Spike Milligan 'The Soldiers at Lauro'

                                                     Young Are Our Dead 

                                                    

                                 (Terrence)  Spike Milligan,born in India in 1918, most famous as a comic with The Goon Show, along with Peter Sellers, Harry Seacombe, Michael Bentine. which ran on British radio from 1951-1960,with regular re-unions into the early 1970's. Highly regarded  and relatively popular, the show became famous for its surrealism and zany humour. Generally considered to be a forerunner of Monty Python's Flying Circus (first broadcast in 1969) and 1980's Alternative Comedy. Spike Milligan also had his own comedy series during the 1970's and into the 1980's. 

Spike Milligan was also an actor, author,Jazz musician and poet. He served in the North Africa and Italian campaigns as a gunner in the 56th Heavy Regiment Royal Artillery. Milligan also wrote a series of war memoirs such as 'Adolf Hitler-My Part In His Downfall' (which was also filmed) , 'Rommel Gunner Who- A Confrontation in the Desert'. The books combine an irreverent look at army life from the point of view of the ordinary soldier, with tragic-comic reportage based on his own military experience. Along with cartoons, drawings, photos with humorous captions. Milligan's overall empathy for the soldier of the lower ranks resounded with many of the generation who served during World War 2, and subsequent conflicts during the National Service era. 

Whilst Milligan's instinctive distrust of military authority, emphasis on the suffering and absurd nature of War, his interest in Surrealism and love of Jazz appealed to the more rebellious Post- War youth. There is compassion and humanity in Milligan's work, but also a strong sense that admiration for rank should be earned,not automatically awarded on the basis of privilege. Spike Milligan also campaigned for peace, animal welfare, and for the environment. 

The fourth war memoir, 'Mussolini-His Part in My Downfall', is longer than the others, dwells on the Italian campaign of September 1943-1944. Presented as a diary. (Keeping a diary whilst on campaign was against the rules of the Forces.) 'Musollini-His Part in My Downfall' reads as a progress report :  After military success in North Africa, the Allied armies cross into Italy. Mussolini's regime fell. However the Germans invaded, Mussolini was sprung from captivity, and the Allies faced a slow, and often gruelling, progress north through the Italian peninsula. In this memoir the comedy angle still prevails and even flourishes, but also the boredom and sense of futility as war persists with no clear victory in sight. At Lauro in January 1944, Milligan is physically wounded and also traumatised with PTSD as a result of combat, and undergoes a mental breakdown. Very poignant, seeing how a soldier can lose all their coping mechanism and descend into panic

                ‘The Soldiers at Lauro ‘

            Young are our dead
            Like babies they lie
            The wombs they blest once
            Not healed dry
            And yet-too soon
            Into each space
            A cold earth falls
            On colder face.
            Quite still they lie
            These fresh-cut reeds
            Clutched in earth
            Like winter seeds
            But they will not bloom
            When called by spring
            To burst with leaf
            And blossoming
            They sleep on
            In silent dust
            As crosses rot
            And helmets rust "

Perhaps one of my favourite World War 2 poems. The image of the cross with the helmet placed on it on the soldier's grave, corroding away, is startling. It is not clear when 'The Soldiers at Lauro' was first written or originally published. The poem is included in Milligan's small dream of a scorpion collection of poems from 1972.

Spike Milligan endured a series of re-occurring breakdowns throughout his life. One drawing from small dream of a scorpion is accompanied by the lines "If I die in War/You remember me/If I live in Peace/You don't. Just says so much in so few words.

UPDATE

I have just been looking at 'Poems of the Second World War- the Oasis Selection- published in 1985. There is a short piece included by Spike Milligan titled 'How I wrote my First Poem' , which discloses more background to 'The Boys at Lauro'. This refers to his service as a gunner in January 1944.

A gun position had been dug by the village of Lauro and a battery had dug in. The Germans established where they firing from and their position incurred a direct hit. The camouflage netting caught fire, setting off their ammunition. All but 2 of this group of Gunners were killed in the explosion or burnt to death. Spike Milligan was moved to write' The Boys at Lauro', his first ever poem, as a consequence.

Michael Bully

Brighton

22nd March 2025.

Picture Credit 

'The Fifth Army in Lauro,Italy, 19th January 1944 , courtesy of the Imperial War Museum, used via Non-Commercial licence. Further Information  

Use of Poem 

I have not been able to find who owns the copyright to Spike Milligan's work. No deliberate copyright infringement has been intended. Please me contact below if anyone can assist. 

As ever, thank you to all the people around the world who visit this blog. Any errors or schoolboy howlers that appear in this post are of my own making and not attributable to any source that I have cited. 

Michael Bully 

Brighton

13th March 2025.  

