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.

Volumes for 1898-1968 include a directory of publishers.

Living on the Western Front provides a highly original history of the settler experience in Befland ([B]ritish [E]xpeditionary [F]orce land) during the First World War. Using an unusual representational form that involves the stitching together of over a hundred extracts from primary sources, which can then in turn be read either chronologically or thematically, Chris Ward brilliantly depicts a sense of settlers' lives in Great War Belgium, Northern France and Germany. Simultaneously an annal and an anthology of stories, this book tells us about landscapes, sounds, smells, food, journeys, memory and morale in the way that the Befland settlers actually lived and experienced them. The book also challenges popular conceptions of what history writing can or should be. It drags us away from the reassuringly commanding authorial voice of the conventional historical narrative towards an approach that brings a degree of uncertainty and encourages us to experiment with History and its relationship with the past in an exciting and rewarding way.