Death of a Hero by Richard Aldington
Elsa Franker
Hello all,
First, a Happy New Year 2010!
Among all the Christmas Tales, by Dickens and others, I came across an article about a novel and an author that I never had heard of before, and therefore I don´t now anything about him.
Richard Aldington: Death of a Hero (1929)
The novel is set in WWI and Aldington fought in the war, wrote prose and poetry, I have learnt.
But has anyone read any of Aldington´s novels or poems and can tell me more about him and his writings?
Best
Elsa
|
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David Hughes
David
Date: Sun, 10 Jan 2010 19:21:59 +0000
From: elsaf...@yahoo.co.uk
Subject: Death of a Hero by Richard Aldington
Do you have a story that started on Hotmail? Tell us now
DJ
It is a pity though, that an unexpurgated version has not yet
appeared.
His Imagist war poems are also of great merit. Unusually, for a
'modernist' Aldington produced some fine classical translations too.
Not to mention a highly entertaining account of Pound and Eliot.
His war-time partner H [ilda] D [oolittle] was a poet and novelist of
merit. She published a memorable 'novel' fictionalising her time with
Aldington.
On 10 Jan, 21:28, David Hughes <hafodd...@hotmail.com> wrote:
> Aldington was an Imagist / futurist - that area of work. I think Death of a Hero is a wonderful novel, quite largely based on autobiographical themes if not actual events
>
> David
>
> Date: Sun, 10 Jan 2010 19:21:59 +0000
> From: elsafran...@yahoo.co.uk
> Subject: Death of a Hero by Richard Aldington
> To: ww1...@googlegroups.com
>
> Hello all,
>
> First, a Happy New Year 2010!
>
> Among all the Christmas Tales, by Dickens and others, I came across an article about a novel and an author that I never had heard of before, and therefore I don´t now anything about him.
>
> Richard Aldington: Death of a Hero (1929)
>
> The novel is set in WWI and Aldington fought in the war, wrote prose and poetry, I have learnt.
>
> But has anyone read any of Aldington´s novels or poems and can tell me more about him and his writings?
>
> Best
>
> Elsa
>
> _________________________________________________________________
> Send us your Hotmail stories and be featured in our newsletterhttp://clk.atdmt.com/UKM/go/195013117/direct/01/
Elsa Franker
Hello,
Thanks for the link to the interesting Aldington home-page. What a prolfic writer!
I have chased around on the internet and found some intriguing web-sites.
In article published in 1998 Oxford Journals, David Ayers calls Aldington´s novel "A Proto-Fascist Novel". Is there any justification for this epithet and, if so, why? Here is the link to the article:
In another interesting long article, J. H. Willis discusses "The Censored Langage of War", i. e. apart from Aldington´s novel as well as three more novels which were published in 1929, too. Here is the web-link to the article:
Has never an uncensored edition of Death of a Hero been published? Or does the original manuscript still exist? What was so "dangerous" with the novel that the authorities saw it necessary to censor it?
|
|
|
David Hughes
Date: Mon, 11 Jan 2010 11:30:42 +0000
From: elsaf...@yahoo.co.uk
Subject: Re: Death of a Hero by Richard Aldington
Elsa Franker
| Hello David, I see what you mean, but now that I have read Ayre´s article more carefully, I cannot grasp why he calls Aldington´s novel "Proto-fascist". Aldington must have been very famous in the 1920s. I checked the data-base of all the unversity libraries of Sweden and found some interesting things. There are nearly 70 entries on Aldington. Death of a Hero appeared in Swedish translation in 1930, that is the year after it was published in the UK. It has an Introduction by Anders Österling. Now, Österling was a famous poet and a member of the Swedish Academy for many years. I have made a reservation for it, as I very much would like to read Österling´s Introduction. It may be that he comments on the censoring of the text. I will tell you as soon as I know. Otherwise, I´m not at all keen on reading English literature in translation! In the university catalogue, I found something more of interest: The Viking book of poetry of the English-speaking world / chosen and edited by Richard Aldington, 1941. Would that include the Icelandic Sagas? Sounds very intriguing, indeed! Elsa --- On Mon, 11/1/10, David Hughes <hafo...@hotmail.com> wrote: |
|
David Hughes
Date: Tue, 12 Jan 2010 08:39:53 +0000
From: elsaf...@yahoo.co.uk
Subject: RE: Death of a Hero by Richard Aldington
Got a cool Hotmail story? Tell us now
Elsa Franker
