T.S. Eliot Maze Key To Millions

Professors are covering up the meaning of T.S. Eliot’s poems to inherit millions of pounds, which hold sway over English literature.

Eliot’s widow left a fortune from the musical ‘Cats’, based on Eliot’s poems for children, responsible for her ownership of the publisher Faber & Faber.

Eliot was the twentieth century’s preeminent poet, with the status and fame of a Picasso of literature. He was the most successful American writer and a founder of the prestigious firm.

Eliot’s major poem The Waste Land expresses his gay feelings in a maze of scholastic references, which is still unexplained by academics after a century.

The enigma was presented as the showcase of the ‘Modern’ literature revolution by Eliot’s controversial promoter Ezra Pound. The American poets misled the world about the poem’s true meaning.

The Modern revolution established the twentieth century literary order under Eliot’s figurehead, based on the enigma of The Waste Land. Succeeding generations were assembled around Eliot’s status at the firm where he worked.

The maze was cracked in 1952 by the academic John Peter, at the height of Eliot’s fame and anti-homosexual prosecutions. The answers were hushed up to avoid scandal. Eliot married his secretary in 1958 and charged her with protecting his public image until her death. Valerie Eliot controlled scholarship of Eliot’s verse herself until 2012. In 1981 she broke from her strict guard to permit the creation of Cats from Eliot’s book of poems for children. The millions from the copyrights to the words allowed her to buy 50% of Faber & Faber, the publishing house responsible for academic opinion, where Eliot was a Director. Today the firm represents the establishment of world literature.

Valerie Eliot had no children. Thirty-seven years younger than Eliot, she died aged eighty-six, leaving her estate in the hands of employees who continue her task from a bygone era.

The Eliot estate has been controlled for a decade by the poet Craig Raine – Valerie’s chosen heir and the controlling academic voice on Eliot. Based at Oxford University, Raine undertook the task of misrepresenting Eliot’s verse to take over the Eliot estate. His mental health has been questioned in the media.

Raine’s 2006 book ‘T.S. Eliot: Lives And Legacies’ – dedicated to Eliot’s widow, who was incapacitated by senile dementia – has since been the major guide to Eliot’s verse on sale worldwide. The explanation of the verse is not mentioned in the book.

Raine worked in Eliot’s former role as Poetry Editor at Faber & Faber in the 1980s. He is the author of ten poetry collections.

Raine’s Oxford University colleague Jonathan Wordsworth – leading scholar on the verse of his ancestor William Wordsworth – believed Raine was motivated by “the money from Cats”. Wordsworth tutored Raine, as well as the novelist Martin Amis, at Oxford in the 1970s.

Craig Raine is a prominent figure in British literary circles. His friends include a number of Britain’s leading writers past and present, such as Amis, Ian McEwan, the late Poet Laureate Ted Hughes, and many others. They represent more than two generations of English writers assembled under Eliot’s masthead at Faber.

Raine’s ‘madness of arrogance’ came to attention in 2010, when his first novel caused uproar amongst reviewers because of its bizarre egocentricity and perverted sexual predilection. He was then made a Professor Emeritus of English by Oxford University.

Faber & Faber has produced twelve winners of the Nobel Prize for Literature, from Eliot in 1948 to Kazuo Ishiguro in 2017. It is the publishing house of serious literature. Raine’s mistake encouraged a conspiracy around T.S. Eliot’s stature in the British establishment with links to Fascism through Ezra Pound, the anti-Semitic Editor of The Waste Land who supported Fascism and publicly endorsed the Holocaust. Raine and Faber & Faber have strong connections in the media. The firm is identified with Britain’s national literature.

Eliot was voted ‘Britain’s favourite poet’ in 2009, and is seen as a national cultural icon in part because of a conspiracy at Faber & Faber, with members of Eliot’s retinue serving as Oxford Professor Of Poetry and Poet Laureate concurrently. Christopher Ricks and Andrew Motion were both knighted when they left their posts in 2009. Eliot switched from American to British citizenship, and became a caricature of patrician manners considered sacrosanct there.

Faber & Faber oppose explanation of Eliot’s verse, refusing permission to quote it. Meanwhile the company publishes the books and the digital App that represent Eliot’s poetry to the public according to the terms of former prejudice. It prints Eliot’s verse with hundreds of pages of pedantic academic notes whose effect is to obscure and obfuscate its subject. The decades-old malpractice was begun by Eliot’s own ‘Notes To The Waste Land’, which provoked an unprecedented fiasco.

Eliot’s famous 1923 Notes pretended the baffling poem could only be understood from a scholastic perspective, instead of his real inspiration of gay love. The Notes were taken seriously by gullible academics, who built the showcase of an intellectual pretension of unparalleled cultural status and academic reputation. Eliot called this a “remarkable exposition of bogus scholarship” in a cryptic interview in 1951, in which he famously disavowed his Notes.

Faber & Faber continue to veil the meaning by employing Sir Christopher Ricks to annotate Eliot’s poetry with hundreds of pages of such notes, that Eliot forbade in his will. Ricks is ‘the world’s most distinguished scholar’, based at Boston University, who owes his reputation to his continuation of this fiasco.

Sir Christopher was a friend of John Peter, the academic who unravelled the enigma of The Waste Land at the height of Eliot’s fame. Eliot threatened to sue to suppress the breakthrough. Peter’s essay was reprinted in 1969 and held the academic industry consensus during the 1970s. Peter’s sudden death in 1983 coincided with the arrival of ‘Cats’ and cut short his plans for an overdue book, that Ricks had agreed to support in a 1982 letter.

