"In my piece, this grid, a background pulse, is constantly there as both metered, passing [and] existential time. These are at the core of Eliot's poetry."
"After 9/11, I found myself as a Ground Zero resident," Fujimura said. "I was disoriented. I didn't know where to turn. I began carrying these poems in my back pocket, reading them aloud [sometimes]. In that disoriented state, I needed to hear [Eliot's] words."
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:
FIRE AND SPIRIT: SCRIPTURE'S SHAPING PRESENCE IN T.S. ELIOT'S FOUR QUARTETS
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:
P <[log in to unmask]> wrote Mon, Feb 11, 2013 3:55:25 AM: