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Time PresentThe Newsletter of the T. S. Eliot SocietySpring 2015Number 85CONTENTSEliot on the Poetry of His ContemporariesEssays:Eliot on the Poetry of HisContemporariesby Marjorie PerloffBy Marjorie Perloff1Annie Dunn: An Eliot SocietyPilgrimageby Ronald Schuchard2Eliot Society Call for Papers3ReviewsPoetry and Its Others: News,Prayer, Song, and the Dialogue ofGenres, by Jahan RamazaniReviewed by T. Austin Graham 7Bequest from Eliot’s Library toMagdalene College, CambridgeReviewed by M. E. J. Hughes8Out of Character: Modernism,Vitalism, Psychic Life, by OmriMosesReviewed by Corey Latta12The Little Spaniel Theatre’sAdaptation of T. S. Eliot’s Murderin the CathedralReviewed by Hussain Azam14Public Sightingsby David Chinitz10Eliot News11Letter to the Editorfrom David Moody14Abstracts15Election Outcome17Eliot Society Membership18Today, when the reviewing of new books of poetry is often little morethan expanded blurb writing, singling out this or that volume from thehundreds of slim collections that pour out from the small presses, it is thegreatest pleasure to read the hitherto uncollected book reviews by the youngT. S. Eliot, now available in Volume 1 of The Complete Prose of T. S. Eliot: TheCritical Edition, ed. Jewel Spears Brooker and Ronald Schuchard. Writtenprimarily for The Egoist, but also for such other journals as The New Statesman,these reviews and reflections on contemporary poetry present Eliot at hisbrilliant, learned, funny, and iconoclastic best.Consider Eliot’s reaction, in a 1918 omnibus review for The Egoist, to alavishly produced poetry book by E. F. A. Geach and D. E. A. Wallace coylytitled –Esques:The authors of –Esques trickle down a fine broad page in a pantoum, aroundel, a villanelle, occasionally pagan, mode of thirty years ago:Why then, O foolish Christ,Didst thou keep trystWith maudlin harlots wanWith glad things gone?To which the obvious answer is, Why did you? Young poets ought tobe cheaply printed; such sumptuous pages deceive many innocent critics. (733)Enough said! Further down the page, Eliot glances at the young Alec Waugh’sResentment just long enough to note that “Mr. Waugh . . . would appear tohave been influenced by some older person who admired Rupert Brooke.”Not even Brooke himself but “some older person who admired” him! It can’tget much worse than that, can it?Eliot is not always so cutting. A review for The Egoist of the Georgianpoet Harold Monro’s Strange Meetings (573) becomes a jumping off pointfor a discussion of the “trivial” versus the “accidental.” The latter, typical ofAmerican poets, is characterized by “an arrest at the object in view” without“betraying any reaction beyond that revealed in the choice and arrangement.”The trivial, associated in Eliot’s mind with English poetry, can be tracedback to Wordsworth. The great Romantic poet, Eliot argues, cannot let “theobject” live: when, for example, he writes, in the famous concluding line ofthe Immortality Ode, of “the meanest flower that blows,” he is insisting thatwe take that flower (daffodil) seriously just because it is a flower. Of the twocamps, Eliot seems to favor the “accidental,” for at least precise descriptionof a given object allows for defamiliarization, “express[ing] the strangeness of. . . familiar objects” (576).continued on page 4Published by the T. S. Eliot Society, a tax-exempt, nonprofit 501(c)(3) literary organization5007 Waterman Blvd., St. Louis, Missouri 63108
