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==''The Waste Land'' and its derivatives as a palimpsest==
T.S. Eliot, in his essay "Hamlet and his Problems," introduces the idea of the [[Objective Correlative|objective correlative]], suggesting that the emotional impact of a literary work ought to arise from a sufficient sensible--that is, factual and having to do with the senses--foundation.  The imagery, the word usage, the connotations, and the allusions ought all to support and build up to a particular emotional response in the reader, colouring the reaction to and interpretation of the work.  

The emotional evocation of ''The Waste Land'', accordingly, depends largely on the references and allusions it uses.  For those well-versed in the western literary tradition, the connotations of each phrase and expression may be meaningful, but for the uninitiated, the meaning runs the risk of being obscured.  

At first glance, the scattered images of a hundred different perspectives and interpretations drawn from ''The Waste Land'' can seem hopeless; some  are so constrained to one-to-one interpretation of symbolisms that they seem hackneyed, others come across as so all-encompassing as to say nothing, and still others tend to be emotionally moving but stubbornly unstated and uninterpreted.  Looking at the collection as a whole, however, it takes on a different sort of life.  Just as The Waste Land contains the limited, often blatantly erroneous perspectives of many different perspectives, personalities, and opinions, melding them all into a sort of loose whole, the derivative work that surrounds it begins slowly to have a similar effect.  

It is here that the idea of the palimpsest comes into play.  The Waste Land, with its collection of fragmented vignettes, easily emulates the written, scraped, and rewritten parchment of a palimpsest.  While the derivative works accessible today are, for the most part, quite whole, they still manage to evoke a similar sense of fragmentation due to the sheer volume of material that renders the reader's grasp extremely limited in comparison.  In today's Web 2.0 culture, oversaturated with information that is, more often than not, written off with a "tl;dr" (too long; didn't read) or a demand for SparkNotes, the overload tends to leave many people with a collection of bits and pieces that comprise an overall sense of the whole.  Rather than following a logical progression, they are superimposed over one another like the various layers of a palimpsest, with only the boldest segments standing out.  As a result, it is not necessarily the primary pieces of each "conversation" that comprise the overall meaning; rather, that which is most impactful ends up playing the primary role in the end.

Considering T.S. Eliot's theory of the objective correlative, this raises the question of whether his intent concerning the emotional impact of the poem even comes through.  To the layman who lacks the background of literary tradition necessary to decipher the layers of The Waste Land, for whom derivative works and multimedia play an even larger role in the interpretation of the poem, this question becomes even more relevant.  

One work that stands out as particularly interpretive is [http://youtu.be/6TCZsJV4V5A The Waste Land (The Burial of the Dead)], by Milad and Isabella.  
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The video claims its own point of view on the poem even in direct defiance to Eliot's intent, saying, "It's all based on short episodes and fragmentations that represent the fall of Europe, despite the fact that T.S. Eliot himself denies this interpretation."  The video continues with a quick, loose breakdown of the first section, "The Burial of the Dead," stating one-to-one correlations between given symbols and their interpretations that are, quite frankly, rather pedantic and reductive.  What follows is a collection of images and clips--at times appropriately surrealist, and at others running rather close to literal depictions of the poem's subject matter.  The overall impression that results is one of restriction, of right and wrong answers with nothing in between.

Elsewhere in the vast expanse of ''The Waste Land'' and its web, works like [http://visualandcriticalstudies.wordpress.com/2012/03/01/t-s-eliots-the-waste-land-an-infographic-by-berny-tan/ A Visual Guide to References in T.S. Eliot's The Waste Land], by Berny Tan of the School of Visual Arts, begin to offer a broader overview of the poem in such a way as can be taken like a fragment--in a single glance.  This enormous map lists out a number of different categories of references used in the poem, colour codes them, and proceeds to mark them all out in a series of coloured lines that resembles more closely a DNA assay than a piece of literature.  Quantitative data on a traditionally qualitative, literary work, this guide breaks boundaries and serves as a key, a Rosetta stone, to the everyday reader.  Here, the focus is ''not'' on the interpretation--the authors use the work not to tell the reader what to read, but ''how'' to read it for himself.

