Tim Kendall – författare

The Second World War is now recognized as a watershed for British poetry. The changes that arose were masked for some time by the enormous power and shock of the conflict itself, and by the restrictions on poetry publishing consequent on paper rationing and the general business of wartime. This anthology seeks to showcase not only the harrowingly beautiful poetry born from the conflict, but also the radical changes to style and form that came from the epoch and altered the face of British poetry. Featuring generous selections of famous poets, including Dylan Thomas, T. S. Eliot, and W. H. Auden, alongside works by civilians and soldiers, the collection offers a symphony of different voices, all connected in their shared experience of the Second World War. Tim Kendall's introduction charts the history of the war poets' reception, explaining their relationship with their First World War predecessors and some of the reasons why they have never managed to reach such a wide audience. The work of each poet is prefaced with a biographical account which allows poems to be read in their historical context, and every poem is annotated with date of composition, publication history, and a gloss of words and allusions.

The Second World War is now recognized as a watershed for British poetry. The changes that arose were masked for some time by the enormous power and shock of the conflict itself, and by the restrictions on poetry publishing consequent on paper rationing and the general business of wartime. This anthology seeks to showcase not only the harrowingly beautiful poetry born from the conflict, but also the radical changes to style and form that came from the epoch and altered the face of British poetry. Featuring generous selections of famous poets, including Dylan Thomas, T. S. Eliot, and W. H. Auden, alongside works by civilians and soldiers, the collection offers a symphony of different voices, all connected in their shared experience of the Second World War. Tim Kendall's introduction charts the history of the war poets' reception, explaining their relationship with their First World War predecessors and some of the reasons why they have never managed to reach such a wide audience. The work of each poet is prefaced with a biographical account which allows poems to be read in their historical context, and every poem is annotated with date of composition, publication history, and a gloss of words and allusions.

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 mostappalling 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 onwhich 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.

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 UnitedStates 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.

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.

'What passing-bells for these who die as cattle?'The First World War produced an extraordinary flowering of poetic talent, from poets whose words commemorate the conflict as enduringly as monuments in stone. Their poems 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. The work of each poet is prefaced with a biographical account that sets the poems in their historical context. In addition, Tim Kendall's introduction charts the history of the war poets' reception and challenges prevailing myths about their progress from idealism to bitterness. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Second World War is now recognized as a watershed for British poetry. The changes that arose were masked for some time by the enormous power and shock of the conflict itself, and by the restrictions on poetry publishing consequent on paper rationing and the general business of wartime. This anthology seeks to showcase not only the harrowingly beautiful poetry born from the conflict, but also the radical changes to style and form that came from the epoch and altered the face of British poetry. Featuring generous selections of famous poets, including Dylan Thomas, T. S. Eliot, and W. H. Auden, alongside works by civilians and soldiers, the collection offers a symphony of different voices, all connected in their shared experience of the Second World War.Tim Kendall's introduction charts the history of the war poets' reception, explaining their relationship with their First World War predecessors and some of the reasons why they have never managed to reach such a wide audience. The work of each poet is prefaced with a biographical account which allows poems to be read in their historical context, and every poem is annotated with date of composition, publication history, and a gloss of words and allusions.

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.

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.

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.

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.

This is the first volume in a five-volume edition of the complete poetical works of Ivor Gurney (1890-1937). Following an extensive study of all known manuscripts, the edition brings much of that work to publication for the first time. Since his death, much of his work has been censored or overlooked, his stylistic development towards modernism written off as the product of 'insanity' The availability of his complete poetry will change absolutely our understanding of Gurney's development, and the true nature of his poetry. It will lay bare his aspirations and pursuits as an artist in all its diversity, as a poet of war, of place, and of the asylum; a poet whose work has been celebrated by Geoffrey Hill for its 'incontestible grandeur'. Volume I presents all of Gurney's poems written from March 1907 to December 1918. It begins with Gurney's earliest surviving verse, and ends, just after the Armistice, with his return to civilian life.

This highly anticipated new edition features NEW poets, NEW poems and innovative digital resources. The Sixth Edition of The Norton Anthology of Poetry is an even better teaching tool for instructors and remains an unmatched value for students.

