What the Thunder Said
How The Waste Land Made Poetry Modern
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- 20,99 €
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- 20,99 €
Beschreibung des Verlags
A rich cultural history of the creation, explosive impact, and enduring influence of T. S. Eliot’s modernist masterpiece
When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music.
From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.”
Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.
PUBLISHERS WEEKLY
Scholar Rasula (Genre and Extravagance in the Novel) celebrates the 100th anniversary of T.S. Eliot's The Waste Land with a stimulating cultural history of what he calls "exhibit A of modernism in poetry." Rasula connects The Waste Land to the revolutionary approach taken by composer Richard Wagner, who introduced the concept of "endless melody," which transformed opera into an experience "that would compel attention all the way through." Eliot, Rasula writes, "intuitively grasped Wagner's directive that the poet keep clear of the domain of the speechless," and he shows how other movements, such as symbolism and futurism, played a role in Eliot's work. Rasula masterfully unpacks the poem's "original strangeness," and shows it as a part of a "realm of modernist artifacts that were unabashedly confrontational, renegade, noncompliant, and full of zest," and highlights the influence fellow poets had on Eliot: Ezra Pound acted as "a kind of literary switchboard operator" championing Eliot and providing "editorial finesse" to his work, and Marianne Moore was "a major innovator in the use of collage" with whom Eliot forged a "bond of solidarity." Rasula's account wonderfully traces the evolution of literary thought, and his syntheses feel fresh and exciting. The result is a refreshing reappraisal of a classic.
