Robert Crawford: Though I do understand why people often see—and hear—“The Love Song of J. Alfred Prufrock” as inventing modern poetry in English, I think The Waste Land does so more comprehensively. It’s as if this poem can give anything—a cry, a list of place-names, a snatch of conversation, a Sanskrit word, a nursery rhyme, an echo—an almost infinite and carrying resonance that brings with it unforgettable intensity. Ezra Pound who, prior to editing The Waste Land, had just been editing an English translation of an avant-garde collage-style French poem by Jean Cocteau, helped give the poem its intensity; but the words were Eliot’s.
As I’ve argued in Young Eliot, Pound’s editing was highly ethical in that he did not add or substitute words of his own; he just honed what Eliot had written. Eliot had learned from Pound’s bricolage style, but where Pound went on to go on and on and on, Eliot (with Pound’s editorial help) learned as a young poet just when to stop. That’s a great gift. So the poem exemplifies at once the way in which poetry can incorporate all kinds of diverse materials; yet it also constitutes a supreme example of poetic intensity. It’s quite a combination—and one from which innumerable poets (from Auden to Xu Zhimo and from MacDiarmid to Okigbo and beyond) have learned.
David Barnes: Basil Bunting famously compared Ezra Pound’s Cantos to the Alps: a poet ‘would have to go a long way around’ if they wanted to avoid them. I don’t know if The Waste Land is quite like that. Certainly, poetry was not the same after The Waste Land; at the same time, it’s perhaps more difficult to trace the influence of the poem than it is with Pound’s experimentations. In some ways, it’s quite difficult to go forward after The Waste Land, as it’s a poem that seems to have said it all. I sometimes wonder if The Waste Land hasn’t had more of an influence on the modern novel.
“The poem is such a key landmark that all modern poets know it, whether they swerve around it, crash into it, or attempt to assimilate it.”
https://t.co/Q0rBR0MeSh— Literary Hub (@lithub) October 29, 2022