Contact: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

Other Blogs

Bleak Chesney Wold  19th Century 'dark' history & literature

A Burnt Ship               17th century War & literature 

UPDATE 2025 

World War 2 Poetry blog supports the Second World War Experience Centre  Please consider looking at their website and the SWWEC Youtube Channel 

World War 2 Poetry blog welcomes the new War Poetry Review website run by the War Poets Association

Lynette Roberts (1909-1995)

                            And the Swansea Blitz of 19th-21st February 1941    

              

                       

            Some years ago I covered Lynette Roberts' life and poetry with special reference to her poem 'Crossed and Uncrossed'. To avoid repetition, it's probably worth checking the earlier post : Lynnete Roberts was born in Argentina in 1909, and her family lived in Britain during World War 1,though returned after the conflict. Around 1923 Roberts and her younger sister were sent to a convent school in Bournemouth. Her connections with the  Anglo-Welsh Modernist current only developed in the later 1930's.

Her work came to mind again after I read Owen Sheers' counter-factual novel 'Resistance' (2007) . Set in 1944, the scenario concerns D Day hopelessly rebounding,along with the Soviet Army facing major setback in the East. Triggering in turn a German invasion of Britain via landings on the beaches of  south east Wales. The novel has faced adverse criticism for extending the 'What If' model too far so as to become unusable. But there are some great scenes set in an isolated valley village, where a small German patrol live alongside the local women. It is fair to point out that this stretch of coastline, with its miles of beaches was considered a possible site for an enemy invasion in 1940. 

Swansea was the most bombed city in Wales. Already bombed on 17th January 1941, the city suffered a blitz lasting three days 19th-21st February 1941. 230 people were killed, nearly 6,500 were made homeless, 570 businesses were destroyed. On 21st February the flames of Swansea could be seen as far away as north Devon. GARDINER The Germans were keen to disrupt supplies coming in from the Atlantic to Britain, which made the port a particular target. At the outset of war, it was decided not to evacuate the children from Swansea CALDER. Roberts noticed in her diary that her village had taken evacuees from London, and could not house children who had lost their homes during the bombing of Swansea. Diaries,Letters, and Recollections. 

When World War 2 broke out, Roberts was newly married  and living in the remote village of Llanyibri, Carmarthenshire, just over 30 miles from Swansea. Her husband Keidrich Rhys,a leading Anglo-Welsh poet, was called up to serve as a gunner in 1940. Isolated with only the occasional foray into the literary world, Roberts' observations of the natural world,being an outsider who still felt a strong affinity to Welsh mythology and history, facing all the challenges of wartime, she began writing a series of poems which were published in 1944 and 1951. Her wartime epic poem 'Gods With Stainless Ears', was written between 1941-1943. Dedicated to Edith Sitwell, it was a five part poem written largely in the present tense in a reportage style. Each part contains an 'argument' introduction, and the overall poem contains explanatory end notes. There is a notable use of quite obscure, even obtuse words:

From Part III of 'Gods With Stainless Ears'

"Water rises appointing silver streams
To encircle the clay. Mounting ships higher,
Disturbing the colder water of shells. Near
Nightjars undisclosed,where green icy stars
Ripple above the corn this late seaharvest....

Wounded, lie heavily in the dishwater tributary,
Night falling catches the flares and bangs 
On gorselit rock. Yellow birds shot from
Iridium creeks,-Let the whaleback of the sea
Fall back into a wrist of ripples, slit,

Snip up the moon sniggering on its back,
Defledged by this evening's raid;jigging up
Like a tapemachine the cold figures February
19th,20th,21st. A memorial of Swansea's tragic loss

For on them sail the hulls of ninety wild birds."

Now and then Roberts included a line which suddenly cuts home. Such as in the 'Argument' introduction to Part I

"Machine-gun is suggested by the tapping of a woodpecker", 

Showing how even the most natural of sounds in the countryside now has a war-association,especially as her husband was a gunner. 

Or further into Part I

"Soldier lonely whistling in full corridor train" 

Conjures a photograph or picture, perhaps could spur the writing of a short story. 

In a lesser known work 'Village Dialect: Seven Stories' (1944), Lynette Roberts wrote a short piece titled  'Swansea Raid' .

