At 11:14 AM 9/3/2006, Diana Manister wrote:
> And Marie in the beginning of the poem says "in the mountains, there
> you feel free." One wonders if this is not expressive of the narrator's
> need to "feel free." (Recall that Eliot wrote at least some of the poem
> in Lausanne.)
>I am not of course suggesting that the narrator of TWL is Eliot.
Now I'm confused. Why recall that Eliot wrote some of the poem in
Lausanne if you are not suggesting that the narrator is Eliot?
>A poem written so unimaginatively would be, to paraphrase Truman Capote,
Good for Truman (what a great name! wonder what the derivation of Capote
is?) Anyhow, EXACTLY, why bother?
>Sexual identity seems to be an important theme in TWL.
Diana, this could be voted the understatement of the year. Almost. Maybe
decade... falling towers indeed. But I'm doubtful that "identity" is the
best noun here. Condition maybe.
>On the biographical level, Eliot seems to have suffered some identity
>confusion. I have read ccounts of Eliot wearing green facepowder, one of
>them I believe from Virginia Woolf. This theatrical affectation would
>indicate a desire for masking, the taking on of a role.
Why is role playing an indicator of identity confusion? No offense, but
this strikes me as the poppest of pop psychology, assuming what it should
Personally, I think readings of TWL as misogynist or "confused identity"
are bogus (not insincere). They import a present day ideology and try to
fit the poem to it, i.e. they start wrong and stay wrong. If you (in
general) are an adherent of that ideology, you overlook all the bad logic.
I realize that is not the popular view, but as others have pointed out,
it's not about voting or popularity.