I'm sorry to have missed out on this but here's the larger quote from 'Religion and Literature: A Reader', p. 10:

"[Eliot's] great early and preconversion poem The Waste Land (1922), portraying a godless landscape among other things, helped mark the beginnings of modernism in English literature, while his last poems, The Four Quartets (1943), reflect his later deep adhesion to Christianity, even as they maintain a strong sense of the existential struggle and journey of his early pieces. Indeed, in many ways, Eliot is close to the existential arguments of Paul Tillich's The Protestant Era (1957). // In this spirit, Eliot believed that poetry should pose the existential questions, and religion or theology should answer them."


Chokh Raj <[log in to unmask]> wrote Tuesday, February 12, 2013 11:53 AM: 

Religion and Literature: A Reader
(ed.) Robert Detweiler & David Jasper
Westminster John Knox Press, 2000 

"Eliot believed that poetry should pose the existential questions, 
  and religion or theology should answer them." 



Chokh Raj <[log in to unmask]> wrote Monday, February 11, 2013 1:59 PM: 

Cornelia Cook
Literature and Theology (2001) 15 (1): 85-101.
© Oxford University Press


The predominant scriptural model for T S. Eliot's early works was apocalyptic. In Four Quartets the poet's embrace of the medieval tradition which informed his chosen anglo-catholicism produces a new language which finds its scriptural affinities elsewhere, notably in the rhetorical strategies and significant motifs of gospel writing. Meditation on moments of epiphany produces an awareness of pentecostal presence which requires and values language and associates itself with tradition. A new inflexion emphasises Incarnation, opposing the teleologies of progressivism or apocalyptic with an equivalence of ‘now’ and ‘always.’ The associated motifs of baptism, purgatory and Pentecost are interwoven in Four Quartets to form an argument which revalues the world, language and history. 



Chokh Raj <[log in to unmask]> wrote Monday, February 11, 2013 1:44 PM: 


"To communicate with Mars, converse with spirits, ... Pastimes and drugs"


P <[log in to unmask]> wrote Mon, Feb 11, 2013 3:55:25 AM: 

The Hogwarts will be inconsolable.
P. M.

James Matthew Wilson
Religion & literature
2010, vol. 42, no. 3, [Note(s): 43-73, 258 [32 p.]]
University of Notre Dame Press 


The young Eliot indicates in various writings a vacillation between Bradleyian idealism and the skeptical acceptance of the philosophical materialism of George Santayana. In early writings, he also demonstrates an exceptional familiarity with the neo-Scholastic philosophy that had come to dominate Catholic university and intellectual life during the previous two generations. Attracted to the moderate realism of the neo-Scholastics, Eliot would eventually find in the writings of French neo-ThomistJacques Maritain a compelling argument for the reality of matter and idea alike, and so a foundation for his "classicist" vision of art and culture. Maritain's work would lead Eliot to re-read his own understanding of Bradley in neo-Thomist terms—as certain passages in The Waste Land suggest. Eliot would in turn influence Maritain's development of an affective theory of art. After his conversion to Anglo-Catholicism, however, Eliot would rely less on Thomist realism as he came to speak more confidently in terms of dogmatic theology. 



Chokh Raj <[log in to unmask]> wrote Sunday, February 10, 2013 8:48 AM: 

T. S. Eliot once called Jacques Maritain "the most conspicuous figure and probably the most powerful force in contemporary philosophy." 

T. S. Eliot, Jacques Maritain, and Neo-Thomism
The Modern Schoolman
Volume 73, Issue 1, November 1995
T. S. Eliot and Philosophy
Shun'ichi Takayanagi
Pages 71-90



Jacques Maritain: an excerpt from Wikipedia

Maritain's philosophy is based on the view that metaphysics is prior to epistemology. Being is first apprehended implicitly in sense experience, and is known in two ways. First, being is known reflexively by abstraction from sense experience. One experiences a particular being, e.g. a cup, a dog, etc. and through reflexion ("bending back") on the judgement, e.g. "this is a dog", one recognizes that the object in question is an existent. Second, in light of attaining being reflexively through apprehension of sense experience one may arrive at what Maritain calls "an Intuition of Being". For Maritain this is the point of departure for metaphysics; without the intuition of being one cannot be a metaphysician at all. The intuition of being involves rising to the apprehension of ens secundum quod est ens (being insofar as it is a being). In Existence and the Existent he explains:

"It is being, attained or perceived at the summit of an abstractive intellection, of an eidetic or intensive visualization which owes its purity and power of illumination only to the fact that the intellect, one day, was stirred to its depths and trans-illuminated by the impact of the act of existing apprehended in things, and because it was quickened to the point of receiving this act, or hearkening to it, within itself, in the intelligible and super-intelligible integrity of the tone particular to it." (p. 20)