This new anthology brings together 270 poems and is the most complete and authoritative ever compiled. Arranged by year rather than by poet, it is the first to reveal how poetry developed between 1914 and 1918, and afterwards from 1919 - 1930. The poetry that came out of the First World War exposed, for the first time in history, the real horror of war. The result is an extraordinary record of passionate feelings and appalling experiences, written by men and women from widely different backgrounds, of unique and enduring importance. All the major poets are generously represented, Owen, Brooke, Sassoon, Blunden, Gurney, Graves and Rosenberg, but here too are many unfamiliar yet remarkable poems from the less familiar, Joseph Leftwich, F S Flint, 'Touchstone'; female poets: Edith Sitwell; Vera Brittain, Eleanor Farjeon; and writers not always associated with WWI poetry, Thomas Hardy, Rudyard Kipling and Ezra Pound. Accompanying notes to the poems, historical events and the poets give precise, relevant information and suggest links to other poems, so the book as a whole forms a fascinating, moving narrative. Praise for Poetry of the Great War: An Anthology: 'This splendid anthology...immaculately crafted...wide and authorative...[is] recommended unhesitatingly to both a popular and academic readership. Choice, USA Praise for Wilfred Owen: A New Biography: 'Rich, compelling, formidably researched.' John Carey, Sunday Times

The First World War produced an extraordinary flowering of poetic talent, poets whose words commemorate the conflict more personally and as enduringly as monuments in stone. Lines such as 'What passing-bells for these who die as cattle?' and 'They shall grow not old, as we that are left grow old' 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. A general introduction charts the history of the war poets' reception and challenges prevailing myths about the war poets' progress from idealism to bitterness. The work of each poet is prefaced with a biographical account that sets the poems in their historical context. Although the War has now passed out of living memory, its haunting of our language and culture has not been exorcised. Its poetry survives because it continues to speak to and about us.

Book fifteen in the Inspector Lestrade series. ‘There was a Front; But damn’d if we knew where!’ England in 1920 is a land fit for heroes. So why is one of those heroes found dead in a dingy London hotel? And why does his war record show that he has been missing, presumed killed in action, for three years? The deceased is none other than the fiancé of Inspector Lestrade’s daughter and when her tears are dry, she sets out on a quest to find his murderer. And as always with Sholto Lestrade, one murder has a habit of leading to another; a second body turns up, linked to the first. How can a woman killed in an air raid in 1917, be found with a bullet through her head three years later? When a succession of foreigners is murdered with the same tell-tale weapon, has World War Two started already? Can it be Hunnish practices? Or the Red Peril? Perhaps the Black and Tans? A colourful web of intrigue unfolds as Lestrade and his daughter go undercover in the War Office, the Foreign Office, a film studio and at the Yard itself. When Lestrade’s daughter is kidnapped, the writing is on the wall. And the writing says ‘MI5’.

Contains articles on the White Mountains and a map.