Where the Fields End: Poems Selected and New

W. S. Merwin: Twelve Poems
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This, in itself, released a huge surge of creative energy.

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It describes an encounter between two Corkmen on an annual pilgrimage to Croke Park and celebrates the power of the hurling fields of Cork. It is in these poems, with their sensual, fricative diction that the power of the attraction of writing in Irish is at its most tactile, its most convincing. Silversmith with polished friction casting the studs into flowing diction.

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Title: Where the Fields End: Poems Selected and New Publisher: Owls Head Pr . Publication Date: Binding: Paperback. Book Condition: Used: Good. Where the Fields End: Poems Selected and New: Leigh Faulkner: kfacpoihulo.gq au: Books.

June sun in an orchard, And a rustling in the silk of evening, A cursed bee humming Is a screamtear in the eveningshroud. These poems of filial piety and shriving mark an exchange too with the poetry of Seamus Heaney. For the next two years Masefield was employed at the huge Alexander Smith carpet factory in Yonkers, New York, where long hours were expected and conditions were far from ideal.

He purchased up to 20 books a week, and devoured both modern and classical literature. Chaucer also became very important to him during this time, as well as Keats and Shelley.

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Masefield returned home to England in [6] as a passenger aboard a steamship. When Masefield was 23 he met his future wife, Constance de la Cherois Crommelin, who was 35 and of Huguenot descent. Educated in classics and English Literature , and a mathematics teacher, Constance was a good match for him, despite the difference in their ages.

The couple had two children, Judith, born in , and Lewis, born in In Masefield was put in charge of the fine art section of the Arts and Industrial Exhibition in Wolverhampton. By thn his poems were being published in periodicals and his first collection of verse, Salt-Water Ballads , was published that year. It included the poem "Sea-Fever". Masefield then wrote two novels, Captain Margaret and Multitude and Solitude In , after a long period of writing no poems, he composed " The Everlasting Mercy ", the first of his narrative poems , and within the next year had produced two more, "The Widow in the Bye Street" and "Dauber".

As a result, he became widely known to the public and was praised by the critics. In he was awarded the annual Edmond de Polignac Prize.

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He later published an account of his experiences. At about this time Masefield moved his country retreat from Buckinghamshire to Lollingdon Farm in Cholsey , Berkshire, a setting that inspired a number of poems and sonnets under the title Lollingdon Downs , and which his family used until After returning home Masefield was invited to the United States on a three-month lecture tour.

Although his primary purpose was to lecture on English literature, he also intended to collect information on the mood and views of Americans regarding the war in Europe. When he returned to England he submitted a report to the British Foreign Office and suggested that he should be allowed to write a book about the failure of the Allied effort in the Dardanelles that might be used in the United States to counter German propaganda there.

Let there be new flowering

The resulting work, Gallipoli , was a success. Masefield then met the head of British Military Intelligence in France and was asked to write an account of the Battle of the Somme. Although Masefield had grand ideas for his book, he was denied access to official records and what was intended to be the preface was published as The Old Front Line , a description of the geography of the Somme area. In Masefield returned to America on his second lecture tour, spending much of his time speaking and lecturing to American soldiers waiting to be sent to Europe.

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These speaking engagements were very successful. On one occasion a battalion of black soldiers danced and sang for him after his lecture. During this tour he matured as a public speaker and realised his ability to touch the emotions of his audience with his style of speaking, learning to speak publicly from his own heart rather than from dry scripted speeches.

Towards the end of his visit both Yale and Harvard Universities conferred honorary doctorates of letters on him.

Masefield entered the s as an accomplished and respected writer. His family was able to settle on Boar's Hill , a somewhat rural setting not far from Oxford , where Masefield took up beekeeping , goat-herding and poultry-keeping. He continued to meet with success: the first edition of his Collected Poems sold about 80, copies. A narrative poem, Reynard The Fox , has been critically compared with works by Geoffrey Chaucer , not necessarily to Masefield's credit.

After King Cole', Masefield turned away from long poems and back to novels. In this same period he wrote a large number of dramatic pieces. Most of these were based on Christian themes, and Masefield, to his amazement, encountered a ban on the performance of plays on biblical subjects that went back to the Reformation and had been revived a generation earlier to prevent production of Oscar Wilde's Salome.

However, a compromise was reached and in his "The Coming of Christ" was the first play to be performed in an English cathedral since the Middle Ages. In Masefield received an honorary doctorate of literature from the University of Oxford. In he organised Oxford Recitations , an annual contest whose purpose was "to discover good speakers of verse and to encourage 'the beautiful speaking of poetry'.

Masefield was similarly a founding member, in , of the Scottish Association for the Speaking of Verse. He later came to question whether the Oxford events should continue as a contest, considering that they might better be run as a festival.

Love poem ❣️ My life...❣️

Rich began to write when poetry itself was shifting its definitions: modernism had prevailed, but at a cost. The poet was a decisive figure, but in a shrinking world. In a later stage of modernism, the popular reader was disdained. The contemporary poet was warned away—like a child, told not to talk to strangers—from the exuberant past where a couplet caught fire or a quatrain was repeated in a room at twilight. Or a poem was recited late at night, all its refrains known to everyone in the room.

Above all, the public poem—that glowing centuries-old instrument of passion and protest—was relegated to the shadows. Not, to be clear, the political poem: it continued to be written with gusto even after modernism. What languished was the public poem, and especially the old fusion of the public poem and political poem.

What Rich drew out of the shadows, and put into practice, was that deeply democratic, beautifully mixed alloy practiced by Whitman, and loved by the early Yeats, but frowned on by a later anti-populist mood. In her time, quite simply, she re-united the public poem with the political one. It is an enormous achievement.

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Selected Poems: provides a satisfying representation of the oeuvre of Patrick Lane. Masefield then wrote two novels, Captain Margaret and Multitude and Solitude I trembled where I fell, alone in the dirt. In sun, in rain,? There is nothing as self-expanding as an uninterrupted view to a far horizon.

In the light of such a view, this book presents the thrilling spectacle of a poet seeking the alloy once again; seeking to restore an acoustic to the contemporary poem. Seeking out and drawing in the moral power of imagination, together with its private aspect. It makes it clear that the communal should and must be recovered:. All this is not to say that the later poems do not turn inward. They do; and that turn is another pleasure of this book. But it is not a purist solitude. I cannot believe any serious reader of contemporary poetry would want to be without this book.