"From our high village overlooking the Towy we can see straight down the South Wales Coast. Every searchlight goes up. A glade of magnesium waning to a distant hill which we know to be Swansea. 
     Swansea's sure to be bad. Look at those flares like a swarm of orange bees.
    They fade and others return. A collyrium sky, chemically washed Cu.DH2. A blasting flash impels Swansea to riot! Higher, absurdly high, the sulphuric clouds roll with their stench or ore, we breath naphthalene air, the pillars of smoke writhe, and the astrigent sky lies pale at her sides." Diaries, Letters and Recollecions

Roberts's marriage failed a few years after the War, her two children remained with her. Sadly by the end of the 1950's Roberts' mental health deteriorated and her writing ceased. Her strange brew of Modernism and New Apocalytpic poetry, with intentional archaic language and evoking of mythology, fell out of fashion. Roberts' died in 1995, largely forgotten,sometimes a footnote via her connections to famous names such as Robert Graves, Alun Lewis, Edith Sitwell, Vernon Watkins, T.S Elliot.

However, in the 21st century her work has at last been republished,and studied, mainly for its unique vision of  life during wartime, 'Lynette Roberts Collected Poems' edited by Patrick McGuiness was published in 2005, followed by ' Lynnette Roberts Diaries, Letters and Recollections' also edited by Patrick McGuiness. In 2013, Owen Sheers included a 30 minute programme about Roberts' connection to  Llanyibri as part of his 'A Poet's Guide to Britain' series. 

 The current debate about 'Welshness'  has not really looked at Roberts' poetry.  Our Culture/BBC   Certainly not would be a straightforward process. In fact at one stage the villagers of Llanyibri considered Roberts to be a possible spy, a humiliating experience she depicted well in the poem 'Raw Salt on the Eye'. Collected Poems However, this did not diminish her affinity to her adopted country and Roberts returned to Wales and died in Carmarthenshire. Moreover, Lynette Roberts is credited with assisting Robert Graves in the writing of 'The White Goddess', which is more of an enchanting work of mythology rather than anthropology or history.Diaries,Letters and Recollections

A further post about Lynette Roberts will hopefully appear on this blog later in the year. 

Picture Credit 

Photo in the public domain courtesy of the Imperial War Museum reference IWM (HU 36143). Titled 'Mothers and children in a working class area of Swansea have tea and sandwiches from a mobile canteen after a night's bombing'. 

Online 

Cross and Uncrossed   Previous post about Lynette Roberts from this blog, 2017 

Our Culture Isn't Fantasy  BBC webpage about Wales and contemporary 'mysticism'

Swansea at War                BBC feature

Books 

'Lynnette Roberts Collected Poems' edited by Patrick MCGUINNESS , Carcanet, 2005

'Lynnette Roberts Diaries, Letters and Recollections'  edited by Patrick MCGUINNESS , Carcanet, 2008

'The People's War Britain 1939-1945', Angus CALDER, Jonathan Cape 1969/Pimlico 1989 

'Wartime Britain in 1939-1945', Juliet GARDNER, Headline Books, 2004

'Reading the Ruins, Modernism, Bombsites, and British Culture' Leo Mellor, Cambridge University Press, 2011.

Thank you to all the visitors to this blog from around the world. 

Other blogs :

Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

Contact: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

Please note that any errors or schoolboy howlers in the above piece are the responsibility of this writer, and not to be attributed to the sources that have been cited.

War Poets Review article by Michael Bully ' Lynette Roberts and the Second World War'. 

World ar 2 Poetry blog supports the Second World War Experience Centre  Please consider looking at their website and the SWWEC Youtube Channel 

Krzysztof Kamil Baczyński (1921-1944)

                                                 Poet of the Warsaw Uprising 1944

                                        

The poetry of World War 2 varies in significance from country to country. Polish independence after World War 1 encouraged a new wave of Polish literature.CULTURE.PL (2)  A group of poets emerged in time to be caught up in the 1939 occupation of Poland by the Wehrmacht in the west and the Soviet Union in the east, coming under total German control once Operation Barbarossa was launched on 30th June 1941. 

Amongst these poets was  Wladyslaw Szlengel, killed during the 1943  Jewish uprising in the Warsaw Ghetto. The mass deportations of  Warsaw Jews to their death at Treblinka had started the year before. Those who remained in the Ghetto rebelled to make a desperate last stand. 

In the Summer of 1944 the Western Allies had landed in France, and were marching on Paris.  The Soviet Armies were driving into Eastern Europe. Both Paris and Warsaw rose in rebellion in August 1944. However, the Soviets hesitated to realise the potential created by the Polish rebel Home Army turning on the German oppressors,even though a joint Soviet- Polish operation to drive the Wehrmacht out of Warsaw would greatly assist the progress westwards. The Soviets also hampered British and US attempts to fly supplies to the parts of Warsaw held by the insurgents. Certainly there is a strong case to suggest that Stalin was content to see the Polish Home Army greatly weakened in order to establish Soviet control over a post-war Poland.DAVIES, McKEEN, MILTON

The 1944 Warsaw Uprising saw Tadeusz Gajey, Waclau Bojarski, Andrzaj Trzebiaski, all three poets born in 1922,and Leon Stroinski born 1921,take up arms, and lose their lives. CULTURAL.PL(2)  Jerzy Ficowski and Anna Swirszcyriska,usually known as Anna Swir, took part, and wrote poetry about their experiences. GEORGE.  Czeslaw Milosz, originally from Lithuania though later to become a leading Polish language poet, lived in Warsaw from 1940 onwards. Milosz assisted the Underground though did  not take part in the 1944 Uprising. Zbignieuw Herbert, who was to become another major Polish poet, also helped the Warsaw rebels, but not as a combatant, in 1944. It is fair to say that literary opposition to the Occupation played their part in building resistance within the City with poets and artists placing their lives at risk. 