ESSAYSAnnie Dunn:An Eliot Society PilgrimageCatholic Irish nursemaid.”1 Although we do not knowthe dates of Annie’s service as Eliot’s nanny, she was inplace, if Eliot’s memory of his age is correct, no laterthan 1894. In August 1930, when an editor of a St.Louis paper asked Eliot to reminisce about his youth inthe city, he replied:by Ronald SchuchardThe charming photograph of schoolbound TomEliot looking mischievously at the camera under thewatchful eyes of his nursemaid Annie Dunn firstappeared, without the caption by his brother Henry, inPeter Ackroyd’s T. S. Eliot: A Life (1984). Beyond thestandard description of her as an Irish Catholic insubsequent reprints, there seems to have been nointerest in further identification. When she began toreappear in Eliot’s uncollected prose in 1927, however,The earliest personal influences I remember,besides that of my parents, was an Irishnursemaid named Annie Dunne [sic], to whomI was greatly attached; she used to take me to myfirst school, a Mrs. Lockwood’s, which was a littleway out beyond Vandeventer place. . . . I findthat as one gets on in middle life the strengthof early associations, and the intensity of earlyimpressions, becomes more evident; and manylittle things, long forgotten, recur [such as the]occasions on which my nurse took me with herto the little Catholic Church which then stood onthe corner of Locust Street and Jefferson Avenue,when she went to make her devotions.2In his recent article on “T. S. Eliot as a Schoolboy,”Society member Jayme Stayer quotes a sourcedescribing Mrs. Lockwood’s school as “‘a kindergartenprimary school’ for boys the age of seven or eight.’”3Henry’s surmise that he took the photograph ca. 1895is probably correct: seven-year-old Eliot (not lookingeight), with he and Annie both in jackets, was likelybeing escorted to Mrs. Lockwood’s in the autumn forthe first of three years there. And it seems likely thatAnnie remained in charge of her ward at least untilhe was enrolled in the Smith Academy in the autumnof 1898. Whatever the actual chronology and range,the evidence suggests that Annie Dunn’s catechisticalESSAY1 T. S. Eliot, “Why Mr. Russell Is a Christian,” Criterion, 6(August 1927), 177–79; in Dickey, Formicelli, and Schuchard, eds., The Complete Prose of T. S. Eliot: The Critical Edition,Vol. 3, forthcoming on Project Muse from Johns HopkinsUniversity Press and Faber and Faber.2 Eliot’s letter of 8 August to Marquis W. Childs was published in John G. Neihardt, “Of Making Many Books,” St.Louis Globe-Democrat (October 15, 1930), 3B; in CompleteProse Vol. 3. The Eliot home was at 2635 Locust Street.3 Jayme Stayer, “T. S. Eliot as a Schoolboy: The LockwoodSchool, Smith Academy, and Milton Academy,” TwentiethCentury Literature, 59.4 (2013), 623. Mrs. Ellen Lockwood(1855–98), a friend of Eliot’s mother, Charlotte, operatedthe private primary school for boys at 3841 Delmar Avenueuntil her death in December 1898.continued on page 5with continuous hints of an unusually strong personalbond and spiritual influence, the editors of The CompleteProse of T. S. Eliot knew that a full portrait was imperative.In August 1927, two months after his conversion as anAnglo-Catholic, Eliot stated in his review of BertrandRussell’s Why I Am Not a Christian that Russell’sarguments “are all quite familiar. I remember that hisargument of the First Cause (as put to J. Stuart Mill byJames Mill) was put to me at the age of six by a devoutlyPhoto of Eliot and Annie Dunn, Estate of T. S. Eliot, Henry Ware EliotCollection of T. S. Eliot, 1881–1994 (Ms Am 2560), Houghton LibraryTime Present2Spring 2015
ELIOT SOCIETY CALL FOR PAPERSThe 36th Annual Meeting of the T. S. Eliot SocietySt. Louis, September 25–27, 2015The Society invites proposals for papers to bepresented at our annual meeting in St. Louis. Clearlyorganized proposals of about 300 words, on any topicreasonably related to Eliot, along with brief biographicalsketches, should be emailed by June 13, 2014, totseliotsociety@gmail.com, with the subject heading“conference proposal.”Papers given by graduate students and scholarsreceiving their doctoral degrees no more than two yearsbefore the date of the meeting will be considered for theFathman Young Scholar Award. Those eligible for theaward should mention this fact in their submission. TheFathman Award, which includes a monetary prize, willbe announced at the final session of the meeting.Eliot Society members who would like to chair apanel are invited to inform the President of their interest,either with or independently of a paper proposal.of Illinois (Urbana-Champaign) before joining the Pennfaculty in 2008. He has