A bold reimagining of T. S. Eliot's modernism through the structural logic of jazz.

This book proposes a new way of reading T. S. Eliot, positioning the poet as a "structural improviser" whose techniques mirror the formal principles of jazz.

Drawing on Ted Gioia's jazz theory to explore six musical dimensions—rhythm, melody, harmony, timbre, texture, and form—the study reveals how Eliot internalized jazz's compositional strategies.

From the riff-like refrains of Prufrock to the polyphonic, ensemble-like layering of The Waste Land and the extended improvisations of his later poetry, this book establishes a profound interdisciplinary methodology.

It shows how Eliot's use of syncopation, theme-and-variation, and flexible phrasing redefines modernist free verse as an art that composes in motion.



Abdi Ohadi is a musician, songwriter, and producer whose extensive career encompasses the creation of original music across a diverse array of genres, including rock, metal, contemporary folk, avant-garde, and experimental music.

Drawing on his experience as a university lecturer in both literary and musical disciplines, he is a dedicated educator and mentor based in Iran, guiding emerging artists in instrumental skills, performance, theory, improvisation, and creative production.

Bridging his practical expertise with rigorous academic scholarship, Ohadi holds a Ph.D. in English Literature.

His research focuses on the interdisciplinary intersections of sound and text, particularly the structural parallels between jazz theory and modernist poetry, bringing a unique, practitioner-informed perspective to literary criticism.