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<center>'"Our conceptual knowledge of an object in the external visible world...rests on the basis of a store of 'snapshots' of it which we have accumulated in our memory over the passage of time." | <center>'"Our conceptual knowledge of an object in the external visible world...rests on the basis of a store of 'snapshots' of it which we have accumulated in our memory over the passage of time." | ||
'' - ''David Tomlinson in ''Twentieth Century Literature''</center> | '' - ''David Tomlinson in ''Twentieth Century Literature''</center> | ||
| − | == '''The Waste Land: A Cover'''== | + | == '''''The Waste Land'': A Cover'''== |
| − | T.S. Eliot's poem, "The Waste Land," has become an essential part of the English canon. Nearly a century of Eliot scholarship has been contributed to readers' understanding of the poem, and throughout this time, various editors have sewn up the pages of the original poem with scholars' research to market | + | T.S. Eliot's poem, "[http://www.bartleby.com/201/1.html The Waste Land]," has become an essential part of the English canon. Nearly a century of Eliot scholarship has been contributed to readers' understanding of the poem, and throughout this time, various editors have sewn up the pages of the original poem with scholars' research to market these findings to students and bibliophiles of western literature. Although readers may interpret the content of ''The Waste Land'' as individuals or in conjunction with a noted school of influence, there remain enduring questions regarding the inferred experience of the reader. |
This "experience of the reader" refers to the information that inherently influences one's perception of a text. There are numerous factors that may fall into this sphere of influence: what is the medium of the text (book, magazine, pamphlet, etc.)? How is information formatted on the page? Are there supplementary illustrations or depictions, and do they add information or aim to interpret textual information? | This "experience of the reader" refers to the information that inherently influences one's perception of a text. There are numerous factors that may fall into this sphere of influence: what is the medium of the text (book, magazine, pamphlet, etc.)? How is information formatted on the page? Are there supplementary illustrations or depictions, and do they add information or aim to interpret textual information? | ||
| − | [[Image:220px-NirvanaNevermindalbumcover.jpg|left]]Not unlike literature, music is similarly subjected to variable forms of information visualization. Although the "information" conveyed by music provides ample possibilities for visualization--since the imagery and nuance of a song conveys probabilities for visualization in the mind of the listener--it is not uncommon for the content of a work to be framed for the purpose of consumption by the album's cover. The significance of an album's cover can not be understated. For example, a simple google image search of the word "Nirvana" does not recover images of the literal lyrics of the songs produced by the 90's American grunge band, but rather, the top image to surface is of the famous cover of Nirvana's album, "Nevermind." Certainly, the band Nirvana is acknowledged the world over for its cultural and musical contributions to rock music, but the previously mentioned internet search indicates how very essential Nirvana's iconography is to the band's celebrité. | + | [[Image:220px-NirvanaNevermindalbumcover.jpg|left]]Not unlike literature, music is similarly subjected to variable forms of [http://www.datavisualisation.org/2010/11/lev-manovich-what-is-visualization/ information visualization]. Although the "information" conveyed by music provides ample possibilities for visualization--since the imagery and nuance of a song conveys probabilities for visualization in the mind of the listener--it is not uncommon for the content of a work to be framed for the purpose of consumption by the album's cover. The significance of an album's cover can not be understated. For example, a simple google image search of the word "[http://www.nirvana.com/default.aspx#!tweets Nirvana]" does not recover images of the literal lyrics of the songs produced by the 90's American grunge band, but rather, the top image to surface is of the famous cover of Nirvana's album, "Nevermind." Certainly, the band Nirvana is acknowledged the world over for its cultural and musical contributions to rock music, but the previously mentioned internet search indicates how very essential Nirvana's iconography is to the band's celebrité. |
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| + | The cover of Nirvana's "Nevermind" is important to the band's success because it visually epitomizes the messages intrinsic of the album's content. The memorable depiction is of a naked, swimming infant, grasping for a single dollar bill in an underwater expanse, and the dollar bill appears to be a lure that is attached to a fishhook. Though odd, this representation accounts for the themes that are riddled throughout the album: isolation, beauty, innocence, deception, and disillusionment. For instance, though the [http://www.amazon.com/Nevermind-Nirvana/dp/B000003TA4 album's] song, "Territorial Pissings" includes the lines, "Everybody get together / try to love one another right now," the song "Breed" professes repeatedly the lines "I don't care," "I don't mind," and "I'm afraid" (Nirvana). Thus, Nirvana explores a range of emotions that are not altogether misanthropic nor naive; the tone succinctly corresponds with the album cover to produce an integral piece of art. | ||
