The Waste Land

This book is especially relevant to poets that have been writing for long enough to understand the supreme importance of form and diction (also grammar: idiosyncratic, colloquial, or even proper). What you see in the book is a few things that have been taken out, then pretty soon a text that is nearly identical to the one in print (not to undermine the importance of subtleties). Like I said, limited relevance, but I know of no other books that offer so much of process (collaborative at that). Notable is the original title: "He do the police in different voices" which I happen to like, and is suitable aside from the disparity between Eliot's verse for the ultra-literate and it's origin in street language (technically it is from a Dickens book). I am to the point that I believe the best poems are such because of notable phrasing, subtle rhythmic patterns, music & arresting imagery. Also, as is so blatantly pointed out by example here in The Wasteland, literary allusion is also of strong impact, though nearly by definition is a process of exclusion. A poet must believe in the poem and must write with intent, but that does not mean that the intent or meaning of the poet is left behind in the poem. This is true of the greatest poets, and I think part of what makes them great is focusing on the physicality of the poem, which is what, without a doubt, will be left behind. As for this poem, it is very abstruse to begin with, and this book only makes it's process slightly more transparent. One thing Eliot had to learn was to keep a safe distance from his poetry. This is evident in the little 'checks' of Pound, i.e. the insistence of Pound on the word demotic as opposed to abominable. Here, it can be noted, one type of judgment is replaced for another, demotic perhaps a bit safer. Recall the stanza in Prufrock that starts something like 'No, I am not King Hamlet..." Always thought it was out of place. I think Pound helped Eliot to contain his awkwardness. He became, after a mere 30 pages (?) of poetry (Prufrock, W. L., Ash Wednesday, Hollow Men, etc.) a huge literary presence. All I can say of any relevance is that when you read this, it becomes evident that Eliot had to train his ear for the transcription of what was to become his unmistakable, though I admit, evolving verse. There were things coming out that he had to quiet. And by the time he wrote Four Quartets, he really didn't think much of the Wasteland at all. This is the fate of writers. Case in point 90 year-old Lawrence Ferlinghetti and his present attitude towards A Coney Island of the Mind and other Poems.

For any scholar or serious student of modernism, Valerie Eliot's facsimile edition is a must. The content enables us to reconsider notions of "high modernism," Eliot's seemingly dry approach to life and literature (if anyone trusts such satirical jabs as 'The Sweeniad'), and the relationship between Pound and Eliot--even as it occurs in Pound's own pen on Eliot's manuscript. The several additional voices included in Eliot's original vision, particularly in his intended first stanza of what was to be titled, "He do the Police in Different Voices: Part I," gives contemporary audiences a new take on Eliot's sense of humor and full conception of the modern consciousness. Not only does the edition provide the original manuscript on the left page (both typed and handwritten), but also a surprisingly useful retyped version on the facing page to make clear what has been written in the margins by Eliot, Pound, or any other editorial hand. These facing-page clarifications are color-coded to clarify who has done the editing (i.e., red for Pound). If you are fascinated by historical documents, serious about Modernism and the relationships therein, or simply a fan of what has been called the landmark poem of the literary period that arguably still defines our lives today, the Waste Land Facsimile Edition is indispensable.

This edition illuminates the poetic creative process for this great poem in wonderful ways. It is a must for all who love the poem (like I do), or just find it intriguing.

Simply put, THE WASTE LAND is one of the strangest, most complicated, and interesting poems ever written. Try reading an unannotated version of the poem and you will see why even TS Eliot scholars need a little help with some of the images and literary references Eliot uses. This NORTON CRITICAL EDITION of THE WASTE LAND is an essential book for any Eliot fan, new or old. It provides you with practically every single piece of literature, history, and music that inspired Eliot to write his manifesto of the Lost Generation. If you have any questions concerning THE WASTE LAND, this is the book you need...this is the book you want. Buy it and realize how well-read you are not.

Literature scholars universally recognize Eliot's "Waste Land" as one of the most influential poems of the 20th century. The poem draws on a wealth of images, everything from classics of Western literature to Tarot cards, from anthropology to Eastern sacred texts. The title refers to the barren land of the Fisher King in Arthurian legend; both the king and the land eventually find redemption through the Holy Grail. Through a masterful use of language and symbols, Eliot brilliantly portrays the problem of meaning in the modern world --- and the way to deeper meaning! Unfortunately, many of Eliot's references are arcane, and not easy for the lay reader to pursue. For example, few modern readers happen to have a copy of Webster's play "White Devil" or excerpts from Shackleton's account of the Antarctic expedition readily available on their shelves. Hence, the virtue of this particular edition: in addition to Eliot's original poem and original notes, this book includes the relevant passages from every single work Eliot quotes in the "Wasteland", all translated into English. For the first time I have seen in print, this book allows the reader to understand this magnificent poem in light of the full scope of its allusions. A triumphant achievement!