SKU: 38403934873

ELIOT, T.S. The Waste Land.

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ELIOT, T.S. The Waste Land.Eliot handset by Woolf ELIOT, T. S. The Waste Land. Richmond: Printed and Published by Leonard & Virginia Woolf at the Hogarth Press. 1923. 8vo. Original blue marbled paper boards probably by Vanessa Bell, white paper label on front cover printed in black in simplest and least common state, without rules or asterisks, sometime rebacked in blue cloth, in custom made cloth fall down back box; pp. 35, i [publisher's ads]; a little rubbing to edges, a

Eliot handset by Woolf

ELIOT, T.S. The Waste Land. Richmond: Printed and Published by Leonard & Virginia Woolf at the Hogarth Press. 1923.

8vo. Original blue marbled paper boards probably by Vanessa Bell, white paper label on front cover printed in black in simplest and least common state, without rules or asterisks, sometime rebacked in blue cloth, in custom-made cloth fall-down-back box; pp. 35, i [publisher's ads]; a little rubbing to edges, a little occasional light browning, pencil annotations to pp. 6-7, but generally a very good bright copy; ownership signature of Robert Newton to front free endpaper and his occasional pencil annotations.

First English edition, of which about 460 copies were printed.

The book was handset by Virginia Woolf and provided her with her most difficult technical challenge due to the innovative line-spacing of the poem. Eliot was very pleased with the result and considered this edition to be superior to the US edition of 1922 but it caused Virginia some anxiety. She wrote to a friend that "I have just finished setting up the whole of Mr Eliot's poem with my own hands - you see how my hand trembles".

In 1921, having taken time off from his job at Lloyds Bank for what would now be called depression, Eliot spent three weeks in Margate, on the South-East coast of England. Sitting in Nayland Rock shelter on the promenade, he wrote “some 50 lines” of The Waste Land, among them direct influence from where he sat: “On Margate Sands…I can connect / Nothing with Nothing. / The broken fingernails of dirty hands" (Losasso 2019).

This theme of despair, and its powerful vision of urban alienation spoke to a generation of disillusioned young post-war readers, with some critics hailing it as a masterpiece, and others denouncing it for its allusiveness (the US poet William Carlos Williams disliked the modernist style, claiming in his autobiography that it "returned us to the classroom"). Nonetheless, the poem remains one of the most influential of the twentieth century.

Provenance: From the library of Robert Newton, author of Leaves of Quest: A fundamental exploration of love in the early poetry of T.S. Eliot (1978).

Gallup A6c; Woolmer 28.

SKU: 2121039

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SKU: 38403934873

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This is one of the coolest books I have ever read. As a person who loves history, this book really struck home and showed me a new way of reading the bible. It follows the bible in chronological order showing artifacts and other archeological finds that show how people, events, customs, and items from the bible were real and happening at their times. Really clear and colorful photos of these items makes them even more real. Each artifact is only a couple of pages, and have concise summaries of what they are, and why they are important. They don't get boring and drone on and on, so you learn about one and are quickly on to the next. What I most enjoyed about the book is reading about an artifact, then referencing it in the bible and reading the particular chapter it came from to get a context. It's amazing how a seemingly meaningless character mentioned once in the bible is brought straight to life from a small clay tablet with his named mentioned on it. Most importantly, it reinforced that the I should be reading the bible as the greatest history book ever written, not just a story book with some rules to follow. This book shows that the bible recorded the events that happened in history and truly makes them shine. Amazing work, Dr. Kennedy!
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