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The complexity, multiplicity and high degree of polyphony in T. S. Eliot’s The Waste Land presents as a significant challenge in terms of interpreting modernist poetry. While expressing concerns about Western civilisation’s collapse, as well as modern people’s spiritual barrenness, The Waste Land creates a constant tension through its usage of language, narrative structure and various different speech representations. This paper seeks to highlight that as a narrative poem, The Waste Land uses an abundance of narrations, descriptions and dialogues, while exploring how these various elements aid the poet to adopt a modernist narrative style in his poetry.

The disproportionate impact of environmental degradation on First Nations peoples and on other communities of color is not new. Indigenous peoples, Black people, and other marginalized communities experience the consequences of environmental degradation disproportionately (Taylor, 2014; Washington, 2019), telling us that environmental justice and social justice are not unrelated topics. One way that educators can help students to understand how this is the case is by creating opportunities for them to examine literature that addresses environmental and conservation topics through a lens of intersectional environmentalism. In this article, the authors define intersectional environmentalism in terms of critical multicultural analysis and examine how this critical perspective builds on assumptions associated with ecofeminism, a branch of feminism that argues that the same ideology that authorizes environmental degradation is also behind the oppression of women, people of color, people experiencing poverty, and the Earth itself. In doing so, they identify three questions that together compose a critical framework for examining how texts for the young that address environmental and conservation topics depict the relationship between environmental justice and social justice. They next apply the framework to Eliot Schrefer's (2012) \"Endangered,\" a work of fiction that is read by many middle-grade readers, to demonstrate how examining the text through a lens of intersectional environmentalism opens up new possibilities for understanding it. To conclude, they examine the implications for educators of asking students to critique literary texts from a perspective of intersectional environmentalism.

The wasteland is a prominent theme of nuclear fiction, a space constructed from popular culture concepts rather than scientific ones. This thesis examines the novel A Canticle for Leibowitz, the film A Boy and His Dog, and the video game Fallout 3, and demonstrates how these texts reveal sets of cultural anxieties that are being played out in the fictional space of the nuclear wasteland. These texts all describe a consistent wasteland that functions as a space in which to explore anxieties about humanity's capacity for knowledge, destruction, technology, and changing social landscapes. By examining these texts, this thesis demonstrates how cultural influences and anxieties shape the wasteland and the fallout shelters that are always a part of the wasteland. In doing so, these texts show that the promise of preservation represented by the fallout shelter is false, and the wasteland is irrevocably a site of struggle over meanings.

Remi Raji, one of the loudest and most eloquent political poets in Nigeria today, sees his craft as a means of conveying serious social message to his land. Raji's consummate political theme, which is powered by what he calls \"the nationalist imagination,\" is skillfully explored in his latest volume of poetry, \"Lovesong for My Wasteland\" (2005), more than in any of his previous collections. Following the tradition of the social commitments of African literature and evolving orature-based aesthetics that marries choreography to poetry (choreopoetry), Raji traces the history of Nigeria, in the symbolic forty-five verses of the volume, exposing the leadership failures and plunder of yesterday and today, and presenting a hope that is predicated on the people's collective stand to build their ravaged land. The business of this paper is therefore the exploration of Raji's political theme in his latest poetic effort to raise his society's consciousness to the collapse of national psyche and to redirect their attention toward a better tomorrow for which they have to work.

This chapter contains sections titled: Goodbye Mr Holmes! Feminized Quests, Cooking and New Hero Myths Hero, Myth, and Grail Ideology: Conservative in Closure, Not in Process Golden Age Crime and War Conclusion: Sacred Space and the End of Death

This chapter contains sections titled: References and Further Reading

Abandoning the nineteenth‐century novel's realism, modernist authors such as Dorothy Richardson, James Joyce, Virginia Woolf, and William Faulkner revised the inherited forms and took the writing of fiction in new directions. Interestingly enough, the changes in poetry and the novel tended to converge, so that the traditional distinction between poetry and prose fiction was obscured. This chapter discusses four areas of mutual influence between poetry and fiction. First and foremost is the attention that poetry paid to the image. Second is the evolution of the compositional technique known as stream of consciousness. A third transformation was effected by a new emphasis in modernist poetry on sound and voice – on what Eliot called the “auditory imagination”. Finally, the fourth area of convergence lay in the use of the collage technique made famous by Eliot's The Waste Land.

This chapter contains sections titled: Making It New, Again Modern and Postmodern Metafiction Representation References and Further Reading