By James Joyce
The portrayal of Stephen Dedalus's Dublin adolescence and adolescence, his quest for identification via paintings and his sluggish emancipation from the claims of relations, faith and eire itself, can also be an indirect self-portrait of the younger James Joyce and a common testomony to the artist's 'eternal imagination'.
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Additional resources for A Portrait of the Artist as a Young Man (UK Edition)
S. Eliot who would be canonized by such events as the Dial prize in 1922, the intense critical attention his writing received in little magazines and reviews in the teens and early twenties, and then by the nascent school of New Criticism in the 1920s and 1930s. These became the early basis of Eliot’s reputation, and began to shape the character of English and American modernism. But now that we have Eliot’s pornotropic verses in print, rereadings of his canonical poems are almost mandatory. We will inevitably come to understand a remarkably different Eliot – a pornographic Eliot, a smutty Eliot, and an Eliot committed to investigating the tensions between satire, sex, and race, as well as between memory and desire.
47 This valence continues, especially if we take into account the unpublished stanzas at Yale, which are even more expressly homoerotic. In his first Columbo and Bolo letter to Aiken, Eliot also mocks the projects of anthropology, history, and the academic establishment in general. In other words, he parodies his own location and interests, not least of which is his enchantment with Jessie L. Weston’s From Ritual to Romance and Sir James George Frazer’s The Golden Bough – two nineteenth-century anthropologically motivated treatises that would be enormously influential in the composition of The Waste Land.
After the immense critical success of The Waste Land, Eliot could have published almost anything he wanted. Instead of finally An unexpected beginning 33 then “coming out” with the Columbo and Bolo poems, Eliot decided to become his own censor. Not only did he choose not to publish his bawdy poems at this time, but when John Quinn asked if he could purchase Eliot’s early notebooks, Eliot excised the leaves that contained the explicitly sexual and scatological material. Eliot had wanted to give Quinn the manuscript of The Waste Land as a gesture of thanks for Quinn’s efforts – since 1917 – to support Eliot’s work.