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The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line [ A ] poem first appeared in the United Kingdom in the October issue of Eliot's magazine The Criterion and in the United States in the November ...
Her poetry has been called "gentle, reflective minimalism which touches the soul" by Dr. Sinharaja Tammita-Delgoda, the chairman of the panel of judges who awarded her the Gratiaen Prize [3] Neloufer de Mel said, of her first book "nothing prepares you is a remarkable first book which announces the entry of a very talented poet onto the stage of Sri Lankan creative writing in English.
In the poem, he called the Arabic alphabet the script of the Qur'an, while calling the Cyrillic and Latin alphabets the scripts of Satan, calling on Turkic-speakers to reject the usage of the latter. He also declared in it that Iran is in a similar situation to the Battle of Karbala , referring to the then-ongoing Iran-Iraq War , and called ...
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[citation needed] The Exeter Book is the largest and perhaps oldest [3] [4] known manuscript of Old English literature, [2] [5] [6] [7] containing about a sixth of the Old English poetry that has survived. [2] [8] In 2016, UNESCO recognized the book as "the foundation volume of English literature, one of the world's principal cultural artefacts ...
The poem is an expression of Stevens' perspectivism, leading from a relatively objective description of a winter scene to a relatively subjective emotional response (thinking of misery in the sound of the wind), to the final idea that the listener and the world itself are "nothing" apart from these perspectives. Stevens has the world look at ...
Raymond's father, Robert Raikes Raymond [3] (1817-1888), was a native of New York City, a graduate of Union College (New York) in 1837, editor of the Syracuse Free Democrat in 1852 and Evening Chronicle in 1853–54, and later professor of English in the Brooklyn Polytechnic Institute and principal of the Boston School of Oratory.
None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the Texts for Nothing is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence."