Search results for ""Author W.H. Auden""

This collection presents all the poems Auden wished to preserve, in the texts that received his final approval. It included the full contents of his previous collected editions along with all the later volumes of his shorter poems. Together, these works display the astonishing range of Auden's voice and the breadth of his concerns, his deep knowledge of the traditions he inherited, and his ability to recast those traditions in modern times.

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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)

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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This is the fifth volume to be published in the ongoing complete edition of Auden's works, under the editorship of Edward Mendelson. It includes the essays, reviews, and other prose that Auden published or prepared for publication between 1949 -- when he wrote his first book of criticism, The Enchafèd Flood -- and December 1955, shortly before he was elected Professor of Poetry at Oxford and began the series of lectures that he published, with much else, in The Dyer's Hand.The texts throughout this edition are, wherever possible, newly edited from Auden's manuscripts, and the notes report variant readings from all published versions.

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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.

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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.

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“Sens-Plastique has now been a companion of mine for nearly 20 years, and so far as I am concerned, Malcolm de Chazal is much the most original and interesting French writer to emerge since the war.” –W.H. Auden After seeing an azalea looking at him in the Curepipe Botanic Gardens (and realizing that he himself was becoming a flower), Malcolm de Chazal began composing what would eventually become his unclassifiable masterpiece, Sens-Plastique, which would take its final form in 1948. Containing over 2,000 aphorisms, axioms and allegories, the book was immediately hailed as a work of genius by André Breton, Francis Ponge, Jean Dubuffet and Georges Braque. Embraced by the Surrealists as one of their own, Chazal chose to avoid all literary factions and steadfastly anchored himself in his solitary life as a bachelor mystic on the island nation of Mauritius, where he would proceed to write books and paint for the rest of his life. Sens-Plastique employs a strange humor and an alchemical sensibility to offer up an utterly original world vision that unifies neo-science, philosophy and poetry into a new form of writing. Mapping every human body part, facial expression and emotion onto the natural kingdom through subconscious thinking, Chazal presents a world in which humankind is not just made in the image of God, but Nature is made in the image of humankind: a sensual, synesthetic world in which everything in the universe, be it animal, vegetable, mineral or human, employs a spiritual copula. Malcolm de Chazal (1902–81) was a Mauritian writer and painter. Forsaking a career in the sugar industry, he spent the majority of his life in a solitary, mystical pursuit of the continuity between man and nature.

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