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The Waste Land: Facsimile Edition (A Harvest Book) ペーパーバック – 1974/3/20

英語版 T. S. Eliot (著)

4.6 50個の評価

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Each facsimile page of the original manuscript is accompanied here by a typeset transcript on the facing page. This book shows how the original, which was much longer than the first published version, was edited through handwritten notes by Ezra Pound, by Eliot’s first wife, and by Eliot himself. Edited and with an Introduction by Valerie Eliot; Preface by Ezra Pound.

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本の長さ

184ページ
言語

英語
出版社

Ecco
発売日

1974/3/20
寸法

22.23 x 1.27 x 26.04 cm
ISBN-10

0156948702
ISBN-13

978-0156948708
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"We sometimes hear it said of an iconoclastic essayist like Mark Twain or Russell Baker that he is a 'national treasure.' I vote to include Barbara Holland in this treasure chest."-The Philadelphia Inquirer
"Though Holland obviously means what she writes, she also is having good fun, not merely mourning and celebrating what has been lost but also taking well-aimed whacks at inviting targets."-The Washington Post
—

著者について

THOMAS STEARNS ELIOT was born in St Louis, Missouri, in 1888. He moved to England in 1914 and published his first book of poems in 1917. He received the Nobel Prize in Literature in 1948. Eliot died in 1965.

登録情報

出版社 ‏ : ‎ Ecco; 第1版 (1974/3/20)
発売日 ‏ : ‎ 1974/3/20
言語 ‏ : ‎ 英語
ペーパーバック ‏ : ‎ 184ページ
ISBN-10 ‏ : ‎ 0156948702
ISBN-13 ‏ : ‎ 978-0156948708
寸法 ‏ : ‎ 22.23 x 1.27 x 26.04 cm

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T．S．エリオット
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Valerie Eliot
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A. Ives

Interesting, and Rare for its type, but of limited relevance.

2009年5月5日にアメリカ合衆国でレビュー済み

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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.

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bill harris

At last, the proof of the extent of Pound's ...

2015年7月22日にアメリカ合衆国でレビュー済み

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At last, the proof of the extent of Pound's intervention! This, at least, can account for Eliot's post-Prufrock turn of style, form, scope and perspective.

As far as our interpretation goes, the notations of Pound appear to refute the standard 'Norton' account pf the poem as suggesting 'spiritual dryness'. Rather, what we now have is a 'Waste Land' that's become a thematic destination: how might we achieve the aesthetic experience of spirituality in a world gone mad with bustling despair and frivolity?

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A. Lafreniere

A peek into Eliot's creative process

2015年2月24日にアメリカ合衆国でレビュー済み

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I had read the published version of The Waste Land many years ago; I'm taking a class now that is exploring the original manuscript/typescript version of the poem (much, MUCH longer than the version edited down by Ezra Pound). It's been really interesting to get insight into Eliot's creative process.

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Jack Alan Robbins

Eliot was a great poet.

2018年6月27日にアメリカ合衆国でレビュー済み

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Yes, this particular edition of poems from T.S. Eliot is well worth the price. I have been reading Eliot most of my life but have found his meaning and value only rather late. Nonetheless, he was a great poet and this is a very good volume.

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Theodore

Insightful

2014年2月13日にアメリカ合衆国でレビュー済み

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Whether you like the poem or, like me, you like Eliot's work but think that *this* poem is way overrated, this book adds to your understanding and gives insight into how the poem was shaped by multiple people.

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