Next to The Waste Land, the
best works of later generations--Life Studies, Questions of Travel, The Whitsun Weddings, right down to the most distinguished books of the last few years, like The Orchards of Syon and The Bounty--seem positively traditional in their metric and lyric assumptions.
Eliot's The Waste Land, the
inaugural show in the new Jean Nouvel-designed space aims to "exploit heterogeneity as a positive issue," in the words of the institution's director, Ulrich Loock.
It also requires a more detailed understanding of the context in which the reader makes his interpretations - in the case of The Waste Land, The
Criterion of October 1922.
In Warner's 37-minute staging of The Waste Land, the
38-year-old actor, alone on a ghostly stage sculpted in black and white by lighting designer Jean Kalman, conveys the despair and desire of what Eliot himself described as a "pile of broken images" with a fierce, rigorous intelligence.
Waste Land, The
Long poem by Eliot, T.S., published in 1922, first in London in The Criterion (October), next in New York City in The Dial (November), and finally in book form, with footnotes by Eliot.
Since Eliot did consider "Gerontion" as a prefatory poem to The Waste Land, the
questions are not without merit, both in their criticism of the modern age and also their search for the meaning of Christ in an age without apparent meaning.
While I will not address at length issues that surround the gender of the hero in The Waste Land, the
heroic role in literature is most often considered male, or someone demonstrating masculine characteristics.