Inventions of the March Hare: Poems 1909-1917

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Harcourt Brace, 1998 - Poetry - 428 pages
6 Reviews
A few months before The Waste Land was published in 1922, T. S. Eliot gave the manuscript to his benefactor in New York, John Quinn. At the same time, he sold to Quinn a notebook containing about fifty poems that he had written during his twenties. It was not until 1968, three years after the poet's death, that the double cache was unveiled within the Berg Collection of the New York Public Library. The early poems, from the notebook and the accompanying leaves, are now at last published, all but a few of them for the first time. Of great interest, both technical and human, they reveal the young Eliot in the process of creating himself and his art: ruminating on the blind alleys and vacant lots of the city, exploring the perplexities of the modern age (doubt, ennui, indifference, dismay, affectation), and experimenting with a variety of poetic forms (urban pastoral, lyric, satire, the prose poem). Complementing the new poems, which include several bawdy verses, are "richly informative drafts" (The Observer, London) of many of Eliot's best-known poems, among them "The Love Song of J. Alfred Prufrock" (with a previously unpublished fragment), "Portrait of a Lady" (signally and subtly different from the published text), many versions of "Whispers of Immortality, " and "Ode" (not reprinted since 1920).

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Review: Inventions of the March Hare: Poems 1909-1917

User Review  - Michael Davis - Goodreads

As a survey of Eliot's talent as a poet, this books isn't going to do any of us justice, least of all Eliot. This might even be something the casual Eliot fan should stay away from. Some of the poems ... Read full review

Review: Inventions of the March Hare: Poems 1909-1917

User Review  - Alyssa - Goodreads

Bolo Verses....enough said (if you don't know what they are and you like TSE just avoid....) Read full review

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About the author (1998)

T. S. Eliot is considered by many to be a literary genius and one of the most influential men of letters during the half-century after World War I. He was born on September 26, 1888, in St. Louis, Missouri. Eliot attended Harvard University, with time abroad pursuing graduate studies at the Sorbonne, Marburg, and Oxford. The outbreak of World War I prevented his return to the United States, and, persuaded by Ezra Pound to remain in England, he decided to settle there permanently. He published his influential early criticism, much of it written as occasional pieces for literary periodicals. He developed such doctrines as the "dissociation of sensibility" and the "objective correlative" and elaborated his views on wit and on the relation of tradition to the individual talent. Eliot by this time had left his early, derivative verse far behind and had begun to publish avant-garde poetry (including "The Love Song of J. Alfred Prufrock" (1915), which exploited fresh rhythms, abrupt juxtapositions, contemporary subject matter, and witty allusion. This period of creativity also resulted in another collection of verse (including "Gerontian") and culminated in The Waste Land, a masterpiece published in 1922 and produced partly during a period of psychological breakdown while married to his wife, Vivienne Haigh-Wood Eliot. In 1922, Eliot became a director of the Faber & Faber publishing house, and in 1927 he became a British citizen and joined the Church of England. Thereafter, his career underwent a change. With the publication of Ash Wednesday in 1930, his poetry became more overtly Christian. As editor of the influential literary magazine The Criterion, he turned his hand to social as well as literary criticism, with an increasingly conservative orientation. His religious poetry culminated in Four Quartets, published individually from 1936 onward and collectively in 1943. This work is often considered to be his greatest poetic achievement. Eliot also wrote poetry in a much lighter vein, such as Old Possum's Book of Practical Cats (1939), a collection that was used during the early 1980s as the basis for the musical, Cats. In addition to his contributions in poetry and criticism, Eliot is the pivotal verse dramatist of this century. He followed the lead of William Butler Yeats in attempting to revive metrical language in the theater. But, unlike Yeats, Eliot wanted a dramatic verse that would be self-effacing, capable of expressing the most prosaic passages in a play, and an insistent, undetected presence capable of elevating itself at a moment's notice. His progression from the pageant The Rock (1934) and Murder in the Cathedral (1935), written for the Canterbury Festival, through The Family Reunion (1939) and The Cocktail Party (1949), a West End hit, was thus a matter of neutralizing obvious poetic effects and bringing prose passages into the flow of verse. Recent critics have seen Eliot as a divided figure, covertly attracted to the very elements (romanticism, personality, heresy) he overtly condemned. His early attacks on romantic poets, for example, often reveal him as a romantic against the grain. The same divisions carry over into his verse, where violence struggles against restraint, emotion against order, and imagination against ironic detachment. This Eliot is more human and more attractive to contemporary taste. During his lifetime, Eliot received many honors and awards, including the Nobel Prize for literature in 1948.

Christopher Ricks is a critic and scholar of Milton, Keats, Tennyson, and T. S. Eliot, and teaches at Boston University.Leonard Michaels is a novelist and short story writer, and teaches at the University of California, Berkeley.

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