 Krzysztof Kamil Baczyński is denoted by Desmond Graham as 'Poland's main 'war poet'' in his anthology 'Poetry of the Second World War'.GRAHAM  Born in Warsaw in 1921, and entered the literary Left milieu at quite an early age. During the occupation -with colleges and university, Baczyński studied at underground educational establishments and edited a  clandestine left wing publication. He assisted the literary bureau of the Polish Home Army and in 1943 joined their ranks as a soldier. In July of that year he became Deputy Commander of 3rd platoon of the of the 3rd Company of the 'Parasol' battalion. CULTURAL.PL (1) 

Editions of poems from the years 1940-1944:

• Zamkniętym echem (Closed Echo), Warsaw 1940 – 7 copies
• Dwie miłości (Two Loves), Warsaw 1940 – 7 copies
• Modlitwa (Prayer), Warsaw 1942 – 3 copies
• Wiersze wybrane (Chosen Poems), Warsaw 1942 (pseudonym: Jan Bugaj)
• Arkusz poetycki Nr.1 (Poetical Sheet No. 1), Warsaw 1944 (pseudonym: Jan Bugaj)
• Śpiew z pożogi (Singing from the Conflagration), Warsaw 1944 (pseudonym: 2nd Lt Piotr Smugosz)

CULTURAL.PL (1) 

On 3rd June 1942  Baczyński married a student called Barbara Drabcynska, who inspired him to write love poetry. He also studied art, and developed some skill as an illustrator.  On 1st August 1944, when the Warsaw Uprising broke out, he gave a collection of his drawings and poetry to a friend. On 4th August 1944 Baczyński, now armed and taking part in the Uprising, was killed by a German sniper at the Theatre Square in Warsaw. His wife Barbara had also taken part in the fighting, and was killed three weeks later. They were later buried together at  Powazki military cemetery in Warsaw.POLISH POETS UNITES 

One poem by Baczyński  that has recently emerged on the All Poetry website-translated into English is 'Elegy for a Polish Boy' . 

Elegy For A Polish Boy

They've taken you, my son, from your dreams and like a butterfly
they've embroidered you, my son. Your sad eyes bleed ore.
They painted landscapes, yellow-stitched, in horror and gore,
they adorned a hanged man like a tree, the sea's waves to ply.

They taught you, my son, your land and its ways by heart
and by its footpaths you sob iron shards for tears.
They tuned you in darkness, fed you in loaves of terror.
You tread, groping through to dark, the road of fear.

And you ascended at night, my golden son, with a black gun
you perceived in the passing of a minute-bristling evil's thirst.
Before you fell, you hailed the earth with your hand,
did it soften your fall, my sweet child, did the heart burst?

English language translations of Baczyński's poetry have appeared in a few collections and are referenced in Norman Davies's ' 'Rising' 44- The Battle for Warsaw'. In 2004 'White Magic and Other Poems ' by 

 Krzysztof Kamil Baczyński, translated by Bill Johnson, appeared. Now extremely hard to get hold of. 

A Melody

Who'll give me back my musings
and the shadow that left after you?
Ah, these days like animals' murmur,
like plants are they - ever younger.

And before long - such little ones,
on a nutshell standing,
we'll sail against the seasons
as if to spite water rings.

The red of blood will be dreamt childishly
as puffed-out cheeks of a cherry.

The metal of storms will be discovered again
through a foamy blow-ball's head.

While the thunder of tears like an avalanche of stones
into little green beetles will change,
thus bending down to the water by turns
we'll incautiously sail to oblivion;
left behind by us on earth
only our shadows shall cry.

Hopefully a new English language edition of the work of Krzysztof Kamil Baczyński will emerge soon. 

All Poetry  Some Baczyński Poems translated into English 

Culture.PL biography  (1)  Baczyński biog.

Culture.PL page about Warsaw Uprising looking at the literary connection (2) 

Polish Cultural Institute (New York) POLISH POETS UNITE feature on Baczyński (English language) 

Krystof Kamil Baczynski  -Poet Soldier of the Home Army, Warsaw ( Youtube video biography, Polish with English subtitles,accessed on 9th January 2025) 

Other related posts from this blog.

