If the war he wrote about hadn't ended his life a week before armistice, Owen likely would have become one of the most revered poets of all time. This is powerful writing.

Too real to stand much, the truth of war untold is.

I just read the poems, not the introduction or the long appendix. They are some of the most moving poems in the English language.

I named my son Owen. Need I say more.

Ok, well Rupert,Sigfried and Wilfred were just too odd for a little guy to carry through school.

"At a Calvary near the Ancre" by Wilfred Owen (late 1917-early 1918).

Here is a rendition of the poem by the tenor Peter Pears from the War Requiem by Benjamin Britten:
https://www.youtube.com/watch?v=flEp_...

Agnus Dei (chorus; Latin) interspersed with Owen's "At a Calvary near the Ancre" (tenor solo)

Tenor:
One ever hangs where shelled roads part.
In this war He too lost a limb,
But His disciples hide apart;
And now the Soldiers bear with Him.

Chorus:
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.

Tenor:
Near Golgatha strolls many a priest,
And in their faces there is pride
That they were flesh-marked by the Beast
By whom the gentle Christ's denied.

Chorus:
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.

Tenor:
The scribes on all the people shove
and bawl allegiance to the state,

Chorus:
Agnus Dei, qui tollis peccata mundi...

Tenor:
But they who love the greater love
Lay down their life; they do not hate.

Chorus:
...Dona eis requiem.

Tenor:
Dona nobis pacem.

I make no apology for starting with one of Owen’s more well-known poems Dulce Et Decorum Est:

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

The title is from Horace: It is sweet and right to die for your country.
This collection includes Owen’s pre-war poems and lots of fragments of poems. It is easy to see that the really powerful standout poems are all war poems; there is a vast difference between these poems and his early work, hardly surprising. Most of Owen’s poems were published posthumously and those that were published were in an In-house magazine at Craiglockhart hospital. There is a memorial piece at the end by Edmund Blunden written in 1931 which contains extracts from his letters and is fascinating as it shows some of the ways his thought was developing. The passion and compassion of Owen towards the suffering and disenchanted stands out. Owen understands the men he is with; he understands soldiers and their role and he is angry on their behalf with those in power and those who criticise from the side-lines:

except you share
With them in hell the sorrowful
dark of hell,
Whose world is but the trembling
of a flare,
And heaven but as the highway for a shell.
You shall not hear their mirth:
You shall not come to think them well content
By any jest of mind. These men are worth
Your tears: you are not worth their merriment.

Owen’s letters show how his political thought was developing in a pacifist direction and he says that his conception of Christianity was incompatible with pure patriotism. He does not shirk addressing difficult issues including the effect of war on mental health in the poem “Mental Cases” and placing blame where he thinks it lies:

Who are these? Why sit they here in twilight?
Wherefore rock they, purgatorial shadows,
Drooping tongues from jaws that slob their relish,
Baring teeth that leer like skulls' tongues wicked?
Stroke on stroke of pain, — but what slow panic,
Gouged these chasms round their fretted sockets?
Ever from their hair and through their hand palms
Misery swelters. Surely we have perished
Sleeping, and walk hell; but who these hellish?

— These are men whose minds the Dead have ravished.
Memory fingers in their hair of murders,
Multitudinous murders they once witnessed.
Wading sloughs of flesh these helpless wander,
Treading blood from lungs that had loved laughter.
Always they must see these things and hear them,
Batter of guns and shatter of flying muscles,
Carnage incomparable and human squander
Rucked too thick for these men's extrication.

Therefore still their eyeballs shrink tormented
Back into their brains, because on their sense
Sunlight seems a bloodsmear; night comes blood-black;
Dawn breaks open like a wound that bleeds afresh
— Thus their heads wear this hilarious, hideous,
Awful falseness of set-smiling corpses.
— Thus their hands are plucking at each other;
Picking at the rope-knouts of their scourging;
Snatching after us who smote them, brother,
Pawing us who dealt them war and madness
This could easily become a run through of the poems; they are now well known and much studied and still retain their power. If you haven’t read them, do have a look, but I’ll sign off this review with Anthem for Doomed Youth:
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells,
Nor any voice of mourning save the choirs, -
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing down of blinds.

