Bøger af W.H. Auden

Reflects the wealth of forms, the rhetorical and tonal range, and the variousness of content in Auden's poetry. This volume also includes 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.

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.

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.

"e;He is a very clever fellow, but he will never be a bishop"e;. (George III). "e;A more profligate parson I never met"e;. (George IV). "e;I sat next to Sydney Smith, who was delightful...I don't remember a more agreeable party"e;. (Benjamin Disraeli). "e;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"e;. (Charles Dickens). How 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 "e;The Smith of Smiths"e;.

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.

In the early 1950s the author began planning a prose volume that would bring together some of his published essays, lectures, and reviews, together with freshly-written notes and aphorisms. This book combines earlier material with revised versions of many of his Oxford lectures.

Features essays, reviews, and other prose that Auden published or prepared for publication between 1949 - when he wrote his first book of criticism, "The Enchafed 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".

Who is a major poet, and who is a minor poet? This title offers a rationale for distinguishing between the two.

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.

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.

Faber are pleased to announce the relaunch of the poetry list - starting in Spring 2001 and continuing, with publication dates each month, for the rest of the year. This will involve a new jacket design recalling the typographic virtues of the classic Faber poetry covers, connecting the backlist and the new titles within a single embracing cover solution. A major reissue program is scheduled, to include classic individual collections from each decade, some of which have long been unavailable: Wallace Stevens's Harmonium and Ezra Pound's Personae from the 1920s; W.H. Auden's Poems (1930); Robert Lowell's Life Studies from the 1950s; John Berryman's 77 Dream Songs and Philip Larkin's The Whitsun Weddings from the 1960s; Ted Hughes's Gaudete and Seamus Heaney's Field Work from the 1970s; Michael Hofmann's Acrimony and Douglas Dunn's Elegies from the 1980s. Timed to celebrate publication of Seamus Heaney's new collection, Electric Light, the relaunch is intended to re-emphasize the predominance of Faber Poetry, and to celebrate a series which has played a shaping role in the history of modern poetry since its inception in the 1920s.

A collection of W.H. Auden's light verse, assembled by his literary executor.