World War I in literature
Literature in World War I is generally thought to include poems, novels and drama; diaries, letters, and memoirs are often included in this category as well. Although the canon continues to be challenged, the texts most frequently taught in schools and universities are lyrics by Siegfried Sassoon and Wilfred Owen; poems by Ivor Gurney, Edward Thomas, Charles Sorley, David Jones and Isaac Rosenberg are also widely anthologised. Many of the works during and about the war were written by men, because of the war's intense demand on the young men of that generation; however, a number of women (especially in the British tradition) created literature about the war, often observing the effects of the war on soldiers, domestic spaces, and the homefront more generally.
The spread of education in Britain in the decades leading up to World War I meant that both the British soldiers and the British public, at all levels of society, were literate. As a result, British authors, both professional and amateur, were prolific during and after the war and found a market for their works.
Literature was produced throughout the war but it was in the late 1920s and early 1930s that Britain had a boom in publication of war literature. The next boom period was in the 1960s, when there was renewed interest in the First World War after two decades focused on the Second.
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Over two thousand published poets wrote about and during the war. However, only a small fraction is still known today, while several poets that were popular with contemporary readers are now obscure. An orthodox selection of poets and poems emerged during the 1960s, which often remains the standard in modern collections and distorts the impression of World War I poetry. This selection tends to emphasise the horror of war, suffering, tragedy and anger against those that wage war.
In the early weeks of the war, British poets responded with an outpouring of literary production. Rudyard Kipling's For all we have and are aroused most comment. Robert Bridges, Poet Laureate, contributed a poem Wake Up, England! at the outbreak of war that he later wished suppressed., John Masefield, who later succeeded Bridges as Poet Laureate, wrote August, 1914, a poem that was widely admired.
Wilfred Owen was killed in battle; but poems created at the front did achieve popular attention after the war's end,.e.g., Dulce Et Decorum Est, Insensibility, Anthem for Doomed Youth, Futility and Strange Meeting. In preparing for the publication of his collected poems, Owen tried to explain:
|“||This book is not about heroes. English poetry is not yet fit to speak of them. Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War. Above all I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity.
This brief statement became the basis for a play based on the friendship between Owen and Siegfried Sassoon in 1917.
The poem In Flanders Fields, by John McCrae, continues to be one of the most popular wartime poems in Canada, and has achieved a status where it is recognized as one of the country's most notable unofficial symbols.
From the war itself until the late 1970s, the genre of war poetry was almost exclusively reserved for male poets. This was based on an idea of an exclusive authenticity limited to the works of those who had fought and died in the war. It excluded other forms of experience in the war, such as mourning, nursing and the home front, which were more likely to be experienced by other demographics such as women. There were over 500 women writing and publishing poetry during World War I. Examples of poems by female poets include Teresa Hooley's A War Film, Jessie Pope's War Girls, and Mary H. J. Henderson's An Incident. In addition to giving women greater access to work, the war also gave women greater artitic freedom and space to express their identities as artists.
A common subject for fiction in the 1920s and 1930s was the effect of the war, including shell shock and the huge social changes caused by the war. From the latter half of the 20th century onwards, the First World War continued to be a popular subject for fiction, mainly novels.
Alfred Noyes is often portrayed by hostile critics as a militarist and jingoist despite being a pacifist in life. In 1913, when it seemed that war might yet be avoided, he published a long anti-war poem called The Wine Press. During World War I, Noyes was debarred by defective eyesight from serving at the front. Instead, from 1916, he did his military service on attachment to the Foreign Office, where he worked with John Buchan on propaganda. This included work as a literary figure, writing morale-boosting short stories and exhortatory odes and lyrics recalling England's military past and asserting the morality of her cause. These works are forgotten today apart from two ghost stories, "The Lusitania Waits" and "The Log of the Evening Star", which are still occasionally reprinted in collections of tales of the uncanny.
Erich Maria Remarque's best-selling book about the First World War, Im Westen nichts Neues ("All Quiet on the Western Front"), was translated into 28 languages with world sales nearly reaching 4 million in 1930. and the award-winning film which was based on that work of fiction have had a greater influence in shaping public views of the war than the work of any historian. John Galsworthy's perspective was quite different in 1915 when he wrote
- Those of us who are able to look back from thirty years hence on this tornado of death — will conclude with a dreadful laugh that if it had never come, the state of the world would be very much the same. It is not the intention of these words to deny the desperate importance of this conflict now that it has been joined ...
