Much of the originality of John Betjeman as a poet, apart from the unique assonance of his haunting verse forms, comes from the sharp and affectionate gusto with which he introduces his readers to the people and places in a poetic world he has made so much his own. He has few rivals in the personal harmonics he draws from his themes and from the natural world as the setting for human hopes and achievements in all their odd, humorous, and poignant trajectories.

This bibliography describes all John Betjeman's known writings, including his own books, contributions to periodicals and to books by others, lectures, and radio and television programs. Other categories include editorships and interviews, as well as a section devoted to writings about him. Manuscripts and drafts of his works are described in detail.

John Betjeman was undoubtedly the most popular Poet Laureate since Tennyson. But beneath the thoroughly modern window on Britain that he opened during his lifetime lay the influence of his nineteenth-century forbears. This book explores his identity through such Victorianism via the verse of that period, but also its architecture, religious faith and -- more importantly -- religious doubt. It was, nevertheless, a process which took time. In the 1930s Betjeman's work was tinted with modernism and traditionalism. He found Victorian buildings 'funny' and wrote much in praise of the Bauhaus style, even though his early poetry was peppered with Victorian references. This leaning was incorporated into a greater sense of purpose during World War 2, when he transformed himself from precious humorist into propagandist. The resulting sense of cohesion grew when the dangers of post-war urban redevelopment heightened the need to critique the present via the poetics of the past, a mood which continued up to and beyond his gaining the Laureateship in 1972. This duty proved to be a millstone, so the 'official' poems are thus explored by the author more fully than hitherto. The conclusion of looks back to Betjeman's 1960 verse-autobiography, 'Summoned by Bells', which is seen as the apogee of his achievement and a snapshot of his identity. Included here is the first critical appreciation of the lyrics embodied within the text, which are taken as a map of the young poet's literary growth. Larkin's 1959 question 'What exactly is Betjeman?' then leads to a final appraisal of his originality, as evidenced by his glances towards postmodernism, feminism, and post-colonialism. The fact is that Betjeman never quite fits in anywhere. He is always a square peg in a round hole or a round peg in a square hole -- often for the sheer enjoyment of so being. In a sense, his desire to be as non-conformist as a Quaker meeting house makes him a radical, rather than the reactionary that his interests imply. He was a champion of beauty and the British Isles, and clearly did much to make us see the worth of our Victorian forebears. Greg Morse's book highlights this important facet of his work.

A passionate and profane love letter to fall, the best fucking season of the year. Do you get excited at the first brisk breeze of the year? Are you overcome with delight when you see piles of red leaves? Do you lose your fucking mind at a pumpkin patch? At last, the epically funny internet sensation It's Decorative Gourd Season, Motherfuckers is now a visual tour-de-force, teeming with a cornucopia of perfectly paired photos and seasonal enchantments to make it really fucking sing. Whiffy candles, wicker baskets, motherfucking gourd after gourd, and people going insane they love fall so much? Check! Also included: the equally lifechanging meditation It's Rotting Decorative Gourd Season, Motherfuckers, because all good things must end. Give it to everyone you love, or put it on your fucking coffee table next to a pile of shellacked vegetables to really tie the room together. Perfect for: For anyone who fucking loves fall, and fans of McSweeney's, Go the Fuck to Sleep, Deep Thoughts, the Onion, and the New Yorker.

A masterful celebration--in words and vintage photos--of the famous St. Andrews golf course in Scotland, A Wee Nip at the 19th Hole takes an evocative look at the role that caddies have played in shaping this centuries-old game.