A Companion to T. S. Eliot by David E. Chinitz

By David E. Chinitz

Reflecting the surge of serious curiosity in Eliot renewed lately, A significant other to T.S. Eliot introduces the 'new' Eliot to readers and educators by means of interpreting the complete physique of his works and occupation. major students within the box offer a clean and completely finished number of contextual and important essays on his existence and achievement.

- It compiles the main accomplished and up to date remedy on hand of Eliot's paintings and career
- It explores the robust forces that formed Eliot as a author and philosopher, studying his physique of labor and assessing his oeuvre in numerous contexts: old, cultural, social, and philosophical
- It charts the surge in serious curiosity in T.S. Eliot because the early 1990s
- It offers an illuminating perception right into a poet, author, and critic who keeps to outline the literary panorama of the final century

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In this context, Surrealism stands routinely accused of expressivism, of leaving writing at the service of the subjective interior. indb 15 11/10/2007 11:35:01 The Scholarly Life of Language Writing with this charge is that it engages with Surrealism only at the level of its aspirations. Breton did, indeed, hope for the ultimate unification of the self but, as more than one critic has observed, this hope inevitably came up against the materiality of the language. My attempt to align Language writing and Surrealism in this respect draws on Peter Nicholls’s account of a modernist ‘poetics of negation’.

15 In Foster’s terms it could then be reconstituted and ‘revalued as synthetic end rather than dissociative means’ (p. 4). In this account, the ‘problem’ to be overcome is described precisely as one of ‘authenticity’, that is, ‘the threat posed by calculation and correction to the pure presence of the automatist psyche’ (p. 4). But, as Foster suggests, Surrealist authenticity is endangered not only by calculation and correction but also by the unconscious itself. The risk here is that automatism may not lead to liberation, ‘not because it voided the control of the (super)ego (such was its express purpose) but because it decentered the subject too radically in relation to the unconscious’ (pp.

Given his account of Surrealism, however, we should not be surprised to find no positive comparison between the generative sentence and automatic writing or the Surrealist prose poem. As close as it comes to ‘classically constructed’ sentences, the regular syntax of Surrealist prose forms must be judged as normative rather than alternative, in Fredman’s terms. The importance of the image in these forms further declares, it would seem, a commitment to ‘measure’ reality, however bizarre and ‘startling’ that reality is.

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