Presents the British poet's autobiography, including portraits of friends Virginia Woolf, T.S. Eliot, W.H. Auden, W.B. Yeats, and Christopher Isherwood.
Hardcover
,
432 pages
Published
January 2nd 2001
by Modern Library
(first published 1951)
"In the dormitory, in the watches of the night, I thought that one day I would write a book which would contain the truth to which I bore witness. What I would say was perfectly clear to me. It was this: everyone is occupied in blindly pursuing his own ends, and yet beneath his aims, and beneath his attempts to escape from solitude by conforming with the herd-like behavior of those around him, he wants something quite different from the standards of human institutions, and this thing which he wa
"In the dormitory, in the watches of the night, I thought that one day I would write a book which would contain the truth to which I bore witness. What I would say was perfectly clear to me. It was this: everyone is occupied in blindly pursuing his own ends, and yet beneath his aims, and beneath his attempts to escape from solitude by conforming with the herd-like behavior of those around him, he wants something quite different from the standards of human institutions, and this thing which he wants is what all want: simply to admit that he is an isolated existence, and that his class and nation, and even the personality and character which he presents to his fellow beings, are all a mask, and beneath this mask there is only the desire to love and be loved just because he is ignorant, and miserable, and surrounded by unknowns of time and space and other people."
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c1951. Before I read this, I had no idea of who Spender ((28 February 1909 – 16 July 1995) was but I was going through a non-fiction stage. Disturbing relationships which must have caused a real buzz when first published. It is beautifully written but of its time. There is a sort of local connection as he went to school in Worthing but he wasn't very happy there. Spender is succinctly described by Christoper Hitchens writing in The Atlantic as "The vaguely preposterous Stephen Spender spent a gr
c1951. Before I read this, I had no idea of who Spender ((28 February 1909 – 16 July 1995) was but I was going through a non-fiction stage. Disturbing relationships which must have caused a real buzz when first published. It is beautifully written but of its time. There is a sort of local connection as he went to school in Worthing but he wasn't very happy there. Spender is succinctly described by Christoper Hitchens writing in The Atlantic as "The vaguely preposterous Stephen Spender spent a great deal more of his life "being a poet" than he ever did writing poetry. And yet beneath the surface he had a pith of seriousness and principle".
"At our first luncheon he asked me what I wanted to do. I said: "Be a poet." "I can understand you wanting to write poems, but I don't quite know what you mean by 'being a poet,'" he objected.."
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Spender's biographical-prose is excellent, he has a way of expressing feelings and thoughts and experiences in a way that is both instructive and moving. He came of age at a very dramatic time, to see Germany fall to the Nazis as well as his friendship at Oxford with Auden and eventually Isherwood. The so called "Auden Generation" and yet he also was able to become his own writer and poet, like many of his time he also befriended and engaged in conversation with some of the best writers of his t
Spender's biographical-prose is excellent, he has a way of expressing feelings and thoughts and experiences in a way that is both instructive and moving. He came of age at a very dramatic time, to see Germany fall to the Nazis as well as his friendship at Oxford with Auden and eventually Isherwood. The so called "Auden Generation" and yet he also was able to become his own writer and poet, like many of his time he also befriended and engaged in conversation with some of the best writers of his time and beyond such as Virginia Woolf, T.S. Eliot, Evelyn Waugh and others. World Within World is worth reading as an introduction to a great writer and poet who was able to express his humanity in all its frailty and greatness.
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Read for dissertation.
Stephen Spender's autobiography is not only an exploration of his own life, but of the 1930s and the nature of British and European society. Spender's prose is poetic, some lines you read and you have to stop and re-read them again because they are so beautiful - and so true. He puts into words some of the thoughts I've had before but judged to be ineffable. A really informative and enjoyable read.
Through his memoirs and poetry and recording, I find great comfort in the writings and in the voice of Stephen Spendor. He was the kind of person with whom a friendship would very likely span an entire life. Spender was an elegant moralist who would always see both sides of a problem and be able to give effective and sound advice, beautifully spoken. His poem about bullying moves me every time.
Spender gives a clear, personal, and emotional account of his life in England and Europe, focusing on the late 1920s and 1930s. He was briefly a journalist for the Communist party in Spain during the Civil War, and was a friend of W.H. Auden, Virginia Wolff, and other well-known writers of the day.
I enjoyed this mainly for Spender's reflections about fascism vs. communism 1930s Europe, his memories of his involvement in the Spanish Civil War, and his memories of Christopher Isherwood and W.H. Auden.
One of many good memoirs from literary figures in the early 1900s - interesting first person accounts of Auden, Woolf, Eliot, Isherwood, and Stephen Spender is interesting in himself.
Sir Stephen Harold Spender (1909–1995), English poet, translator, literary critic and editor, was born in London and educated at the University of Oxford, where he first became associated with such other outspoken British literary figures as W. H. Auden, Christopher Isherwood, C. Day Lewis and Louis MacNeice. His book The Thirties and After (1979) recalls these figures and others prominent in the
Sir Stephen Harold Spender (1909–1995), English poet, translator, literary critic and editor, was born in London and educated at the University of Oxford, where he first became associated with such other outspoken British literary figures as W. H. Auden, Christopher Isherwood, C. Day Lewis and Louis MacNeice. His book The Thirties and After (1979) recalls these figures and others prominent in the arts and politics and his Journals 1939–1983, published in 1986 and edited by John Goldsmith, are a detailed account of his times and contemporaries.
His passionate and lyrical verse, filled with images of the modern industrial world yet intensely personal, is collected in such volumes as Twenty Poems (1930), The Still Centre (1939), Poems of Dedication (1946), Collected Poems, 1928–1985 (1986).
World Within World, Stephen Spender's autobiography, contains vivid portraits of Virginia Woolf, W. B. Yeats, T. S. Eliot, Lady Ottoline Morrell, W. H. Auden, Christopher Isherwood and many other prominent literary figures. First published in 1951 and still in print, World Within World is recognised as one of the most illuminating literary autobiographies to come out of the 1930s and 1940s. There can be few better portrayals of the political and social atmosphere of the 1930s.
The Destructive Element (1935), The Creative Element (1953), The Making of a Poem (1962) and Love-Hate Relations: English and American Sensibilities (1974), about literary exchanges between Britain and the United States, contain literary and social criticism. Stephen Spender's other works include short stories, novels such as The Backward Son and the heavily autobiographical The Temple (set in Germany on the 1930s) and translations of the poetry of Lorca, Altolaguerra, Rilke, Hölderlin, Stefan George and Schiller. From 1939 to 1941 he co-edited Horizon magazine with Cyril Connolly and was editor of Encounter magazine from 1953 to 1967.
Stephen Spender owed his own early recognition and publication as a poet to T. S. Eliot. In turn Spender was always a generous champion of young talent, from his raising a fund for the struggling 19-year-old Dylan Thomas, to a lifelong commitment to helping promote the publication of newcomers. In 1972, with his passionate concern for the rights of banned and silenced writers to free expression, he was the chief founder of Index on Censorship, in response to an appeal on behalf of victimised authors worldwide by the Russian dissident Litvinov.
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