----- Original Message -----From: [log in to unmask] href="mailto:[log in to unmask]">Chokh RajSent: Thursday, September 27, 2007 10:08 AMSubject: Re: Query: Eliot in Pop CultureThank you, Nathan, for drawing attention to this fascinating aspectof Eliot's poetry -- his special appeal to the youngsters.Let me try and see what strikes me most when I look at Eliot'spoetry with a schoolboy's eye -- a couple of random samples :Because I do not hope to turn againBecause I do not hopeBecause I do not hope to turnIt's the repetitive turn of phrase that strikes me first-- it's so much a part of the pop culture -- Eliot easilybelongs here.Let me take another clip:Twelve o'clock.Along the reaches of the streetHeld in lunar synthesis,Whispering lunar incantationsDissolve the floors of memory...It's fascinating to focus on an isolated phrase -- "Twelve o'clock" --it's so intriguing -- so inviting.A call, maaybe, that beckons the young to board the bandwagon ofa poetry unlike any one before !!!It's elsewhere too :Six o'clock.The burnt-out ends of smoky days.These short, brief, crisp turns of phrase have a charismaticpower of their own -- they lend themselves easily tothe youngster's incipient creativity -- there's theirresistible urge to go ahead along these lines andform one's own turns of phrase.Eliot's poetry abounds in them -- and, contrary to the matureacademics who tend to delve into the metaphoric aaspectof their meaning in relation to a whole poem, I believethe young are charmed by these flashes of wit.I could go on and on, and explore Eliot's poetry along such linesand see how he fits in with the young.And if you encourage me, I might keep sharing myspeculations. And before I close, here's a colloquial,everyday speech that more often than not finds expressionin Eliot's poetry: "Are these ideas right or wrong ?"It's the poetic possibilities of the spoken word that engagedEliot's attention -- and it's this that endears him to popculture. Just maybe !Best,CR
Diana Manister <[log in to unmask]> wrote:Nathan, Eliot has been an influence on contemporary language-centered poetry, although not so much as
Pound or Williams or Stein. In his use of found speech fragments in The Waste Land he created polyphony
or multiplicity of voices that goes beyond the univocal Romantic lyric in a manner that can be called Post-
modern. He also foregrounded individual words and phrases to a greater extent than earlier poetry did.
His poetry provides new models for poets searching for alternatives to forms of narrative and lyric associated with
Romanticism. He may be a dead white guy, but his ghost still haunts poetry!
> Date: Thu, 27 Sep 2007 10:32:08 -0400
> From: [log in to unmask]
> Subject: Re: Query: Eliot in Pop Culture
> To: [log in to unmask]
> From: [log in to unmask]
> Um, though - he's not any more "relevant" now than when he first wrote or in the 1960s or any other time, in a way differs from poetry in general. LOL.
> Correction/ amendment:
> Iím not attempting to prove Eliot any more relevant to mmodern culture than he was in his own time, but rather that he does not fit into the "old-dead-whit-guy" category that seems to have been applied to him. Thatís probably not an opinion held by anyone on this list, but it is fairly common place among high school students and teachers. Applying "relevance" in this case is not intended to prove him more significant than at his zenith, but to work upwards from a diminished conception.
> Also, it was the Crash Test Dummies song that got me started on the pop culture reference thing. I heard it on NPR one day about 3 years ago. Wikipedia has on their T. S. Eliot page a fairly extensive list of references in songs and other mediaÖ though some are quite shakyÖ the ones Iíve been getting back today are much more concrete.
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