Along with the derivative works and spinoffs that comprise the more recent layers of the palimpsest, the option remains to explore such forms of media as played a major or minor role in the inspiration and influences of ''The Waste Land'', to study alternative media archives of Eliot's time, and to pull these older layers into play.  Some have been mostly lost--scraped off by the years and lost between archives.  Others, however, have survived long enough to be digitized and made available for casual or serious study.

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"That Shakespearean Rag" for example, from which are taken the lines "O O O O that Shakespeherian Rag - / It's so elegant / So intelligent," has proven thus far impossible to find.  References are made in other works to the actual song, suggesting its existence at some point in time, but the nearest actual recording that can be found is "That Mysterious Rag" by Irving Berlin and Ted Snyder--supposedly the song off of which "that Shakespeherian Rag" was based.  While we may not be able to verify the actual tune, we can certainly access something of the feel, the abandon, the frivolous contrast to the sterility and bleakness of the poem's landscape.  Such recordings provide some insight into the scene in which the lines appear, especially when paired with the dramatic readings of Fiona Shaw, whose brilliant performance of "My nerves are bad tonight" brings to life the tension between the cheerily domestic housewife and her traumatized, war-veteran partner.  

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Shaw's frenetic exchange between the bleak, empty voice of the veteran and his frivolous, bundle-of-nerves companion truly brings to life the macabre contrasts and the distinct split that takes place as a result of the war.  It is something of an interpretation, but an emotional one that forgoes the lecture to draw the reader in.  In the space of a few minutes, a distinct impression has been made that colours the poem in shades of brown and grey.

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There is no place that appreciates T.S. Eliot’s ''The Waste Land'' more than London. This remarkable city has created a multimedia walk through Eliot’s poem that starts walkers at West Ham and follows a route through the East London Cemetery to the Greenway Path and beyond. Through this walk visitors see and hear different aspects of Eliot’s poem in a different, more tangible manner. Through meaningful landmarks and historical sites, participants draw their own interpretation through images and locations that relate--literally or obliquely--to ''The Waste Land'', i.e. the rose garden at the cemetery where roses grow from cremated ashes and a staging of Madame Sosostris turning her tarot cards.  The walk ends just like the poem past the Saint Mary Woolnoth to the London Bridge. In the middle of the bridge there is a pause and the final lines should be read aloud, “Sweet Thames run softly, til I end my song… / Datta. Dayadhvam. Damyata. / Shantih shantih shantih.” While of course there is some degree of ready-made interpretation inherent in the selection of locations, the overall impression of the experience opens up the poem for the reader's interpretation by infusing a fresh life into the lines of the poem.

In addition to emotional interpretations of ''The Waste Land'', many fascinating derivative works exist throughout the web, one of which is Dave Cole's [http://dodge-gallery.com/cgi-bin/DODGE?s=exhibitions&v=20107231670799676536303116 ''Unreal City''] (referring, of course, back to the Unreal City of Eliot's poem).  Cole, who specializes in sculpture, uses objects and ideas of fierce connotation and juxtaposes them in such a way as to change or call into question their usual meaning.  A pair of loaded shotguns is displayed in place of knitting needles for an enormous hanging of spun bronze, a grassy landscape is assembled from carved bullet casings, tank treads are cast in salt, making for an uneasy tension between beauty and destruction, life and war.  The inspiration clearly arises from the dismal, emptied lines of ''The Waste Land'', but they also speak with a voice of their own.  The waste land of this gallery is not the trenches of Europe, but the home turf of the United States; in this way, the artist appears to take the impression he has gleaned from the palimpsest of ''The Waste Land'' and proceeds to write in his own layer.

