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Chester Johnson, one of the two surviving members of the Committee that produced the re- translation, has agreed for the first time to tell the story of this Psalter and the little-known but vital part played in it by acclaimed poet W. H. Auden, whom Johnson replaced on the committee when Auden decided to return to live in England.
As the poet W. H. Auden once wrote on the eve of World War II: We must love one another or die.'" The marchers cheered, and the singer then performed her hit "Express Yourself." It was an effective rhetorical moment, though for students of modern poetry there were both familiar and complicated ironies in Madonna's use of Auden's poem, "September 1, 1939," to express herself and her political commitments.
After W. H. Auden's death in 1973, David Bromwich's deconstructionist assessment of Auden's Collected Poems finds an Auden who changes at mid-career from an "oracle" to an anti-Romantic "jester" whose poetry makes nothing happen (91).
In this essay I consider how homophobia or homosexual dis-ease informs the remembrances of poets Allen Ginsberg and W. H. Auden written, respectively, by Norman Podhoretz and A.
It is widely acknowledged that W. H. Auden's poetry underwent significant changes during and after his return to Christianity in 1940, though both Edward Mendelson and Alan Jacobs have done much to explain exactly how Auden changed after his conversion and to show that those changes were not as abrupt or drastic as earlier critics had supposed.
Late in 1940, W. H. Auden, who had just recently arrived in America, began attending Episcopal services.
the all too solid flesh you must acknowledge as your own." (1) In the middle of W. H. Auden's mid-career prose poem, "Caliban to the Audience," Caliban describes what happens when, looking for Ariel, the imagination, the audience finds Caliban instead, a disturbing reminder of the begged question of its existence: "solid flesh," as it were, mysteriously linked to the less-than-solid imagination.
Referring to W. H. Auden's stint as the judge for the Yale Younger Poets series, James English ["We Are the Champions," Readings, January] claims that in 1955 Auden "solicited manuscripts from two young poets of his acquaintance, Frank O'Hara and John Ashbery." In fact, Auden did not solicit the manuscripts himself.
W. H. Auden collected hats, at least as a younger man (he subsequently renounced them).
The latest batch features three gay poets: Frank O'Hara, Mien Ginsberg, and W. H. Auden. McClatchy is direct about the sexuality of the first two but almost as circumspect about the third as Auden was himself.