By Gabrielle McIntire
T. S. Eliot and Virginia Woolf have been virtually designated contemporaries, readers and critics of every others' paintings, and pals for over 20 years. Their writings, notwithstanding, are infrequently paired. Modernism, reminiscence, and hope proposes that a few amazing correspondences exist in Eliot and Woolf's poetic, fictional, serious, and autobiographical texts, fairly of their ordinary flip to the language of wish, sensuality, and the physique to render memory's procedures. The booklet contains large archival examine on a few often unknown bawdy poetry by way of T. S. Eliot whereas delivering readings of significant paintings by way of either writers, together with The Waste Land, 'The Love track of J. Alfred Prufrock', Orlando, and To the Lighthouse. McIntire juxtaposes Eliot and Woolf with a number of significant modernist thinkers of reminiscence, together with Sigmund Freud, Friedrich Nietzsche, Henri Bergson, and Walter Benjamin, to supply compelling reconsiderations of the relation among textuality, remembrance, and the physique in modernist literature.
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Extra info for Modernism, Memory, and Desire: T.S. Eliot and Virginia Woolf
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47 This valence continues, especially if we take into account the unpublished stanzas at Yale, which are even more expressly homoerotic.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.