Leon Stroinski (Poet of the Warsaw Uprising)  from 2019 

Wladyslaw Szlengel (Poet of the Warsaw Ghetto Uprising) 

BOOKS

'Rising'44 -The Battle for Warsaw' , Norman DAVIES, Pan Books, 2004

'Contemporary East European Poetry-An Anthology' ,Edited by Emery GEORGE, Oxford University Press, 1983

'Poetry of the Second World War -An International Anthology' Desmond GRAHAM, Pimlico, 1999.

'Stalin's War', Sean McKEEKIN, Allen Lane, 2021 

'The Stalin Affair- The Impossible Alliance That Won The War' , Giles MILTON, John Murrary, 2024

Pictures

Image of  Baczyński and the memorial plaque marking the scene of his death, in public domain courtesy of 'Wikipedia'. 

Other blogs and contact 

Other blogs :

Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

Contact: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

Please note that any errors or schoolboy howlers in the above piece are the responsibility of this writer, and not to be attributed to the sources that have been cited. 

Michael Bully

Brighton,  England, 17th January 2025. 

Marina Tsvetaeva

              Extract From Poems to Czechoslovakia 

              

                                                        GERMANY

O, rosiest virgin
among the green hills—
Germany!
Germany!
Germany!
Shame!

The astral soul
pocketed half the cards!
Those fairy tales—from old times, dimmed,
the day—the tanks arrived.

Before the Czech peasant woman—
you don’t lower your eyes,
as you roll on your tanks
through her rye, her hopes?

Before the huge grief
of this small country,
what is it you feel, German,
Germany’s sons??

O mania! O mummy
of greatness!
You’ll burn,
Germany!
Madness,
madness
you make!

With the embrace of a constrictor
the athlete will end you!
To your health, Moravia!
Slovakia, slovak!

In the crystal underground,
having retreated—prepare the blow:
Bohemia!
Bohemia!
Bohemia!
Hello!

(April 9-10, 1939)

 I first came across the work of Marina Tsvetavena/Tsevtajeva ( 1892- 1941) from reading 'Poetry of the Second World War edited by Desmond Graham'. And her life is an absolutely harrowing read. Born in Moscow into quite a cultured family- her father was a professor and founder of the Museum of Fine Art, opened by Tsar Nicholas II in 1912. Her mother, a Polish-German pianist who died from tuberculosis when Marina was fourteen. Marina was educated at different international schools, including The Sorbonne and had her first collection of poems 'Evening Album' published when she was eighteen. In 1912 Marina married Sergie/Sergej Efron,a devotee of poetry, though not clear if he was a published a poet himself. 

And the turbulence of the 20th century descended. I can't find a record of Efron's war service in World War One but after the 1917 Revolution, Efron was fighting in the White Army during the Russian Civil War. The couple were separated and Marina began a short affair with the poet Odip Mandelstan, and then later had a relationship with Sofia Parnock, a fellow poet. Marina's sympathies were with the Whites and she wrote a poem titled  'The Demense of Swans',in support of the anti-revolutionary cause, not published until 1957.

Famine struck Moscow  in 1919 where the family were living, and Marina placed her two daughters in a state run children's home. Her younger daughter, Irina died there. Sergei , Marina and their surviving daughter Alja (Ariadna) moved to Berlin in 1922, then Prague, and finally to Paris in 1925. Sergei Efron began working as a Soviet spy, which of course meant that they were shunned by the White Russian/ Tsarist emmigrés. It is not completely clear why Sergei changed sides.Marina corresponded with famous poets and had some work published in exile, trying to write plays and literary criticism. 

In 1938 and 1939 Marina wrote a cycle of poems about the post Munich Treaty dismantling of the land of  Czechoslovakia ,titled 'Poems To Czechoslovakia'.  The German speaking 'Sudetenland' had already been ceded to The Third Reich in 1938 via international agreement.  The Third Reich had seized the largely Czech speaking provinces of Bohemia and Moravia on  15th March 1939 and turned them into a Protecterate. Slovakia became independent and allied to the Germans.  The poems in this cycle connect to dates during the demise of the country. As in the example cited above, they are concise, direct, and sharp, and no word is wasted. 

Also in June 1939 Marina,Sergei  Erfon and their son Georgij, known as Mur , relocated to the Soviet Union.Sources appear to conflict, I have read that Sergei Erfon was facing attempted murder charges in France, thought it is equally plausible that the Soviet authorities-still controlling him- ordered Sergei back. Alja had already returned but was soon banished to Siberia, then later to a labour camp there.  In October 1939 Sergei Efron was arrested for spying and attempting to undermine the Soviet Military. In June 1941 he was condemned to death, and executed at Lubjanka Prison in October 1941. However there are claims that Sergei Erfon  was amongst some 157 intellectuals who were executed on 11th September 1941 as part of the Soviet State's Medvedev Forest massacre as the Germans were approaching the region. 

