A new edition of Jon Stallworthy's acclaimed anthology marks the centenary of the outbreak of the First World War. Complete with a revised introduction and 42 new poems, the volume offers diverse account of war poetry from Homer's he Iliad to poems written about the wars of the twenty-first century.
Thirty-seven chapters, written by leading literary critics from across the world, describe the latest thinking about twentieth-century war poetry. The book maps both the uniqueness of each war and the continuities between poets of different wars, while the interconnections between the literatures of war and peacetime, and between combatant and civilian poets, are fully considered. The focus is on Britain and Ireland, but links are drawn with the poetry of the United States and continental Europe. The Oxford Handbook feeds a growing interest in war poetry and offers, in toto, a definitive survey of the terrain. It is intended for a broad audience, made up of specialists and also graduates and undergraduates, and is an essential resource for both scholars of particular poets and for those interested in wider debates about modern poetry. This scholarly and readable assessment of the field will provide an important point of reference for decades to come.
The First World War produced an extraordinary flowering of poetic talent, poets whose words commemorate the conflict more personally and as enduringly as monuments in stone. Lines such as 'What passing-bells for these who die as cattle?' and 'They shall grow not old, as we that are left grow old' have come to express the feelings of a nation about the horrors and aftermath of war. This new anthology provides a definitive record of the achievements of the Great War poets. As well as offering generous selections from the celebrated soldier-poets, including Wilfred Owen, Siegfried Sassoon, Rupert Brooke, and Ivor Gurney, it also incorporates less well-known writing by civilian and women poets. Music hall and trench songs provide a further lyrical perspective on the War. A general introduction charts the history of the war poets' reception and challenges prevailing myths about the war poets' progress from idealism to bitterness. The work of each poet is prefaced with a biographical account that sets the poems in their historical context. Although the War has now passed out of living memory, its haunting of our language and culture has not been exorcised. Its poetry survives because it continues to speak to and about us.
Forty chapters, written by leading scholars across the world, describe the latest thinking on modern Irish poetry. The Handbook begins with a consideration of Yeats's early work, and the legacy of the 19th century. The broadly chronological areas which follow, covering the period from the 1910s through to the 21st century, allow scope for coverage of key poetic voices in Ireland in their historical and political context. From the experimentalism of Beckett, MacGreevy, and others of the modernist generation, to the refashioning of Yeats's Ireland on the part of poets such as MacNeice, Kavanagh, and Clarke mid-century, through to the controversially titled post-1969 'Northern Renaissance' of poetry, this volume will provide extensive coverage of the key movements of the modern period. The Handbook covers the work of, among others, Paul Durcan, Thomas Kinsella, Brendan Kennelly, Seamus Heaney, Paul Muldoon, Michael Longley, Medbh McGuckian, and Ciaran Carson. The thematic sections interspersed throughout - chapters on women's poetry, religion, translation, painting, music, stylistics - allow for comparative studies of poets north and south across the century. Central to the guiding spirit of this project is the Handbook's consideration of poetic forms, and a number of essays explore the generic diversity of poetry in Ireland, its various manipulations, reinventions and sometimes repudiations of traditional forms. The last essays in the book examine the work of a 'new' generation of poets from Ireland, concentrating on work published in the last two decades by Justin Quinn, Leontia Flynn, Sinead Morrissey, David Wheatley, Vona Groarke, and others.
This volume contains all of Owen's best known work, only four of which were published in his lifetime. His war poems were based on his acute observations of the soldiers with whom he served on the Western front, and reflect the horror and waste of World War One.
There can be no area of human experience that has generated a wider range of powerful feelings than war. The 250 poems included in this acclaimed anthology span centuries of human conflict - from David's lament for Saul and Jonathan, and Homer's Iliad, to the finest poems of the Second World War, Vietnam, Northern Ireland, and El Salvador, as well as the chilling visions of the 'Next War'. Reflecting the feelings of authors as diverse as Virgil, Daniel Defoe, Emily Dickinson, and Adrian Mitchell, they reveal a great shift in social awareness from man's early celebratory war-songs to the more recent anti-war attitudes of poets responding to 'man's inhumanity to man', and to women and children. Book jacket.
The complete edition of Wilfred Owen's, War Poems and Others. " What passing-bells for those who die as castle? — Only the monstrous anger of the guns.'' This edition contains all Wilfred Owen's war poetry with an Introduction and Notes on Owen as a poet by Dominic Hibberd. It also includes an Historical Introduction & Study Guide written for Australian students by William Hovey, formerly History Co-ordinator at Santa Sabina College, Strathfield NSW. Mr Hovey provides an Historical Introduction to the western front and relates Owen's poetry to the Australian troops in the trenches and to the factors that motivated them to enlist. The Study Guide has a full list of books and other resources relevant to the study of the Australian experience of World War One and a selection of assignments and activities for student use.