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This groundbreaking book of literary detective work alters our understanding of T. S. Eliot's poetic masterpiece,The Waste Land. Lawrence Rainey not only resolves longstanding mysteries surrounding the composition of the poem but also overturns traditional interpretations of the poem that have prevailed for more than eighty years. He shines new light on Eliot's greatest achievement and on the poem's place in the modern canon.Far from the austere and sober monument to neoclassicism that admirers have praised,The Waste Landturns out to be something quite different: something grim and wild, unruly and intractable, violent and shocking and radically indeterminate, yet also deeply compassionate. Rainey looks at how Eliot went about writing the poem and at the sequence in which he composed the parts. Arriving at new insights into the poet's intentions, Rainey unsettles tradition-bound views of the poem and shows us thatThe Waste Landis even stranger and more startling than we knew.

One of the twentieth century's most powerful-and controversial-works, The Waste Land was published in the desolate wake of the First World War. This definitive edition of T. S. Eliot's masterpiece presents a new and authoritative version of the poem, along with all the essays Eliot wrote as he was composing The Waste Land, seven of them never before published in book form. The volume is enriched with period photographs and a London map of locations mentioned in the poem. Featured in the book are Lawrence Rainey's groundbreaking account of how The Waste Land came to be composed; a history of the reactions of admirers and critics; and full annotations to the poem and Eliot's essays. The edition transforms our understanding of one of the greatest modernist writers and the magnificent poem that became a landmark in literary history.

Theo Stammen has called the lecture/essay a crucial text in the corpus of Thomas Mann's political writings, while Terrence Reed has urged that it signaled a startling change in his political outlook: If his wartime stand had come as a shock to those who thought him a liberal intellectual, his new position was an equal shock to those who had come to rely on him as a conservative nationalist. More capriciously, quotations by Goethe and Walt Whitman are unilaterally altered.9 In short, what has rightly been understood as a critical turning-point in Mann's development has been accessible to English-speaking readers only in a version that does not meet ordinary standards of accuracy and reliability, obscuring the import of a document that reverberates with implications for those perennial debates about modernism and politics, or the relationship between the aesthetic and the social, the private and public spheres.

Anton Giulio Bragaglia (1890-1960) was a key figure in early Italian cinema and in 1920s theatre, and a close associate of the Futurists. His major theoretical achievement was \"Futurist Photodynamism\" (\"Fotodinamismo futurista\"), a 47-page essay first published in 1911, which attempted to formulate a Futurist theory of photography, drawing on the chronophotography of the French photographer Jules-Etienne Marey. This text presents a new translation of 22 sections of the book, based on the enlarged 3rd edition of 1913. It is printed here as an example of the heady mixture of philosophical and quasi-mystical formulations that circulated in Futurism's early years. It is translated and edited by Lawrence Rainey. (Quotes from original text)

To students of the twentieth-century modernism, 1971 was the year when Valerie Eliot published a facsimile edition of The Waste Land's pre-publication manuscripts. The even invited new accounts of the poem's genetics and fresh assessments of how those might bear on the understanding of the poem. Rainey discusses the various essays made in an attempt to solve the question on the dating of the poem's parts.

In 1909, F.T. Marinetti published his incendiaryFuturist Manifesto, proclaiming, \"We stand on the last promontory of the centuries!!\" and \"There, on the earth, the earliest dawn!\" Intent on delivering Italy from \"its fetid cancer of professors, archaeologists, tour guides, and antiquarians,\" the Futurists imagined that art, architecture, literature, and music would function like a machine, transforming the world rather than merely reflecting it. But within a decade, Futurism's utopian ambitions were being wedded to Fascist politics, an alliance that would tragically mar its reputation in the century to follow. Published to coincide with the 100th anniversary of the founding of Futurism, this is the most complete anthology of Futurist manifestos, poems, plays, and images ever to bepublished in English, spanning from 1909 to 1944. Now, amidst another era of unprecedented technological change and cultural crisis, is a pivotal moment to reevaluate Futurism and its haunting legacy for Western civilization.