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Does it matter? – losing your legs?
For people will always be kind,
And you need not show that you mind
When others come in after hunting
To gobble their muffins and eggs.

Does it matter? – losing your sight?
There’s such splendid work for the blind;
And people will always be kind,
As you sit on the terrace remembering
And turning your face to the light.

Do they matter-those dreams in the pit?
You can drink and forget and be glad,
And people won’t say that you’re mad;
For they know that you’ve fought for your country,
And no one will worry a bit.

Another poem from Sassoon designed to shock readers back home, more than anything else, I feel. Let’s start with the jaunty rhythm, the metre forcing you to sound jolly and cheerful as you read the poem aloud, even as the words themselves hint at…

This book has a bizarre, somewhat tasteless title, but The Love-charm of Bombs, Restless Lives in the Second World War is an excellent chronicle of World War Two, seen through the eyes of five writers and their circles of friends and family. Elizabeth Bowen, Graham Greene, Rose Macaulay, Henry Yorke (a.k.a. Henry Green) and the Austrian Hilde Spiel were all prominent writers in London at the time, and their work is testimony to the mood of the time.

These writers, firefighting, ambulance-driving, patrolling the streets, were the successors of the soldier poets of the First World War […]. Like the poets in the trenches, Bowen,  Greene, Macaulay and Yorke were participants rather than witnesses, risking death, night after night in defence of their city. The Second World War was a total war.  No one escaped the danger and every Londoner was vulnerable.  While the fighting in the First World War…

‘Good-morning; good-morning!’ the General said
When we met him last week on our way to the line.
Now the soldiers he smiled at are most of ’em dead,
And we’re cursing his staff for incompetent swine.
‘He’s a cheery old card,’ grunted Harry to Jack
As they slogged up to Arras with rifle and pack.
……
But he did for them both by his plan of attack.

If Wilfred Owen is ‘in your face’ through his use of graphic detail in many of his war poems, Siegfried Sassoon is often brutally out to shock by saying a different kind of unspeakable thing. We see it here in a very short but vicious poem which goes straight to the heart of an issue that historians still argue about today: the competence or incompetence of the high command, those who ran the war and took the decisions that led to…

A random survey of self-portraits created by women through the centuries

English artist, designer, and social reformer
Mary Seton Fraser Tytler Watts (1849-1938)

Self-Portrait, 1882 / Watercolor on paper / Watts Gallery, Compton, Surrey, UK

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