The constant fluidity that exists in the flurries of information that inhabit the Web 2.0 space has a twofold effect on the legacy of ''The Waste Land''.  The potential for any person of any background to present his or her own interpretations and impressions of the poem causes, on an individual level, the possibility of overinterpretation and obscured meaning; however, as an overall body of work, it can be argued that ''The Waste Land'' is actually given a sort of life and growth.  In a way, ''The Waste Land'' becomes a little less barren.

==Study Aids & Academic Discussion==

[http://visualandcriticalstudies.files.wordpress.com/2012/03/the-waste-land.jpg A Visual Guide to References in T.S. Eliot's The Waste Land]
<br>The Visual and Critical Studies program at School of Visual Arts in New York City has produced an extremely useful visualization that lays out the major categories of allusions and references used in ''The Waste Land''.  Be warned--the image is enormous, but it is a good jumping-off point for an in-depth study of the poem and its rich literary roots.

[http://www.bbc.co.uk/programmes/b00hlb38 BBC Radio: The Wasteland and Modernity]
<br>A 28-minute discussion of ''The Waste Land'' and Eliot's view of the modern world.  "With Steve Connor, Professor of Modern Literature and Theory at Birkbeck College, University of London; Fran Brearton, Reader in English at Queen’s University, Belfast; Lawrence Rainey, Professor of English and American Literature at the University of York"

[http://www.touchpress.com/titles/thewasteland/ Touch Press: The Waste Land for iPad]
<br> A stylish, fluid, detailed app that combines various mediums to promote thorough understanding and analysis of The Waste Land. The app includes photos, original manuscripts, readings, and a groundbreaking performance of the poem by Fiona Shaw.

==The Waste Land App==

===Fiona Shaw Performance===
Exclusive to The Waste Land App is a groundbreaking filmed performance of the entire poem by Fiona Shaw. Filmed in Dublin, the performance runs approximately 37 minutes and includes all five sections of the poem. Shaw's dynamic performance of the poem goes beyond the scope of traditional poetry reading; she creates a number of individual characters, each possessing their own voice, physical posture, facial expressions, and personality. Through her characters, Shaw finds humor in an overwhelmingly bleak piece of literature. Her character voices are comical; her physical gestures are energetic; her facial expressions allow for hints of sarcasm to be carried across Eliot's original words. 

For example, this video of Shaw's performance of The Burial of the Dead contains a scene in which Shaw brings to life the famous Madame Sosostris. Her portrayal of the clairvoyante is captivating, and the viewer feels as if he is having his own fortune read to him. A bubbly, elderly woman, Sosostris clearly contradicts her title as "the wisest woman in Europe." Instead, Shaw highlights the fact that this woman is a fraud. Her humorous justification of the blank card, and the short and snappy conclusion to her reading--a mechanical "thank you" accompanied by an extended and expecting hand--bring serious doubts as to the legitimacy of her profession. The humor of this performance serves to convey Eliot's message that society has begun to search for meaning from the most ridiculous sources because the sources of the past have proven unreliable. 

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Interesting in its own right is the filming technique of the performance itself. Because Shaw's performance is a solo act, there is not a lot of camera work required to capture it. As a result, many of the camera angles are reminiscent of a documentary interview (see image above). Suddenly, each new speaker within the poem becomes, in a sense, its own interview. Rather than a crowd of random voices, these characters get a chance to offer their testimony of their experiences. This can be seen in the opening lines of the poem as Shaw (in character, of course) tells of her memories with her cousin:

     And when we were children, staying at the arch-duke's,
     My cousin's, he took me out on a sled.
     And I was frightened. He said Marie,
     Marie, hold on tight. And down we went.
     In the mountains, there you feel free.
     I read, much of the night, and go south in the winter.

