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T. S. Eliot and the Cultural Divide, by David E. Chinitz
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For decades T. S. Eliot has been applauded and denounced as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide represents this great writer as the complex figure he was, an artist attentive not only to literature but also to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.
David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was dynamic rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture, both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.
What results is a work that will persuade adherents and detractors alike to return to Eliot and find in him a writer who liked a good show, a good thriller, and a good tune, as well as a "great" poem.
- Sales Rank: #3491984 in Books
- Published on: 2005-12-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, .82 pounds
- Binding: Paperback
- 274 pages
From the Inside Flap
The modernist poet T. S. Eliot has been applauded and denounced for decades as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide refurbishes this great writer for the twenty-first century, presenting him as the complex figure he was, an artist attentive not only to literature but to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.
David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was ambivalent rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.
What results is a work that will persuade adherents and detractors alike to return to Eliot and find in him a writer who liked a good show, a good thriller, and a good tune, as well as a "great" poem.
About the Author
David E. Chinitz is associate professor of English at Loyola University Chicago.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Superb
By Wayne Dynes
After the death of T. S. Eliot in 1965, his reputation as a poet and critic, once stratospheric, began a long descent, abetted by the postmodernist attack on modernism, of which Eliot ranked as a canonical exemplar. In recent years, Eliot's reputation has begun to revive. David E. Chinitz' book is a remarkable contribution to this revival. It convincingly demolishes the image of the poet as a dull, judgmental figure, showing many aspect of contact with popular culture. Writing with deft strokes, Mr. Chinitz seems to have read everything, always deploying his erudition strategically. This book may well rank as the most important critical work ever published on the poet.
13 of 13 people found the following review helpful.
Not your grandfather's T.S. Eliot . . .
By A reader from San Diego
I learned a great deal from this extremely readable book, which argues
that Eliot should be viewed through the lens of his relationship with
popular culture and not just as a literary highbrow. Chinitz shows how
Eliot has been constructed over time by critics and others as an elitist
or stuffy intellectual, and he develops his own intriguing portrayal of
Eliot as someone who wanted to, tried to, and often but not always
succeeded in crossing the "cultural divide," that space between high art
and popular culture. He doesn't just point out pop culture references in
Eliot's work; he also very effectively reveals how various sources,
ranging from popular songs and plays to comedians and comic strips,
influenced Eliot's poetry, his ideas, and the path of his career. The
book leaves you feeling that Eliot needs to be reinterpreted and newly
understood. I found Chinitz's writing style very accessible and
"user-friendly" as well as entertaining.
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