| Hello David, Of course, the Viking Publishers. It is obvious now that you have pointed it out for me. For a Scandinavian, it just seemed so strange that Aldington should edit a "Viking" book of English verse. It just didn´t make any sense to me. (If you will allow me a short detour from WWI: if you want to read something really funny about the Vikings, go for Frans G. Bengtsson´s The Long Ships. It has been available in English translation for years and is hilariously funny. A marvellous send-up of the whole Viking mythology!) I hope I will get the Swedish edition of Death of a Hero soon - cannot wait to read Anders Österling´s Introduction. Elsa |
David Hughes
David
Date: Tue, 12 Jan 2010 09:08:54 +0000
Elsa Franker
| Hello David, I promise you that you will love Frans G. Bengtsson´s The Long Ships, from the 1940s. Of course, you will appreciate even more as you are familiar with the original Icelandic Sagas. York - that marvellous town I have visited so many times over the years and, of course, the Jorvik Viking Centre that is very much worth a visit, even if you have to queue for a while for entrance. Then there are The Shambles, the magnificient Minster, etc, etc. A town with such a dramatic history. Recently, Oxford has started an online course on the Vikings called: Vikings: Raiders, Traders and Settlers. Sounds intresting. |
David Hughes
Next time you are in York you must let me know, so that I can show you round: there is just so much - and a great deal of it is not on the 'tourist track' but hidden in almost secret corners. For example, the school where I was teaching dug foundations for a new building, and found 6 Roman corpses, buried just away from the main road north. I have an order for The Long Ships with the library already - let's see how quickly they can supply it. I have to confess that my knowledge of the Sagas is in translation; but I do follow at least some modern Icelandic Poetry in the orginal - or, more honestly, with parallel text if it is available.
Date: Wed, 13 Jan 2010 08:13:06 +0000
Elsa Franker
| Hello David, Many thanks for your kind invitation to give me a guided tour of York. I will certainly let you know when I´m in the area. I think I have seen Frans G. Bengtsson´s The Long Ships issued in a paperback edition. I just hope nothing is lost in translation and that the translator grasped that this is a merry send-up of all the Viking mythology, including the Icelandic Sagas! From the WWi we ended up in the Viking world - how did that happen?? Sorry for causing this digression.  Elsa |
DJ
"I have termed this novel proto-fascist because its framework of
resentment is so clearly determined by the war itself and because it
shares with the German proto-fascist ex-veterans' groups an emphasis
on the isolation and betrayal of the returned soldier. While German
veterans were forced to absorb the guilt of having lost the war, the
English were forced to confront a newly feminised society, one which
was increasingly coming to see the war as a mistake" p. 97
This is nonsense.
What does Aldington say about the war? Somewhat ironically he
declares;
"1914 was greeted as a great release, a purgation from the vices
supposed to be engendered by peace! My God! Three days of glory
engender more vices and misery than all the alleged corruptors of
humanity could achieve in a millenium. ... 'Our splendid troops' were
to come home-oh, very soon- purged and ennobled by slaughter and
lice...We were to have a new a nd greater literature- hence the
alleged vogue for 'war poets', which resulted in the parents of the
slain being asked to put up fifty pounds for the publication (which
probably cost fifteen) of poor little verses which should never have
passed the home circle... Let those who are curious in human
imbecility consult the newspaper-files of those days.." [' Death';
1937 p. 156-7; 1965 p.200]
And these lines from a poem written just a couple of years before
'Death..';
HOMER AND SAPPHO
"The sophists praise above all others
Homer who sang of battle and
the deaths of heroes.
But I love the divine sweet-scented
odes of Sappho."
[c.1926; Gates; Poetry of Richard Aldington; p.301.]
Indeed Aldingtons' creed would appear to be a thoroughly
Individualistic denunciation of his current society, but a far from
'proto-fascist' one;
[Untitled]
"....the second political duty of a
man is to refuse to be a
citizen because the only allegiance
we owe is to the ideal state of
justice and not to the false
democratic states founded on
force and numbers the rules of the
most unjust.
....
..what matters is not your
social self but your individual self
not the causes for which you may be killed but
the men and women for whom you live"
[Movietones c. 1928-9; Gates pp 331-2]
On 11 Jan, 11:30, Elsa Franker <elsafran...@yahoo.co.uk> wrote:
>
> Hello,
>
> Thanks for the link to the interesting Aldington home-page. What a prolfic writer!