been a fellow of the AmericanCouncil of Learned Societies, the National Endowmentfor the Humanities, and the Center for Advanced Studiesat the University of Illinois.Peer Seminar: “Prufrock” OneHundred Years Later“The Love Song of J. Alfred Prufrock” first appearedin print 100 years ago, in Poetry magazine, June 1915. Our2015 peer seminar with Cassandra Laity will recognizethis centennial with a focus on “Prufrock” then and now.Possible topics for discussion might include: how did Eliot come to write this poem? (influenceshistorical, artistic, cultural, etc.) how does it intersect with ideas, experiences, anddevelopments of the early twentieth century, orof our time? (philosophy, religion, urbanization,material culture, medical and technologicaladvances, feminism, gender, sexuality, the body,disability, ecology, etc.) how does the poem relate to the milieu of littlemagazines in which it first appeared? how was the poem received? what is the legacy of “Prufrock” in the twentiethand twenty-first centuries? (from influence toparody, from literature and other arts to popularculture)Participants will pre-circulate short position papers (5pages) on any aspect of the poem, its context, meaning,or impact, by September 1, for discussion at the meetingof the peer seminar from 10 to 12 on the first day ofthe 2015 Eliot Society conference, Friday, September 25.Membership in the peer seminar is limited to twelve ona first-come, first-serve basis. Please enroll by July 15, bysending an email with the subject line “peer seminar” totseliotsociety@gmail.com with your contact information.Memorial Lecturer: Jed EstyJed Esty is Vartan Gregorian Professor of English atthe University of Pennsylvania. His 2015 Eliot Societylecture will be drawn from a new project entitled Agesof Innocence: Culture and Literature from Pax Britannica tothe American Century. Esty is the author of two previousbooks: Unseasonable Youth: Modernism, Colonialism, andthe Fiction of Development (Oxford, 2012) and A ShrinkingIsland: Modernism and National Culture in England(Princeton, 2004). With Joe Cleary and Colleen Lye,he coedited a 2012 special issue of Modern LanguageQuarterly on the topic Peripheral Realisms. With AniaLoomba, Suvir Kaul, Antoinette Burton, and MattiBunzl, he coedited Postcolonial Studies and Beyond (Duke,2005). He has published essays in Modern Fiction Studies,Victorian Studies, Modernism/Modernity, ELH, ALH,Contemporary Literature, Narrative, Novel, and the YaleJournal of Criticism.Esty specializes in twentieth-century British, Irish,and postcolonial literatures, with additional interests incritical theory, history and theory of the novel, colonialand postcolonial studies, and the Victorian novel. Afterreceiving his BA from Yale and PhD from Duke, hetaught for several years at Harvard and at the UniversityTime PresentCassandra Laity is currently a visiting scholar at theUniversity of Tennessee-Knoxville. She was a coeditorof Modernism/Modernity for ten years (2000–2010) anda founder of the Modernist Studies Association (MSA).3Spring 2015
ELIOT SOCIETY CALL FOR PAPERSLaity has published numerous articles on W. B. Yeats,H.D., T. S. Eliot, Elizabeth Bishop, A. C. Swinburneamong other poets. She is author or editor of threebooks: H.D. and the Victorian Fin de Siècle: Gender,Modernism, Decadence (Cambridge UP, 1996; pbk2009); H.D.’s Paint it Today (NYUP, 1992); and, withNancy Gish, Gender, Desire and Sexuality in T. S. Eliot(Cambridge UP, 2004; pbk 2007). She is planning tolaunch a new journal, Feminist Modernist Studies (FMS),with Anne Fernald. She is currently completing a book,Anthropocene Feminism: Darwin’s Beagle Geology fromDecadence to Modernist Women’s Poetry.ESSAYSEliot on His Contemporariesfrom a cosmopolitan point of view it is a little belated;but considered at closer range it is not quite the NewEngland of the previous generation, or quite of anybodybut Mr. Frost, and it is not a New England of ghosts.Mr. Frost has done somethingon his own” (609–10).REVIEWSTouché. What Eliot suggests is that, compared to thegreat