Bøker av Louis MacNeice

This highly amusing and unorthodox travel book resulted from a light-hearted summer journey by the young poets Auden and MacNeice in 1936. from Auden's 'Letter to Lord Byron' and MacNeice's 'Eclogue', to the mischief and fun of their joint 'Last Will and Testament', the book is impossible to resist - a 1930s classic.

'I go the zoo half because I like looking at the animals and half because I like looking at the people... The pleasure of dappled things, the beauty of adaptation to purpose, the glory of extravagance, classic elegance or romantic nonsense and grotesquerie - all these we get from the Zoo.' In 1938 Louis MacNeice published his second collection of poems with Faber; his 'personal essay' Modern Poetry for OUP; and Zoo, a prose commission from Michael Joseph to write an impressionistic 'guide' to the London Zoo in Regents Park. Envisioned as a breezy assignment MacNeice's Zoo inevitably became a richer endeavour, taking in side-trips to Paris and Belfast. Zoo also benefited from illustrations by the painter Nancy Sharp, with whom MacNeice had begun an affair after moving to London in 1936.This Faber Finds edition returns to circulation a delightful rarity by one of the twentieth century's most brilliant poets.

'I would have a poet able bodied, fond of talking, a reader of the newspapers, capable of pity and laughter, informed in economics, appreciative of women, involved in personal relationships, actively interested in politics, susceptible to physical impressions.'Louis MacNeice's prescription is designed to look ordinary, rather than esoteric, but very little poetry can claim to meet these specifications, stringent in their very wideness. MacNeice's work matches the world he famously described as 'incorrigibly plural.'Michael Longley, himself a distinguished Ulster poet, has written an introductory essay of meticulous advocacy. His wife, the critic Edna Longley, has supplied the apparatus for students and the general reader.

Written between August and December 1938, Autumn Journal is still considered one of the most valuable and moving testaments of living through the thirties by a young writer. It is a record of the author's emotional and intellectual experience during those months, the trivia of everyday living set against the events of the world outside, the settlement in Munich and slow defeat in Spain.

In the decades since his death in 1963, Louis MacNeice's reputation as a poet (and, indeed, amongst poets) has grown steadily, and there are now several generations of readers in Ireland, Britain, and beyond, for whom he is one of the essential poets of the twentieth century. His work has also received increasing attention from academic writers and students. For both readers and critics, the nature of MacNeice's poetic work as a whole is a matter of importance, and the second posthumous Collected Poems, entirely re-edited by Peter McDonald, attempts, for the first time, to print MacNeice's poetry in groupings corresponding closely to the collections published by Faber between 1935 and 1963. This makes it easier to read the poet in the published forms in which he was read by his contemporaries. In choosing to re-create the environments of MacNeice's individual volumes of poetry, moreover, this new Collected reflects the opinion that MacNeice works best in and through those separate volumes, particularly so in the brilliant return to form - and unique kinds of return on lyric form itself - of the last three collections. The texts of the poems in the new edition are based on a comparison of all printed versions, as revised in the light of the poet's later thoughts. This has resulted in a large number of changes. It is hoped that the present edition presents MacNeice's poetry more accurately, as well as more fully, than all previous collections. The new Collected Poems also includes, as appendices, The Last Ditch - the short book of poems which MacNeice published with the Cuala Press in 1940 - and The Revenant, a cycle of songs written for MacNeice's wife, the singer Hedli Anderson, a selection of uncollected early poems, and from Blind Fireworks, MacNeice's first published book of verse.

Louis MacNeice is increasingly recognised as one of the greatest poets of the twentieth century, and his work has been a defining influence upon a generation of Irish poets that includes Derek Mahon, Michael Longley and Paul Muldoon.The Selected Letters is indispensable as a resource for an understanding of the intellectual culture of the mid-twentieth century. A Classics don, poet, playwright and globetrotting BBC producer, the medley and blend of MacNeice's cultural influences seems exemplary in its modernity. He kept up a significant correspondence with E. R. Dodds, Anthony Blunt and T. S. Eliot, to name but three prominent figures of the time.During his time at the BBC MacNeice witnessed many key events, including the partition of India in 1947 and the independence of the Gold Coast from Britain in 1957, and these are recorded in two long sequences to his wife, the singer Hedli Anderson.His complex relationship to Ireland and to his Irish heritages speak resonantly to contemporary debates about Irish and Northern Irish cultural identity. Finally, the Letters will do much to broaden our understanding of a vivid and often enigmatic personality whose varied life and individual charisma have often resisted explanation.

Commissioned by the BBC for the Goethe Centenary in 1949, and originally broadcast in six instalments, Louis MacNeice's translation of Goethe's Faust distills the digressive dimensions of the original - at once a play and an epic poem - into a verse drama for the ear.

Louis MacNeice read classics at Oxford, and his professional life began as a lecturer in classics, before his career developed as a poet and broadcaster. For many readers of Greek, Aeschylus is revealed as a great poet and dramatist of contemporary importance'.

Discusses the significance of 'parable' for the times in which the author lived, and implicitly for his own poetic. This book offers a statement about poetry and poetics.

Discloses W B Yeat's critical mind, which was always discontented with its own formulations, full of self-questionings and questionings of others, scrupling to admire, reluctant to be won.

A radio parable play, written in response to the rise of fascism in Germany and the events of World War II. It stages the debate about free will with reference to the ancient theme of the Quest, but in modern contexts exploring sexuality, gender, family and geography.

This volume contains eight of Louis MacNeice's best plays, most of which were written for BBC Radio. It draws on the most authoritative texts. Alan Heuser is the editor of "Selected Literary Criticism of Louis MacNeice" and "Selected Prose of Louis MacNeice".

This volume covers the sweep of Louis MacNeice's interests outside the literary, thus conveying the visual perceptiveness, humour, seriousness and enthusiasm of his personality and poetry.

Faber are pleased to announce the relaunch of the poetry list - starting in Spring 2001 and continuing, with publication dates each month, for the rest of the year. This will involve a new jacket design recalling the typographic virtues of the classic Faber poetry covers, connecting the backlist and the new titles within a single embracing cover solution. A major reissue program is scheduled, to include classic individual collections from each decade, some of which have long been unavailable: Wallace Stevens's Harmonium and Ezra Pound's Personae from the 1920s; W.H. Auden's Poems (1930); Robert Lowell's Life Studies from the 1950s; John Berryman's 77 Dream Songs and Philip Larkin's The Whitsun Weddings from the 1960s; Ted Hughes's Gaudete and Seamus Heaney's Field Work from the 1970s; Michael Hofmann's Acrimony and Douglas Dunn's Elegies from the 1980s. Timed to celebrate publication of Seamus Heaney's new collection, Electric Light, the relaunch is intended to re-emphasize the predominance of Faber Poetry, and to celebrate a series which has played a shaping role in the history of modern poetry since its inception in the 1920s.