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• W2000705538 abstract "Few would describe The Waste Land as easy to read. And indeed, most critics would agree that noone should find it easy, since, as Ian Hamilton remarked in 1970, Eliot wanted the poem to be difficult and no doubt conceived of its difficulty as an important aspect of its total meaning. 1 Where the New Critics had admired such high-modernist obscurity, Hamilton criticized the difficulty of the poem's wealth of cultural allusion for its aristocratic aloofness, a determination to keep up the barriers of class. 2 More recently still, the sense of the poem's intentional difficulty has been identified as the mark not only of a self-consciously high modernism, but of a specifically white modernism, so Eliot's hermeneutic barriers are understood to be not just a class issue, as Hamilton thought, but a racial problem. Houston Baker, Jr.'s Modernism and the Harlem Renaissance thus argues that Eliot's difficulty functioned as a form of literary segregation, delimiting the tradition as a white enclave. As Baker puts it, the 'tongue' of Eliot's collaged allusiveness was unknown to the Harlem audiences of The New Negro writers. 3 Baker's general claim, that African-American modernism had little in common with the Joycean or Eliotic projects, hinges on his understanding of European avant-garde writing not as a purely formal project, nor simply as a consolidation of what Hamilton calls cultural wealth, but as the invention of an alternative language. 4 What separates Eliot's modernism from the Harlem Renaissance is that Eliot wrote in a tongue that was unknown in Harlem." @default.
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• W2000705538 date "2001-01-01" @default.
• W2000705538 modified "2023-10-17" @default.
• W2000705538 title "Dada Da Da: Sounding the Jew in Modernism" @default.
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• W2000705538 doi "https://doi.org/10.1353/elh.2001.0017" @default.
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