In retrospect it seemed unlikely that Sergei Erfon would have ever been accepted by the Stalinist regime and his usefulness to them had simply expired. It is possible that the Secret Service cajoled Sergei and Alja to incriminate each other. KUDROVA, Another source suggests that Alja's boyfriend at the time turned out to be a police agent and informed on her and Sergei. CARCANET

Marina and Mur left Moscow in July 1941, moving to Yelabuga,Tatarstan. They were isolated from any contemporary literary life, and desperately short of money.  Marina hanged herself on 31st August 1941. 

Mur returned to Moscow, was called up for military service in 1943, and killed in action fighting for the Soviet regime in the Summer of 1944, most likely in what is now Belaraus. 

In the wake of Stalin's death, the banning order against Alja was lifted in 1955 and she was released.Sergei Erfon was posthumously rehabilitated. Alja survived until 1975 and dedicated her life to reviving her mother's work.  In 1965 an anthology of Marina's work was published in the Soviet Union.Leading post-war Soviet poet Yvengy Yevtushenko wrote a poem about her death and cited Marina as an influence.  In 1973, Shostakovich set six of Marina's poems to music, whilst on holiday in Estonia, titled 'Six Poems of Marina Tsvetaeva Opus 143A'. They were performed by the English Touring Opera in January 2024.

Marina Tsvetaeva has now been recognised as a leading 20th century Russian language poet, along with Boris Pasternak, Anna Akhmatova, Osip Mandelstam and Joseph Brodsky. There is a memorial Museum dedicated to her work 

Anna Akhmatova wrote a poem in 1940 'Late Answer'  dedicated to Marina Tsvetaeva, which seems a fitting tribute: 

" I returned home today,
look on in wonder,my native field,
at what happened to me after this.
The deep has swallowed up my loved ones,
the father's house is pillaged,
You and I today, Marina,
are walking through the midnight capital,
and millions like us are following behind us,
There is no more silent procession,
and round about the funeral bells ring, 
and wild Moscow wails as the the blizzard covers our tracks." 

(from 'Selected Poems' by Anna Akhmatova, translated by Richard McKane, Bloodaxe Books, 1969)

Picture 

Photo courtesy of 'Wikipedia'. Hitler's visit to Prague Castle 15th/16th March 1939 

Sources 

CARCANET Marina Tsvetaeva biog webpage with list of  her poetry collections translated into English. 

Poetry Foundation biography  Web page on Marina Tsvetaeva

Full Text   'Poems to Czechoslovakia'  translated by Margaret Little.

Death of a Poet The Last Days of Marina Tsvetaeva' Irma KUDROVA ( book publicity page) 

South Magazine   Issue 31, April 2005 : Article 'Marina Tsvetaeva - Poet of Extreme' by Belinda Cooke

Coppice -Gate Webpage about  Shostakvoich's interpretation of Marina Tsvetaeva's poems 

The Memorial House Museum dedicated to Marina Tsvetaeva in Bolshevo, Russia

Related Post 

Anna Akhmatova  Post from this blog about Anna Akhmatova from 2018 

Other blogs :

Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

Contact: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

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World War 2 Poetry blog supports the Second World War Experience Centre  Please consider looking at their website and the SWWEC Youtube Channel 

Louis MacNeice (1907-1963) 'The News-reel'

                                               Since Munich, What? 

                                   "Since Munich,what? A tangle of black film
                                   Squirming like bait upon the floor of my mind
                                   And Scissors clicking daily. I am inclined.
                                   To pick these pictures now but will hold back.
                                   Till memory has elicited from the blind
                                   Drama its threads of vision, the intrusions
                                   Of value upon fact, the sudden unconfined
                                    Wind of understanding that blew out
                                    From people's hands and faces undesigned
                                    Evidence of design, that change of climate
                                    Which did not last but happens often enough
                                    To give us hope that fact is a facade
                                    And that there is an organism behind
                                    Its brittle littleness, a rhythm and a meaning
                                    Something half-conjectured and half divined
                                    Something to give way to and so find."

                                    

                                   -The News-reel  ( first published in Louis Macneice's  The Springboard, collection from 1944).

                 Louis MacNeice's poem News-reel is generally not anthologised in collections of World War 2 poetry. And the poem is omitted from  Louis MacNeice's Selected Poems (edited with an introduction by Michael Longley) from 1988. Just happened to find the poem  by chance in a copy of Collected Poems of Louis MacNeice edited by Professor E.R. Dodds. 