>
> I have chased around on the internet and found some intriguing web-sites.
>
> In article published in 1998 Oxford Journals, David Ayers calls Aldington´s novel "A Proto-Fascist Novel". Is there any justification for this epithet and, if so, why? Here is the link to the article:
>
> http://english.oxfordjournals.org/cgi/pdf_extract/47/188/89
>
> In another interesting long article, J. H. Willis discusses "The Censored Langage of War", i. e. apart from Aldington´s novel as well as three more novels which were published in 1929, too. Here is the web-link to the article:
>
>
> http://findarticles.com/p/articles/mi_m0403/is_4_45/ai_61297798/?tag=...
>
> Has never an uncensored edition of Death of a Hero been published? Or does the original manuscript still exist? What was so "dangerous" with the novel that the authorities saw it necessary to censor it?
>
> Elsa
>
> --- On Sun, 10/1/10, DJ <djdj...@googlemail.com> wrote:
> To unsubscribe from this group, send email to ww1lit+un...@googlegroups.com.
Stuart Lee
Ayres says;
"I have termed this novel proto-fascist because its framework of
resentment is so clearly determined by the war itself and because it
shares with the German proto-fascist ex-veterans' groups an emphasis
on the isolation and betrayal of the returned soldier. While German
veterans were forced to absorb the guilt of having lost the war, the
English were forced to confront a newly feminised society, one which
was increasingly coming to see the war as a mistake" p. 97
This is nonsense.
David Hughes
additional points: [1]I forgot how far into the book the war actually starts - for all the foreshadowing...
[2] I'm remembering how much it is a roman a clef: I wonder if there is a key anywhere as to the identities of many of the people in the pre-war salons. I am sure I recognise Horatio Bottomley, for example. I rather think Harold Monro (of The Poetry Bookshop) is there too - though I cannot remember whether or not Aldington might have met Wilfred Owen in the bookshop (where he had rooms for a short while).
I am just beginning a re-read (so thank to all for the prompt to do so) and what I most of all notice is how very funny the novel is. Even on the first page, take Winterbourne's regiment, the Foddershires: it strikes precisely the right note of bucolic England in the naming of a (county) regiment. Interestingly, Phillip in Williamson's Ancient Sunlight joins the Loamshires - the two side-by-side giving us the produce and the soil of a middle-English county. But both the names carry darker implications: [cannon-] fodder is what the men will be, before they are buried in and become part of the loam.
David
a Hero by Richard Aldington
Stace
somewhere that they're two sides of the same story so had to try to
compare them.
Unfortunately, I was not taken by either book, which is strange
considering how much I enjoy the poetry of both. Aldington's 'Trench
Idyll' and 'Bombardment' are especially successful in describing to
the reader episodes from the war.
I do think the 'Epilogue' in 'Death of a Hero' is particularly moving.
I'm not sure why the book / books didn't quite grab me - maybe I was
trying too hard.
However... I was lucky enough to get hold of three books by Aldington
at a second-hand booksale a while back: ''Death of a Hero' (Chatto &
Windus, 1930), 'All Men are Enemies' (Chatto & Windus, 1933), and
'Roads to Glory' (Chatto & Windus, 1934).
'Roads to Glory' is a really intense collection of short stories that
I would highly recommend.
Has anyone else read these works of Aldington?
On 14 Jan., 10:50, David Hughes <hafodd...@hotmail.com> wrote:
> I absolutely agree.
>
> additional points: [1]I forgot how far into the book the war actually starts - for all the foreshadowing...
>
> [2] I'm remembering how much it is a roman a clef: I wonder if there is a key anywhere as to the identities of many of the people in the pre-war salons. I am sure I recognise Horatio Bottomley, for example. I rather think Harold Monro (of The Poetry Bookshop) is there too - though I cannot remember whether or not Aldington might have met Wilfred Owen in the bookshop (where he had rooms for a short while).
>
> I am just beginning a re-read (so thank to all for the prompt to do so) and what I most of all notice is how very funny the novel is. Even on the first page, take Winterbourne's regiment, the Foddershires: it strikes precisely the right note of bucolic England in the naming of a (county) regiment. Interestingly, Phillip in Williamson's Ancient Sunlight joins the Loamshires - the two side-by-side giving us the produce and the soil of a middle-English county. But both the names carry darker implications: [cannon-] fodder is what the men will be, before they are buried in and become part of the loam.
