W.H. Auden – författare

In the summer of 1936, W. H. Auden and Louis MacNeice visited Iceland on commission to write a travel book, but found themselves capturing concerns on a scale that were far more international. 'Though writing in a "holiday" spirit,' commented Auden, 'its authors were all the time conscious of a threatening horizon to their picnic - world-wide unemployment, Hitler growing everyday more powerful and a world-war more inevitable.' The result is the remarkable Letters from Iceland, a collaboration in poetry and prose, reportage and correspondence, published in 1937 with the Spanish Civil War newly in progress, beneath the shadow of looming world war.

W. H. Auden was once described as the Picasso of modern poetry - a tribute to his ceaseless experimentation with form and subject matter. Beginning with Anglo-Saxon poetry and ending with an Horatian expansiveness and conversational sweep, this volume is essential reading for anyone seriously interested in modern poetry after T. S. Eliot.In his lifetime a controversial, outspoken, yet enigmatic, writer, Auden has gradually come to seem an intimate poet, as we have learned to read him correctly. This volume is the best possible introduction to his consummate craftsmanship and his unparalleled originality which made him the master-poet of his generation.

First published in 1968, this companion volume to the Collected Shorter Poems was compiled by W.H. Auden to bring together six of his longer poetic works, originally published between 1930 and 1947. Auden was one of the modern masters of the extended poem, and these works are among his most enduring achievements, both for their technical virtuosity and for the emotional and intellectual precision with which they dissected the malaise and turmoil of their age.Collected Longer Poems includes Paid on Both Sides, Letter to Lord Byron, For the Time Being, The Sea and the Mirror, and The Age of Anxiety.

Another Time was the first volume that Auden published after his departure to America with Christopher Isherwood in January 1939. It was dedicated to Chester Kallman. The poems, some of which date from the early thirties, are about people, places and the intellectual climate of the times, and they show greater variety of tone and technique than in any previous book of Auden's. Some of his most famous and often quoted (or misquoted) lines appear in their original form, including the text of two poems in particular - 'Spain 1937' and 'September 1,1939' - that he later altered or repudiated.'[He] has made himself into a kind of unofficial poet laureate. If I am bombed I hope he will write a few sapphics about me.' Stephen Spender, 1941

Stop all the clocks, cut off the telephone,Prevent the dog from barking with a juicy bone . . .W. H. Auden was the consummate poet of love and heartbreak. Stop All the Clocks presents a selection of his best known, most lucid poems, poems that pitch human frailty against a persisting desire for love and belonging. Here are the anxieties that beset our waking and sleeping hours: the delirium of desire, the torture of unrequited love, the trauma of loss and displacement. And here, in these resonant, dazzling poems, is the understanding we might be looking for.'W. H. Auden had the greatest gifts of any of our poets in the twentieth century.' James Fenton, New York Review of Books

This highly enjoyable anthology has been chosen by Edward Mendelson, whose knowledge of Auden's writings is unrivalled. As he says in his introduction, these 'lighter verses' (some of them previously unpublished) share the intelligence, energy, skill, humour and wisdom that find their fullest expression in Auden's major poems.

W. H. Auden was born in York in 1907. His first full-length collection, Poems, was published by T. S. Eliot at Faber and Faber in 1930. The many volumes he published thereafter included poetry, plays, essays and libretti, and his ceaseless experimentation, consummate craftsmanship and originality established him as one of the most influential poets of the twentieth century. He died in 1973.

Edward Mendelson has significantly expanded his authoritative, chronological ordered edition of Auden's Selected Poems (first published in 1979), adding twenty items to the hundred in the original edition, and broadening the focus to reflect the wealth of forms, the rhetorical and tonal range, and the variousness of content in Auden's poetry, in the confines of one volume. In particular, there are newly included examples of Auden's mastery of light verse: the self-descriptive sequence of haiku called 'Profiles', the barbed wartime quatrains of 'Leap Before You Look', or 'Funeral Blues' itself. Also included are brief notes explaining references that may have become obscure, and a revised introduction drawing on recent additions to Auden scholarship.

