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Unavailable for a few years, this new edition of Philip Hoy's lengthy interview with the great American poet makes available once again an indispensable guide to Anthony Hecht's work, including extensive bibliographies of primary and secondary work
In his centenary year, this volume of the Pulitzer Prize winner and former poet laureate’s poems celebrates the indispensable artistry of a writer who faced the history of his era with a “clear-eyed mercy toward human weakness” (The New York Times Book Review) and was hailed in his day as “the best poet writing in English” (Joseph Brodsky). This volume brings together for the first time all of the poems that appeared in Anthony Hecht’s seven trade collections, from A Summoning of Stones of 1954 through to The Darkness and the Light of 2001; it adds the remarkable work contained in his posthumously issued Interior Skies: Late Poems from Liguria of 2011; and it rounds this out with the best of the many poems which were left uncollected at the time of his death in 2004, the earliest dating from 1950 and the latest from 2001. Including the woodcuts by Leonard Baskin that accompanied some of his pieces through the years, Collected Poems brings us the full sweep of the experience and artistry of Anthony Hecht, who, as an infantryman in World War II, bore witness to the shaping events of his time, which continue to shape our own. As the editor Philip Hoy states in his introduction: “Anthony Hecht once wrote that poems can allow us to contemplate our ‘sweetest triumphs’ and our ‘deepest desolations,’ and by employing ‘the manifold devices of art’ to recover for us what he memorably called ‘the inexhaustible plenitude of the world.’ The work gathered together here amply attests to the truth of that claim, and makes it clear that Hecht was one of the finest poets, not just of his generation, but of the twentieth century.”
Spanning seven decades, these often intimate, brilliantly astute letters by the eminent poet Anthony Hecht reflect a body of work that influenced the history of twentieth-century American poetry. Pulitzer Prize-winning poet Anthony Hecht (1923–2004) was known not only for his masterful control of form and language but also for his wit and humor. With the help of Helen Hecht, the poet’s widow, Jonathan F. S. Post combed through more than 4,000 letters to produce an intimate look into the poet’s mind and art across a lifetime. The letters range from Hecht’s early days at summer camp to college at Bard, to the front lines of World War II, to travels abroad in France and Italy, to marriage, and to fame as a poet and critic. Along the way, Hecht corresponded with well-known poets such as John Hollander, James Merrill, Anne Sexton, and Richard Wilbur. Those interested in the lives of contemporary poets will read these highly personal letters with delight and surprise.
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.
From Homer to Heaney, the voices of men and women have seldom been more piercing, more poignant, than in time of conflict. For fifty years, Jon Stallworthy has been attuned to such voices. In Survivors' Songs he explores a series of poetic encounters with war, with essays on Rupert Brooke, Siegfried Sassoon, Wilfred Owen, and others. Beautifully written, this moving book sets the poetry and prose of the First World War and its aftermath in the wider context of writing about warfare from prehistoric Troy to Anglo-Saxon England; from Agincourt to Flanders; from El Alamein to Vietnam; from the wars of yesterday to the wars of tomorrow.
Alongside Wallace Stevens, James Merrill, and other pillars of twentieth-century poetry, Anthony Hecht joins the Borzoi Poetry series. Hecht, whose writing rings with the cadences of the King James Bible, and who, as an infantryman at the end of World War II, participated in the liberation of the concentration camps, lived and experienced the best and worst of the twentieth century. Readers of this volume—the first selected poems to be made from Hecht’s seven individual volumes—will be captivated by Hecht’s dark music and allusions to the literature of the past. As J. D. McClatchy explains in his introduction, Hecht was a poet for whom formal elegance was inextricably bound up with the dramatic force, thematic ambition, and powerful emotions in each poem. The rules of his art, which he both honored and transformed, are “moral principles meant finally to reveal the structure of human dilemmas and sympathies.” This elevated sense of what poetry can accomplish defines our experience of reading Hecht, and will ensure his place in the canon for years to come. Adam and Eve knew such perfection once, God’s finger in the cloud, and on the ground Nothing but springtime, nothing else at all. But in our fallen state where the blood hunts For blood, and rises at the hunting sound, What do we know of lasting since the fall? Who has not, in the oil and heat of youth, Thought of the flourishing of the almond tree, The grasshopper, and the failing of desire, And thought his tongue might pierce the secrecy Of the six-pointed starlight, and might choir A secret-voweled, unutterable truth? —from “A Poem for Julia”
Tim Kendall's study offers the fullest account to date of a tradition of modern English war poetry. Stretching from the Boer War to the present day, it focuses on many of the twentieth-century's finest poets - combatants and non-combatants alike - and considers how they address the ethical challenges of making art out of violence. Poetry, we are often told, makes nothing happen. But war makes poetry happen: the war poet cannot regret, and must exalt at, even the most appalling experiences. Modern English War Poetry not only assesses the problematic relationship between war and its poets, it also encourages an urgent reconsideration of the modern poetry canon and the (too often marginalised) position of war poetry within it. The aesthetic and ethical values on which canonical judgements have been based are carefully scrutinized via a detailed analysis of individual poets. The poets discussed include Thomas Hardy, Rudyard Kipling, Wilfred Owen, Charlotte Mew, Edward Thomas, Ivor Gurney, W. H. Auden, Keith Douglas, Ted Hughes, and Geoffrey Hill.
Browsing through books and TV channels we find people pre-occupied with eating, cooking and competing with chefs. Eating and food in today's media have become a form of entertainment and art. A survey of literary history and culture shows to what extent eating used to be closely related to all areas of human life, to religion, eroticism and even to death.In this volume, early modern ideas of feasting, banqueting and culinary pleasures are juxtaposed with post-18th- and 19th-century concepts in which the intake of food is increasingly subjected to moral, theological and economic reservations. In a wide range of essays, various images, rhetorics and poetics of plenty are not only contrasted with the horrors of gluttony, they are also seen in the context of modern phenomena such as the anorexic body or the gourmandizing bête humaine.It is this vexing binary approach to eating and food which this volume traces within a wide chronological framework and which is at the core not only of literature, art and film, but also of a flourishing popular culture.
The poetry of the First World War remains a singularly popular and powerful body of work. This Companion brings together leading scholars in the field to re-examine First World War poetry in English at the start of the centennial commemoration of the war. It offers historical and critical contexts, fresh readings of the important soldier-poets, and investigations of the war poetry of women and civilians, Georgians and Anglo-American modernists and of poetry from England, Ireland, Scotland, Wales and the former British colonies. The volume explores the range and diversity of this body of work, its rich afterlife and the expanding horizons and reconfiguration of the term 'First World War Poetry'. Complete with a detailed chronology and guide to further reading, the Companion concludes with a conversation with three poets - Michael Longley, Andrew Motion and Jon Stallworthy - about why and how the war and its poetry continue to resonate with us.
American poetry's two characteristics -- American English as a poetic resource -- Convention and idiosyncrasy -- Auden and Eliot : two complicating examples -- On the present and future of American poetry.