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While living in London Eliot became acquainted with literary figures, most notably Pound in 1914, who would help publish Eliot's work and edit The Waste Land. [25] Eliot also met Aldous Huxley and Katherine Mansfield, as well as members of the Bloomsbury Group, in London in 1916, although he did not meet Leonard and Virginia Woolf until two ...
Within Eliot's own poetry, the five sections connect to The Waste Land. This allowed Eliot to structure his larger poems, which he had difficulty with. [16] According to C. K. Stead, the structure is based on: [17] The movement of time, in which brief moments of eternity are caught. Worldly experience, leading to dissatisfaction.
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]
Pound, who was living in London in 1919, was helping Eliot revise the poem (encouraging him to delete roughly one third of the text). When Eliot proposed publishing Gerontion as the opening part of The Waste Land, Pound discouraged him: "I do not advise printing Gerontion as preface. One don't miss it at all as the thing now stands.
Along with New Criticism, Brooks' studies of Faulkner, Southern literature, and T. S. Eliot's The Waste Land (appearing in Modern Poetry and the Tradition) remain classic texts. Mark Royden Winchell calls Brooks' text on Faulkner "the best book yet on the works of William Faulkner" (1996). Eliot himself commended Brooks in a letter for Brooks ...
In 1925, Eliot became a poetry editor at the London publishing firm of Faber & Gwyer, Ltd., [1]: pp.50–51 after a career in banking, and subsequent to the success of his earlier poems, including "The Love Song of J. Alfred Prufrock" (1915), "Gerontion" (1920) and "The Waste Land" (1922). In 1927, Eliot was asked by his employer, Geoffrey ...
Structurally, Eliot relied on The Waste Land to put together the fragments of poetry as one set. Bernard Bergonzi argued that "it was a new departure in Eliot's poetry, and it inevitably resulted in the presence of the manipulatory will that [C. K. Stead] has observed at works in the Quartets, and in the necessity for low-pressure linking ...
Finally, the story was serialised under the title A Flat in London, and the chosen book title was A Handful of Dust—taken from a line in T. S. Eliot's poem The Waste Land: "I will show you fear in a handful of dust." The line is within the section of the poem entitled "The Burial of the Dead", which depicts a comfortless, lifeless land of ...