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The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line [ A ] poem first appeared in the United Kingdom in the October issue of Eliot's magazine The Criterion and in the United States in the November ...
Alan Stewart Paton (11 January 1903 – 12 April 1988) was a South African writer and anti-apartheid activist. His works include the novels Cry, the Beloved Country (1948), Too Late the Phalarope (1953), and the short story The Waste Land.
The Dark Tower III: The Waste Lands: Redemption, commonly known simply as The Waste Lands, is a dark fantasy novel by American writer Stephen King. It is the third book of the Dark Tower series. The original limited edition hardcover featuring full-color illustrations by Ned Dameron was published in 1991 by Grant .
Phlebas the Phoenician, a character from T. S. Eliot’s poem The Waste Land, part IV and Dans le Restaurant. Consider Phlebas , a novel by Iain M. Banks, named after Eliot’s poem Topics referred to by the same term
The Waste Land is dedicated to Pound as "il miglior fabbro" which is what Dante had called Daniel. The poem also contains a reference to Canto XXVI in its line "Poi s'ascose nel foco che gli affina" ("Then he hid in the fire that purifies them") which appears in Eliot's closing section of The Waste Land as it does to end Dante's canto.
The book is mostly disregarded today, though T. S. Eliot credited it as the source of the title and the largest single influence on his famous poem The Waste Land. The Wasteland is depicted in the 1981 John Boorman film Excalibur, Boorman's retelling of the Arthurian legend. [1]
Four Quartets is a set of four poems written by T. S. Eliot that were published over a six-year period. The first poem, Burnt Norton, was published with a collection of his early works (1936's Collected Poems 1909–1935).
T. S. Eliot used it symbolically in The Waste Land (1922). Dorothy Hewett took The Chapel Perilous as the title for her autobiographical play, in which she uses "the framework of the Arthurian legend, Sir Lancelot, to create a theatrical quest of romantic and epic proportions." [2]