View source for Talk:Archival Evidence

Here are my notes so far. I spent considerably more time with the Dial than the Criterion last week.
''The Dial''
published October 1922 (November issue) in New York
sections of poem not enumerated I, II, III, IV, V
Schnitzler, Weinstein, “Made in Germany” – German contributions, post-war, with Waste Land’s war themes, universal war not anti-Germany right now
WB Yeats’ play The Player Queen is right after the Waste Land
Schnitzler: October Graesler starts with “XII (continued)” – an installment of a novel transalted from German
Picasso drawings of naked women lounging – was this not scandal? Date?
also paintings of nude/acrobats by Duncan Grant. Who is he?
Adolph Dehn. “Drinkers” during Prohibition…
any Marriages by Sherwood Anderson starts with Chapter IV, and goes into ch 1 or Book Two, possibly to leave suspense to look for the rest of part 2
“Paris Letter” by Ezra Pound. Lots of interesting stuff on the first page: 1. “literature is regarded in America as an advertising medium.” 2. “our brilliant contemporary Mr T.S. Eliot constantly assures us that he is about to pursue [the attempt to disentangle our national qualities]” (our = US and British)
“Comment” about children’s book week. Sarcastic and hilarious!
ads: for art shows, bookshops, books, other periodicals
ad layouts are like modern theater playbills; modern play programs are laid out much like this whole magazine with ads in the front and back and written or photgraphic content in the middle
feels more like a magazine because of ads
The Waste Land is the very first written contribution, only preceded by one watercolor painting. Perhaps because Eliot had been living in GB for a while by now and was perhaps more like a featured contributor – not included on the “notable contributors” page

''The Criterion''
published October 1922 in London
no ads
looks like a book from cover to cover
no images
The Waste Land is in the middle of the publication --Elizabeth 09/08/2012 10:53pm