![]() One of the few precedents for its technique is the obscure Paris: A Poem by the minor Bloomsbury figure Hope Mirrlees, published by Hogarth Press in 1920, but there is no evidence that Eliot had read it the coincidence seems never to have cropped up during his later close friendship with Mirrlees. Its use of non-linear sequence, of sudden cuts from one thing to another, precedes by a year or two Eisenstein's invention of montage in the cinema. It's worth remembering just how radical it was. People may still occasionally make disobliging remarks about Picasso, say, but we are used to TS Eliot's The Waste Land – it is assimilated, and no longer regarded as an awful warning of the debased, degenerate way in which things are heading. Indeed, most of the great works of 20th-century modernism have become part of the canon. S iegfried Sassoon once wrote a poem complaining about a concert whose audience listened to The Rite of Spring as if it were "by someone dead / like Brahms", instead of rioting and yelling abuse. ![]()
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