This book contains the autobiographical prose of Edward Thomas, one of the most admired British writers of the twentieth century. In these works, many of which have never before been published or given the scholarly attention they deserve, Thomas provides a fascinating portrait of his childhood and teenage years in London, Wiltshire, and Wales.
Edward Thomas can be seen as the most important poetry critic in the early twentieth century. Thomas was a prose-writer before he was a poet. The Selected Edition of his prose, and especially this volume, shows that he was also a critic before he was a poet. His unusual literary career opens up key questions about the relation between poetry and criticism, as well as between poetry and prose. Thomas wrote books about poetry, but his criticism mainly took the form of reviews. He reviewed collections, editions, and studies of poetry, most regularly, for the Daily Chronicle and the Morning Post. These reviews amount to a unique commentary on the state of poetry and of poetry criticism after 1900. Since reviewing provided Thomas's main income, he also reviewed other kinds of book. Hence the sheer mass of his reviews, the stress he suffered as a literary journalist. Yet his criticism maintains an astonishingly high standard. Thomas's response to contemporary poetry intersects with his readings of older poetry. No critic or poet of the time was so deeply acquainted with the traditions of English-language poetry or so alert to new poetic movements in Ireland and America. Edward Thomas's writings on poetry have a double importance. Besides suggesting the hidden evolution of his own aesthetic, they constitute a lost history and critique of poetry before the Great War. They change our assumptions about that period. Thomas's perspectives on poets such as Yeats, Hardy, Frost, Lawrence, and Pound illuminate the making of modern poetry.
Edward Thomas can be seen as the most important poetry critic in the early twentieth century. Thomas was a prose-writer before he was a poet. The Selected Edition of his prose, and especially this volume, shows that he was also a critic before he was a poet. His unusual literary career opens up key questions about the relation between poetry and criticism, as well as between poetry and prose. Thomas wrote books about poetry, but his criticism mainly took the form of reviews. He reviewed collections, editions, and studies of poetry, most regularly, for the Daily Chronicle and the Morning Post. These reviews amount to a unique commentary on the state of poetry and of poetry criticism after 1900. Since reviewing provided Thomas's main income, he also reviewed other kinds of book. Hence the sheer mass of his reviews, the stress he suffered as a literary journalist. Yet his criticism maintains an astonishingly high standard. Thomas's response to contemporary poetry intersects with his readings of older poetry. No critic or poet of the time was so deeply acquainted with the traditions of English-language poetry or so alert to new poetic movements in Ireland and America. Edward Thomas's writings on poetry have a double importance. Besides suggesting the hidden evolution of his own aesthetic, they constitute a lost history and critique of poetry before the Great War. They change our assumptions about that period. Thomas's perspectives on poets such as Yeats, Hardy, Frost, Lawrence, and Pound illuminate the making of modern poetry.
'I have come to the borders of sleep, The unfathomable deep Forest where all must lose Their way, however straight, Or winding, soon or late; They cannot choose.' Fired by his abiding love of the English landscape, the poetry of Edward Thomas is some of the most astonishing of the twentieth century. A journalist, essayist and critic for many years, he was encouraged to write verse by his friend Robert Frost. He produced a late outburst of poetry of extraordinary beauty and mystery about the subjects closest to his heart: rural England and its inhabitants, landscape, atmosphere, transience, endurance and death. By 1917, when he was killed on the Western Front, he had earned his place as one of England's most valued poets. This selection brings together his finest verse with his most vivid prose writings on the countryside.
Edward Thomas wrote a lifetime's poetry in two years. Already a dedicated prose writer and influential critic, he became a poet only in December 1914. In April 1917 he was killed at Arras. This book includes all his poems and draws on freshly available archive material.
Spring was late in 1913 and Edward Thomas decided to go and search for winter's grave and the tell-tale signs of season's turn - he set out to cycle westwards from London to the Quantocks. Edward Thomas 1878-1917 turned from writing prose to poetry in 1914. His work as a poet has been widely celebrated and admired - Ted Hughes described Thomas as "the father of us all". The Pursuit of Spring, originally published in 1914, bridges the divide between Thomas the journalist/critic and Thomas the highly regarded poet.
A wonderfully accessible handbook to the art of writing and reading poetry—itself written entirely in verse How does poetry work? What should readers notice and look out for? Poet Lucy Newlyn demystifies the principles of the form, effortlessly illustrating key approaches and terms—all through her own original verse. Each poem exemplifies an aspect of poetic craft—but read together they suggest how poetry can evoke a whole community and its way of life in myriad ways. In a series of beautiful meditations, Newlyn guides the reader through key aspects of poetry, from sonnets and haiku to volta and synecdoche. Avoiding glosses and notes, her poems are allowed to speak for themselves, and show that there are no limits to what poetry can communicate. Newlyn’s timeless verse will appeal to lovers of poetry as well as to practitioners, teachers, and students of all ages. Onomatopoeia You’d play here all day if you had your way— near the stepping-stones, in the clearest of rock-pools, where water slaps and slips; where minnows dart, and a baby trout flop-flips.
