What is interesting depends a great deal on who is interested, does it
not. Publishing histor(ies) are fascinating for many reasons, including
what they tell us about the work as well as the cultural contexts of who
gets published and how and why. TWL is especially interesting for all
these reasons, given its composition over many years, its support and
puffing reviews from Eliot's friends, the addition or exclusion of the
notes, Eliot's decisions on what to accept and what not from Pound,
Eliot's fears of not succeeding again after Prufrock, his concerns about
his parents and even his concerns about how the Dial would deal with the
That the composition is more interesting than the publication history to
one person does not make it in some absolute way "more interesting,"
>>> [log in to unmask] 07/27/05 8:31 PM >>>
One other point or two.
--On Wednesday, July 27, 2005 2:01 PM -0400 [log in to unmask] wrote:
So Eliot published what he saw as an incomplete
> poem at best (I think he never got over the exercising of the
> "titanic-esque" passages) in order to further "the movement" and to
> some money.
Isn't his writing of the poem of more interest than its publishing
history? I.e. he wanted money to publish it, but that reflects not at
on why he wrote it, and one could as well suppose when the time to
came that he knew what he had in wanting a lot for it. Also, why
Pound's supposed motives with Eliot's?