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By F. B. Pinion

Aiming to supply a complete survey of the paintings, poetry and prose of the poet T.S.Eliot (1888-1965), this article might be of targeted worth to academics of all educational degrees and to college and faculty scholars at domestic and overseas.

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Unable to work because of the noise in his Crawford Street neighbourhood, and anxious to escape to congenial surroundings To The Waste Land 23 for the wntmg of something more important than The Sacred Wood, Eliot had spent much time looking for a new flat, a search which culminated in the move to 9 Clarence Gate Gardens near Regent's Park in October. During the weeks that followed Vivienne spent most of her time nursing her father; when he was out of danger she collapsed and had to be placed in a nursing-home.

This new publication might have done something to vindicate him in his father's eyes, Eliot sadly reflected, after being upset by news of his death in January 1919. He had already written poems and fragments with a major work in mind, and he probably gave further thought to this at weekends with Vivienne, sometimes by the sea, particularly at Bosham, where boating was an attraction; and again during the summer holiday he spent in France, without her, part of it with Pound in the Dordogne. By this time he knew a number of social celebrities, including the Sitwells .

The poem was revised in January, and accepted by Scofield Thayer, before he saw it, for publication in The Dial, where it did not appear until November. It was first published in England, in the opening (October) number of The Criterion; in book form , it first appeared in America, with notes, near the end of the year. Eliot had supplied useful literary references; when more notes were requested to fill blank pages, he responded with a number of comments, largely expletory and sometimes parodic.

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