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Chargement... The waste land : a biography of a poem (édition 2022)par Matthew Hollis, T. S. Eliot
Information sur l'oeuvreThe Waste Land: A Biography of a Poem par Matthew Hollis
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Renowned as one of the world's greatest poems, The Waste Land has been said to describe the moral decay of a world after war and the search for meaning in a meaningless era. It has been labeled the most truthful poem of its time; it has been branded a masterful fake. A century after its publication in 1922, T. S. Eliot's enigmatic masterpiece remains one of the most influential works ever written, and yet one of the most mysterious. In a remarkable feat of biography, Matthew Hollis reconstructs the intellectual creation of the poem and brings the material reality of its charged times vividly to life. Presenting a mosaic of historical fragments, diaries, dynamic literary criticism, and illuminating new research, he reveals the cultural and personal trauma that forged The Waste Land through the lives of its protagonists--of Ezra Pound, who edited it; of Vivien Eliot, who sustained it; and of T. S. Eliot himself, whose private torment is woven into the seams of the work. The result is an unforgettable story of lives passing in opposing directions and the astounding literary legacy they would leave behind. Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)821.912Literature English English poetry 1900- 1900-1999 1900-1945Classification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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I was a little surprised, especially given the author's pains to center the contributions of women, that it included so little information on Jessie Weston, especially considering the very large credit Eliot gives her in his own notes to the poem. Hollis mentions her once, I think, and I don't know if that's due to lack of evidence that her book really did influence the book to the extent Eliot claimed, or perhaps because her influence has been dealt with elsewhere. Hollis credits her with possibly suggesting the title, but even there he gives Tennyson equal standing as a possible source.
The author was in places suddenly quite preachy. For example, he doesn't just point out places where Eliot's poems are anti-semitic, but he has to write that Eliot was "shameful" in writing that way. I agree that it was shameful, but in this book it's an unusual interjection of authorial judgment, as though he doesn't trust his readers to draw the conclusion that anti-semitism is shameful. ( )