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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 ...
Collected Poems, 1909–1962 (1963), excerpt and text search; Old Possum's Book of Practical Cats, Illustrated Edition (1982), excerpt and text search; Selected Prose of T.S. Eliot, edited by Frank Kermode (1975), excerpt and text search; The Waste Land (Norton Critical Editions), edited by Michael North (2000) excerpt and text search
One reason Williams deliberated on Paterson was his longstanding concern about the poem The Waste Land by T.S. Eliot, which with its overall tone of disillusionment had tapped into a much larger sense of cultural ennui that had arisen in the aftermath of World War I and become a touchstone for the Lost Generation. [12]
His Spring and All (1923) was written in the wake of T. S. Eliot's The Waste Land (1922). In his five-volume poem Paterson (1946–1958), he took Paterson, New Jersey as "my 'case' to work up. It called for a poetry such as I did not know, it was my duty to discover or make such a context on the 'thought.'"
His most recent work is Waste Land: A Biography of a Poem, published on 13 October 2022 by Faber and Faber, [8] which has been made book of the year by the Sunday Times, the New Statesman and the Financial Times. [9]
His poem "Bidrohi" (বিদ্রোহী, "The Rebel", December 1921) is first collected this year in his first anthology, Agnibeena. October 15 – T. S. Eliot establishes The Criterion magazine, containing the first publication of his poem The Waste Land. [3]
Can we imagine ourselves back on that awful day in the summer of 2010, in the hot firefight that went on for nine hours? Men frenzied with exhaustion and reckless exuberance, eyes and throats burning from dust and smoke, in a battle that erupted after Taliban insurgents castrated a young boy in the village, knowing his family would summon nearby Marines for help and the Marines would come ...
Lucas's 1923 review of The Waste Land, much reprinted in the decades since his death, [95] was omitted from his Authors Dead and Living (1926), a collection of New Statesman pieces, probably because he had ended by saying the poem should be left to sink. Remarks elsewhere confirm that he had not changed his opinion.