Grass
In Carl Sandburg’s “Grass” (1918) the grass itself speaks, burying the dead of Austerlitz, Gettysburg, and Verdun until travelers forget the battles ever happened — a quiet, chilling anti-war poem.
Theme
5 poems
In Carl Sandburg’s “Grass” (1918) the grass itself speaks, burying the dead of Austerlitz, Gettysburg, and Verdun until travelers forget the battles ever happened — a quiet, chilling anti-war poem.
English poet Rupert Brooke (1887–1915) won fame for his idealistic 1914 war sonnets, above all “The Soldier,” and for his early death en route to Gallipoli. A look at his life, poems, style, and reputation.
Facing death in the First World War, a soldier imagines the foreign field where he might lie becoming “for ever England.” A reading of Brooke’s 1914 sonnet: its patriotism, form, and idealised vision of home.
It’s the poem of the poppy, recited at every Remembrance Day — but “In Flanders Fields” is not the gentle elegy its reputation suggests. After two stanzas of larks and poppies and the quiet voice of the dead, McCrae’s final stanza pivots into something far harder: a demand from the fallen that the living “take up our quarrel” and keep fighting. The most beloved remembrance poem in English is also a war poem, and that tension is the source of both its power and its long controversy.
Written as World War I raged, Sara Teasdale’s twelve-line lyric pictures nature carrying on in perfect indifference to human catastrophe — and asks how little our extinction would cost the spring.