A New York Times Book Review Editor's Choice and Nominated for the 2017 PEN/Bograd Weld Prize for Biography A captivating exploration of A. E. Housman and the influence of his particular brand of Englishness A. E. Housman’s A Shropshire Lad made little impression when it was first published in 1896 but has since become one of the best-loved volumes of poetry in the English language. Its evocation of the English coun - tryside, thwarted love, and a yearning for things lost is as potent today as it was more than a century ago, and the book has never been out of print. In Housman Country, Peter Parker explores the lives of A. E. Housman and his most famous book, and in doing so shows how A Shropshire Lad has permeated English life and culture since its publication. The poems were taken to war by soldiers who wanted to carry England in their pockets, were adapted by composers trying to create a new kind of English music, and have influ - enced poetry, fiction, music, and drama right up to the present day. Everyone has a personal “land of lost content” with “blue remembered hills,” and Housman has been a tangible and far-reaching presence in a startling range of work, from the war poets and Ralph Vaughan Williams to Inspector Morse and Morrissey. Housman Country is a vivid exploration of England and Englishness, in which Parker maps out terrain that is as historical and emotional as it is topographical.

In this series a contemporary poet selects and introduces another poet of a different generation whom they have particularly admired. This selection of A.E. Housman poems are selected by Alan Hollinghurst.

A. E. Housman was one of the best-loved poets of his day, whose poems conjure up a potent and idyllic rural world imbued with a poignant sense of loss. They are expressed in simple rhythms, yet show a fine ear for the subtleties of metre and alliteration. His scope is wide - ranging from religious doubt to intense nostalgia for the countryside. This volume brings together 'A Shropshire Lad' (1896) and 'Last Poems' (1922), along with the posthumous selections 'More Poems' and 'Additional Poems', and three translations of extracts from Aeschylus, Sophocles and Euripides that display his mastery of Classical literature.

“Last Poems” is a 1936 collection of poetry by A. E. Housman. The poems include: “The West”, “Llic Jacet”, “Grenadier”, “Lancer”, “The Deserter”, “The Culprit”, “Eight O'Clock”, “Spring Morning”, “Astronomy”, “Epithalamium”, “The Oracles”, “Sinner's Rue”, “Hell's Gate”, “Revolution”, “Epitaph On An Army Of Mercenaries”, and “Fancy's Knell”. Alfred Edward Housman (1859–1936), also known as A. E. Housman, was an English poet and classical scholar considered to be one of the greatest scholars who ever lived. A fantastic collection of classic poetry by a master of the form. This classic work is being republished now in a new edition complete with a chapter from “Twenty-Four Portraits” by William Rothenstein.

This is a collection of essays which shows that academic interest in Housman is still strong. There are contributions from the UK, the USA and Israel focusing on close readings, historical and bibliographical studies, and comparisons with other writers. Housman is seen as man and poet, classicist and inspiration for song-writers. Not since 1968, when Christopher Ricks edited the volume A.E. Housman: A Collection of Critical Essays , has there been such a wide-ranging assessment of the life and work of a great classical scholar and popular poet.

"Fifteen chilling stories of lycanthropy and murder written from 1838 to 1896, many of them reprinted here for the first time. This edition includes a new introduction, notes, and numerous rare Victorian werewolf illustrations"--P. [4] of cover.

A.E. Housman (1859-1936) was an English classical scholar and poet who had an enormous influence on many British poets and musicians.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - The great farm hall was ablaze with the fire-light, and noisy with laughter and talk and many-sounding work. None could be idle but the very young and the very old: little Rol, who was hugging a puppy, and old Trella, whose palsied hand fumbled over her knitting. The early evening had closed in, and the farm-servants, come from their outdoor work, had assembled in the ample hall, which gave space for a score or more of workers. Several of the men were engaged in carving, and to these were yielded the best place and light; others made or repaired fishing-tackle and harness, and a great seine net occupied three pairs of hands. Of the women most were sorting and mixing eider feather and chopping straw to add to it. Looms were there, though not in present use, but three wheels whirred emulously, and the finest and swiftest thread of the three ran between the fingers of the house-mistress. Near her were some children, busy too, plaiting wicks for candles and lamps. Each group of workers had a lamp in its centre, and those farthest from the fire had live heat from two braziers filled with glowing wood embers, replenished now and again from the generous hearth. But the flicker of the great fire was manifest to remotest corners, and prevailed beyond the limits of the weaker lights.