A Poetic Masterwork: "The Shield of Achilles" by W.H. Auden

In 1948, poet W.H. Auden (1907-1973) received the Pulitzer Prize for Poetry for The Age of Anxiety, a long poem in six parts that addressed the search for identity and meaning in an industrialized world that was constantly changing. His poetry was already recognized as among the very best being published; the native-born Englishman and naturalized American occupied the top, or almost top, of the poetic literary world. 

The poem reflects an event in Auden’s life that would become more pronounced as he grew older. He had embraced religious faith, and his poetry was increasingly reflecting that acceptance. But his poetry was also developing into a more cohesive entity, with poems informing and relating to each other in a directed and consistent way. 

That cohesiveness (critics usually call it coherence) blossomed into full maturity with Auden’s 1955 collection The Shield of Achilles. It’s a remarkable work, not only for how the individual poems relate to each other but for Auden’s mastery of language that is often stunning.

To continue reading, please see my post today at Tweetspeak Poetry.

Some Tuesday Readings

 

The Necessity of Continual Pitching – Terry Whalin at The Writing Life.

 

Grandmother – poem by Eva Salzman at Every Day Poems.

 

6.16.2024 – poem by Paul Wittenberger at Paul’s Substack.

 

How to Sell Your Next Book – Harvey Stanbrough at The New Daily Journal. 

James Boswell’s East End – Spitalfields Life.

“Poems (1930)” – The First Published Collection by W.H. Auden

Wystan Hugh (W.H.) Auden (1907-1973) is considered one of the finest, if not the finest, poet of the mid-20^th century. He had a large influence on poetry, including American poetry. Born in Britain, he emigrated to the United States in his 30s and became a U.S. citizen, and he eventually managed to win both a Pulitzer Prize for Poetry (The Age of Anxiety: A Baroque Eclogue) and a National Book Award for Poetry (The Shield of Achilles).  

Auden exercised considerable influence in literary circles. He was first a poet, yes, but he was also a critic, a lecturer, a playwright, and a librettist for opera. Many have pointed out that no one since Auden has had such a literary influence on writing in English, an influence that was global. His style and his intellect had a significant influence on such poets as Robert Lowell, John Ashbery, James Merrill, the New Formalists, Maxine Kumin, and many others. His influence could also work the opposite way – it was so pervasive that the Beat Generation poets were said to be writing like they did in reaction to Auden.

To continue reading, please see my post today at Tweetspeak Poetry.

Some Tuesday Readings

 

Legends of Liberty Volume II by Andrew Benson Brown – review by Theresa Werba at Society of Classical Poets.

 

I fly, too, or in my mind I do – poem by Mark Kraushaar at 32 Poems.

 

My Papa’s Waltz – poem by Theodore Roethke at Rabbit Room Poetry.

 

“God’s Grandeur,” poem by Gerard Manley Hopkins – Sally Thomas at Poems Ancient and Modern. 

Bearing – poem by Will Willingham at Every Day Poems.

W.H. Auden’s “September 1, 1939” - The Biography of a Poem by Ian Sansom

British writer Ian Sansom has been working on a book about the poet W.H. Auden (1907-1973) for 25 years, and he finally published it. It’s ostensibly about a poem Auden wrote, a poem that Auden himself didn’t like very much. Sansom calls it September 1, 1939: The Biography of a Poem.

I say that it’s “ostensibly” what the book is about. It’s about the poem, and Auden’s life. It’s also about the author, the author’s life, and what happened during those 25 years he didn’t write the book about Auden. It’s literary criticism, too, but this book is unlike any kind of poetry analysis, literary criticism, or biography that I’ve ever read.  I don’t think I can tell you what that difference is, but I can show you.

To continue reading, please see my post today at Tweetspeak Poetry.