Mary Borden Poems of Love and War edited by Paul O’Prey (Dare-Gale Press)
Suffragette, socialite, novelist, nurse, Mary Borden wrote some of the most remarkable poems of the First World War. Still in her twenties, she used her own money to set up and run a field hospital for French soldiers at the Somme, situated ‘as close to the fighting as possible’. Her poems are spontaneous, passionate reactions to what she saw and did. Although married with three children, she fell in love with a young British officer she met at the Front. The poems she wrote to him while they were both at the war have an immediate and reckless intensity.
Mary Borden is featured in several major anthologies of First World War poetry, but this is the first full book of her poems to be published, 100 years after they were written. Many of these poems are published in book form for the first time, including the love poems.
Borden’s memoir, The Forbidden Zone (1929) is one of the most compelling accounts of Front Line service in the war.
The book was launched at the Wimbledon Book Festival on 11 October 2015, by Shirley Williams and Paul O’Prey.
Discover the artworks and story of Britain’s original rebel artist in the largest UK retrospective of Wyndham Lewis’ work to date.
Marking the 60th anniversary of his death and the centenary of his commission as an official war artist in 1917, Wyndham Lewis: Life, Art, War will comprise of more than 160 artworks, books, journals and pamphlets from major public and private, national and international collections.
A radical force in twentieth century British art and literature, Lewis was a brilliant draughtsman, innovative writer and satirist, and leader of Britain’s one and only avant-garde art movement, Vorticism. Spanning from the First World War to the nuclear age, Lewis’ career encompassed the most violent and chaotic period in human history. He was a controversial figure whose ideas, opinions and personality inspired, enticed and repelled in equal measure
To mark the centenary of the CWGC’s foundation by Royal Charter in 1917, a ground-breaking exhibition is being staged at CWGC Brookwood Military Cemetery near Woking, Surrey.
It was officially opened on Saturday 20 May by English actor and adventurer Brian Blessed OBE and will run for six months.
For Then, For Now, Forever celebrates the first 100 years of the Commonwealth War Graves Commission. Curated by CWGC Archivist Andrew Fetherston, it is being staged in the Grade 1 listed Canadian Records Building at Brookwood Military Cemetery – the largest CWGC site in the UK with more than 5,000 burials and 3,500 commemorations on the Brookwood Memorial.
The exhibition tells the history of the CWGC from its foundation during the First World War through to the present day, using historic objects and artefacts from our archive and collections.
Many of the exhibits have never been publicly displayed before. They include an original First World War grave marker and a petition from the 1920s addressed to our then-President, HRH Edward, Prince of Wales. The petition contains more than 8,000 signatures – predominantly from mothers who had lost sons in the war – asking the Commission to reconsider the use of a uniform headstone in favour of a cross.
These and other objects tell the sometimes difficult story of how the vision of one man — Fabian Ware — came to forever change the way we remember the war dead.
There are also daily tours at 11am and 5pm, from volunteers, telling individual and collective stories of the cemetery and of those commemorated there.
EDWARD THOMAS: A LIFE IN PICTURES, by Richard Emeny
In June 2017, Enitharmon Press will be publishing the long awaited illustrated biography of Edward Thomas by the Edward Thomas Fellowship’s chairman, Richard Emeny. This is the culmination of many years’ study of the poet’s life and work and draws also on Emeny’s extensive knowledge of Thomas’s family, friends, literary associates, publications and the places he either lived or visited. Offering in some ways a revisionist biographical portrait, the book combines the story of Edward’s life with numerous illustrations, including photographs, printed material, maps and original letters, many of which have never been published before. It will add significantly to what is already known of Thomas and his family before and after his death by putting his biography into a visual and historical context.
Those of you who wish to subscribe to Richard Emeny’s book in advance of publication may opt to have your names included in a ‘List of Subscribers’ to be printed at the end of the book. The publication price will be £30, which is inclusive of postage within the UK. To subscribe (the deadline for subscribers is Thursday 13 April), please email: email@example.com, telephone Enitharmon on 020 7430 0844, send a cheque payable to Enitharmon Editions to 10 Bury Place, London WC1A 2JL, or visit the Enitharmon website page with this link: http://www.enitharmon.co.uk/product/thomas-life-pictures/
UNDER THE SAME MOON: EDWARD THOMAS AND THE ENGLISH LYRIC, by Edna Longley
A hundred years ago Edward Thomas was killed in the Battle of Arras (April 1917). The reputation of his poetry has never been higher. Professor Edna Longley has already edited Thomas’s poems and prose. She now marks his centenary, and adds to the growing field of Thomas studies, with this close reading of his poetry. Longley places the lyric poem at the centre of Thomas’s poetry and of his thinking about poetry. Drawing on Thomas’s own remarkable critical writings, she argues that his importance to emergent ‘modern poetry’ has yet to be fully appreciated. Thomas, as a leading reviewer of poetry in the early 1900s, was deeply engaged with the traditions of poetry in the English language, as well as with contemporary poetry. Under the Same Moon takes a fresh look at Thomas’s relation to the Romantic poets, to Great War poetry, to Robert Frost, to W. B. Yeats. By making detailed comparisons between their poems, Longley shows how the aesthetics of Thomas and Frost complement one another across the Atlantic. She argues, perhaps controversially, that we should think about Great War poetry from the perspective of Thomas as ‘war poet’ and critic of war poetry. And she suggests that to focus on Thomas is to open up poetic relations in the ‘Anglo-Celtic’ archipelago. Under the Same Moon is also a study of lyric poetry: its sources, structures and forms; the kinds of meaning it creates. Longley asks what exactly happened when, in December 1914, Thomas morphed from a prose-writer into a poet; and she approaches the lyric from a psychological angle by comparing Thomas with Philip Larkin.