This final line carries new weight when spoken directly to the camera. If unclear before, it is not unmistakable that this is the confession of insomnia caused by traumatic experiences. This interview-style filming makes a fairly inaccessible poem quite personal. Shaw creates troubled characters, and the filming captures her emotional vulnerability for the audience in an intimate setting. As a whole, the series of interview-like segments cause the performance to feel much like a war documentary. Given the context of the poem, this is an entirely appropriate mood. After all, the poem is an exploration of the various responses to World War I; it only makes sense that the 21st Century adaptation of this exploration would mimic the documentary. Each medium--the poem and the documentary--seeks to accomplish the same purpose. Thanks to Shaw's performance and the developers at Touchpress, we are now able to see a blend of both.

==Pieces of Work Influenced By Eliot and The Waste Land==
Considering ''The Waste Land'' is full of allusions, references, and direct quotations pieced together from a wide variety of poems, operas, songs, and stories, it is only fitting to look at the works of poets and songwriters succeeding Eliot who have applied Eliot's "Allusionist" techniques to their own writing through incorporating elements of the poem into their own works (http://www.huffingtonpost.com/david-galenson/ts-eliot-john-lennon-and_b_3676744.html).

'''Wilfred Owen''' [[Image:Wilfred owens.jpg]]

Owen was a poet contemporary to Eliot, also writing WWI thematic poetry such as his poem [http://www.englishverse.com/poems/futility Futlity] which speaks of the war dead and futile attempts to wake them from their final slumber, as well as representing the destructive effects the war had on the land.  ''The Waste Land'' has a continuous theme of futility and desolation in Europe following the war. 

Lines from "Futility" stating that "If anything might rouse him now / The kind old sun will know" are reminiscent of pieces of ''[http://www.poetryfoundation.org/poem/176735 The Waste Land]'' that speak of the dead, such as the zombie scene displayed in the first section of the poem, Burial of the Dead.  The war dead are wandering the streets of London, they are vacant and empty as "death had undone so many" of the people, creating the zombies that the narrator sees.  In Owen's poem "Futility", the same theme of the unknown factor that comes with death is present.  "If anything might rouse him now", such as whatever roused the war dead in ''The Waste Land''

'''Allen Tate''' [[Image:Allen tate pic.jpg]]

Tate, a fan and admirer of both Eliot and ''The Waste Land'', wrote "The Golden Mean", a parody of Eliot's poem.  (http://www.english.illinois.edu/maps/poets/s_z/tate/life.htm)


'''Ezra Pound'''

Pound, upon first meeting Eliot, was definitely the more famous of the two poets and he was one of the reasons why Eliot found fame so quickly with his work.  Though Eliot is the one most remembered nowadays, the two were incredibly close friends and worked together on many things. ( http://www.nytimes.com/2008/01/27/books/review/McGrath-t.html?pagewanted=all&_r=0)

'''W.B. Yeats'''

While Eliot is considered the father of Modernism, Yeats is considered the father of the Irish Renaissance.  Nevertheless, Yeats was influenced by Eliot and his work, a fact that puzzled him. 


'''Other Authors'''

W.B. Yeats

Ezra Pound

John Dos Passos

Anthony Burgess

Wallace Stevens

Eugenio Montale

Ralph Ellison

Hart Crane

W.H. Auden

Francis Bacon

Jeanette Winterson

Guy Butler

James Plunkett

Allen Tate

Nick Laird

==Music Artists and Songs Influenced by ''The Waste Land''==
One of the apt ways in which the legacy of ''The Waste Land'' has lived on has been through the medium of music. 


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==Derivative Works==

===Cover Art===
====The Waste Land====
[[Image:The Waste Land Cover 2 final.jpg]]This cover is from the a version of The Waste Land published by W.W. Norton & Company in 2000.

[[Image:The Waste Land Cover 6 final.jpg]]This one is from a copy of The Waste Land published by Vee Press.

[[Image:The Waste Land Cover 8.jpg]]This cover is from the Kindle edition of The Waste Land published by Liveright in September 2013.

====The Waste Land and Other Poems====
[[Image:The Waste Land Cover 1 final.jpg]]This is The Waste Land cover for the edition published by Penguin Books in 2003 that also contains some of Eliot's other poems.

