Edinburgh Companion to T. S. Eliot and the Arts

Frances Dickey is Associate Professor of English at the University of Missouri. She is President of the T. S. Eliot Society and the author of The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound (2012). John Morgenstern is Lecturer in English at Clemson University. He is the general editor of The T. S. Eliot Studies Annual and the Historian of the T. S. Eliot Society.

• Preface, Ronald Schuchard;Part I. The Visual Arts1. Eliot in the Asian Wing1.1. “Mandarins” at the Museum of Fine Arts, Boston, Frances Dickey1.2. Eliot’s Tour of Asian and African Art in the Museums of Paris and London, Nancy Hargrove1.3. “Afternoon” in the British Museum, Michael Coyle2. The Modern Bacchanal: Eliot and Matisse, John Morgenstern3. Eliot and Italian Painting, Anne Stillman4. Eliot, Architecture, and Historic Preservation, Joshua MabiePart II. The Performance Arts5. The Musical World of Eliot’s Inventions, Frances Dickey; 6. Wagner in The Waste Land6.1 “Try, if possible, to hear something”: Mediating Wagners, Adrian Paterson6.2 “So all the women are one woman”: Eliot’s Kundry, Katherine Hobbs7. Eliot, Stravinsky, and the Rite, T. Austin Graham8. Beauty Is in the Ear of the Beholder: Eliot, Armstrong, and Ellison, Steven Tracy9. The Music of Four Quartets9.1 Into our First World: Schopenhauer, Wagner, and the Music of the Will in Four Quartets, Aakanksha Virkar-Yates9.2 Eliot and Absolute Music, Michelle Witen10. Eliot and the Music-Hall Comedian, Barry J. Faulk11. Evenings at the Phoenix Society: Eliot and the Independent London Theatre, Anthony Cuda12. Eliot and Dance, Susan Jones;Part III. Eliot and Media13. Eliot and the Idea of “Media”, David Trotter14. Eliot and Phonography, Malobika Sarkar15. Eliot’s Radio Times; or, Listen with Possum, Edward Allen

The essays assembled in T. S. Eliot and the Arts are genuinely groundbreaking: Eliot’s debt to Asian art, whether Chinese, Japanese, or Indian, his astonishingly varied musical taste, ranging from Wagner to Louis Armstrong, and his sophistication vis-à-vis the then new media of radio and phonography— these are documented impressively in this volume, presenting us with an Eliot we’ve never quite known before.