Next to the rise of  radio, one of the great changes in media between the two World Wars was the legendary Pathe Newsreels, which were screened before major feature films at the cinema up to 1970 in Britain.

If nothing else, the poem highlights MacNeice's skill as a social observer but delves deeper. There is a great tension between the individual and the current events. The idea of the  newsreel as being an accurate record is questionable and prone to be being tampered with, whilst the narrator's is selecting and possibly censoring their own inner pictures. Reminds one of how George Orwell's war work in the Ministry of Information led to the fictional Ministry of Truth in  the novel 1984. The poem is quite short, and doesn't need to be pulled apart line by line, but raise thorough questions concerning how 'News' is constructed. 

         Louis MacNeice was born in Belfast, 1907, his father was an Anglican minister, his mother died when he was aged six. MacNeice was educated in English public schools from the age of 10, and then attended Oxford University, and became a classics lecturer in Birmingham,then at Bedford College,University of London. He visited Spain with Anthony Blunt in early 1936 on the eve of the Spanish Civil War. Later the same year, MacNeice visited Iceland with W H Auden. 

 MacNeice was living in London as from 1938. In 1939- 1940 he was in the USA for months at a time.  In 1941 MacNeice returned to London and  worked for the BBC, both as a broadcaster and radio producer, dying in 1963 from pneumonia contracted whilst out working with BBC sound engineers, exploring potholes to use for special effects for his play 'Person from Porlock'. LONGLEY Among his successes on radio must be the plays Columbus from 1944 (with music by Sir William Walton) and The Dark Tower from 1946, (with a score by Benjamin Britten).

His first poetry collection Blind  Fireworks appeared  in 1929, but really it was Poems 1935, published by Faber & Faber, which established MacNeice's reputation as a poet . Around a dozen more collections, were to follow, along with books of literary criticism. His one and only novel, Roundabout Way, published              in  1932, using the name Louis Malone, has been rather neglected.  

Philip Larkin praised MacNeice's work as follows:

"...his poetry of our everyday life, of shop-windows, traffic policemen, ice-cream soda, lawn-mowers, and an uneasy awareness of what the newsboy were shouting. In addition he displayed a sophisticated sentimentality about falling leaves and lipsticked cigarette ends...."  LONGLEY 

Macneice's 'Autumn Journal' ,written between August and December 1938, first published in 1939, must rate alongside George Orwell's  novel 'Coming up for Air' as a  superb literary depiction of the incredible tensions generated by the progress to World War 2. Autumn Journal approaches 3,000 line so poetry anthologies tend to just take a few lines samples from it. But the range of subjects it covers is far reaching :  The Spanish Civil War, religious divide in Ulster, Ancient Greece, the author's own sexual frustration after the breakdown of his marriage and next love affair, everyday life in Britain as the 1930's stagger to a close, are woven into a griping narrative. There is this great sense of individual helplessness in the face of World events as preparations are made for war.

"If the puzzle has an answer. Hitler yells on the wireless,

The night is damp and still.

And I hear the dull blows on wood outside my window;

They are cutting down trees on Primrose Hill.

The wood is white like the roast flesh of roast chicken'

Every tree falling like a closing fan.

No more looking at the view from seats beneath the branches,

Everything is going to plan;

They want the crest of the hill for anti-aircraft,

The guns will take the view

And searchlights probe the heavens for bacilli "  (part VII Autumn Journal)  LONGLEY

MacNeice visited Barcelona in December 1938, and experienced bombing raids, though did not appear to have seen armed fighting there. MacNeice was exempt from military service during World War 2 on health grounds. His work certainly deserves to be recognised in any study of World War 2 poetry.  

 In 2023 a  Louis MacNeice Society was launched. 

Weblinks 

In the Dark Tower  BBC Archive on Four 'Louis MacNeice at the BBC' 

Pathe newsreels Archive

Poetry Foundation  Page on Louise MacNeice 

Collected Poems of Louis MacNeice online  Faber & Faber collection edited by Peter McDonald, 2007

Books 

Collected Poems of Louis MacNeice Edited by Professor E.R. Dodds, Faber & Faber, 1966 

The Myth of the Blitz, Angus CALDER, Jonathan Cape, London, 1991 

Louis MacNeice's Selected Poems (edited by Michael LONGLEY)

Image 

In the Public Domain courtesy of Wikipedia Britain. 'People in London look at a map illustrating how the RAF is striking back at Germany during 1940'. Interesting to see the uniformed airman amongst the civilians looking at the map. 

