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By Jean-Michel Rabaté

1922: Literature, tradition, Politics examines key points of tradition and background in 1922, a 12 months made well-known by way of the book of numerous modernist masterpieces, reminiscent of T.S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written through major students provide new contexts for the year's major artworks, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even though this quantity takes post-WWI Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions in regards to the "Lost Generation" of cultural pilgrims who flocked to Paris and Berlin within the Twenties, hence stressing the broader impact of that momentous yr.

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Sample text

He invited Herman Hesse to describe recent German poetry. The article was brief and too general to make interesting reading today, but we see the editor’s point in commissioning it” (1959, 102). The Criterion went on to offer an international array of contributors in most issues, while it listed a number of “periodicals” as suggested further reading from countries ranging from the United States to Germany, France, Italy, Denmark, Brazil, Russia, Switzerland, Holland, and more. Eliot’s figures in The Waste Land converse in Cockney accents at the pub in “A Game of Chess” – “Oh is there, she said.

Richards, Marianne Moore, Robert Graves, William Empson, Hart Crane, Roger Fry, Hugh Walpole, Edith Sitwell, Osbert Sitwell, Aldous Huxley, Clive Bell, Arnold Bennett, Bonamy Dobrée, John Middleton Murry, Richard Aldington, F. S. Flint, Henry Miller, Ford Madox Ford, Louis Zukofsky, W. H. Auden, Walter de la Mare, Stephen Spender, Dylan Thomas, and Wyndham Lewis, to name only a few. Among international contributors we find Marcel Proust, Jean Cocteau, F. M. Dostoevsky, Hermann Hesse, Mario Praz, Luigi Pirandello, Julien Benda, Paul Valéry, André Malraux, Charles Mauron, Hermann Broch, Charles Maurras, Saint Jean Perse, Eugenio Montale, Ramon Fernandez, and Thomas Mann.

Eliot would go on to praise and promote Ulysses many times, in many milieus, and he particularly made sure to share his good impressions with John Quinn, the American lawyer who gave financial support to both writers. S. Nearly two years later, in May 1921, Eliot writes again to Quinn that “the latter part of Ulysses, which I have been reading in manuscript, is truly magnificent,” while he confesses that “meanwhile have [sic] a long poem in mind and partly on paper which I am wishful to finish” (1988, 451–2).

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