The author wishes to thank a number of friends who helped in the preparation of this book: Carol O’Brien, who commissioned it; Jenny Houlsby, who converted manuscribble into setting-copy; Jane Robertson, who copy-edited it; Charlotte Deane, Jane Potter, and Liz Bowers, who gathered the illustrations, Pete Duncan and Les Dominey, who designed the book; Anna Williamson, who directed these operations; and others who contributed in a variety of ways: Sarita Cargas, Angela Godwin, Roy Foster, Seamus Heaney, Kate Kavanagh, Nancy Macky, and Mark Pottle.
Thanks are also due to Chatto and Windus for permission to reproduce material from my edition of The War Poems of Wilfred Owen (1994); and to the Folio Society for permission to reproduce the Introduction to my edition of Edmund Blunden’s Undertones of War (1989).
Faber and Faber Limited and Farrar, Straus and Giroux, Inc., for lines from ‘MCMXIV’ by Philip Larkin from Collected Poems, edited by Anthony Thwaite (1988), reproduced by permission of Faber and Faber Ltd; Faber and Faber Limited and Farrar, Straus and Giroux, Inc., for lines from ‘In Memoriam Francis Ledwidge’ by Seamus Heaney from New Selected Poems 1966-1987 (1990), reproduced by permission of Faber and Faber Limited; New Island Books Ltd for an extract from Seamus Heaney’s Introduction to Francis Ledwidge: Selected Poems, edited by Dermot Bolger (1992); George Sassoon and Barbara Levy Literary Agency for an extract from Siegfried Sassoon’s Declaration in The Nation (1917), an extract from Sherston’s Progress (Faber & Faber, 1937), and for lines from ‘Prelude: The Troops’, ‘To My Brother’ and poems ‘Absolution’, ‘The Redeemer’, ‘Christ and the Soldier’, ‘Glory of Women’, ‘Stand-to: Good Friday Morning’, ‘The Hero’, ‘They’, ‘Base Details’, ‘The General’, ‘Everyone Sang’ and ‘On Passing the Menin Gate’, from The War Poems of Siegfried Sassoon, edited by Rupert Hart-Davis (Faber & Faber, 1983), copyright Siegfried Sassoon by kind permission of George Sassoon; Carcanet Press Limited for an extract from Goodbye To All That by Robert Graves (Cassell & Co., 1929), for lines from ‘Escape’, and for poems ‘Two Fusiliers’, ‘Goliath and David’, ‘Sergeant-Major Money’, ‘The Persian Version’, ‘The Dead Fox Hunter’, ‘A Dead Boche’, ‘Recalling War’ and ‘The Second Fated’ by Robert Graves from Robert Graves: The Complete Poems, edited by Beryl Graves and Dunstan Ward (Carcanet Press, 1995); © Oxford University Press 1967. Reprinted from The Letters of Wilfred Owen, edited by John Bell and Harold Owen (1967) by permission of Oxford University Press; The Random House Group Ltd for extracts from ‘The Women and the Slain’ and ‘Uriconium: An Ode’ by Wilfred Owen as it appears in Wilfred Owen: The Complete Poems and Fragments, edited by Jon Stallworthy © The Executors of Harold Owen’s Estate 1963 and 1983, published by Chatto & Windus, 1983. Used by permission of The Random House Group Limited; The Peters Fraser and Dunlop Group Ltd for extracts from Undertones of War (Copyright Edmund Blunden 1928) and lines from ‘Festubert: The Old German Line’, ‘Vlamertinghe: Passing the Château, July 1917’ (Copyright Edmund Blunden 1928) and the poems ‘1916 Seen from 1921’ (Copyright Edmund Blunden 1922), ‘The Midnight Skaters (Copyright Edmund Blunden 1925), ‘The Watchers’ (Copyright Edmund Blunden 1928), ‘Two Voices’ (Copyright Edmund Blunden 1928), ‘The Zonnebeke Road’ (Copyright Edmund Blunden 1928), ‘Concert Party: Busseboom’ (Copyright Edmund Blunden 1928), reproduced by permission of PFD on behalf of the Estate of Mrs Claire Blunden; Carcanet Press Limited and Myfanwy Thomas for an extract from an essay about Ivor Gurney from Under Storm’s Wing by Helen Thomas, with additions by Myfanwy Thomas (Carcanet Press, 1988); The Ivor Gurney Trust for poems ‘Ballad of the Three Spectres’, ‘To His Love’, ‘First Time In’, ‘The Silent One’, ‘Bach and the Sentry’, ‘Servitude’, ‘Laventie’, ‘Ypres-Minsterworth’ and ‘Towards Lillers’ from The Collected Poems of Ivor Gurney, edited by P.J. Kavanagh (Oxford University Press, 1982); Faber and Faber Limited and Anthony Hyne for verse and prose extracts, including the dedication, from In Parenthesis by David Jones (Faber & Faber, 1937), reproduced by permission of Faber and Faber Limited.