Such an astonishing collection of Wilfred Owen poems, not only his war poems but also his juvenilia, his attempts in becoming a poet since a younger age.

Owen is regarded as a war poet together with Siegfried Sassoon, Robert Graves, etc. Yet, differently from some other poets, like Sasson, who wrote great poems, yet satirical ones in order to criticize the war, Owen diverges in that his poetry exudes humanism, the experience of the soldier on the battlefield and the horror it caused, far from the patriotic impulses of other poets.

He was his men's man, and died just like that, with the I World War just one week from the signing of the Armistice, intending to give protection to his soldier during the crossing of the Sambre–Oise Canal.

As it is sometimes difficult to express just what we feel about a person, I cite one of his poems, Wild at heart, for anyone to have the exact idea of Owen's greatness. The poem was dedicated to his friend and the one who mentored him, Siegfried Sassoon.

My arms have mutinied against me—brutes!
My fingers fidget like ten idle brats,
My back’s been stiff for hours, damned hours.
Death never gives his squad a Stand-at-ease.
I can’t read. There: it’s no use. Take you book.
A short life and a merry one, my buck!
We said we’d hate to grow dead old. But now,
Not to live old seems awful: not to renew
My boyhood with my boys, and teach ’em hitting,
Shooting and hunting,—all the arts of hurting!
—Well, that’s what I learnt. That, and making money.
your fifty years in store seem none too many;
But I’ve five minutes. God! For just two years
To help myself to this good air of yours!
One Spring! Is one too hard to spare? Too long?
Spring air would find its own way to my lung,
And grow me legs as quick as lilac-shoots.

Yes, there’s the orderly. He’ll change the sheets
When I’m lugged out, oh, couldn’t I do that?
Here in this coffin of a bed, I’ve though
I’d like to kneel and sweep his floors for ever,—
And ask no nights off when the bustle’s over,
For I’d enjoy the dirt; who’s prejudiced
Against a grimed hand when his own’s quite dust,—
Less live than specks that in the sun-shafts turn?
Dear dust,—in rooms, on roads, on faces’ tan!
I’d love to be a sweep’s boy, black as Town;
Yes, or a muckman. Must I be his load?
A flea would do. If one chap wasn’t bloody,
Or went stone-cold, I’d find another body.

Which I shan’t manage now. Unless it’s yours.
I shall stay in you, friend, for some few hours.
You’ll feel my heavy spirit chill your chest,
And climb your throat on sobs, until it’s chased
On sighs, and wiped from off your lips by wind.

I think on your rich breathing, brother, I’ll be weaned
To do without what blood remained me from my wound.

Umpteenth re-read of some of the most powerful poetry ever written and a big reason I am a committed pacifist since I first read this collection as a child.

The four manuscript scans at the back of the evolution of Anthem for Doomed Youth is very reassuring proof that no one gets poetry right the first time (that first like changed a lot, the last line not at all)

Almost loses half a star for the editor being all "now we don't know WHY Owen never expressed an interest in women and spoke so much about men in non-war poems", but if you ignore the intro the pieces speak for themselves

I have a love-hate for war poetry.

It is the only art form that exists wherein people have to die, in droves; where death is legion. The greater the number of people that die, the better the poetry. The more that it is a cruel and senseless death, the better the poetry. The more pointless it is, the better the poetry. For every such point, a cruel counterpoint, so that the impact is felt in the heart. And in the solar plexus.

If you don't feel it in the solar plexus, if it doesn't make you short of breath, if it doesn't take your breath away, then it's not good war poetry. And so, does that mean, it wasn't a good war; that is, the war wasn't cruel, pointless, bloody enough to rate on the scale of the world's atrocities to make it worthy for the poet's pen?