>
> David
>
> a Hero by Richard Aldington
> Date: Thu, 14 Jan 2010 09:07:58 +0000
>
> Ayres says;
> "I have termed this novel proto-fascist because its framework of
> resentment is so clearly determined by the war itself and because it
> shares with the German proto-fascist ex-veterans' groups an emphasis
> on the isolation and betrayal of the returned soldier. While German
> veterans were forced to absorb the guilt of having lost the war, the
> English were forced to confront a newly feminised society, one which
> was increasingly coming to see the war as a mistake" p. 97
>
> This is nonsense.
>
> I couldn't agree more. Talk about sweeping generalisations! A feeling of isolation from society engendered by a traumatic experience or some other factor is common throughout the ages, and is often used as a literary motif. The Anglo-Saxon 'Wanderer' or 'Deor' were isolated because of the ways society operated - however I would hardly describe either of them as fascist poems (proto or otherwise). And are we seriously expected to believe that every 'English' (sic) soldier returning from the war sat and contemplated the fact that this was a 'newly feminised society'? I would have thought they had other things to worry about.
>
> Stuart
>
> *********************
>
> Dr Stuart D Lee, NTF
> Director, Computing Systems & Services (OUCS)
> Reader in E-learning and Digital Libraries
> Member of the English Faculty, and Merton College
> Oxford University Computing Services, 13 Banbury Road, Oxford OX2 6NN
> ------------------------------------------------------
> E-mail: Stuart....@oucs.ox.ac.uk; Tel: +44 1865 283403; Fax: +44 1865
> 273275; URLs:http://www.oucs.ox.ac.uk/
> ------------------------------------------------------
>
DJ
I would also recommend the biography by Christopher Doyle, who offers
a key to the characters of 'Death'
Owen would certainly have known the work of Aldington and HD. It would
have been hard not to, given their prominence at the time. Did they
meet? Who knows. Aldington would have met many aspiring poets in those
years. And given Owens' reserve........????
One footnote may be of interest with regard to Aldingtons' alleged
'anti-feminism'. The Egoist was a Suffrage paper when it was founded
as the New Freewoman. Although Pound made its pages more 'literary' in
character it never lost its commitment to 'Freethought' and the
Ethical Movement. Both closely allied to modernism in poetry.
It was Pound and Eliot who later switched allegiances.......
Another contributor to the Egoist was John Rodker (whose presence
immediately brings in the shade of Rosenberg). The latter must have
read it, although there is no record of his doing so.
Dare one ask, not altogether playfully, were Rosenberg and Owen
watching and absorbing influences from the furore surrounding
Imagism..... rather than the later Sitwell/ Eliot/ Pound Axis?
To go back a bit, whilst Aldington is scathing about the Erskine
MacDonald war verses, he did not, as far as I have seen, utter a word
against Owen and Rosenberg. And he was not a critic who was reticent
in his remarks....
DJ
mmcc...@ukonline.co.uk
> Ayres says;
> "I have termed this novel proto-fascist because its framework of
> resentment is so clearly determined by the war itself and because it
> shares with the German proto-fascist ex-veterans' groups an emphasis
> on the isolation and betrayal of the returned soldier. While German
> veterans were forced to absorb the guilt of having lost the war, the
> English were forced to confront a newly feminised society, one which
> was increasingly coming to see the war as a mistake" p. 97
>
> This is nonsense.
It's certainly hardly a definition of fascism!
----------------------------------------------
This mail sent through http://www.ukonline.net
David Hughes
David
> Date: Thu, 14 Jan 2010 17:52:35 -0800
> Subject: Re: Death of a Hero by Richard Aldington
> From: djd...@googlemail.com
> To: ww1...@googlegroups.com
Margaret Crane
----- Original Message -----
From: "DJ" <djd...@googlemail.com>
To: "World War One Literature" <ww1...@googlegroups.com>
Subject: Re: Death of a Hero by Richard Aldington
'Roads' is certainly worth reading, as is 'All Men'
I would also recommend the biography by Christopher Doyle, who offers
a key to the characters of 'Death'
Owen would certainly have known the work of Aldington and HD. It would
have been hard not to, given their prominence at the time. Did they
meet? Who knows. Aldington would have met many aspiring poets in those
years. And given Owens' reserve........????