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A Burnt Ship                17th century history warfare & literature blog 

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Second World War Poems -Chosen by Hugh Haughton -Revised Edition

                                                               Review 

                                                     Mass destruction,mass disease;

                                                     We thank thee, Lord, upon our knees

                                                     That we were born in times like these

                                                     Louis Macneice 'Bar-room Matins'

                                            Originally appeared in 2004, and great to see that a new edition was published by Faber & Feber Ltd in 2023. As with any such collections there is the question of who is deemed qualified to write World War 2 poetry? And how does an editor select a poem to be included in this anthology? Hugh Haughton has adopted a similar but not identical approach to that taken by Desmond Graham whose Poetry of the Second World War -An International Anthology appeared in 1997 : Whilst Desmond Graham would only consider the poetry written by those lived through World War 2 as adults, Hugh Haughton has extended this remit to allow a few poets who were children during when war broke out, such as Tony Harrison ( born 1937) and Derek Mahon (born 1941). In other words, the contributors had to have a memory of the War.  

The vexed question of whether or not poetry can be a fitting medium for dealing with something so vast and devastating as World War 2 looms.  Certainly Dylan Thomas had his doubts of the effectiveness of poetry in his harrowing 'Refusal to Mourn the Death by Fire, of a Child in London' ,declining to 'blaspheme down the stations of the breath, With any further, Elegy of innocence and youth.  And at the start of the War , Stevie Smith in her poem 'The Poets are Silent' declared And I say it is to the poets' merit/ To be silent about the war. 

Yet this collection shows how poetry was used as a powerful channel of expression during this conflict. World War 2 Poets are not really as  important in shaping our views of the conflict in the same way that the Soldier Poets of the Great War achieved. But their work can hit home. For example, Keith Douglas's poem 'Vergissmeinnicht', ('forget me not') where the poet, fighting in the North African campaign, discovers amongst the debris in a shell hit German tank, the body of a dead soldier and his scattered possessions : the dishonoured picture of his girl/who has put: Steffi. Vergissmeinnicht/ in a copybook gothic script. Or Tadeus Rozewicz's poem 'Pigtail'. about the discarded hair of women and girls having their head shaved before being gassed at Auschwitz, and finding a faded plait/ a pigtail with a ribbon/pulled at school/by naughty boys. The poems depict images which sum up the pathos of War. 

And sometimes the poems develop beyond witness accounts. To take Leon Zdzislaw Stroinski's poem 'Warsaw',setting a scene which nearly becomes a slice of magic realism. 

In its shade at dawn caretakers come out with huge frayed brooms to sweep up the tears which have collected during the night and lie thickly in the streets. 

Or World War 1 serving soldier Herbert Read's 'To a Conscript of 1940' 

A soldier passed me in the freshly fallen snow

His footsteps muffled,his face unearthly grey';

And my heart gave a sudden leap

As I gazed on a ghost of -five-and twenty years ago. 

 Three poems are included Nelly Sachs, a Jewish poet living in Germany who was already listed for deportation to the Camps. who managed to obtain Swedish citizenship and leave on the last plane to Stockholm in 1943, but wrestled with survivors's guilt. More famous poets who were in exile during World War 2 such as W.H.Auden and Bertold Brecht get their place. Poems by Primo Levi and Paul Celan who saw the Camps, were freed, but took their lives afterwards, also appear. The nationalities represented include Japan, Germany, Hungary, Poland, Russia, USA, France, Italy and Scottish Gaelic speakers. 

Personally I would like to have seen Vera Brittain's 'Lament to Cologne' -her protest against saturation bombing- included, and more than one poem by Alan Ross. Also hard to envisage a World War 2 poetry anthology without Vernon Scannell, a serving soldier who saw the North African and Normandy campaigns, who absconded a few times when in uniform. But these are simply my own preferences.

Due to the huge amount of work included in this anthology, it is hard to draw any generic conclusions about World War 2 poetry contained therein. There is little triumphalism or romantic heroism, neither are there pleas for negotiations to end the War. Moreover, German poets such as Huchel and Bobrowski from the Eastern Front, who both became Soviet Prisoners of War, and rehabilitated into becoming DDR citizens, have poems featured here.There is a sense of shared human experience. And certainly this anthology shows that World War 2 poetry still holds great potential. Doesn't fade with age. The final word should go to Scottish poet Donald Bane in his poem 'War Poet'

We in our haste only see the small components of the scene

We cannot tell what incidents will focus on the final screen

A barrage of disruptive sound, a petal on a sleeping face,

Both must be noted, both have their place    

Note : All poems quoted in this post are published within the above anthology 

Other blogs :

Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

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World War 2 Poetry blog supports the Second World War Experience Centre  Please consider looking at their website and the SWWEC Youtube Channel 

War Poets Review article by Michael Bully ' Lynette Roberts and the Second World War'.