Romantics, English as well as Continental, Frost’spoetry does not exactly represent a breakthrough, buthere is a poet who does have a voice of his own; hisNew England is one he has constructed—no mean feat—whereas a poem like Idylls of the King (and Eliot is notafraid to attack the British canon) “sounds often likeTennyson talking to Queen Victoria in heaven.”Eliot the reviewer is certainly having fun. What ismost remarkable about these early reviews is not theirerudition, which is very impressive, nor their stringency,nor even their remarkable wit. Rather it is their displayof Eliot’s very good sense—what he called in his essay onAndrew Marvell “the tough reasonableness behind theslight lyric grace” (II, 310). As a young man, he was, inmany ways, a Yankee pragmatist.Take the delightful piece “The Borderline of Prose,”published in The New Statesman. In World War IEngland, there was evidently much outcry against the“Prose-Poem,” with mainstream critics descrying the“new” genre as decadent. Eliot refuses to engage indiscussions about the difference between poetry andprose—a topic he considers fit only for “school debatingsocieties”:Perloff continued from page 1The “accidental,” although Eliot never says so, is ofcourse Imagism, Pound’s “The natural object is alwaysthe adequate symbol.” Eliot himself, however, prefers apoetry in which “the feeling and the material symbolpreserve exactly their proper proportion,” as when JohnDonne writes, “When my grave is broke up again . . ./ And he that digs it, spies / A bracelet of bright hairabout the bone.” Here, Eliot is no doubt thinking of hisown poetry: what he hopes to produce is what he was tocall in “Hamlet and his Problems” (1921) the “objectivecorrelative.”But to find “the precise formula” for emotion isnever easy. Unlike his friend Ezra Pound, Eliot remainssuspicious of THE NEW. Reviewing Harriet Monroeand Alice Corbin Henderson’s The New Poetry: AnAnthology (1917), he wonders how many of Monroe’scontributors really do, in Yeats’s phrase, “wring the neckof rhetoric.” Inevitably, most have limited strengths,which is not to say that the anthology isn’t worthwhile:An anthology of contemporary verse can bea document of great importance for futuregenerations. It ought not to contain many goodpoems but a few; otherwise perish. Bad poems,from this point of view, need to be as carefullychosen as good; Miss Monroe and Mrs. Hendersonhave chosen wisely. Most anthologies exhibit onlythe vices of a particular sect; and the badness ofa poem is immeasurably heightened, the reader’svision clarified and his mind instructed, when badpoems of totally different types are set off againsteach other. (609)There are doubtless many empirical generalizationswhich one may draw from a study of existingpoetry and prose, but after much reflection Iconclude that the only absolute distinction to bedrawn is that poetry is written in verse and proseis written in prose; or, in other words, that thereis prose rhythm and verse rhythm. (538)This is, it seems to me, a very commonsensical viewof anthologies, as seen from an historical perspective.And Eliot has a shrewd sense of what stands out:“There is the New England of Mr. [Robert] Frost:Time PresentAha, thinks the unwary reader, the conservative Eliotis dismissing the prose poem as not quite poetry. But,no, he immediately steps back and reminds us that “the4Spring 2015
ESSAYSAnnie Dunnprose poetry of [the Nineties] was probably based uponthe work of a man much greater than any poet thenliving—and that is Arthur Rimbaud”:Schuchard continued from page 2influence on young Tom may be underestimated.She may have been the inspirational spirit behind hiseventual visits to the Paris churches of Saint-Sulpiceand La Madeleine and his recorded study of Italiancathedrals during his 1910–11 year abroad.4In the mid-1940s, when Eliot’s friend Janet AdamSmith, wife of Michael Roberts, wrote to Eliot to reportthat her son Edward Adam Roberts, Eliot’s godson,had enjoyed being taken to the Catholic Church byhis nanny, Mrs. Logan, the letter triggered again “theintensity of early impressions”: “My nanny,” he replied,Few people in England have heard of theIlluminations, and most of them perhaps believethat the title indicates a supposed divineinsight, instead of meaning simply “Picturebook illustrations.” Rimbaud, who I suspect isresponsible for everything that is good in Verlaine,wrote his prose poems between 1872 and 1875.They are short prose pieces, as obscure as KublaKhan or Christabel and of a similar inspiration.They are amazingly convincing, and their prose isgood French prose. Their curious precision, theirperfect cogency in the choice and juxtapositionof images, their evident sincerity (as if risingimmediately and unreflectingly from the coreof the man’s feeling), these qualities give thema position unique in French literature, and inEnglish nearer to Coleridge and Blake than toanyone else. Beside the prose of Rimbaud, thelaboured opacity of Mallarmé fades colourless anddead. (538)(when I was at an age when a nanny, especially tothe much-the-youngest child of a large family, ismore important than anybody else) was an Irishgirl from County Cork, and I was devoted to her—she sometimes took me into the local CatholicChurch when she went to say her prayers, and Iliked it very much: the lights, the coloured statuesand paper flowers, the lived-in atmosphere, andthe fact that the pews had little gates that I couldswing on.5That last sentence is vintage Tom playing the badboy, daring to thumb his nose at the French poet theSymbolists of the Yellow Nineties had worshipped.We know that, in fact, Eliot was a great admirer ofMallarmé. But, when it comes to the prose poem,Rimbaud is the great innovator, just as he is a strongerpoet than Verlaine. Indeed, it doesn’t matter whetherwe classify the Illuminations as “prose poetry” orclaim that Rimbaud’s rhythm is “poetic.” The fact isthat these “short prose pieces”—call them what youlike—are great works of art; that Rimbaud’s sequenceholds a “position unique in French literature.” Thecomparison to Coleridge and Blake seems just right.As for that “borderline of prose,” Eliot concludes:The recurrence of such positive reminiscences overmany years suggests that Annie played a significantrole in shaping Eliot’s Catholic sensibility at an earlyage, especially when memories of the First Cause andimpressionable visits to Annie’s church are set againstthe indifferent memories of his Unitarian upbringing.In 1927, in correspondence with Reverend WilliamForce Stead about baptism and confirmation inthe process of conversion, Eliot wrote with mockinguncertainty: “There is a form of baptism, a ritual withwater, in Unitarianism. I cannot of course swear that Iwas baptised! I don’t remember—is a certificate needed?. . . By the way, Unitarians have a kind of CommunionService—once a month, also. I never communicated;my parents did, regularly; but they did not bother aboutme.”6 After Stead informed Eliot that it was necessaryThe Illuminations attain their effect by an instantand simple impression, a unity all the moreconvincing because of the apparent incongruityof images. They find their proper expression inprose because they seem to have come to theirauthor in that form; and Dante is not “prosaic,”nor would Rimbaud be more “poetic” if he hadput his visions into verse. (539)4 See Nancy D. Hargrove, “T. S. Eliot’s Italian Trip, Sum-mer 1911,” South Atlantic Review, 76.3 (Summer 2011), 7–32.5 See Janet Adam Smith, “Tom Possum and the RobertsFamily,” Southern Review, 21 (October 1985), 1060.6 The Letters of T. S. Eliot, Vol. 3: 1926–1927, ed. Valerie Eliotand John Haffenden (London: Faber and Faber, 2012), 412;hereafter abbreviated L3.The approach, eminently practical, is that of aworking poet wh
Bequest from Eliot’s Library to Magdalene College, Cambridge Reviewed by M. E. J. Hughes 8 Out of Character: Modernism, Vitalism, Psychic Life, by Omri Moses Reviewed by Corey Latta 12 The Little Spaniel Theatre’s Adaptation of T. S. Eliot’s Murder in the Cathedral Reviewed by Hussain Azam 14
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