First published in 1978 The Ordeal of Ivor Gurney is a moving and extraordinary account of a tragic genius penned by the composer Michael Hurd. Born in Gloucester in 1890 Ivor Gurney began writing songs and poems in his teens, taking his inspiration from the Severn Valley countryside where he grew up. Sent to the Western Front during the First World War Gurney experienced desolation and horror that made a profound impression on him. He ended his days in an asylum, but at his death in 1937 he was beginning to be acknowledged as one of England's finest composers. Still, it took several more decades for his work as a war poet to be fully appreciated. 'Hurd compresses into a taut, sympathetic outline the initial optimism and later torment of Gurney's ill-starred life... distinguished by its crisp use of poetic extracts.' PN Review

"Originally a student of music, [Gurney] took up poetry in the trenches of the First World War, and was working on what would be his first volume of verse when, in 1917, he suffered wounds to the shoulder; and it was just before publication of this volume, Severn & Somme, that he was gassed at Passchendaele. After his return to Britain he resumed his musical studies, ... and quickly found outlets for his compositions. There is some debate about whether or not his subsequent mental illness was a consequence of the horrors and sufferings of the war; but mental illness marked the rest of his life, and indeed from about 1922 until his death he was institutionalised ... He nevertheless continued to produce poems and musical compositions in prolific fashion, and his works in both areas are read and performed, respectively, to this day"--

Best Poems consists of fair copies Gurney made, with few alterations. The Book of Five Makings is more a working draft, with recastings of the same poems, revealing the process by which he brought his art to completion. Of the 116 poems in this double volume, fewer than a quarter are previously collected. In his introduction R.K.R. Thornton, Professor of English at the University of Birmingham and editor of Gurney's poems and collected letters, sets the books in context. Annotations give readers a clear picture of the books as Gurney wanted them to be.

Drawing on biographical information, letters, reminiscences and anecdotes, John Lucas pieces together the troubled life of Ivor Gurney, a key 20th century poet.

This is a poignant, sometimes ribald, history of the rank-and-file servicemen who were psychiatric casualties of World War One.

This is a guide to the main developments in the history of British and Irish literature, charting some of the main features of literary language development and highlighting key language topics.

From 1955-65 the historian Eric Hobsbawm took the pseudonym 'Francis Newton' and wrote a monthly column for the New Statesman on jazz - music he had loved ever since discovering it as a boy in 1933 ('the year Adolf Hitler took power in Germany'). Hobsbawm's column led to his writing a critical history, The Jazz Scene (1959). This enhanced edition from 1993 adds later writings by Hobsbawm in which he meditates further 'on why jazz is not only a marvellous noise but a central concern for anyone concerned with twentieth-century society and the twentieth-century arts.' 'All the greats are covered in passing (Louis Armstrong, Billie Holiday), while further space is given to Duke Ellington, Ray Charles, Thelonious Monk, Mahalia Jackson, and Sidney Bechet ... Perhaps Hobsbawm's tastiest comments are about the business side and work ethics, where his historian's eye strips the jazz scene down to its commercial spine.' Kirkus Reviews

The Sonnet provides a comprehensive study of one of the oldest and most popular forms of poetry, widely used by Shakespeare, Milton, and Wordsworth, and still used centuries later by poets such as Seamus Heaney, Tony Harrison, and Carol Ann Duffy. This book traces the development of the sonnet from its origins in medieval Italy to its widespread acceptance in modern Britain, Ireland, and America. It shows how the sonnet emerges from the aristocratic courtly centres of Renaissance Europe and gradually becomes the chosen form of radical political poets such as Milton. The book draws on detailed critical analysis of some of the best-known sonnets written in English to explain how the sonnet functions as a poetic form, and it argues that the flexibility and versatility of the sonnet have given it a special place in literary history and tradition.

In our time, Bernard Leach has done for pottery what Henry Moore has done for scuplture. This... infinitely rewarding book is an account of his pilgrimage through life.' Times Bernard Leach (1887-1979) was as renowned in Japan and the East as in Europe and America, both as an artist-craftsman and as a thinker. His interpretation of the traditions of the Orient in the making of pots - and in evolving a philosophy of life - was a lodestar for many potters in the West. Beyond East and West, first published in 1978, is more than an autobiography. Full of sharply-etched and amusing recollections, it contains much of Leach's deeper thought and a great deal too about the practical application of his ideas. Its recurrent theme is the meeting of East and West at all levels - artistic, cultural, social, political.