<p>T. S. Eliot's career as a successful stage dramatist gathers pace throughout the fascinating letters of this volume. <br> <br> Following his early experimentation with the dark comedy <i>Sweeney Agonistes </i>(1932), Eliot is invited to write the words of an ambitious scenario sketched out by the producer-director E. Martin Browne (who was to direct all of Eliot's plays) for a grand pageant called <i>The Rock</i> (1934). The ensuing applause leads to a commission from the Bishop of Chichester to write a play for the Canterbury Festival, resulting in the quasi-liturgical masterpiece of dramatic writing, <i>Murder in the Cathedral</i> (1935). A huge commercial success, it remains in repertoire after eighty years. <br> <br> Even while absorbed in time-consuming theatre work, Eliot remains untiring in promoting the writers on Faber's ever broadening lists - George Barker, Marianne Moore and Louis MacNeice among them. <br> <br> In addition, Eliot works hard for the Christian Church he has espoused in recent years, serving on committees for the Church Union and the Church Literature Association, and creating at Faber & Faber a book list that embraces works on church history, theology and liturgy. <br> <br> Having separated from his wife Vivien in 1933, he is anxious to avoid running into her; but she refuses to comprehend that her husband has chosen to leave her and stalks him across literary society, leading to his place of work at the offices of Faber & Faber. The correspondence draws in detail upon Vivien's letters and diaries to provide a picture of her mental state and way of life - and to help the reader to appreciate her thoughts and feelings.</p>