Falklands War Poetry, edited by David Roberts was published by Saxon Books in spring 2012. Poems are from Britain, the Falkland Islands and Argentina.
This book is not new for the centenary. It is long established (nearly 20 years) as an important collection of first world war poetry. The classic poems and popular verse are here but, importantly, they are set in context. The commentary and additional materials give a fascinating insight into the thinking of people - soldiers, generals, the media, politicians, and poets - in those troubled years. Full of insights and highly readable. One of the largest collections of First World War poetry.
Ed. David Roberts, Saxon Books. First World War: poems and essays. Contemporary war and anti-war poetry: Afganistan, Africa, Israel, Vietnam War, Palestine, Second World War, Iraq War, Falklands, Kosovo. Brief biographies of war poets.
Lists of poets, biographies, scenes of war. "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 Civil War, Second World War and Ireland.
One of the largest anthologies of First World War poetry. Also includes poets' letters, news reports and historical background. Illustrated. Richly informative.
Thee, bold Longinus! all the Nine inspire,
And bless their Critick with a Poet's Fire.
An ardent Judge, who Zealous in his Trust,
With Warmth gives Sentence, yet is always Just;
Whose own Example strengthens all his Laws,
And Is himself that great Sublime he draws.
Some Beauties yet, no Precepts can declare,
For there's a Happiness as well as Care.
Musick resembles Poetry, in each
Are nameless Graces which no Methods teach,
And which a Master-Hand alone can reach.
If, where the Rules not far enough extend,
(Since Rules were made but to promote their End)
Some Lucky LICENCE answers to the full
Th' Intent propos'd, that Licence is a Rule.
Thus Pegasus, a nearer way to take,
May boldly deviate from the common Track.
Great Wits sometimes may gloriously offend,
And rise to Faults true Criticks dare not mend;
From vulgar Bounds with brave Disorder part,
And snatch a Grace beyond the Reach of Art,
Which, without passing thro' the Judgment, gains
The Heart, and all its End at once attains.
In Prospects, thus, some Objects please our Eyes,
Which out of Nature's common Order rise,
The shapeless Rock, or hanging Precipice.
But tho' the Ancients thus their Rules invade,
(As Kings dispense with Laws Themselves have made)
Moderns, beware! Or if you must offend
Against the Precept, ne'er transgress its End,
Let it be seldom, and compell'd by Need,
And have, at least, Their Precedent to plead.
The Critick else proceeds without Remorse,
Seizes your Fame, and puts his Laws in force.
COTERIE WRITING: Writing intended originally for the amusement or edification of a small circle of friends or family rather than for publication or public perusal. Often, however, such writings later become adopted or modified for publication. Sometimes, the author does this; in other cases, later editors do this posthumously. Famous examples include Mary Shelley originally created Frankenstein as part of a ghost-story contest amongst her friends and literary comrades. Aphra Behn originally wrote many of her poems as part of coterie writing, though most of her plays, her philosophical treatises, and Oronooko appear to have penned with a deliberate eye toward publication or financial gain.
Hammer, Langdon. "A representative sample of English poetry of World War One is surveyed. War rhetoric and propaganda are examined and challenged in Wilfred Owen's 'Dulce et Decorum Est' and 'Strange Meeting.' The relationship between home front and battle front is explored in Thomas Hardy's 'Channel Firing,' 'In the Time of 'the Breaking of Nations,'' and 'I Looked up From My Writing'; Edward Thomas's 'Adlestrop'; and Siegfried Sassoon's ''Blighters.'' Isaac Rosenberg's 'Louse Hunting' is discussed as a poem of ordinary experience in the trenches." [1 lecture]. Audio, video, and transcript from Professor Hammer's class at Yale, ENGL 310: Modern Poetry, Spring, 2007.
Until very recently, the War Memorials in Neath, South Wales, officially commemorated only those who died in the two World Wars. Then, in 2008 a group of us who attended the Remembrance parades at the Memorial Gates each year decided it was time those members of our Armed Forces who had given their lives since 1945 should also have a memorial. This view was reinforced when we learned that, other than 1963, not a year had passed without at least on of our Servicemen being killed in the line of duty —peacekeeping comes at a price!
This required money and my role was to organise a fund-raising concert performed by our local Silver Band and six Male Choirs. Although a concert, each of the choirs made it clear they also saw it as an act of remembrance and it was agreed the evening should end with a hymn to be sung by massed choirs and audience.
That raised the question as to which hymn. I couldn't help thinking about that phrase from Ecclesiasticus
"And some there be, which have no memorial; who are perished, as though they
had never been".
Then lines from our Remembrance parades joined in. The first, from Lawrence Binyon's poem "For the Fallen" (1914)
They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
The second from “The Kohima Epitaph", commemorating those Allied troops who
fell in the Burma Campaign.
"When you go home tell them of us and say -
For your tomorrow we gave our today"
From the above you'll see that the final verse of the hymn had just about written itself!
The rest came remarkably quickly. I've always believed that Remembrance should not be limited to the dead—important though that is. Neither should it be a vehicle for glorifying war. If we loved one another as commanded war would be just history. We don't but that shouldn't stop us asking for help to do so.
At the time, there were young men and women from our town serving in Afghanistan who deserved better than to be forgotten—hence the second verse.
The third verse is a statement of my strong belief that the living victims of conflict need and deserve our support and should not be forgotten.
I used "Finlandia" as the musical framework as it is one of the most moving pieces I know.
The choirs accepted the piece and it was used as the final item in the “Six Choirs and a Silver Band” concert on 28th March 2009.
The new memorial was dedicated on 13th June 2009
That, In a nutshell, was the genesis of "Remembrance".
The copyright for this work remains with me, However, I have decided that, if used in an act of Remembrance or in aid of Service charities, copyright is waived.