We are updating our records and reminding annual members that the annual WPA subscription for 2017-2018 fell due on 11th November 2017. We hope very much that you will renew your subscription and continue to support the WPA. Please would those of you other than (1) life members, (2) those who pay by a current standing order and (3) those who have joined as members and have paid a subscription since January 2017 arrange now to renew your subscriptions?The membership rates remain the same: annual membership £15.00 (Pay here) with concessions for students and seniors of £10 (Pay here); Life membership £150, concessions £100. For alternative payment methods please click here.
We regularly update our records and we are aware a number of members have moved and changed their address. To keep in touch, and also as the next issue of the War Poetry Review will be issued soon, it would be most helpful if you would confirm both your postal and your email address, and if you have a current standing order in favour of WPA confirm this too. If you have paid a subscription since January 2017 you should please renew your WPA subscription in November 2018.
If you are interested in joining the WPA Committee or organising an event for WPA please let us know. And if you know anyone who might wish to join or be interested in WPA do pass on the WPA details or put us in touch with them. New members are always very welcome.
1 st December 2017
The War Poets Association promotes interest in the work, life and historical context of poets whose subject is the experience of war. It is interested in war poets of all periods and nationalities, with a primary focus on conflicts since 1914 – mainly the First World War, Spanish War 1936-39, Second World War and Ireland. There are already many societies dedicated to individual war poets; one of the WPA’s aims is to work with these and others to help promote joint activities and events of mutual interest.
What is War Poetry?
Poets have written about the experience of war since the Greeks, but the young soldier poets of the First World War established war poetry as a literary genre. Their combined voice has become one of the defining texts of Twentieth Century Europe.
In 1914 hundreds of young men in uniform took to writing poetry as a way of striving to express extreme emotion at the very edge of experience. The work of a handful of these, such as Owen, Rosenberg and Sassoon, has endured to become what Andrew Motion has called ‘a sacred national text’.
Although ‘war poet’ tends traditionally to refer to active combatants, war poetry has been written by many ‘civilians’ caught up in conflict in other ways: Cesar Vallejo and WH Auden in the Spanish Civil War, Margaret Postgate Cole and Rose Macaulay in the First World War, James Fenton in Cambodia.
In the global, ‘total war’ of 1939-45, that saw the holocaust, the blitz and Hiroshima, virtually no poet was untouched by the experience of war. The same was true for the civil conflicts and revolutions in Spain and Eastern Europe. That does not mean, however, that every poet responded to war by writing directly about it. For some, the proper response of a poet was one of consciously (conscientiously) keeping silent.
War poetry is not necessarily ‘anti-war’. It is, however, about the very large questions of life: identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire, death. Its response to these questions, and its relation of immediate personal experience to moments of national and international crisis, gives war poetry an extra-literary importance. Owen wrote that even Shakespeare seems ‘vapid’ after Sassoon: ‘not of course because Sassoon is a greater artist, but because of the subjects’.
War poetry is currently studied in every school in Britain. It has become part of the mythology of nationhood, and an expression of both historical consciousness and political conscience. The way we read – and perhaps revere – war poetry, says something about what we are, and what we want to be, as a nation.
Please click on the name of a poet listed on the right to read a biography written for this website by an expert on that poet. Many of the biographies also contain links to other information on the web about a poet. More biographies are being added to the website regularly. To view biographies by war or conflict, click on one of the conflict images or titles at the foot of this page. Other biographies or information on war poets not listed on this page may be available — use the ‘Search’ link on the left to find what you want, either on this or other websites, via Google. If you would like to suggest a biography be written about a particular poet, or write an expert biography yourself to be added to these pages, please contact email@example.com.
Click here or on the title above to read WPA Chairman David Worthington’s update on the WPA and its plans for 2014.
The Oxford Book of War Poetry, edited by Jon Stallworthy (Oxford University Press, 1988)
Poetry and War: An Introductory Reader, by Simon Featherstone (Routledge, 1994)
January 18th 1935-November 19 2014
The death of Jon Stallworthy has saddened all who knew him, and all who knew his work. His numerous books – his acclaimed biography of Owen, his edition of Owen’s Complete Poems and Fragments, his study Between the Lines: Yeats’s Poetry in the Making, or, most recently, his New Oxford Book of War Poetry – both set the standard for the scholarly criticism and editing of war poetry, and brought countless readers to a deeper appreciation of the work of some of the century’s finest writers. More than anyone else in the last fifty years, he has shaped and enabled our understanding of the poetry written across two world wars. He tirelessly promoted the work of others – as editor, as critic, and as friend. Yet he was also a gifted poet himself, a poet of both love and war. This is from his 2009 sequence ‘War Poet’:
Without you, I am learning
about death. It cannot be true
that you – you – you –
and my numbness turning
to anger. But however slow
the fire, however deep the seam,
it will burn out, they say, in time.
In time for what? Forgiveness? No.
Acceptance? How should I resign
Myself to knowing that you lie
Under another sky
In other arms than mine?