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Keith Douglas was almost certainly the greatest poet of the Second World War. He was killed in Normandy three days after D-Day. He was only twenty-four. His short life was one of contradictions: the gifted artist and romantic, always in love with the wrong girl also enjoyed soldiering and was quick to volunteer at the beginning of the war. The brave and resourceful tank commander with the Sherwood Rangers in the Western Desert, in the campaign of which his Alemein to Zem Zem is the classic account, was also an outspoken critic of the military establishment and often in trouble with his superiors. There was always another side to Keith Douglas: difficult, even arrogant, he was at the same time, as Desmond Graham, observes in his original preface, 'generous, sensitive to the difficulties of others, remorselessly honest, energetic, and passionately, innocently open.' Douglas made in his brief life some friends who never forgot him, and whose memories of him have contributed much to this book. For this biography, Desmond Graham had access to much private and unpublished material. From that, interviews, Keith Douglas' own poems, letters and drawings emerges a definitive biography. 'An almost unqualified success . . . Mr Graham has used his material with great skill and tact.' Roy Fuller 'It is difficult to imagine a better biography than this being written about Keith Douglas . . . Desmond Graham provides us with an astonishing amount of information.' Stephen Spender 'Extremely well-done . . It is written with authority and it will be standard.' Peter Levi 'Sumptuously evocative' John Carey
ptoand: This is the only complete edition of Keith Douglas's poems, 105 in all, with notes and variants from other mss. Desmond Graham is also Douglas's biographer (OUP, out of print) From Hughes's introduction: Each poem turns out to be an exercise... whatever they are, these 'exercises' display his striving towards and eventually, briefly, perfecting the qualities we value in him: the incisive, nimble glance, the uniquely tempered music, the simple, pointblank bull's eye statement, the tensiledelicacy.
Dismantling Glory presents the most personal and powerful words ever written about the horrors of battle, by the very soldiers who put their lives on the line. Focusing on American and English poetry from World War I, World War II, and the Vietnam War, Lorrie Goldensohn, a poet and pacifist, affirms that by and large, twentieth-century war poetry is fundamentally antiwar. She examines the changing nature of the war lyric and takes on the literary thinking of two countries separated by their common language. World War I poets such as Wilfred Owen emphasized the role of soldier as victim. By World War II, however, English and American poets, influenced by the leftist politics of W. H. Auden, tended to indict the whole of society, not just its leaders, for militarism. During the Vietnam War, soldier poets accepted themselves as both victims and perpetrators of war's misdeeds, writing a nontraditional, more personally candid war poetry. The book not only discusses the poetry of trench warfare but also shows how the lives of civilians—women and children in particular—entered a global war poetry dominated by air power, invasion, and occupation. Goldensohn argues that World War II blurred the boundaries between battleground and home front, thus bringing women and civilians into war discourse as never before. She discusses the interplay of fascination and disapproval in the texts of twentieth-century war and notes the way in which homage to war hero and victim contends with revulsion at war's horror and waste. In addition to placing the war lyric in literary and historical context, the book discusses in detail individual poets such as Wilfred Owen, W. H. Auden, Keith Douglas, Randall Jarrell, and a group of poets from the Vietnam War, including W. D. Ehrhart, Bruce Weigl, Yusef Komunyakaa, David Huddle, and Doug Anderson. Dismantling Glory is an original and compelling look at the way twentieth-century war poetry posited new relations between masculinity and war, changed and complicated the representation of war, and expanded the scope of antiwar thinking.
Keith Douglas was arguably the most important poet of the Second World War, although over three-quarters of the poems in his Collected Poems were written before he had any direct experience of war.Douglas had a short but eventful life. Born in 1920 in Kent he attended Edgeborough School and Christ's Hospital. He was already writing accomplished poetry at Christ's Hospital and had much of his writing published in the school magazine, The Blue. Dpuglas was awarded an Open Exhibition to Merton College, Oxford, where his tutor was the First World War poet, Edmund Blunden. At Oxford he became the editor of the student newspaper, Cherwell, and had a complicated love life. As an undergraduate he was published in Cherwell and was one of the poets featured in the anthology Eight Oxford Poets. He joined up when the war started but wasn't called for training until the summer of 1940. He trained in Scotland and Gloucestershire and attended Sandhurst. The following summer he was posted to the Middle East, spending most of the rest of the war as a tank commander in the desert campaign the Allies fought against Rommel. He wrote a colourful memoir of this part of the war, Alamein to Zem Zem, which was published after his death in action in Normandy. He wrote some of his most famous and anthologized poetry in Africa.Douglas returned from North Africa to England in December 1943 as a Captain and took part in the D-Day invasion of Normandy on 6 June 1944. He was killed by enemy mortar fire on 9 June. The regimental chaplain Captain Leslie Skinner buried him by a hedge, close to where he had died; he reported that there was no sign of injury on Douglas's body.Burton's life of Keith Douglas is the first for fifty years. It makes use of recent scholarship as well as facts of Douglas's life that have recently emerged.