T.S. Eliot’s modernist poetic suite, The Waste Land, of 1922, was born of the Götterdämmerung that was The Great War.  Its voices (personas) recount the loss of faith, the rubble-proven absurdity of European (colonial) ‘superiority,’  and the brazen (sexual) amorality afflicting its civilzation, i.e., the displacement of Jesus by jazz, of classicism by capitalism, and of law-and-order by the orgasm.