T. S. Eliot's Drama

Fabio L. Vericat is Senior Lecturer in the Department of English Studies at Universidad Complutense de Madrid. He studied English at the University of Edinburgh and the University of Glasgow. His current research interests focus on the sound of writing by exploring the interconnections between reading and performance in the literary text. He writes mainly on the long Modernist period, specifically on T. S. Eliot and Henry James, but also on film and drama. He is currently working on a book project provisionally entitled The Drama of Aural Modernity in T. S. Eliot and Henry James. In the autumn of 2017, he was visiting scholar in the English Department at Harvard University with the aid of a RCC Harvard Research Fellowship. Dídac Llorens-Cubedo teaches English and US literature at the Spanish National University of Distance Education (UNED). He has published T. S. Eliot and Salvador Espriu: Converging Poetic Imaginations (2013) and co-edited New Literatures of Old: Dialogues of Tradition and Innovation in Anglophone Literatures (2008) and a critical edition of Eliot’s drama in Spanish translation, T. S. Eliot. Teatro Completo (2022). His research focuses on Modernism, (neo)Victorianism and comparative literature, across languages and the arts. He has coordinated two publicly funded research projects on Eliot’s drama: 'T. S. Eliot’s Drama from Spain: Translation, Critical Study, Performance' and 'Critical Reassessment of Eliot’s Verse Drama: Influence, Evolution, and Perception', as well as the academic blog 'T. S. Eliot and Drama'. He is also the general editor of the journal Epos. Revista de Filología.

The first major study of Eliot’s drama in at least a decade, this timely volume revitalizes our understanding of his plays with new archival material, such as his letters to Emily Hale, and fresh approaches including dance history, ecocriticism, and food studies.

• List of FiguresList of Abbreviations for T. S. Eliot’s Works Acknowledgements Notes on ContributorsIntroduction: The Drama of the PoetFabio L. Vericat and Dídac Llorens-CubedoPart I. Avant-Garde1. T. S. Eliot’s Sweeney Agonistes and ‘a scenario for a ballet’Gabriela M. Minden 2. ‘Don’t make it arty’: Sweeney Agonistes as Closet Drama and the Fashioning of the Modernist PlaywrightFabio L. Vericat Part II. Ritual3. A ‘disturbance of the quiet seasons’: Eco-Spiritual Renewal in Murder in the CathedralShannon McClernon4. Ancient Feast and Urban Sacrifice in The Cocktail PartyChristina J. LambertPart III. The Stage5. The Rock on Page and StageParker T. Gordon6. ‘Not pulpit oratory’: T. S. Eliot’s Audience, Christianity and The Family Reunion Nicoletta AsciutoPart IV. Turn7. Late to The Family Reunion; or, the Loop in TimeAnthony Cuda8. ‘Where is he going?’: The Family Reunion, Emily Hale and the Uses of HopePatrick R. QueryPart V. Popularity9. A Yorkshire Tragedy? The Family Reunion, the Twentieth-Century Crime Play and Elizabethan Domestic TragedyAlex Davis10. The Playwright’s Progress: Rethinking T. S. Eliot’s ComediesDídac Llorens-CubedoIndex