Remarque's book was partly based on Henri Barbusse's 1916 novel, Under Fire. Barbusse was a French journalist who served as a stretcher-bearer on the front lines and his book was very influential in its own right at the time. By the end of the war it had sold almost 250,000 copies and read by servicemen of many nations.
British novelist Mary Augusta Ward wrote generally pro-war novels, some at the request of United States President Theodore Roosevelt, which nevertheless raised questions about the war. These include England's Effort (1916), Towards the Goal (1917), Missing (1917), The War and Elizabeth (1917) and Fields of Victory (1919).
Some pre-existing popular literary characters were placed by their authors in World War I-related adventures during or directly after the war. These include Tom Swift (Tom Swift and His Aerial Warship in 1915 and Tom Swift and His Air Scout in 1919), Sherlock Holmes (His Last Bow, 1917) and Tarzan (Tarzan the Untamed, 1920).
A. P. Herbert was one of the first combatants to publish a novel about the war, The Secret Battle (1919). This was followed in subsequent years by other, including the "Spanish Farm Trilogy"—Sixty-Four (1925), Ninety-Four (1925) and The Crime at Vanderlynden's (1926)—by Ralph Hale Mottram, Death of a Hero (1929) by Richard Aldington, The Middle Parts of Fortune (1929) by Frederic Manning, The Patriot's Progress (1930) by Henry Williamson and Winged Victory (1934) by Victor Maslin Yeates.
Parade's End by Ford Madox Ford was a highly acclaimed tetralogy of novels, published between 1924 and 1927, that covers the events of World War I and the years around it from the viewpoint of a government statistician who becomes an officer in the British Army during the war. The novels were based on Ford's own experience in the war, after he had enlisted at age 41.
Willa Cather authored One of Ours in 1922, and won the Pulitzer Prize in 1923 for her novel that tells the story of Claude Wheeler, a Nebraska farmer who escapes a loveless marriage to fight in the War. Critics like H.L. Mencken and Sinclair Lewis panned the book, mostly because it romanticized war. Cather based Claude Wheeler on her cousin G.P. Cather, who was killed in 1918 at the Battle of Cantigny in France.
May Sinclair volunteered with the Munro Ambulance Corps in 1914 and published her account of the front in Belgium as A Journal of Impressions in Belgium (1915). She followed this with three novels about the war, Tasker Jevons (1916), The Tree of Heaven (1917) and The Romantic (1920). Journalist Evadne Price wrote a semi-biographical novel Not So Quiet: Stepdaughters of War (1930) about ambulance drivers based on women she had interviewed.
W. Somerset Maugham's collection of short stories, Ashenden: Or the British Agent (1928), was based on the author's experience with British Intelligence during the war. It was loosely adapted into the film Secret Agent (1936), directed by Alfred Hitchcock, and a 1991 BBC TV series.
The popular literary characters Biggles and Bulldog Drummond were created by veterans of the war, W. E. Johns and H. C. McNeile respectively. Both characters served in the war and shared some their creators' history. The Bulldog Drummond books were popular among veterans after the war.
Late twentieth-century and beyond
War Horse (1982) by Michael Morpurgo is set in World War I and won the Whitbread Book Award for 1982. It has been adapted into a play and film. Of similar acclaim is Pat Barker's Regeneration Trilogy; the third novel from the series The Ghost Road, received the most prestigious award in British fiction: The Booker Prize in 1995 (though the nomination implied the award was for the whole series. Three Cheers for Me and its sequel That's Me in the Middle, by Donald Jack, are narrated by fictional Canadian air ace Bart Bandy; both won the Leacock Medal.
Captain John Hay Beith's best-selling account of life in the army, The First Hundred Thousand, was published in 1915 and became one of the most popular books of the period. It was translated into French as Les Premiers Cent Mille. Due to its popularity in the United States, which was neutral at the time, Beith was transferred to the British War Mission in Washington, D. C.
