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The Great War in Irish Poetry explores the impact of the First World War on the work of W. B. Yeats, Robert Graves, and Louis MacNeice in the period 1914-45, and on three contemporary Northern Irish poets, Derek Mahon, Seamus Heaney, and Michael Longley. Its concern is to place their work, andmemory of the Great War, in the context of Irish politics and culture in the twentieth century. The historical background to Irish involvement in the Great War is explained, as are the ways in which issues raised in 1912-20 still reverberate in the politics of remembrance in Northern Ireland,particularly through such events as the Home Rule cause, the loss of the Titanic, the Battle of the Somme, the Easter Rising. While the Great War is perceived as central to English culture, and its literature holds a privileged position in the English literary canon, the centrality of the Great War to Irish writing has seldom been recognised. This book shows first, that despite complications in Irish domestic politicswhich led to the repression of memory of the Great War, Irish poets have been drawn throughout the century to the events and images of 1914-18. This engagement is particularly true of those writing in the 'troubled' Northern Ireland of the last thirty years. The second main concern is the extent towhich recognition of the importance of the Great War in Irish writing has itself become a casualty of competing versions of the literary canon.
Revising his 1996 doctoral dissertation for the University of South Carolina, Haughey seeks out the response of Irish poets to the Great War, which he finds to have been cast into deep critical shadow by the dazzle of English poetry about that war, and the glare of poetry on the contemporary Irish independence movement. Annotation copyrighted by Book News, Inc., Portland, OR
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.
Published to commemorate the 80th anniversary of Armistice, this collection is intended to be an introduction to the great wealth of World War I poetry. The sequence of poems is random and drawn from a number of sources, mixing both well-known and less familiar poetry.
This book gives a unified picture of Ireland's experience of the First World War.
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.
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.
This anthology contains 155 poems by forty-nine poets, all of whom have connections with Cambridge University. The poems have been selected to represent a comprehensive range of responses: patriotic, protest, satirical, realistic, elegiac, pastoral, and homoerotic. The introduction provides analytical notes on all the poems. Three appendixes discuss Charles Sorley's comments on Rupert Brooke, Siegfried Sassoon's statement of protest, and A.E. Tomlinson's scathing attack on Brooke.