Professor Mendelson's book on Auden's work from the 1940s to his death in 1973 is one of the best way to appreciate the poet's later poems, prose and librettos. "Later Auden" details that there was both a public and private interpretation of much of his work, including "The Rake's Progress" written for composer Igor Stravinsky, "Age of Anxiety", and "Thanksgiving for a Habitat". By all means, if Auden appeals to you, this is a necessary book.

For any one looking for an introduction to Wystan Auden's work, there is no better way than to pick up both Early Auden and Later Auden by Edward Mendelson. Both of these books help one understand some of the more obscure aspects of Auden's poetry, and in particular, to distinguish both the personal and public parts of his work. I pick up this book again and again. I also recommend it unreservedly to anyone looking to get acquainted with one of the 20th century's most important voices.

Auden is one of the great poets of the past century and one of the greatest ever in English. This is a particularly good collection of his work. The editor, Edward Mendelson, is a leading Auden scholar and Auden's literary executor. This volume contains all of Auden's major poetry including the great short lyrics, the major longer works, and my favorite, the great China sonnet sequence. In his later years, Auden altered the text of some famous earlier poems to change wordings he felt were false. In this edition, Mendelson uses the earlier versions of these subsequently altered verses. Many prefer the early versions though I find comparisons with the amended versions published in the equally wonderful Collected Poems, also edited by Mendelson, to be very interesting. I am not sure that the amended versions are worse, just different. It contains also a particularly insightful preface by Mendelson that does a very nice job of putting Auden into the context of 20th century English poetry. This is a wonderful book for those who love Auden's work. It can be read over and over again. It is also an excellent introduction for those encountering Auden for the first time.

W. H. Auden has always been one of my favourite modern poets, and the 'Selected Poems' one of my favourite volumes of his work. While he gained popular vogue for a time following Ben Elton's film 'Four Weddings and a Funeral' (still one of the funniest films ever made), the full extent of Auden's ability is attested to in this volume, which includes some of his best loved and well recognised poems (and does not include 'Funeral Blues', the poem from 'Four Weddings' - if you're looking for that poem, try the short volume 'Tell Me the Truth About Love'). This selection by Edward Mendelson includes the original versions of poems edited by Auden later in his life, also giving a unique perspective on the early development of Auden's work.

Poetry is, of course, a very personal taste, and one man's favourite poem is another's jumble of ill-chosen words. That being said, it is difficult, to my mind, to find poems written in this century which surpass 'Oxford', 'Musée des Beaux Arts', 'In Memory of W. B. Yeats', 'Et in Arcadia Ego'...the list is practically as long as the table of contents. No matter the subject (even to something as curious as 'In Praise of Limestone'), Auden has words for us, words which are as powerful, as moving now as they were the day they were put to paper.

In short, if you are at all tempted by poetry, this volume is certainly worth your time.

There are two separate matters to consider here: the nature of this volume of Auden's collected poems, & the poetry itself. To tackle the first issue: this is not a _Complete_ but a _Collected Poems_, & this is a crucial difference. Auden was a perpetual reviser & assembled his canon with care. As with Robert Lowell his revisions are sometimes bewildering attempts to remake himself & his work in a very public manner. Auden grew to hate many of his best & most famous poems, notably "Sir, no man's enemy", "September 1, 1939" & "Spain 1937", & these are all excluded here, along with countless others. Late in his career Auden massively revised & pruned his canon, a project that was apparently prompted by his horror at the unprincipled use of his most famous line ("We must love one another or die") by Lyndon B Johnson in a notorious 1964 t.v. ad. (He was right to distrust that line's easy quotability: in the wake of Sep 11th the poem has enjoyed renewed popularity, which is pretty bizarre for a poem with lines like "Out of the mirror they stare, / Imperialism's face / And the international wrong.") Thus this volume presents a drastically lopsided view of Auden's work, & for this reason I cannot recommend it to anyone as an introduction to Auden's work. Nearly half of this book's 927 pages is taken up by work from the late 1940s up to Auden's death in 1973, & only the most ardent admirers of Auden will be able to find much of value in the final few hundred pages, facile, prolix & chatty verse which greatly disappointed Auden's contemporaries in his lifetime & which reads no better now. Anyone actually interested in the poetry that made Auden an important & influential poet should turn to the _Selected Poems_ & _The English Auden_. The former reprints the earliest printed texts of poems; the latter the texts as they stood when Auden left for the USA. This is an important distinction, especially for one of his most famous poems, "Spain". In the _Selected_ this appears in the 1937 version, which contains a stanza referring to the need to commit "the necessary murder". Orwell viciously attacked this line in a pair of essays, dishonestly distorting it into an apologia for Stalinist purges in "Inside the Whale". Auden, probably in response to the earlier of the two essays, altered the stanza in the 1940 version (entitled "Spain, 1937"), & eventually deleted the poem from his oeuvre. Auden nonetheless (rightly) defended the original version of the line, arguing that it was an honest attempt to speak of the possibility of a "just war", against the absolutist pacificist position that all wars are wrong, while nonetheless not downplaying the brutality of war.

