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Eliot's Personal Waste Land: Exorcism of the Demons\u003c\/i\u003e takes Eliot at his word in his reiterated statements that \u003ci\u003eThe Waste Land\u003c\/i\u003e was not a \"criticism of the contemporary world\" but a personal \"grouse against life.\" It is the first critical work to investigate in depth the sources of the poem in Eliot's life, with particular attention to Eliot's \"Calamus\"-like attachment to a French youth during Eliot's graduate year in Paris, his subsequent precipitate (and disastrous) marriage following the death of his young French friend in World War I, and his 1921 nervous breakdown (suffering from what he called \"an aboulie and emotional derangement which has been a lifelong affliction\") that led to the writing of \u003ci\u003eThe Waste Land\u003c\/i\u003e. Yet the main thrust of this work is not on Eliot's life, but on his poetry, exploring ways in which the fragmentary details of his life shape and illuminate the poems. \u003c\/p\u003e\u003cp\u003eWhile some consideration is given to the early, confession-like \"Ode\" (later suppressed), and to the famous \"familiar compound ghost\" of the later \u003ci\u003eFour Quartets\u003c\/i\u003e, primary attention is focused on the original drafts of \u003ci\u003eThe Waste Land\u003c\/i\u003e. 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Yet the main thrust of this work is not on Eliot's life, but on his poetry, exploring ways in which the fragmentary details of his life shape and illuminate the poems. \u003c\/p\u003e\u003cp\u003eWhile some consideration is given to the early, confession-like \"Ode\" (later suppressed), and to the famous \"familiar compound ghost\" of the later \u003ci\u003eFour Quartets\u003c\/i\u003e, primary attention is focused on the original drafts of \u003ci\u003eThe Waste Land\u003c\/i\u003e. 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