Kirjahaku

The winner of the Nobel Trize for Literature, the twentieth century's most famous poet and its most influential literary arbiter, T.S. Eliot has long been thought to be an obscure and difficult poet--forbiddingly learned, maddeningly enigmatic. Now, in this brilliant exploration of T.S. Eliot's work, prize-winning poet Craig Raine reveals that, on the contrary, Eliot's poetry (and drama and criticism) can be seen as a unified and coherent body of work. Indeed, despite its manifest originality, its radical experimentation, and its dazzling formal variety, his verse yields meaning just as surely as other more conventional poetry. Raine argues that an implicit controlling theme--the buried life, or the failure of feeling--unfolds in surprisingly varied ways throughout Eliot's work. But alongside Eliot's desire "to live with all intensity" was also a distrust of "violent emotion for its own sake." Raine illuminates this paradoxical Eliot--an exacting anti-romantic realist, skeptical of the emotions, yet incessantly troubled by the fear of emotional failure--through close readings of such poems as "The Love Song of J Alfred Prufrock," "Gerontion," The Hollow Men, Ash Wednesday, and many others. The heart of the book contains extended analyses of Eliot's two master works--The Waste Land and Four Quartets. Raine also examines Eliot's criticism--including his coinage of such key literary terms as the objective correlative, dissociation of sensibility, the auditory imagination--and he concludes with a convincing refutation of charges that Eliot was an anti-Semite. Here then is a volume absolutely indispensable for all admirers of T.S. Eliot and, in fact, for everyone who loves modern literature.

The twentieth century's most famous poet and its most influential literary arbiter, T.S. Eliot has long been thought to be an obscure and difficult writer-forbiddingly learned, maddeningly enigmatic. In this compelling exploration, prize-winning poet Craig Raine finds a way to read and make sense of Eliot's full corpus. He illuminates a paradoxical Eliot--an exacting anti-romantic realist, skeptical of the emotions, yet incessantly troubled by the fear of emotional failure--through close readings of his poetry, with extended analyses of Eliot's two master works--The Waste Land and Four Quartets. Raine also examines Eliot's criticism--including his coinage of such key literary terms as the objective correlative, dissociation of sensibility, the auditory imagination, and his biography, crafting a book that provides a concise introduction for beginners and a provocative set of arguments for Eliot admirers.

A thoughtful and masterful novel in verse by an innovative 20th-century poet. One of England's foremost poets, Craig Raine offers a "bold, ambitious chronicle of life" (New York Times Review) told through the stories of two families, the Pasternaks and the Raines, who touch each other and are touched by history in different ways. Like a home movie, this novel in verse masterfully conjures the world in which these families move by re-creating the texture of ordinary and extraordinary life. Blending fact, fiction, and thrilling leaps of imagination, History: The Home Movie promises to be the film you'll ever read. "Craig Raine's History admirably reclaims poetry's narrative function, its capacity to fictionally propose a world as complex and mysterious as reality itself. A challenging, innovative, and unsettling novel in verse."--Los Angeles Times "A sly, surprising, brilliant, and yes, readable book."--Boston Phoenix

A selection of literary essays written since 1972, this book addresses in detail the work of Dickens, Donne, T. S. Eliot, Coleridge, Dr Johnson, Betjeman, Elizabeth Bishop, Saul Bellow, James Joyce, and many others. Vigilant, sceptical, mistrustful of consensus, Craig Raine stands in the tradition of poet-critics whose task, as Eliot said, is ‘the elucidation of works of art and the correction of taste’.

Craig Raine's dazzlingly original second novel, The Divine Comedy is a gripping meditation on sex and death and God and the myriad ways in which the human body plays dirty tricks on us. The Divine Comedy is a fugue and a black comedy. In delicious and bawdy detail, an unnamed narrator offers snapshots into the lives and loves of an astonishing cast of philanderers and fuckups while along the way, the evidence amasses for a comic, cosmic conspiracy. Craig Raine's second novel, The Divine Comedy, is a voyeuristic meditation on sex and insecurity, God and the nature of the human body - its capacity for pleasure and pain, its desires, disappointments, and its many mortifying betrayals.

More Dynamite anthologizes a wealth of essays by a writer with one of the keenest critical eyes of his generation. Craig Raine - poet, critic, novelist, Oxford don and editor - turns his fearsome and unflinching gaze on subjects ranging from Kafka to Koons, Beckett to Babel. He waxes lyrical about Ron Mueck's hyperreal sculptures and reassesses the metafiction of David Foster Wallace. For Raine, no element of cultural output is insignificant, be it cinema, fiction, poetry or installation art. Finding solace in both literature and art alike, and finding moments of truth and beauty where others had stopped looking, More Dynamite will reinvigorate readers, challenge our perceptions of the classics and wonderfully affirm our love of good writing, new and old. This extensive collection of essays is a crash course in twentieth century artistic endeavour - nothing short of a master class in high culture from one of the most discerning minds in contemporary British letters.

'By poetry we - we the masses - mean something vague, something untrue, something uplifting, something beautiful, something so eloquent it isn't for everyday. The word "poetry" is up there with "soul". And I am against it.'My Grandmother's Glass Eye deploys its considerable learning, its intelligent expertise, wittily, memorably. It is an exercise in demystification and clarity. If you want to know how poetry works on the page, here are sure-footed accounts of particular poems. There is something Johnsonian in Craig Raine's common sense - an elegant wrecking ball used with precision and delicacy to pick off the pretentious, the platitudinous, the over-promoted. Here, poetry is well read, attentively read, by a practitioner whose range runs from Bion to John Lennon, from Bishop to Balanchine.

In Heartbreak, Craig Raine's startlingly moving, intellectually nimble, sexually candid, wickedly funny first novel, the central character is not a person, but an invisible metaphor: heartbreak. Through the stories of a virtuoso cast of characters - among them a physically scarred academic, a strangely beautiful young girl with Down's syndrome, a world-renowned actress, and a brilliant Czech poet - Heartbreak investigates one of the most elusive yet deeply felt of human conditions. It is a compassionate and textured novel about what happens to us when love and loss collide.