About the poetry I can't say enough within the space of a brief review. Auden is probably the most influential English-language poet of the 20th century, & depending on your perspective must take much of the credit or blame for the midcentury retreat in the UK & US from the modernist & avantgarde styles of the early 20th century. (For good polemical histories of this shift, take a look at Jed Resula's _The American Poetry Wax Museum_ & Keith Tuma's _Fishing by Obstinate Isles_.) Auden was probably the most technically accomplished poet of the century, & yet this is not enough: by the end the verse fell into an obsessively genial & cozy facility carefully gutted of the urgency of his earlier work. His canon is still rather in need of a strongly revisionist survey: his most famous poems are sometimes justly so (the sublime "Lullaby", one of the century's great love poems) and sometimes in need of demotion ("Musee des Beaux Arts" for instance opens with one of the most fatuous lines in all of modern poetry: "About suffering they were never wrong, / The Old Masters."; & the elegy for Freud is like other of Auden's poems disfigured by nursery-talk & condescension). This volume makes me ultimately rather sad, that a poet with such enormous promise (the work he wrote in his early 20s is still utterly astonishing in its accomplishment & daring) never quite made good on it, & even came to hate much of his own best work. Turn to the _Selected Poems_ to get a better measure of what Auden was as a writer.

Auden is funny, sad, strange, wonderful. Here's a selection from of my favorites:

'When it comes,will it come without warning/ Just as I'm picking my nose?/ Will it knock on my door in the morning;/ Or tread in the bus on my toes?/ Will it come like a change in the weather?/ Will its greeting be courteous or rough?/ Will it alter my life altogether?/ O tell me the truth about love.'

Auden talks about not only love but also truth, justice, every part of the human experience. Here's a short part of "Musee des Beaux Arts":

'About suffering they were never wrong,/ The Old Masters: how well they understood/ Its human position; how it takes place/ While someone else is eating or opening a window or/ just walking dully along.'

I cannot find words strong enough to convey how powerful, and how human, this work is.

By the way, in his original 'selected works' Auden re-edited several of his most beloved works - many critics said for the worse. In this particular edition the editor included all of the poems that Auden selected as his best, but in their original forms.

"Collected Poems" brings together Auden's greatest poetic work, which was abundant, diverse and always masterful. It's difficult to describe the breadth of his work -- emotionally, intellectually, spiritually, technically. From a purely technical standpoint, however, I've never seen as many first rate sonnets, sestinas, classical odes by one poet in one place. Auden is the only poet I've ever encountered who seems incapable of writing badly. In my humble opinion, no one surpasses him in the 20th century in the English language.

I don't think it's something you'd want to read for its own sake unless you have a particular interest in the development of the novel in in the nineteenth century. The plot concerns the efforts of Sir Austin Feverel to prevent his son's marriage and then to break it up. There are ponderous attemps at humor. A tragic and melodramatic ending is tacked on. The story is often difficult to follow, with characters being assigned different names. Jane Austen had already shown how a a tight light novel could be constructed. Madame Bovary had been written (for the diffference between mediocrity and genius compare the descriptions of the food at the wedding breakasts in this and in Madame Bovary). This has the clumsy baggy long-winded structure of Dickens (who was writing Great Expectations at the sme time) but without the great characters and confrontations. This was popular literature in its time, and considered scandalous.

Excellent example of the style of the time.