Poet's Choice

Discussion Policy
Comments that include profanity or personal attacks or other inappropriate comments or material will be removed from the site. Additionally, entries that are unsigned or contain "signatures" by someone other than the actual author will be removed. Finally, we will take steps to block users who violate any of our posting standards, terms of use or privacy policies or any other policies governing this site. Please review the full rules governing commentaries and discussions. You are fully responsible for the content that you post.
By Robert Pinsky
Sunday, February 25, 2007

This month marks the centennial of the birth of W.H. Auden (1907-73). Auden's characteristic view was outward rather than introspective. He embraced the ideas and issues of his time and thought about Marx and Freud, for whom he wrote a memorable elegy. As a poet, he was inventive, but not in what he found to say or in formal matters; his distinctive originality is in his omnivorous imagination. He included in his poetry every sort of thing that attracted his eye, every sort of word or speech he heard or read. He devised a tone, a feeling of wry, informed and doom-ridden attentiveness, as seen here:

The Fall of Rome

(for Cyril Connolly)

The piers are pummelled by the waves;

In a lonely field the rain

Lashes an abandoned train;

Outlaws fill the mountain caves.

Fantastic grow the evening gowns;

Agents of the Fisc pursue

Absconding tax-defaulters through

The sewers of provincial towns.


CONTINUED     1        >


Find More Reviews and Features in Books

Who do men say that I am?

Though too cursory to work as an intro to the Gospels, Mary Gordon's "Reading Jesus" should appeal to anyone who wants to wrestle with the problems and paradoxes of the New Testament.

© 2007 The Washington Post Company