Afterwards Ricks collaborated with Eliot’s widow to continue the debacle Peter had partially exposed. Ricks was made Oxford Professor Of Poetry as a result, and knighted for Services To Scholarship in the final outcome.

Oxford Professor of Poetry is the highest post in world poetry, traditionally held by a top poet. Today Sir Christopher is deputy editor at the Essays In Criticism journal where Peter’s article gathers dust. Peter is forgotten.

T.S. Eliot achieved fame overnight in 1922 with The Waste Land, which seemed to justify the modern arts. The puzzle appealed to a world in shock after the First World War.

It expresses Eliot’s day-to-day misery and longing for Jean Verdenal, his university flat mate who was killed in the April 1915 Battle Of Gallipoli.

The poem’s famous opening line, ‘April is the cruelest month’, mistaken for a paradox, is explained by the personal tragedy. The Waste Land describes Eliot’s journey of spiritual anguish as a married London banker, in its coded language of literary references. His first book of poems, ‘Prufrock And Other Observations’ (perhaps the classic of U.S. poetry), is dedicated to Verdenal, ‘Mort Aux Dardanelles’ (killed at Gallipoli).

(Above: Jean Verdenal in January 1915)

Eliot’s reputation as a poet was unrivalled in his lifetime. He also wrote popular plays including Murder In The Cathedral. In 1929 Eliot switched to British citizenship. He converted to Anglican Christianity and was a leading figure in the Church.

Eliot owed his fame to the poet Ezra Pound, his co-author and activist. Pound was the most controversial American of the twentieth century. The rebel from Idaho is best known for his support of the Fascist side during World War Two and imprisonment in an insane asylum by U.S. authorities in an unexplained fiasco, while unknown as the co-author of The Waste Land. After twelve years Pound was declared ‘permanently and incurably insane’ and released, following a controversial campaign by leading American authors such Ernest Hemingway and Robert Frost.

Pound organised the literary revolution of the twentieth century under the figurehead of T.S. Eliot. Pound was also integral to the careers of James Joyce, Frost and Hemingway. He set up Eliot with the credit as the innovator of Modern verse that really belonged to Pound himself.

Pound discovered the unknown Eliot and organised his career up to The Waste Land, which he remodelled from Eliot’s gay crypto symbolism. The poem is dedicated to him, ‘For Ezra Pound, il migglior fabbro’ (the greater artist). Pound’s responsibility for the hit was hidden to ensure Eliot’s counterfeit billing as a mastermind.

In a private poem Pound described himself as the male midwife who delivered the babies of the gay muse from the stomach of their mother, T.S. Eliot. ‘On each Occasion/Ezra performed the caesarean Operation’. Pound’s declaration was the original dedication of The Waste Land.

Pound came to public attention in 1943 when he was indicted for Treason for his speeches over Italian radio blaming the Second World War on a Jewish banking conspiracy, as part of his public support for Fascism. The bombast compensated Pound for his missing recognition as the man behind Modernism.

Captured by the U.S. and controversially declared insane, Pound was nevertheless awarded America’s highest poetry prize in 1948, by the Fellows In The Society Of Letters of the Library Of Congress, led by Eliot. Its arts awards program was cancelled permanently as a result of the award of the inaugural Bollingen Prize to a Fascist whose alleged insanity prevented his trial for Treason. Instead, Pound received a poetry prize from the government that had declared him insane.

Pound died in 1972. In 1971 the lost Manuscript of The Waste Land was discovered and published by Eliot’s widow, showing the first evidence of Pound’s key role, in his scrawls all over the legendary document. The enigma remains after a century.

In 2011 The Waste Land App for iPad topped sales in Apple’s book store around the world. Explanatory notes by Faber & Faber ensure public incomprehension. The expensive App was endorsed by Apple, seemingly unaware of the cover-up.

‘You cannot quote T.S. Eliot in your book’. To this day Faber & Faber censor the meaning of Eliot’s verse.

The Waste Land is riddled with stolen lines and ‘allusions’ to other works to evade comprehension during the criminality of homosexuality. Faber & Faber claim to own the copyrights to Eliot’s verse, and prohibit quotation. In their own books they pretend to explain it, while opposed to doing so on grounds of principle.

The censoring policy is explained by a takeover of the Cats fortune by academics responsible for the interpretation of Eliot’s work. They assume an elite literary stature with the responsibility.

In an interview at Oxford University in 2006 I asked Craig Raine about taking over the Eliot estate, which his friend the playwright Patrick Marber had told me. Raine quickly changed the subject. “That’s not quite true, how do you know Patrick?” Raine did not elaborate.

Raine came out as Eliot’s literary executor in 2013, a role held by Valerie Eliot from 1965 until the time of our interview.

In 2009 Poet Laureate Andrew Motion was knighted for Services To Literature alongside Christopher Ricks. Motion owed his post to his publication by Faber & Faber, which had become synonymous with English poetry. Sir Andrew maintained the pretence during his tenure from 1999-2009, and was knighted.

Eliot denied he was homosexual, and turned prejudice to the advantage of a puzzle on which he based his fame. His first wife Vivien was abandoned without explanation and finally committed to an institution for the mad, where she died in 1947.

Eliot’s homophobic mental illness that showed itself in sporadic unflattering references to Jews in early poems. They are unanimously regarded as anti-Semitic except by Craig Raine. Raine misrepresents Eliot to the world for his own private purposes.

“I’m not interested in money, I’m interested in womens’ legs” he told the Sunday Times in 2006. A blackout followed in the media.

Eliot died in 1965. Homosexuality was decriminalised in 1967.

He remains the most successful American writer.