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'Elegiac, informative and funny; some truly magical encounters in
the wild' Peter Fiennes Britain is teeming with wildlife, often in
the most unexpected places. There are stone mines where bats hang
out with pot-smoking teenagers and water voles thrive without water
in Glaswegian parklands. Our coastlines are laden with seals.
That’s the good news. The bad news is that a quarter of British
mammals are at imminent risk of extinction. Tim Kendall and Fiona
Mathews take us on a safari unlike any other. Armed with
binoculars, a Thermos and, regrettably, an inexhaustible supply of
puns, they travel from Scotland to the Isles of Scilly in search of
their elusive subjects. You’ll find answers to questions you
never thought to ask: do pine marten droppings really smell like
Parma Violets? Should we give squirrels access to family planning?
And what do wild boar have in common with a certain royal? Black
Ops and Beaver Bombing is a celebration of Britain’s marvellous
mammals, and a rallying cry to save them.
This highly anticipated new edition features NEW poets, NEW poems
and innovative digital resources. The Sixth Edition of The Norton
Anthology of Poetry is an even better teaching tool for instructors
and remains an unmatched value for students.
'What passing-bells for these who die as cattle?' The First World
War produced an extraordinary flowering of poetic talent, from
poets whose words commemorate the conflict as enduringly as
monuments in stone. Their poems have come to express the feelings
of a nation about the horrors and aftermath of war. This new
anthology provides a definitive record of the achievements of the
Great War poets. As well as offering generous selections from the
celebrated soldier-poets, including Wilfred Owen, Siegfried
Sassoon, Rupert Brooke, and Ivor Gurney, it also incorporates less
well-known writing by civilian and women poets. Music hall and
trench songs provide a further lyrical perspective on the War. The
work of each poet is prefaced with a biographical account that sets
the poems in their historical context. In addition, Tim Kendall's
introduction charts the history of the war poets' reception and
challenges prevailing myths about their progress from idealism to
bitterness. ABOUT THE SERIES: For over 100 years Oxford World's
Classics has made available the widest range of literature from
around the globe. Each affordable volume reflects Oxford's
commitment to scholarship, providing the most accurate text plus a
wealth of other valuable features, including expert introductions
by leading authorities, helpful notes to clarify the text,
up-to-date bibliographies for further study, and much more.
"Which of us has not longed to be transported back to those
carefree innocent days of childhood when everything was a blank
canvas for our fertile and limitless imaginations. A time when life
was simple and every day an adventure. This poignant, sometimes
humorous, sometimes sad but always entertaining book started life
as short stories for children, but here it is brought together for
both children and adults to enjoy and reflect upon their own
childhood." Although this is the story of my childhood, this book
started as a series of stories told in assemblies at a large
Primary school in Birkenhead. The wonder of growing up in a rural
suburb in the 1950s was in itself a story to chidren of a large
industrial town in the 1990s and 2000s, and yet I was talking about
places the children knew. They could relate to the scrapes, the
escapades, the ups and downs, the relationships between families
and friends, and yet it was so different a world. Eventually the
children and teachers persuaded me to write down the stories in
order and now, just as I retire from teaching they are finished.
Matthew aged 10 inspired the title of the book. Walking along a
corridor he said, as we passed, "Sir. When you write down the
stories you ought to somehow include the way you start every
story." Every assembly, when I was going to use a story about my
childhood I would start by stroking my beard and saying "No beard,"
then shaking my glasses I would add "No glasses," and finally
holding my arm out at the height of my head I would lower it slowly
to the approximate height that I would be in the story. Hence the
title "No Beard, No Glasses (and very much shorter)."
Tim Kendall's study offers the fullest account to date of a
tradition of modern English war poetry. Stretching from the Boer
War to the present day, it focuses on many of the
twentieth-century's finest poets - combatants and non-combatants
alike - and considers how they address the ethical challenges of
making art out of violence. Poetry, we are often told, makes
nothing happen. But war makes poetry happen: the war poet cannot
regret, and must exalt at, even the most appalling experiences.
Modern English War Poetry not only assesses the problematic
relationship between war and its poets, it also encourages an
urgent reconsideration of the modern poetry canon and the (too
often marginalised) position of war poetry within it. The aesthetic
and ethical values on which canonical judgements have been based
are carefully scrutinized via a detailed analysis of individual
poets. The poets discussed include Thomas Hardy, Rudyard Kipling,
Wilfred Owen, Charlotte Mew, Edward Thomas, Ivor Gurney, W. H.
Auden, Keith Douglas, Ted Hughes, and Geoffrey Hill.
Thirty-seven chapters, written by leading literary critics from
across the world, describe the latest thinking about
twentieth-century war poetry. The book maps both the uniqueness of
each war and the continuities between poets of different wars,
while the interconnections between the literatures of war and
peacetime, and between combatant and civilian poets, are fully
considered. The focus is on Britain and Ireland, but links are
drawn with the poetry of the United States and continental Europe.
The Oxford Handbook feeds a growing interest in war poetry and
offers, in toto, a definitive survey of the terrain. It is intended
for a broad audience, made up of specialists and also graduates and
undergraduates, and is an essential resource for both scholars of
particular poets and for those interested in wider debates about
modern poetry. This scholarly and readable assessment of the field
will provide an important point of reference for decades to come.
Tim Kendall's study offers the fullest account to date of a
tradition of modern English war poetry. Stretching from the Boer
War to the present day, it focuses on many of the
twentieth-century's finest poets - combatants and non-combatants
alike - and considers how they address the ethical challenges of
making art out of violence. Poetry, we are often told, makes
nothing happen. But war makes poetry happen: the war poet cannot
regret, and must exalt at, even the most appalling experiences.
Modern English War Poetry not only assesses the problematic
relationship between war and its poets, it also encourages an
urgent reconsideration of the modern poetry canon and the (too
often marginalised) position of war poetry within it. The aesthetic
and ethical values on which canonical judgements have been based
are carefully scrutinized via a detailed analysis of individual
poets. The poets discussed include Thomas Hardy, Rudyard Kipling,
Wilfred Owen, Charlotte Mew, Edward Thomas, Ivor Gurney, W. H.
Auden, Keith Douglas, Ted Hughes, and Geoffrey Hill.
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