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What the Thunder Said
Jed Rasula
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Geisteswissenschaften, Kunst, Musik / Allgemeine und Vergleichende Literaturwissenschaft
Beschreibung
On the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influence
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.
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Wyndham Lewis, Arnaut Daniel, James Huneker, Thus Spoke Zarathustra, John Crowe Ransom, Louis Untermeyer, Rosicrucianism, Ford Madox Ford, Joseph Moncure March, Robert Bridges, A Season in Hell, De Profundis (letter), Lytton Strachey, Arthur Cravan, W. B. Yeats, The Birth of Tragedy, Louis MacNeice, Darius Milhaud, Kurt Schwitters, Gelett Burgess, Guillaume Apollinaire, Blaise Cendrars, Fredric Wertham, Venusberg (mythology), Arthur Rimbaud, Hart Crane, James Abbott McNeill Whistler, Hugh Selwyn Mauberley, John Middleton Murry, William Empson, Assonance, Demimonde, Ezra Pound, Conrad Aiken, E. M. Forster, Pierre Leroux, Symbolist Manifesto, Existentialism, D. H. Lawrence, Imagism, Vorticism, Revolution, Charles Reznikoff, Arthur Symons, Nian Rebellion, Manifesto of Futurism, Malcolm Cowley, Richard Aldington, Charles Baudelaire, Marcel Duchamp, F. L. Lucas, Dada, Georg Wilhelm Friedrich Hegel, The Egoist (periodical), Caresse Crosby, Jeremiad, Eustace Mullins, John Masefield, W. H. Auden, Hector Berlioz, Tristan Tzara, Aldous Huxley, Floyd Dell, Robert Frost, John Peale Bishop, Karl Shapiro, Randall Jarrell, Essay, Poetry, T. E. Hulme