'He is a very clever fellow, but he will never be a bishop.' George III'A more profligate parson I never met.' George IV'I sat next to Sydney Smith, who was delightful ... I don't remember a more agreeable party.' Benjamin Disraeli'I wish you would tell Mr Sydney Smith that of all the men I ever heard of and never saw, I have the greatest curiosity to see ... and to know him.' Charles DickensHow one agrees with Dickens. Without doubt, Sydney Smith was the most famous wit of his generation. But there was more to him than that, he was an outstanding representative of the English liberal tradition.Starting as an impoverished village curate he went to Edinburgh as a tutor, and co-founded the Edinburgh Review, the first major nineteenth-century periodical. Happily married, he moved in 1803 to London, where he was introduced into the Holland House circle - of which he quickly became an admired and popular member - but at the age of thirty-eight a Tory government banished him to a village parsonage. There he became 'one of the best country vicars of whom there is a record', and after his two chief causes - the Catholic Emancipation Act of 1829 and the Reform Bill of 1832 - triumphed, he was rewarded by a canonry of St. Paul's.This generous selection of his writings gives the full flavour of his mind and intellectual personality. In a characteristically stimulating introduction in which he discusses Sydney Smith both as an individual and as a shining exemplar of the liberal mind, W. H. Auden places him with Jonathan Swift and Bernard Shaw among the few polemic authors 'who must be ranked very high by any literary standard.'As Macaulay said he was 'The Smith of Smiths'.

Who is a major, who is a minor poet? Inevitably, in his introduction, W. H. Auden offers a stimulating rationale for distinguishing between the two. To paraphrase him, one cannot say that a major poet always writes better poems than a minor poet. Nor is it a matter of pleasure the poet gives an individual reader - Auden himself confesses to not liking Shelley but being 'delighted by every line of William Barnes', but not doubting for a moment the former is a major poet and the latter a minor one. One does not always enjoy what one most admires. Yet everyone is to some extent familiar with the work of the major nineteenth century poets and few have had the chance to read the patriotic poems of Thomas Campbell, several of which rank among the finest such poems in English literature, the songs of Tom Moore or his political and social satires, the humorous verse of Thomas Hood, the superb lyrics of Thomas Lovell Beddoes, the odes of Coventry Patmore, the satirical poems of Samuel Butler. These poets and many more are discerningly represented in this anthology which puts into the limelight every genuine minor poet (they must have written at least one good poem) born between 1770 and 1870.

In the early 1950s Auden began planning a prose volume that would bring together some of his published essays, lectures, and reviews, together with newly-written notes and aphorisms. In 1956 he was elected Professor of Poetry at Oxford, and The Dyer's Hand appeared in 1962, combining earlier material with revised versions of many of his Oxford lectures: The result is one of Auden's most original works, his only book of prose devised as a single cohesive work about disparate subjects, and containing - as he remarked at the time - 'all the autobiography I am willing to make public'.'Speaking for myself, the questions which interest me most when reading a poem are two. The first is technical: "Here is a verbal contraption. How does it work?" The second is, in the broadest sense, moral: "What kind of a guy inhabits this poem? What is his notion of the good life or the good place? His notion of the Evil One? What does he conceal from the reader? What does he conceal even from himself?" - W. H. Auden (inaugural lecture as Professor of Poetry at Oxford, June 1956)

Auden's electrifying, enigmatic and extraordinarily influential debut collection was published by Faber in 1930, and simply entitled Poems. For the second edition (1933) he omitted seven items and added new poems in their place. Available again for the first time since 1950, this reissue follows the text of the second edition.

When The Orators was originally published in 1932 it was described by Poetry Review as 'something as important as the appearance of Mr Eliot's poems fifteen years ago'. A long poem written in both prose and verse, it was a powerful addition to the canon of modernist poetry.

Another Time was the first volume that Auden published after his departure to America with Christopher Isherwood in January 1939. It was dedicated to Chester Kallman. The poems, some of which date from the early thirties, are about people, places and the intellectual climate of the times, and they show greater variety of tone and technique than in any previous book of Auden's. Some of his most famous and often quoted (or misquoted) lines appear in their original form, including the text of two poems in particular - 'Spain 1937' and 'September 1,1939' - that he later altered or repudiated.This beautifully designed edition forms part of a series of ten titles celebrating Faber's publishing over the decades.