For what it's worth, Wilfred Owen's poetry hits me in the solar plexus. It makes me wish he had never written these poems.

What I mean is, it makes me wish he had never had the need to write these poems.

Would we have known Wilfred Owen otherwise? Might he have been a mild-mannered school teacher, living his days out in boredom and peace in some sunny little corner of England? Might he have been the one who used the atom bomb on Nagasaki? Might he have been the one who found the cure for cancer?

Might he have been the best poet that ever lived?

Instead, he was the best poet that ever lived who hardly lived.

Now perhaps you can better understand my predicament when I read war poetry and hesitate to give my rating. Can I really give this 10 stars, because he died so young, so pointlessly, so bravely? And all for naught?



If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

(from Dulce et decorum est)

We covered almost all of Owen's poetry in my English class. However, with Owen, poetry is not a chore, but Owen's cognitive approach to war has really changed the way that I, and millions of others, view any form of belligerence (especially between nations).

As I have no doubt that most of you know, Owen's poetry is against any form of military adventurism, the callousness of society, politics and religion ('What passing bells for those that die as cattle?'), and (most imp. I guess) the plight of the individual soldier against all odds, other human beings who are similar to him as they share the same burden but which he must kill, and nature itself, which 'universalizes' war, pain but also love.

There is no substitute, no defining alternative, to reading the poems themselves. They are short, yet effective to the point of evoking tears in the reader. I'm not exaggerating, I can never forget the first time I read some of them. Although I was in a classroom (with 28 other 'geniuses'), we all were united as one, taking it all while holding back what seemed to be a flood of tears. That is the effect that Owen has, now consider that this is approx. 60 years after the war that inspired it all.

Even Charles, the talkative, 'class clown' at the back would stop talking during the whole course of the lesson. Why? Well, Owen now only has a unique message in all of his poems, but his poetry is so lurid, so engagingly graphic, that one relives the entire experience, and all the angry emotions he must have felt, with him. His poetry is unique in its own respect, and Owen captures the imagination and empathy of his reader in a way that no other academic subject can, which explains why even that infamous Charles would stop talking and listen attentively to Owen's masterpieces which have changed the world...

Even if you do not necessary love poetry, you cannot fail but to admire Owen. He challenged the whole mentality of his times, like a true soldier he stood courageous and bold against the traditions which glorified war yet was hypocritical in many aspects ('the armchair patriots' for example).

I've always been interested in the literature of World War I. I knew Wilfred Owen was a poet I wanted to get to know better. The Introduction to this collection provides a great background to Owen's life and work. Immediately following are Owen's war poems. These are the pieces that anyone who is interested in his writing are in it for. These are not only his most famous; they are not only his best; but they are pretty much the only ones worth a second reading. Owen's war poems are mature and part of the historic canon of war poems worldwide. His poems were often written in multiple drafts, and so the editor researched for the best or most final version to include in this collection, adding numerous manuscript and draft notes to each entry. This provides great background to Owen's intentions. I was assuming I was going to give this collection five-stars. But then came his earlier and immature work. As a reader, I could have honestly done without these; almost all of them are too light for my tastes or just convey too little. He was still trying to find his voice in these and you would never see any of these anthologized. This put a damper on my impression of Owen overall as a poet; his literary career is of two starkly different qualities. The editor suggests the War mature Owen immediately and for the best, and I absolutely agree. Owen's lesser poems made me want to give this collection four-stars. As a poetry collection, this book would have been much stronger with just his war poems. But then I realized, the editor was trying to do more than just build a strong collection. He wanted to give a true and historic overview to Wilfred Owen and his work. He closes the loop, and does so by adding a 1931 Memoir by Edmund Blunden at the end, along with a few handwritten drafts of one of Owen's poems. The inclusion of both the war poems and the juvenile poems; the inclusion of the introduction and memoir; the inclusion of the drafts; all this make The Collected Poems of Wilfred Owen a definitive volume for anyone interested in reading his poems, whether the reader is an academic or a casual fan. Ok, I'm convinced: five-stars.