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Not all the men came back. Many came back dysfunctional. I believe one of the women's husbands had just got demobbed. A lot of them didn't, for after WWI most of the countries maintained standing armies.

P.
  ----- Original Message ----- 
  From: Nancy Gish 
  To: [log in to unmask] 
  Sent: Thursday, September 15, 2011 6:39 PM
  Subject: Re: 'The Waste Land' - a recitation (was Re: vis-a-vis 'Four Quartets')


  During the War, yes.  Not much after. But working in a pub is something women would likely have been able to sustain.
  N

  >>> Peter Montgomery <[log in to unmask]> 09/15/11 9:24 PM >>> 
  I suppose, during and after the "great war" it would be quite commonplace 
  for women to be doing 
  just about all the jobs around. 
  P. 
  ----- Original Message ----- 
  From: "Carrol Cox" <[log in to unmask]> 
  To: <[log in to unmask]> 
  Sent: Friday, September 09, 2011 3:36 PM 
  Subject: Re: 'The Waste Land' - a recitation (was Re: vis-a-vis 'Four 
  Quartets') 


  > On 9/9/2011 4:22 PM, David Boyd wrote: 
  >> Have always seen the 'hurry up......' exhortations as 'voices off'' and 
  >> so 
  >> commonplace to an English pub session as not to be too relevant at all 
  >> as 
  >> to the gender or whatever of the person in charge of the bar - surely 
  >> this 
  >> matters not a jot ? 
  >> 
  >> Of course there is irony and ambiguity in this context in the words it's 
  >> time', but 'Time Gentlemen Please !' and 'Can we please have yer glasses' 
  >> are / were very very commonplace cries at the (enforced) hour of closing 
  >> of 
  >> UK bars and pubs, and Eliot's portrayal just at one level provides 
  >> authenticity for the whole working class pub session scenario. 
  > 
  > Any non-frivolous discussion of the lines _begins_ with taking David's 
  > point for granted. That's where interpretation begins, fitting the 
  > bartender's words first into the conversation it interrupts, then into the 
  > framework of that section of the poem, and (skipping a couple steps) into 
  > the obsession with time that characterizes Eliot's poetic work. Trying to 
  > take the words away from the bartender, or fussing about the speaker's 
  > gender seems like a deliberate attempt to disrupt discussion. And when 
  > such disruptions begin to characterize almost all list conversation, you 
  > have the death of the list as a serious response to Eliot or even as 
  > light entertainmenbt for those interested in the poems rather than the 
  > sound of their own voices in an echo chamber. 
  > 
  > Carrol