After the war many participants published their memoirs and diaries. The first memoirs of combatants were published in 1922, not long after the armitice: A Tank Driver's Experiences by Arthur Jenkins and Disenchantment by Charles Edward Montague. These were shortly joined with Undertones of War (1928) by Edmund Blunden, Good-Bye to All That (1929) by Robert Graves, A Subaltern's War (1929) by Charles Edmund Carrington, A Passionate Prodigality (1933) by Guy Chapman and Blasting and Bombardiering (1937) by Percy Wyndham Lewis. Nurses also published memoirs of their wartime experiences, such as A Diary without Dates (1918) by Enid Bagnold, Forbidden Zone (1929) by Mary Borden and We that Were Young (1932) by Irene Rathbone.
Plays about World War I include:
- Journey's End (1928), by R. C. Sherriff
- Oh, What a Lovely War! (1963), by Joan Littlewood
- The Accrington Pals (1982), by Peter Whelan
- Not About Heroes (1982), by Stephen MacDonald
- Dear Mother (2014), by Mark James (Winner of 8 awards)
- Korte, Barbara; Einhaus, Ann-Marie, eds. (2007). "Introduction". The Penguin Book of First World War Stories. Penguin Classics. ISBN 978-0-14-144215-0.
- Walter, George, ed. (2006). The Penguin Book of First World War Poetry. Penguin UK. ISBN 978-0-14-118190-5.
- Up the Line to Death, ed. Brian Gardner, 1976 ISBN 0-417-02350-2
- Gillis, Stacy (2007). "Many Sisters to Many Brothers". In Kendall, Tim. The Oxford Handbook of British and Irish War Poetry. Oxford University Press. pp. 100–113. ISBN 978-0-19-928266-1.
- Featherstone, Simon. War Poetry: An Introductory Reader. Routledge, 1995, pp. 28, 56-57.
- Parrott, Thomas Marc and Thorp, Willard (eds). Poetry of the Transition, 1850–1914, Oxford University Press, New York, 1932, p. 500.
- Mason, Mark. "Alfred Noyes", Literary Heritage: West Midlands.
- Strachan, Hew (2000). The Oxford Illustrated History of the First World War: A History. Oxford University Press. pp. 313–15. ISBN 978-0-19-289325-3.
- Galsworthy, John. "Art and the War" in Atlantic Monthly, p. 267.
- Tate, Trudi (2009). "The First World War: British Writing". In McLoughlin, Catherine Mary. The Cambridge Companion to War Writing. Cambridge University Press. pp. 160–174. ISBN 978-0-521-89568-2.
- Khan, Nosheen (1988). Women's Poetry of the First World War. University Press of Kentucky. ISBN 978-0-8131-1677-8.
- Tylee, Claire M. (1990). The Great War and Women's Consciousness. University of Iowa Press. ISBN 978-0-87745-263-8.
- Goldman, Dorothy (1993). Women and World War 1. Macmillan. ISBN 978-0-333-51309-5.
- Ouditt, Sharon (1994). Fighting Forces, Writing Women. Taylor & Francis. ISBN 978-0-415-04705-0.
- Tate, Trudi; Rait, Suzanne (1997). Women's Fiction and the Great War. Clarendon Press. ISBN 978-0-19-818283-2.
- Haughey, Jim (2002). The First World War in Irish Poetry. Bucknell University Press. ISBN 978-0-8387-5496-2.
- Ouditt, Sharon (2002). Women Writers of the First World War. Routledge. ISBN 978-0-203-04632-6.
- Critical Study: The Scarlet Critique: A Critical Anthology of War Poetry by Pinaki Roy, New Delhi: Sarup Book Publishers, 2010, ISBN 978-81-7625-991-0
- The Pities of War: A Brief Overview of the First World War British Poets and Poetry by Pinaki Roy, in The Atlantic Critical Review Quarterly (International), Vol. 9, No. 1, January–March 2010, pp. 40–56 (ISSN 0972-6373, ISBN 978-81-269-1421-0)
- Critical study of Wilfred Owen's oeuvre and his life: Wilfred Owen: The Man, the Soldier, the Poet (Kolkata: Books Way, 2013) by Pinaki Roy (ISBN 978-93-81672-59-4)
- An A-level study site
- A sixth from perspective-including literature and the technology of war
- See the original editions of some of the books listed here and many other works of Great War Literature
- The Dutch Publishing House Dulce et Decorum concentrates on publishing translations of World War I literature.
- The First World War Poetry Digital Archive (an online repository of over 4000 items of text, images, audio, and video for teaching, learning, and research.)