In hierdie debuutbundel kom ’n groot verskeidenheid onderwerpe, versvorme, emosies en toonaarde aan die bod. Die digter maak soms ook van spesifieke variante van Afrikaans gebruik: streektaal, akademiese taal en wetenskaplike taal. Die digter skryf oor die Suid-Afrikaanse werklikheid, die natuur en wildernisgebiede waar hy ontspan en na voels en skoenlappers kyk, ook na die werklikheid van sy werksomgewing op Potchefstroom en plekke soos Indie waar hy gereis het. Hy slaag daarin om sulke bekende onderwerpe in die digkuns soos die liefde en vriendskaps- en familie-verhoudinge op ’n nuwe, speelse en soms ook diepsinnige wyse te verwoord. ’n Treffende voorbeeld is “Die digter sing vir sy beminde” waar die konkrete, bekende wereld omtower word: die geliefdes vlieg weg van die alledaagse, deur die deur van die maan en saam weer oor die kombuis tot in ’n nuwe land. Maar vir hierdie digter klink liefdesmusiek ook in die Bosveld en die rooigras van die Vrystaat op. Daar is ook pragtige gedigte oor sy ouma en haar unieke wyse van praat, die platteland en sy mense en ook meer eksotiese plekke soos Moembaai en Stockholm. Die akademiese wereld en die literatuur kom ook in die bundel ter sprake.

T. S. Eliot enjoyed a profound relationship with Earth. Criticism of his work does not suggest that this exists in his poetic oeuvre. Writing into this gap, Etienne Terblanche demonstrates that Eliot presents Earth as a process in which humans immerse themselves. The Waste Land and Four Quartets in particular re-locate the modern reader towards mindfulness of Earth's continuation and one's radical becoming within that process. But what are the potential implications for ecocriticism? Based on its careful reading of the poems from a new material perspective, this book shows how vital it has become for ecocriticism to be skeptical about the extent of its skepticism, to follow instead the twentieth century's most important poet who, at the end of searing skepticism, finds affirmation of Earth, art, and real presence.

T. S. Eliot enjoyed a profound relationship with Earth. Criticism of his work does not suggest that this exists in his poetic oeuvre. Writing into this gap, Etienne Terblanche demonstrates that Eliot presents Earth as a process in which humans immerse themselves. The Waste Land and Four Quartets in particular re-locate the modern reader towards mindfulness of Earth's continuation and one's radical becoming within that process. But what are the potential implications for ecocriticism? Based on its careful reading of the poems from a new material perspective, this book shows how vital it has become for ecocriticism to be skeptical about the extent of its skepticism, to follow instead the twentieth century's most important poet who, at the end of searing skepticism, finds affirmation of Earth, art, and real presence.