In the decades since his death in 1963, Louis MacNeice's reputation
as a poet (and, indeed, amongst poets) has grown steadily, and
there are now several generations of readers in Ireland, Britain,
and beyond, for whom he is one of the essential poets of the
twentieth century. His work has also received increasing attention
from academic writers and students. For both readers and critics,
the nature of MacNeice's poetic work as a whole is a matter of
importance, and the second posthumous Collected Poems, entirely
re-edited by Peter McDonald, attempts, for the first time, to print
MacNeice's poetry in groupings corresponding closely to the
collections published by Faber between 1935 and 1963. This makes it
easier to read the poet in the published forms in which he was read
by his contemporaries. In choosing to re-create the environments of
MacNeice's individual volumes of poetry, moreover, this new
Collected reflects the opinion that MacNeice works best in and
through those separate volumes, particularly so in the brilliant
return to form - and unique kinds of return on lyric form itself -
of the last three collections. The texts of the poems in the new
edition are based on a comparison of all printed versions, as
revised in the light of the poet's later thoughts. This has
resulted in a large number of changes. It is hoped that the present
edition presents MacNeice's poetry more accurately, as well as more
fully, than all previous collections. The new Collected Poems also
includes, as appendices, The Last Ditch - the short book of poems
which MacNeice published with the Cuala Press in 1940 - and The
Revenant, a cycle of songs written for MacNeice's wife, the singer
Hedli Anderson, a selection of uncollected early poems, and from
Blind Fireworks, MacNeice's first published book of verse.
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