Early poems by T. S. Eliot collects all of his early work through "The Waste Land." Poems like "The Love Song of J. Alfred Prufrock," "Whispers of Immortality," and "Gerontion" ponder aging and mortality, while "Sweeney Erect," "Mr. Eliot's Sunday Service," and "Sweeney Among the Nightingales" sketch the temptations and agonies of the modern man in the character of Sweeney.Woven throughout with allusions to works in six foreign languages and sporting over fifty footnotes by the author, "The Waste Land" is as notorious for its bleak picture of a post-war world as it is for its density and difficulty.Eliot's flashes of insight bring the everyday into stark relief. Whether suffering an insufferable bore, observing the lives of strangers on the streets, or juxtaposing the sacred and the profane, his sometimes autobiographical vignettes of modern life still feel current a century after they were penned.

A collection of poems, some of which had first appeared in Poetry, Blas, Others, The Little Review, and Arts and Letters.

The inspiration for the iconic musical Cats, T. S. Eliot's classic and delightful collection of poetry about cats. These lovable cat poems were written by T. S. Eliot for his godchildren and continue to delight children and adults alike. This collection is a curious and artful homage to felines young and old, merry and fierce, small and unmistakably round. This is the ultimate gift for cat and poetry lovers.

The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.

Julius's critically acclaimed study (looking both at the detail of Eliot's deployment of anti-Semitic discourse and at the role it played in his greater literary undertaking) has provoked a reassessment of Eliot's work among poets, scholars, critics and readers, which will invigorate debate for some time to come.

T.S. Eliot Remains One Of The Most Widely Read Poets Of The 20Th Century, And Perhaps The Greatest. There Has, However, Been Quite A Dearth Of Critical Material On His Early Poetry Which Has Largely Perplexed Literary Critics. This Book Provides, For The First Time, A Lucid Exposition Of Prufrock And Other Observations 1917 And Poems 1920. Viewing The Poems In The Larger Context Of The Poet-Critic S Life And Works, It Repudiates A Great Many Assumptions About His Early Poetry, Bridges The Artificial Gulf Between The Early And The Later Work, And Makes For Greater Clarity Of Understanding. A Fascinating Study Of Eliot S Spiritual Odyssey, It Would Definitely Appeal To Lovers Of His Poetry.

What principles connect—and what distinctions separate—“The Love Song of J. Alfred Prufrock,” The Waste Land, and Four Quartets? The thought-tormented characters in T. S. Eliot’s early poetry are paralyzed by the gap between mind and body, thought and action. The need to address this impasse is part of what drew Eliot to philosophy, and the failure of philosophy to appease his disquiet is the reason he gave for abandoning it. In T. S. Eliot’s Dialectical Imagination, Jewel Spears Brooker argues that two of the principles that Eliot absorbed as a PhD student at Harvard and Oxford were to become permanent features of his mind, grounding his lifelong quest for wholeness and underpinning most of his subsequent poetry. The first principle is that contradictions are best understood dialectically, by moving to perspectives that both include and transcend them. The second is that all truths exist in relation to other truths. Together or in tandem, these two principles—dialectic and relativism—constitute the basis of a continual reshaping of Eliot’s imagination. The dialectic serves as a kinetic principle, undergirding his impulse to move forward by looping back, and the relativism supports his ingrained ambivalence. Brooker considers Eliot’s poetry in three blocks, each represented by a signature masterpiece: “The Love Song of J. Alfred Prufrock,” The Waste Land, and Four Quartets. She correlates these works with stages in the poet’s intellectual and spiritual life: disjunction, ambivalence, and transcendence. Using a methodology that is both inductive—moving from texts to theories—and comparative—juxtaposing the evolution of Eliot’s mind as reflected in his philosophical prose and the evolution of style as seen in his poetry—Brooker integrates cultural and biographical contexts. The first book to read Eliot’s poems alongside all of his prose and letters, T. S. Eliot’s Dialectical Imagination will revise received readings of his mind and art, as well as of literary modernism.