T.S. (Thomas Stearns) Eliot, was born into a prominent Unitarian family in Saint Louis (1888). He was fond of his childhood, and he liked to watch steamboats going up the Mississippi River. He adored his Irish nurse, Annie, who brought him to church and talked to him about God. He loved to read, especially the poetry of Edgar Allan Poe. He was a bird watcher and could identify more than 70 kinds of birds.
But he didn't have many friends as a boy, and he also had trouble making friends at Harvard, where he went to college. He joined some clubs and went to dances and parties here and there. He lifted weights to try to improve his appearance. But in the end, he remained somewhat of a recluse.
After Harvard, Eliot moved to England, where he got a job as a banker. He was a fastidious worker, arriving at 9:30 and leaving at 5:30 every day, working one Saturday every month. He ate lunch every day at the same restaurant, called Baker's Chop House. He met and married a 26-year-old ballet dancer named Vivienne Haigh-Wood. They had known each other for only three months, and didn't ever become completely comfortable with each other. They slept in separate rooms, and Eliot couldn't bring himself to shave in front of her. A few years into their marriage, he joined the Church of England and took a vow of chastity.
From a young age, Eliot wrote about moral decay and getting old and the hopelessness of life, and he expressed those feelings in his most famous poem, The Waste Land (1922), a long dark poem about the search for redemption in a post-World War I world.
After he divorced, Eliot had other women who loved him and wanted to marry him. Eliot said that living with a woman was a "nightmare" and something that didn't interest him. But when he was almost 70, he secretly married his 30-year-old secretary, Valerie.
Eliot and his wife were together all the time, and she made him very happy. He never left her side, and he wrote her a letter every week. They sat at home together, playing Scrabble over cheese and Scotch whiskey. His health was failing, but he brought her on a trip to the United States—to Texas and New York and Boston. They went out dancing at a boat party thrown by some Harvard students. He started telling practical jokes and became fond of whoopee cushions and exploding cigars. He wrote a fan letter to Groucho Marx, who wrote back, and the two became close pen pals.
Eliot said, "This last part of my life is the best, in excess of anything I could have deserved."
The Waste-Land published 1922
I. THE BURIAL OF THE DEAD
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
*In my beginning is my end.
*You do not know how much they mean to me, my friends, and how, how rare and strange it is, to find in a life composed so much of odds and ends… to find a friend who has these qualities, who has, and gives those qualities upon which friendship lives. How much it means that I say this to you -without these friendships - life, what cauchemar!
*You are the music while the music lasts.
*What do we live for; if it is not to make life less difficult to each other?
*When a Cat adopts you there is nothing to be done about it except put up with it until the wind changes.
*I have measured out my life with coffee spoons.
*If I had more time, I would have written a shorter letter.
*Only those who will risk going too far can possibly find out how far one can go.
*Humankind cannot stand very much reality.
*Humor is also a way of saying something serious.
*I take as metaphysical poetry that in which what is ordinarily apprehensible only by thought is brought within the grasp of feeling, or that in which what is ordinarily only felt is transformed into thought without ceasing to be feeling.
*Success is relative. It is what we can make of the mess we have made of things.
*The last temptation is the greatest treason: to do the right deed for the wrong reason.
*Whatever you think, be sure it is what you think; whatever you want, be sure that is what you want; whatever you feel, be sure that is what you feel.
*Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.
*We shall not cease from exploration. And the end of all our exploring will be to arrive where we started and know the place for the first time.
The Hollow Men
T. S. Eliot
Mistah Kurtz—he dead.
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
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