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Basil Bunting's work was published haphazardly throughout most of his life, and in many cases he did not oversee publication. This is the first critical edition of the complete poems, and offers an accurate text with variants from all printed sources. Don Share annotates Bunting's often complex and allusive verse, with much illuminating quotation from his prose writings, interviews and correspondence. He also examines Bunting's use of sources (including Persian literature and classical mythology), and explores the Northumbrian roots of Bunting's poetic vocabulary and use of dialect.
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Basil Bunting (1900-85) was one of the most important British poets of the 20th century. Acknowledged since the 1930s as a major figure in Modernist poetry, first by Pound and Zukofsky and later by younger writers, the Northumbrian master poet had to wait over 30 years before his genius was finally recognised in Britain - in 1966, with the publication of Briggflatts, which Cyril Connolly called 'the finest long poem to have been published in England since T.S. Eliot's Four Quartets'. As well as Briggflatts, this new Complete Poems includes Bunting's other great Sonatas, most notably Villon (1925) and The Spoils (1951), along with his two books of Odes, his vividly realised 'Overdrafts' (as he called his free translations of Horace, Rudaki and others), and his brilliantly condensed Japanese adaptation, Chomei at Toyama (1932). Like the earlier Oxford edition, it presents in its entirety Bunting's own Collected Poems, with addition of the posthumous Uncollected Poems; but this centenary edition from Bloodaxe also has a new introduction by the late Richard Caddel.Bunting wrote that 'Poetry, like music, is to be heard.' His own readings of his own work are essential listening for a full appreciation of his highly musical poetry. The new separate Bloodaxe edition of Briggflatts (2009) includes a CD with an audio recording Bunting made of Briggflatts in 1967 and a DVD of Peter Bell’s 1982 film portrait of Bunting.Bloodaxe has sublicensed a critical edition of Bunting’s complete poetry, The Poems, edited by Don Share (2016), to Faber & Faber. This has three poems not included in the Bloodaxe edition, together with a number of variants, anomalies, fragments and "false starts": apart from those additions, Bloodaxe's Complete Poems is complete (but has no critical apparatus).
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Basil Bunting was one of the most important British poets of the 20th century. Acknowledged since the 1930s as a major figure in Modernist poetry, first by Pound and Zukofsky and later by younger writers, the Northumbrian master poet had to wait over 30 years before his genius was finally recognised in Britain – in 1966, with the publication of Briggflatts, which Cyril Connolly called ‘the finest long poem to have been published in England since T.S. Eliot’s Four Quartets’.Bunting called Briggflatts his ‘autobiography’. It is a complex work, drawing on many elements of his life, experience and knowledge, and features the saint Cuthbert and the warrior king Eric Bloodaxe as two opposing aspects of the Northumbrian – and his – character. Its structural models include the sonata form (and Scarlatti’s music in particular) and the latticework of the Lindisfarne Gospels, while thematically it recalls Wordsworth’s Prelude.Bunting wrote that ‘Poetry, like music, is to be heard.’ His own readings of his own work are essential listening for a full appreciation of his highly musical poetry. This new edition includes a CD with an audio recording Bunting made of Briggflatts in 1967 and a DVD of Peter Bell’s 1982 film portrait of Bunting. As well as his own notes to the poem (and a posthumously published additional Note), the new edition includes his seminal essay on sound and meaning in poetry, ‘The Poet’s Point of View’ (1966), and other background material. All his poetry is available in Complete Poems (Bloodaxe Books, 2000).‘Briggflatts is one of the few great poems of this century. It seems to me greater each time I read it’ – Thom Gunn.‘His poems are the most important which have appeared in any form of the English language since T.S. Eliot’s The Waste Land’ – Hugh MacDiarmid.