[[Image:The Waste Land Cover 11 final.jpg]]This is the cover for a collection of T.S. Eliot's poems, featuring The Waste Land published by Barnes & Noble in 2005.

[[Image:The Waste Land Cover 10.jpg]]This cover is from the Kindle edition of The Waste Land and other T.S. Eliot works. It was published by Modern Library in July 2009.

====Related Works====
[[Image:The Waste Land Cover 13 final.jpg]]This cover is from an annotated version of The Waste Land published in 2006 by the Yale University Press.

[[Image:The Waste Land Cover 16.jpg]] This is the cover for the Kindle version of "T.S. Eliot's The Waste Land in 999 Words (What Everyone Should Know) published in 2010 by Nimble Books LLC.

[[Image:The Waste Land Cover 12 best.jpg]]This is the cover for the Kindle edition of an illustrated version of The Waste Land. It was published in July 2014 by Heritage Illustrated Publishing.

[[Image:The Waste Land Cover 5.jpg]]This is the cover art for a website entirely devoted to The Waste Land. It's a detail from the painting The Triumph of Death by Pieter Bruegel.

[[Image: The Waste Land Cover 7.jpg]]This is the cover art for The Waste Land as read by Robert Speaigh and created by Olga Lehmanns.

[[Image: The Waste Land Cover 9.jpg]]This is the cover of The Waste Land as an audiobook, published by thoughtaudio.com.

===Art Galleries===
[http://dodge-gallery.com/cgi-bin/DODGE?s=exhibitions&v=20107231670799676536303116 ''Unreal City'': Dave Cole]
<br>Dave Cole's ''Unreal City'' features a provocative collection of sculptures that evoke a heavy, unspoken commentary on war, industrialization, and urbanization.  Beware: his choice of materials and subject matter is highly thought-provoking and flammable!

[http://www.landwater-research.co.uk/lw.php?pg=sally-waterman "Visualising The Waste Land: Discovering a praxis of adaptation" - Sally Waterman]
<br>Sally Waterman's "Visualising ''The Waste Land'' explores the role of literary texts in self-reflection, replicating with imagery the sort of emotive effect that T.S. Eliot employs in ''The Waste Land''.

===Other===
[http://throwawayhorse.com/home/2011/04/waste-land/ Martin Rowson’s THE WASTE LAND “SEEN” for iPad]
<br>Martin Rowson’s comic “Seen” is more than just a comic. It is an interactive piece that is based on The Waste Land by T.S. Eliot. People can simply read through this comic portrayed as a film noir murder mystery or they can click on the screen and interact in other ways. The Reader’s Guide allows the reader to relate the comic to the poem with notes that inform which section of the poem the comic is corresponding with. The comic brings forth different themes and allusions derived from Eliot’s poem. Through this app people can find puns, games and jokes related to the work. This app is a gateway to learning about poetry, modernism, film noir and art history. The downside to this comic is that it is only offered as an app on the iPad. 


==Galleries==
A consolidation of works related to ''The Waste Land'', open to contributions.
* [[Images]]
* [[Audio]]
* [[Video]]


==External Links==
[http://aimee-wang.com/comics.html#wasteland Aimee Wang's The Waste Land Comic]

[http://world.std.com/~raparker/exploring/thewasteland/explore.html Exploring The Waste Land]

[http://www.landwater-research.co.uk/lw.php?pg=sally-waterman Visualising The Waste Land: Discovering a praxis of adaptation]

[http://books.google.com/books?id=SCfHnLwWg2MC&pg=PA55&lpg=PA55&dq=%22Hamlet+and+His+Problems%22&source=web&ots=cq01aXo2KC&sig=gkcaDTGsWPk-1C-vh1f0MNMGRa4&hl=en#v=onepage&q&f=false Google Books: The Sacred Wood and Major Early Essays]

[http://www.guardian.co.uk/books/2012/jul/30/eliot-waste-land-multimedia-walk TS Eliot's The Waste Land 2012 - A Multimedia Walk]


==See Also==
* [[Objective Correlative]]