The remarkable literary collaboration between a Nobel Prizewinning novelist and his editor of more than forty years.Three people have been of major importance and influence in my life and you are one of them. There is a way in which I am as a writer at least partly your creation.-- William Golding to Charles MonteithIn 1953, William Golding's novel Lord of the Flies was rescued from a 'slush pile' of unsolicited manuscripts by Charles Monteith, a new young editor at the publishing house Faber & Faber. It went on to sell over 25 million copies. Over the next forty years Monteith worked closely with Golding on every one of his novels.These letters tell the story of their remarkable collaboration. They chart Golding's transformation from unknown middle-aged schoolmaster to knighted Nobel Prizewinner, and they tell the story of a deep and mutually rewarding friendship, as 'Dear Monteith' and 'Dear Golding' become 'Dear Charles' and 'Dear Bill'.In this beautifully produced, stitch-bound volume, Tim Kendall draws on both public and private archives to reveal the relationship between one of the greatest novelists of the twentieth century and his publisher, both men who considered themselves, for different reasons, to be outsiders. Their correspondence sheds fascinating light on both the mysteries of the writing process and the vagaries of the literary world.Generous, amusing, acerbic, intimate and often irreverent, these letters encompass gossip, reading recommendations and stories of Greek island adventures as well as detailed discussion of titles, characters and Golding's dreadful spelling.

From central Glasgow to rural Wiltshire, a husband-and-wife team track down Britain’s rarest and most enigmatic animals. ''Weasely my favourite book of the year.'' Dave Goulson, author of Silent Earth A COUNTRYFILE AND WATERSTONES BEST NATURE BOOK OF 2023 Britain is teeming with wildlife, often in the most unexpected places. There are quarries where rare bats hang out with pot-smoking teens. In Glasgow’s urban parks water voles are thriving – without water. Our coastlines are bustling with grey and harbour seals. That’s the good news. The bad news is that a quarter of British mammals are at imminent risk of extinction. Tim Kendall and Fiona Mathews take us on a safari unlike any other. Armed with binoculars, a Thermos and, regrettably, an inexhaustible supply of puns, they travel from Scotland to the Isles of Scilly in search of their elusive subjects. You’ll find answers to questions you never thought to ask: Do pine marten droppings really smell like Parma Violets? Should we give squirrels access to family planning? And what do wild boar have in common with a certain royal? Black Ops and Beaver Bombing is a celebration of Britain’s marvellous mammals, and a rallying cry to save them. *** SHORTLISTED FOR THE WAINWRIGHT PRIZE ''A cracking book, which shares fascinating stories from the new frontlines of nature conservation... readable and entertaining. The passion and humour of the authors comes through on every page.'' Craig Bennett, Chief Executive of The Wildlife Trusts ''Elegiac, informative and funny; some truly magical encounters in the wild.'' Peter Fiennes, author of Oak and Ash and Thorn ''Spring has barely ticked over into summer, but I’ve already found the book that I’ll be recommending for the rest of the year.'' Countryfile ''Packed full of useful information and acutely up to date… As she''s one of the ablest mammalogists of our age, it''s well worth listening to Fiona Mathews. I would heartily recommend this book to all.'' Derek Gow, author of Bringing Back the Beaver

From central Glasgow to rural Wiltshire, a husband-and-wife team track down Britain’s rarest and most enigmatic animals.'Weasely my favourite book of the year.' Dave Goulson, author of Silent EarthA COUNTRYFILE AND WATERSTONES BEST NATURE BOOK OF 2023Britain is teeming with wildlife, often in the most unexpected places. There are quarries where rare bats hang out with pot-smoking teens. In Glasgow’s urban parks water voles are thriving – without water. Our coastlines are bustling with grey and harbour seals. That’s the good news. The bad news is that a quarter of British mammals are at imminent risk of extinction.Tim Kendall and Fiona Mathews take us on a safari unlike any other. Armed with binoculars, a Thermos and, regrettably, an inexhaustible supply of puns, they travel from Scotland to the Isles of Scilly in search of their elusive subjects.You’ll find answers to questions you never thought to ask:Do pine marten droppings really smell like Parma Violets?Should we give squirrels access to family planning?And what do wild boar have in common with a certain royal? Black Ops and Beaver Bombing is a celebration of Britain’s marvellous mammals, and a rallying cry to save them.***SHORTLISTED FOR THE WAINWRIGHT PRIZE'A cracking book, which shares fascinating stories from the new frontlines of nature conservation... readable and entertaining. The passion and humour of the authors comes through on every page.' Craig Bennett, Chief Executive of The Wildlife Trusts'Elegiac, informative and funny; some truly magical encounters in the wild.' Peter Fiennes, author of Oak and Ash and Thorn'Spring has barely ticked over into summer, but I’ve already found the book that I’ll be recommending for the rest of the year.' Countryfile'Packed full of useful information and acutely up to date… As she's one of the ablest mammalogists of our age, it's well worth listening to Fiona Mathews. I would heartily recommend this book to all.' Derek Gow, author of Bringing Back the Beaver