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The Waste Land is a seminal work of modernist poetry by T.S. Eliot. Written in 1922, this five-part poem is a portrait of its time, a work that expresses the disillusionment of the modernist era and the desperation that the generation of writers of that time was feeling....

Renowned as one of the world's greatest poems, The Waste Land has been said to describe the moral decay of a world after war and the search for meaning in a meaningless era. It has been labeled the most truthful poem of its time; it has been branded a masterful fake. A century after its publication in 1922, T. S. Eliot's enigmatic masterpiece remains one of the most influential works ever written, and yet one of the most mysterious.

In this third volume, several months have passed, and Roland's two new tet-mates have become trained gunslingers. Eddie Dean has given up heroin, and Odetta's two selves have joined, becoming the stronger and more balanced personality of Susannah Dean. But while battling The Pusher in 1977 New York, Roland altered ka by saving the life of Jake Chambers, a boy who - in Roland's world - has already died. Now Roland and Jake exist in different worlds, but they are joined by the same madness.

These are masterly readings, by renowned thespian Paul Schofield, of two substantial works of poetry by T.S. Eliot.

The Waste Land and Other Poems by T. S. Eliot, read by Edoardo Ballerini. To mark the centenary of the publication of The Waste Land, by T. S. Eliot, Faber & Faber, in association with the T. S. Eliot Foundation, commissioned this new recording of T. S. Eliot's major poems, narrated by Edoardo Ballerini. Ballerini is widely regarded as the brightest star of the audiobook era, one of the finest narrators of literature today.

The Waste Land by T. S Eliot is narrated by Danielle Cohen and Denis Daly. Eliot's cross-cultural epic poem, first published in 1922, remains one of the most challenging poems in the English language. It is dedicated to Eliot's mentor, Ezra Pound. Like Pound, Eliot reveled in drawing allusions and quotations from a vast body of world literature.

No one expected Ragnarok. The miles-wide meteor fell from the sky in 2030, taking most of humanity with it. The lucky ones took refuge in the Bunkers. The unlucky ones had to deal with the meteor's aftermath...and the alien virus it unleashed. Now, that virus is evolving, creating an army of mutants and monsters, mixing Earth genetics with something...not Earth. As humanity struggles in the wastelands of what's left, it might already be too late...unless a band of young heroes can rise up, and fight.

We are entering a new era of global cataclysm in which the world faces a deadly mix of war, climate change, great power rivalry, rapid technological advancement, the end of both monarchy and empire, and countless other dangers. In Waste Land, Robert D. Kaplan, geopolitical expert and author of more than twenty books on world affairs, incisively explains how we got here and where we are going.

Originally broadcast on BBC Radio 4, Jeremy Irons' perceptive reading illuminates the poetry of T. S. Eliot in all its complexity. Major poems range from 'The Love Song of J. Alfred Prufrock' through the post-war desolation of 'The Waste Land' and the spiritual struggle of 'Ash-Wednesday', to the enduring charm of 'Old Possum's Book of Practical Cats'.

The Jaeger squad has finally tracked down Griff’s kidnapped daughter. The problem? She’s locked away in the deadliest dungeon in the wasteland—the Supermax. A magical prison for the mobs and Incants too dangerous to go free, but too valuable to kill off. None of the magical prisoners who have disappeared into the dungeon turned prison have ever been heard from again, but the Jaeger squad is looking to be the first. It’s time for a jailbreak in the IZ. But the Supermax is hiding a deep, dark secret. One that just might get the Jaegers killed. Or worse.

Forged in the fires of the lawless wasteland, Clay, Alex, and Joe have finally earned the unimaginable power of Incants. All they want now is to settle down, drink a few beers, and carve out a new life west of the containment wall. Not everyone in the IZ has such noble goals at heart, however. When the Jaeger Squad learns that another group of magic-slinging Incants are enslaving homesteaders to farm gold and harvest enchanted items to sell on the black market, they can’t just turn a blind eye. Especially since Clay and the others are the only ones with the power to make things right.

Crawford presents this complex and remarkable man not as a literary monument but as a human being: as husband, lover, and widower; as banker, editor, playwright, and publisher; and most of all as an epoch-shaping poet struggling to make art amid personal disasters.

In a remarkable feat of biography, Matthew Hollis reconstructs the intellectual creation of the poem and brings the material reality of its charged times vividly to life. Presenting a mosaic of historical fragments, diaries, dynamic literary criticism and illuminating new research, he reveals the cultural and personal trauma that forged The Waste Land through the lives of its protagonists.

The Waste Land is a poem by T. S. Eliot, widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line poem first appeared in the United Kingdom in the October issue of Eliot's The Criterion and in the United States in the November issue of The Dial. It was published in book form in December 1922. Eliot's poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society.

The 13 chapters of The Art of War, each devoted to one aspect of warfare, were compiled by the high-ranking Chinese military general, strategist, and philosopher Sun-Tzu. In spite of its battlefield specificity, The Art of War has found new life in the modern age, with leaders in fields as wide and far-reaching as world politics, human psychology, and corporate strategy finding valuable insight in its timeworn words.

In the early 20th century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world's map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war. From Nosferatu to Frankenstein's monster and the Wolf Man, the touchstones of horror can all trace their roots to the bloodshed of the First World War.

AD 1316. Ireland has been drawn into the bitter war between Scotland and England. Richard Savage thought he had left the war behind, but arch enemy Edward Bruce won't let him just walk away. Savage stole something from him, and there are no depths to which he will not descend to get it back. To force Savage's return, Bruce takes what is most dear to him: his daughter Galiene. To rescue her, Savage must voyage back to an Ireland devastated by war and decimated by famine, where Scottish invaders ravage the countryside.

Tarot Deciphered is an in-depth voyage into the esoteric roots that underlie the Rider-Waite-Smith Tarot, the Thoth Tarot, and the myriad of decks that share their symbology. This card-by-card analysis reveals detailed insights drawn from the multi-layered traditions of the Hermetic Order of the Golden Dawn, the magical order that most strongly influenced modern tarot.

In "The Waste Land,” T. S. Eliot’s eulogy for all that is buried after World War I, April promises a flowering. But as the world mourns the spirit of a bygone era, what future can emerge from the cold, dead, infertile ground? Doubt and fear grip the narrator, too, in “The Love Song of J. Alfred Prufrock” - a self-examination of an anxious, overeducated man unable to act against feelings of paralyzing impotence.

Possibly one of the most dissected poems ever, Eliot's poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism, and the Hindu Upanishads. The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location, and time and conjuring a vast and dissonant range of cultures and literatures.