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| + | ==='''The Original ''Waste Land'' Cover'''=== | ||
| + | [[Image:Picture_13.png|right]] | ||
| + | When ''The Waste Land'' first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, ''Saint-Séverin No. 3.'' There is no information to suggest whether the juxtaposition of the two works was approved by Eliot, but neither is there any indication that Eliot opposed the placement of Delaunay's painting at the opening of his masterful poem. The two pieces are interesting to contrast, especially since they were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's ''Waste Land'' deviated from foregoing precedent. | ||
| − | + | ''Saint-Séverin No. 3'', now housed in the Guggenheim Museum in New York City, marks a time for Delaunay that he described himself as "a period of transition from Cézanne to Cubism." This is apparent in the heavily emphasized geometry of the piece. According to Jennifer Blessing, writer for the of the [http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Saint-S%C3%A9verin%20No.%203&page=&f=Title&object=41.462 Guggenheim's website], "Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin...in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture" (Blessing). Although colors play an important part in distinguishing the lines and shapes expressed in the painting, readers of ''The Dial'' would not have had the opportunity to reference the nuance added to the painting's patina by the varying shades of brown, red, blue and green. Because ''The Dial'' was printed in black and white, the reader would have been delivered into the world of Delaunay's piece from a distorted perspective of distortion--though this is somewhat unfortunate, it seems fitting, especially considering that Eliot's ''Waste Land'' included layers of content about such themes as decay and disenchantment. | |
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| − | + | It is significant that the scene depicted in Delaunay's painting is comprised completely of stone. The view leads through the church's ambulatory, complete with carved columns and vaulted ceilings; the monotony of the subject medium complements ''The Waste Land's'' repeated return to the defeat of the living by inorganicism: | |
| − | + | <blockquote> | |
| − | + | What are the roots that clutch, what branches grow <br/> | |
| + | Out of this stony rubbish? Son of man,<br/> | ||
| + | You cannot say, or guess, for you know only<br/> | ||
| + | A heap of broken images, where the sun beats,<br/> | ||
| + | And the dead tree gives no shelter, the cricket no relief,<br/> | ||
| + | And the dry stone no sound of water. Only<br/> | ||
| + | There is shadow under this red rock,<br/> | ||
| + | (Come in under the shadow of this red rock),<br/> | ||
| + | And I will show you something different from either<br/> | ||
| + | Your shadow at morning striding behind you<br/> | ||
| + | Or your shadow at evening rising to meet you;<br/> | ||
| + | I will show you fear in a handful of dust (Eliot 474).<br/> | ||
| + | </blockquote> | ||
| − | + | This excerpt from Part I of ''The Waste Land'', entitled, "The Living of the Dead" introduces the the reader to an unromantic landscape that is hostile to other forms of life. The speaker reports that his environment offers very little in the way of relief; the only place in which the speaker may find any semblance of "shelter" is under the "shadow of this red rock." The speaker also considers the role of abstraction, claiming that he has something to reveal which can not be viewed by the differing shadows of the morning or evening. Delaunay's untraditional rendering of a traditional scene similarly explores an ominous locale that many would consider to be connotative of a "sanctuary" or "shelter." Delaunay positions himself to view his scene from varying standpoints, thus exploring principles of abstraction; as David Tomlinson observes in his article entitled ''[http://www.jstor.org/discover/10.2307/441241?uid=3739848&uid=2129&uid=2&uid=70&uid=4&uid=3739256&sid=21101431253633 T.S. Eliot and the Cubists]'', the "cubists depict a cognitive map of the object such as accumulates in the memory from a variety of experiences of it" (Tomlinson 68). | |
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| + | Delaunay's work, which is juxtaposed with Part I of Eliot's ''Waste Land'' works in conjunction with the language to give the reader the feeling that he or she is entering into a "waste land." The shadows cast by the church's ambulatory offer a foreboding and disorienting introduction to Eliot's poetry, but like Eliot, Delaunay references this disorientation within an image that is not too abstract as to discourage the reader from crossing the threshold from reality into a modernist's perception of reality. | ||
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| − | + | ==='''''The Waste Land'' Through a Different Lens'''=== | |