Bodleian Library, Oxford: 133 bottom (Ms Don.d.28);The British Library: 107; The British Library (reproduced with the permission of PFD on behalf of the Estate of Mrs Claire Blunden): 127; Cardiff University Library Archives: 134, 144; By kind permission of Christ’s Hospital (reproduced with the permission of PFD on behalf of the Estate of Mrs Claire Blunden): 120 bottom; English Faculty Library, University of Oxford: 100 bottom; Fitzwilliam Museum, Cambridge (© Siegfried Sassoon by kind permission of George Sassoon): 77, 79; Collection Viscount Gage: 24 bottom, 25; Hulton Archive/Getty Images: 47; The Ivor Gurney Trust: 147, 148 top, 148 bottom, 149 top, 150, 151, 157; Hertfordshire Archives and Local Studies: 24 top (D/ERv/C1135/495), 26 top (D/EX789/F22), 27 bottom (D/ERv/C1135/712), 30-31 (D/EX789/F23A); Imperial War Museum, London: 4 (Q82950), 6 (Q53286), 7 top (Q91867), 7 bottom (Q42033), 8 top (Q5875), 8 bottom (Q4069), 9 (Q8467), 10 (Q71073), 13, 14 (Q71074), 26 bottom (Q69527), 27 (Q57254) top, 29 (Q28938), 35 bottom (Q60741), 36 top (Q11731), 36 bottom (Q4218), 38 (Q4305), 42 (Q51150), 45 (Q50689), 49 top (Q13449), 49 bottom (Q13424), 51 (Q13820), 53 (Q751), 54 (Q13332), 55 (Q5935), 59 (Q13378), 61 (Q13429), 62 (Q101780), 66-67 (Q90), 67 top (Q97), 68 (Q3974), 70 top (Q108833), 70 bottom (Q100259), 71 bottom (Q101781), 72 (Q10681), 73 (Q5092), 74 (E573), 78 (Q4256), 81 (Q45871), 84 bottom (Q3979), 85 bottom (Q867), 86 (Q723), 89 (Q2041), 95 (Q3976), 97 (Q79045), 98 (Q101798), 100 top (Q71250), 101 top (Q1687), 102-103 (Q1546), 104 bottom (Q10660), 105 (Ql01783), 106 (Q70167), 109 (Q11586), 110 (Q1259), 114 (Q1530), 116 (Q101795), 118 (Q44390), 119 (Q101807), 120 top (Q2064), 122 top (Q1332), 122 bottom (Q1), 123 (Q45461), 125 (Q101782), 128 (E1220), 129 (Q8381), 131 (Hu60473), 132 (Q101808), 133 top (Q100265), 135 (Q71060), 136 (Q101789), 137 (Q71059), 138 (Q5172), 139 top (Q5117), 139 bottom (Q101788), 142 (Q2890), 143 (Q171), 149 bottom (Q17598), 152 (Q116), 154 (E600), 158 (E4599), 167 top (Q6867), 168 (Q1792), 171 (CO2241), 172 (Hu70315), 179 (Q4095), 183 bottom (Q5100), 185 (Q906), 187 (Q70165); Imperial War Museum (reproduced with the permission of PFD on behalf of the Estate of Mrs Claire Blunden): 121; Imperial War Museum (with kind permission of Carcanet Press and the Estate of Robert Graves): 84 top, 91; Imperial War Museum (©Trustees of the David Jones Estate): 178 top, 178 bottom, 180 top, 180 bottom, 181, 182, 183 top; Imperial War Museum (reproduced with the permission of the Rosenberg family): 160, 162 (Q93491), 163 top, 163 bottom, 164 (Q93489), 165 top, 165 bottom, 166, 167 bottom, 169 left (Q6372), 169 right, 173 (Q108830), 174-175; Imperial War Museum (© Siegfried Sassoon by kind permission of George Sassoon): 66 top (Hu53735), 71 top; © Trustees of the David Jones Estate: 176; By kind permission of the Provost and Scholars, King’s College, Cambridge: 12, 15 top, 15 bottom, 17, 20, 21; By courtesy of Marlborough College Archives: 35 top, 41; Courtesy of the National Library of Ireland: 48, 50; © National Museums and Galleries of Wales: 82; National Portrait Gallery: 23; Peter Owen: 103 top; Public Record Office: 34 (WO339/11501), 37 (WO339/11501), 69 (WO339/51440), 87 (WO339/23299), 99 (WO138/74), 101 bottom (WO138/74); Harry Ransom Humanities Research Center, The University of Texas at Austin: 104 top; With permission of the Trustees of the Royal Welch Fusiliers Museum: 64, 65, 85 top; Reproduced by courtesy of the Director and Librarian, The John Rylands University Library of Manchester: 52; West Sussex Record Office (reproduced with the permission of PFD on behalf of the Estate of Mrs Claire Blunden): 124