I'm reconstructing, from memory, a poem called "In Memory of Wilfred Owen",
by Aldington, which I read years ago in a Macmillan anthology (one of those
little green ones) and have never seen anywhere else. It's very elliptical,
but suggests considerable interest in Owen:
I had half-forgotten among the soft blue waters
And the gay-fruited arbutus of the hill
Where never the nightingales are silent
And the sunlit hours are warm with honey and dew -
I had half-forgotten as the stars slid westward
Year after year in grave majestic order,
In the strivings and in the triumphs of manhood,
The world's voice, and the touch of beloved hands -
But I have never forgotten, have never quite forgotten
All you who lie there so lonely, and never stir
When the hired buglers call unheeded to you,
Whom the sun shall never warm nor the frost chill.
Do you remember ... but why should you remember?
Have you not given all you could, to forget?
O blessed, blessed be Death! They can no more vex you,
You for whom memory and forgetfulness are one.
Does any of you know more about this?
Meg
--------------------------------------------------------------------------------
Margaret Crane
----- Original Message -----From: Stuart LeeSent: Thursday, January 14, 2010 9:07 AMSubject: Re: Death of a Hero by Richard Aldington
Ayres says;
"I have termed this novel proto-fascist because its framework of
resentment is so clearly determined by the war itself and because it
shares with the German proto-fascist ex-veterans' groups an emphasis
on the isolation and betrayal of the returned soldier. While German
veterans were forced to absorb the guilt of having lost the war, the
English were forced to confront a newly feminised society, one which
was increasingly coming to see the war as a mistake" p. 97
This is nonsense.I couldn't agree more. Talk about sweeping generalisations! A feeling of isolation from society engendered by a traumatic experience or some other factor is common throughout the ages, and is often used as a literary motif. The Anglo-Saxon 'Wanderer' or 'Deor' were isolated because of the ways society operated - however I would hardly describe either of them as fascist poems (proto or otherwise). And are we seriously expected to believe that every 'English' (sic) soldier returning from the war sat and contemplated the fact that this was a 'newly feminised society'? I would have thought they had other things to worry about.
Not to mention the fact that women were victims of the War too, in every imaginable way. Yes, there were some gradual advances (not completed for many years, and in many cases counteracted in the short term) in the field of employment opportunity: but there is every reason to suppose that those advances would have happened anyway, since they also happened in non-combatant countries. There are enough excuses for Aldington and his generation to have looked around for scapegoats - none at all for their biographers.Meg
Stuart
*********************Dr Stuart D Lee, NTFDirector, Computing Systems & Services (OUCS)Reader in E-learning and Digital LibrariesMember of the English Faculty, and Merton CollegeOxford University Computing Services, 13 Banbury Road, Oxford OX2 6NN------------------------------------------------------E-mail: Stuar...@oucs.ox.ac.uk; Tel: +44 1865 283403; Fax: +44 1865273275; URLs: http://www.oucs.ox.ac.uk/------------------------------------------------------
DJ
become second nature.
Here is Aldingtons' final text of his 'In Memory of Wilfrid Owen';
I had half-forgotten among the soft blue waters
And the gay-fruited arbutus of the hill
Where never the nightingales are silent,
And the sunlit hours are warm with honey and dew;
I had half-forgotten as the stars slid westward
Year after year in grave majestic order,
In the strivings and in the triumphs of manhood,
The world's voice, and the touch of beloved hands.
But I have never quite forgotten, never forgotten
All you who lie there so lonely, and never stir
When the hired buglers call unheeded to you,
Whom the sun shall never warm nor the frost chill.
Do you remember ... but why should you remember?
Have you not given all you had, to forget?
O blessed, blessed be Death! They can no more vex you,
You for whom memory and forgetfulness are one.
1931
Complete Poems, p.302
Apart from the remarkable accuracy of Megs' memory, one immediately
notices that the date of composition coincides with Blundens' edition.
Undoubtedly it is to this, that Aldington responds. I am unsure where
it first appeared, but will find out presently.
I still think it unlikey that he would have been unaware of the
earlier publications of Owens' verse.
And it is clearly a retrospective tribute rather than a new response
to unfamiliar work.
