T. S. Eliot: The Making of an American Poet, 1888–1922

Contents

 xi     xvii   [] –:   () Eliot’s St. Louis and “The Head of the Family,” ; () Sons and Lovers: Sex and Satan, ; () A Frail Youth, a Bookish Boy, ; () Early Landscapes, Later Poems,  [] –:    () Eliot at Fourteen: Atheistical, Despairing, Gloomy, ; () Poetic Beginnings: Merry Friars and Pleading Lovers, ; () Missourian, New Englander: Double Identity , ; () A Soul’s Paralysis:“Denying the Importunity of the Blood,”  [] –: :     () Prologue: A Problematic Student, ; () Bohemian Boston at the Turn of the Century, ; () Bohemian Harvard and Isabella Stewart Gardner (“Mrs. Jack”), ; () A Fellow Poet: Conrad Aiken, ; () “A Very Gay Companion”: Harold Peters, ; () Practicing to Be a Poet: From Omar’s Atheism to Laforgue’s Masks, ; () Poems Written –,  [] –:  : , ,   Teachers: () Irving Babbitt: Human Imperfectibility, ; () Barrett Wendell: The Inexperience of America, ; () George Santayana: Philosopher of Reason, ; () William Allan Neilson: Poetic Theorist, ; Texts: () Dante and Eliot’s “Persistent Concern with Sex,” ; () Petronius’s Satyricon: A “Serene Unmorality,” ; [contents] () Symons/Laforgue: The Ironic Mask, ; () Havelock Ellis,“Sexual Inversion,” ; () John Donne: Thought as Experience, ; Temptations: () The Lure of Europe: Brooks’s The Wine of the Puritans, ; () “T. S. Eliot, the Quintessence of Harvard,”  [] –: . .     () The Primacy of Paris, –, ; () Jean Verdenal: “Mon Meilleur Ami,” ; () Matthew Prichard: A Blurred Portrait, ; () Henri Bergson: A Brief Conversion, ; () Charles Maurras: The Action Française, ; () Finding the Personal in the Poem: Drafts of “Portrait” and “Prufrock,” ; () Poems Written –,  [] –:       () Prologue: The Rise of Harvard’s Philosophy Department and the Santayana Controversy, ; () The Decline and Fall of Harvard Philosophy in Eliot’s Day and After, ; () Eliot and Oriental Philosophies and Religions, ; () Psychology as Philosophical, Religion as Psychological, Mysticism as Magical, ; () Eliot and the Elusive Absolute, ; () Epilogue: The Eliot Controversy,  [] –:       () Philosophy in Marburg, War in Europe, ; () London Interlude: Pound and Russell, ; () Oxford, –: Reconsidering Philosophy, ; () New Friends and Old: Culpin, Blanshard, Pound, Lewis, ; () The Mystery of Emily Hale: “The Aspern Papers in Reverse,”  [] :        () A Sudden Marriage at the Registry Office, ; () Who Was Vivien? ; () A Flurry of Correspondence, a Day of Decision, ; () An Unhappy Visit Home (Gloucester, July –September ), a Disastrous Honeymoon (Eastbourne, September –), ; () “Bertie” Russell’s “Friendship,” ; () “What I Want Is MONEY!$!£!! We are hard up! War!” ; () Hallucinations, Heavenly and Hellish Poetic Visions:“St. Sebastian” and “St. Narcissus,” ; () Poems Written –,  [] :  ,  ,    () “The Most Awful Nightmare of Anxiety”;“Pegasus in Harness,” ; () The Triumph of Poetry over Philosophy, ; () Reviews and Essays, Teaching and Lecturing: Total Immersion, ; () A Widening Circle of Friends and Associates, Writers and Artists,  [viii] [] –: . . : , , , ,    () Eliot the Banker: March , –November , ; () Eliot the Extension Lecturer, ; () Eliot as Eeldrop, ; () Eliot the Assistant Editor: June –December , ; () Eliot the Poet, ; () America Enters War: April , –Armistice Day, November , , ; () “Writing . . . Again”: The French and Quatrain Poems, ; () Poems Written –,  [] –:   ,     () Death of a Father, ; () Banking, Teaching, Editing, Writing: Money and Power, ; () Friendships and Relationships: Deeper and Wider, ; () A Voice from the Past;“An Encounter of Titans”; Moving Again, ; () Three New Books: Poetry and Prose, ; () “Gerontion”: Return of Fitzgerald’s Omar, ; () Poems Written –,  [] –:  ,  ,  ,  () Prologue: Paris and the Pension Casaubon, Paris Again in the Spring, ; () “A Long Poem . . . on my Mind for a Long Time,” ; () A Family Visit: Mother, Brother, Sister—Wife, ; () A Room of One’s Own; Wearing Makeup; Confidante Virginia Woolf, ; () Roommates, “Renowned Pederasts”: Kitchin, Senhouse, Ritchie,  [] :     () “The Uranian Muse,” The Waste Land, and “il miglior fabbro,” ; () Publication of The Waste Land, ; () “Out into the World”: The Waste Land Reviewed, ; () Pound’s Financial Scheme for Eliot:“Bel Esprit,” ; () Birth of The Criterion,  []   :        () T. S. Eliot and Walt Whitman, ; () An American Poet Discovers His American-ness,      . .            [ix] ...