reflected his life, but he also shaped his life to follow art, taking Dante’s Vita Nuova as the pattern for a renunciation of worldly love that he also imposed on Hale.

Little Magazines

2018 ◽  
Author(s):  
Jeffrey Drouin ◽  
J. Matthew Huculak
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
The United States ◽  
Twentieth Century Literature ◽  
European Continent ◽  
The Waste Land ◽  
The Public ◽  
Waste Land ◽  
Little Magazines ◽  
History Of

In the history of modernism, little magazines were often the first venues to publish unknown authors who are now considered the leading lights of twentieth-century literature. A little magazine is a periodical dedicated primarily to serious literature, usually featuring poetry, short stories, serialized novels, and sometimes dramatic installments, as well as essays, reviews, and reader correspondence. They are called ‘little’ (sometimes also ‘small magazines’) owing to their cultivation of coterie contributorships and readerships in opposition to large commercial magazines whose content is strongly influenced by markets. As such, little magazines often prize experimental content that contravenes the public taste, which is one reason they were the primary vehicles for the development of modernism, its many movements, and their niche audiences. In many cases, the lack of a robust commercial apparatus meant that little magazines tended to be irregularly published and short lived, but with outsized contributions to literature and culture, such as the simultaneous serialization of James Joyce’s Ulysses in The Little Review (1914–29) and The Egoist (1914–19) and T. S. Eliot’s The Waste Land in The Dial (1920–29) and The Criterion (1922–39). Little magazines originated during the nineteenth century on the European continent, in Great Britain, and in the United States. During the twentieth century, most little magazines" innovative agendae began as a reaction against the rise of large commercial periodicals that sold issues below cost in order to boost circulation, gaining more profit by selling advertising space.

Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’

2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz
Keyword(s):  
Long Poem ◽  
The Waste Land ◽  
Waste Land ◽  
Artistic Activity ◽  
Underlying Network ◽  
Experimental Works ◽  
The Cantos ◽  
Semantic Dimension ◽  
Psychological Dimensions

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.

THE REFERENCE TO ‘STETSON’ IN THE WASTE LAND

2000 ◽  
Vol 47 (3) ◽  
pp. 338-339
Author(s):  
JAMES T. BRATCHER
Keyword(s):  
The Waste Land ◽  
Waste Land

Eliot Among the Typists: Writing The Waste Land

2005 ◽  
Vol 12 (1) ◽  
pp. 27-84 ◽  
Author(s):  
Lawrence S. Rainey
Keyword(s):  
The Waste Land ◽  
Waste Land

Dadaism and Classicism in The Waste Land

2021 ◽  
Vol 67 (3) ◽  
pp. 269-292
Author(s):  
Patrick Eichholz
Keyword(s):  
First World War ◽  
The Other ◽  
Central Question ◽  
World War ◽  
Modern Life ◽  
Full Account ◽  
The Waste Land ◽  
Waste Land ◽  
The First World War ◽  
First World

Out of the wreckage of the First World War, classicism and dadaism charted two opposing paths forward. While one movement sought to overturn the institutions complicit in prolonging the war, the other sought to buttress these same institutions as a safeguard against the chaos of modern life. This essay studies the peculiar convergence of these contradictory movements in The Waste Land. The article provides a full account of Eliot’s postwar engagement with dadaism and classicism before examining the influence of each movement on The Waste Land. Walter Benjamin’s theory of baroque allegory will be introduced in the end to address the article’s central question: How can any one poem be both classicist and dadaist at the same time?

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