| − | http:// | + | [[File:Thetriumphofdeath.jpg|right]]In contrast to the Cubist/Modernist approach, which renders truth from varying yet stark perspectives, the cover image of Penguin Classic's [http://www.amazon.com/Waste-Other-Poems-Penguin-Classics/dp/014243731X/ref=sr_1_1?ie=UTF8&qid=1355188736&sr=8-1&keywords=the+wasteland+and+other+poems+2003 reprinting of "The Waste Land"] incorporates Pieter Bruegel's ''The Triumph of Death'' on its book cover. The differences between Delaunay's and Bruegel's paintings are remarkable, though Bruegel's work does not inherently controvert textual content. The editor's choice to use Bruegel's painting to market ''The Waste Land'' is obviously influenced by themes consistent with the poem. However, when comparing the work of Delaunay and Bruegel it becomes apparent that the editorial choice concerning which image to use reflects strongly on the editor's perception of the poem. For instance, though Delaunay's work is not "true to life," it does maintain sufficient pragmatism to assure a level of certainty for the viewer. In ''The Triumph of Death'' the image is so absurd, filled with ambiguous yet disturbing symbology, that the viewer is left disoriented and perhaps disenchanted before he or she has considered the text within. |
| − | + | Penguin's choice to use Bruegel's painting for its ''Waste Land'' cover reveals an editorial perception that death and iconography are perhaps the most essential aspects of the poem. Bruegel's painting depicts a battle in which death, personified as a militia of skeletons, overwhelms a force of men. ''The Triumph of Death'' was painted more than three hundred years before Eliot wrote ''The Waste Land'', well before the introduction of abstraction in the field of visual art. Whereas Delaunay paints a single image from a variety of different perspectives, Bruegel paints a single scene; nevertheless, Bruegel also challenge the viewer's experience by creating several different scenes within his single-panel work. The viewer is challenged to consider several different images, or "perspectives" at once. | |
| − | + | Therefore, Bruegel unashamedly transports the viewer of the painting into a world of chaos and terror, evoking more violent reactions of disgust and hopelessness. Rather than allowing the reader to enter the world of ''The Waste Land'' on gradual terms, the editor thrusts the reader into the thick of the poem's least palatable material. The imagery is reticent of lines further buried within the text of the poem, "Part V:Death by Water": | |
| − | + | <blockquote> | |
| + | What is that sound high in the air<br/> | ||
| + | Murmur of maternal lamentation <br/> | ||
| + | Who are those hooded hordes swarming <br/> | ||
| + | Over endless plains, stumbling in cracked earth<br/> | ||
| + | Ringed by the flat horizon only <br/> | ||
| + | What is the city over the mountains <br/> | ||
| + | Cracks and reforms and bursts in the violet air <br/> | ||
| + | Falling towers <br/> | ||
| + | Jerusalem Athens Alexandria <br/> | ||
| + | Vienna London <br/> | ||
| + | Unreal (Eliot 483-484)<br/> | ||
| + | </blockquote> | ||
| − | + | Comparing ''The Triumph of Death'' with ''The Waste Land'' serves to interpret the themes of decay, death, and disenchantment as active antagonists of the poem, whereas ''Saint-Séverin'' acknowledges these concepts as structural buttresses of reality. | |
| − | + | =='''Why Covers Matter'''== | |
| − | + | The manner by which a person reads a text is largely influenced by the text's appearance, as well as the medium by which the text is consumed. Like Nirvana's album, ''Nevermind'', Eliot's ''Waste Land'' is subject to association with images that may or may not serve as accurate supplements of the text. Contemporary readers of texts like ''The Waste Land'' may be introduced to a new reading of Eliot's poem depending upon which portion is considered for visual interpretation. George Bornstein writes in "How to Read a Page: Modernism and Materiality" that "...the literary work might be said to exist not in any one version, but in all the versions put together. In reading a particular page we would want to know of the other versions of that page and the first step in reading would then be to discover what pages exist with claims on our attention" (Bornstein 6). By using various mediums or versions of texts to analyze literature, readers may offer new perspectives to the ongoing challenge of interpreting literature. To a large degree, humans internalize information based on visual and tactile experiences. Therefore, it is important to regard each piece of a sample of art before claiming to know the integral sophistication of the work in question. | |
| − | + | =='''References'''== | |
| − | "... | + | Blessing, Jennifer. "Robert Delaunay." www.guggenheim.org. |
| + | Bornstein, George. "How To Read a Page: Modernism and Material Textuality." 5-31. Course Reading. Print.<br/> | ||
| + | Eliot, T.S. "The Waste Land." ''The Dial''. Nov 1922. 473-485. Print.<br/> | ||
| + | Nirvana. ''Nevermind''. Gefen, 1991. CD.<br/> | ||
| + | Tomlinson, David. "T.S. Eliot and the Cubists." ''Twentieth Century Literature''. Vol. 26, No. 1. 64-81. Print.<br/> | ||
| − | + | ''Images for both the cover of Nirvana's album "Nevermind" and Pieter Bruegel the Elder's painting, "The Triumph of Death" were taken from Wikipedia's website, and comply with non-free content policy and US copyright laws. The image for Robert Delaunay's "Saint-Severin No. 3" was used for educational purposes from www.guggenheim.org.'' | |