Nevertheless, I think it relevant that Aldington included it in his
'Complete Poems' when a certain amount of previously published verse
(some of it amongst his best) was omitted. Aldington, as I have
suggested, was no shrinking violet when dealing with his
contemporaries. He clearly valued Owens' work.
Incidentally, apologies for the belated response but I had to find my
"Complete", having completely forgotten the poems' appearance
there....
DJ
them were either shipped off to the Colonies as 'surplus to
requirements' amongst the labour force.....or forcibly 'retrained' as
skivvies to the 'better off''.
Of course no one was forced to accept these schemes. They were merely
offered a choice between accepting them, starvation or getting a
living outside the boundaries of 'moral' probity...........
> E-mail: Stuart....@oucs.ox.ac.uk; Tel: +44 1865 283403; Fax: +44 1865
> 273275; URLs:http://www.oucs.ox.ac.uk/
> ------------------------------------------------------
>
> --------------------------------------------------------------------------- ---
mmcc...@ukonline.co.uk
> There are times when one realises that pedantry has unfortunately
> become second nature.
>
> Here is Aldingtons' final text of his 'In Memory of Wilfrid Owen';
>
> I had half-forgotten among the soft blue waters
> And the gay-fruited arbutus of the hill
> Where never the nightingales are silent,
> And the sunlit hours are warm with honey and dew;
>
> I had half-forgotten as the stars slid westward
> Year after year in grave majestic order,
> In the strivings and in the triumphs of manhood,
> The world's voice, and the touch of beloved hands.
>
> But I have never quite forgotten, never forgotten
> All you who lie there so lonely, and never stir
> When the hired buglers call unheeded to you,
> Whom the sun shall never warm nor the frost chill.
>
> Do you remember ... but why should you remember?
> Have you not given all you had, to forget?
> O blessed, blessed be Death! They can no more vex you,
> You for whom memory and forgetfulness are one.
> 1931
> Complete Poems, p.302
>
> Apart from the remarkable accuracy of Megs' memory, one immediately
> notices that the date of composition coincides with Blundens' edition.
*Of course I can remember something I read over forty years ago, but not the
mark scheme I was supposed to be following this morning!*
>
> Undoubtedly it is to this, that Aldington responds. I am unsure where
> it first appeared, but will find out presently.
> I still think it unlikey that he would have been unaware of the
> earlier publications of Owens' verse.
*I suppose he might have seen the poems that were published in the
Sitwells' "Wheels" anthology in 1919?
DJ
Not to mention Sassoon's edition. Apparently he was out of England for
much of 1931, but it is possible he may have contributed something to
'The Referee' for whom he was then writing
On 25 Jan, 16:18, mmccr...@ukonline.co.uk wrote:
> This mail sent throughhttp://www.ukonline.net- Hide quoted text -
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> - Show quoted text -- Hide quoted text -
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> - Show quoted text -
David Hughes
> Date: Mon, 25 Jan 2010 09:54:09 -0800
> Subject: Re: Death of a Hero by Richard Aldington
We want to hear all your funny, exciting and crazy Hotmail stories. Tell us now
DJ
Love" and "Anthem". Along with Rosenberg's 'Break of Day"
Curiously he gives, in the bibliography, 'Poems', ed Sassoon, Viking
Press, New York, 1921. I wonder about this. Was there a second
American edition that year? Or is it a typo ? This 'Viking' is not
listed in either the New York PL, Yale ot LOC catalogues.
> ...
>
> read more »- Hide quoted text -
DJ
'Viking' in their catalogues it would not appear to be a typo.....
DJ
wrote; "'Coterie'...is produced on similar lines to 'Wheels'" .
"Experiments In Poetry", TLS, May 22 1919. p.274.
On 25 Jan, 16:18, mmccr...@ukonline.co.uk wrote:
> Quoting DJ <djdj...@googlemail.com>:
>
>
>
>
>
> ...
>
> read more »- Hide quoted text -
>
> - Show quoted text -- Hide quoted text -
David Hughes
Dominic Hibberd, a vice President of the Association and Wilfred's biographer, has kindly agreed to lead a walk in Bloomsbury, London in April of this year. The tour will cover places associated with Wilfred and also Yeats, Harold Munro, HD and Richard Aldington and T S Eliot.
If you want to know more, search for their site..., I suppose.
> Date: Mon, 25 Jan 2010 11:16:50 -0800
> Subject: Re: Death of a Hero by Richard Aldington
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