Other Men's Flowers: An Anthology of Poetry

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If the classical orators have modern counterparts in the realm of the written word, pre-eminent among those counterparts are the authors of opinion pieces. Here is persuasion overt, persuasion front and center. The Not that such a book can tell all of a man but ‘Other Men’s Flowers’ surely puts a large marker on the place of poetry in the world. One man’s, Wavell’s remarkable knowledge of and memory for, poetry, is that marker for inspiration. It shows he was a military man through and through, that he was a man of wide reading but based to an age before poetry had one of its periodic bursts into new territory such as the ‘new’ poetry consolidated and moved on by the First World War. A few poets of this period are included though positioning their poetry style may pre date it. Classics and the Orient are much in vogue, obviously themes and compositions that held up well in Wavell’s view on life and poetry. Classics and the Orient were still ‘popular’ as themes for poets and subjects that were still important for study at University and likely needed for many potential high level students and professions. No doubt elements of public take-up were led by the mystery still pertaining to the East and what is now spoken of as ‘the Great Game’.

Other Men’s Flowers | Slightly Foxed literary A. P. Wavell | Other Men’s Flowers | Slightly Foxed literary

of setting two terms in opposition, are ways of labeling what any prose stylist does by habit and instinct. Like the bourgeois gentleman of the playwright Molière — amazed to discover in middle age that The project has produced an exciting and innovative publication that intrinsically embodies the elegant but underused printing technique of letterpress … that has allowed and encouraged many hitherto solely image-based artists an opportunity to operate within the realms of 'copy writing', providing them with a platform from which to sound off any phrase, slang discovery, polemical essay or related literary form … the participants produced works that responded to the given brief of a letterpress printed text piece. (Quoted in Cooper, p.116.) Operations in The Middle East from 7th February 1941 to 15th July 1941", submitted 5 September 1941 published in "No. 37638". The London Gazette (Supplement). 2 July 1946. pp.3423–3444. Some years ago, when writing a gardening article for an achingly right-on newspaper, I used the expression ‘other men’s flowers’. I cannot now remember in what context but I have not forgotten the sub-editor changing the phrase to ‘other people’s flowers’. I had fool­ishly imagined that, even if my readers did not know Montaigne – ‘I have gathered a posie of other men’s flowers and nothing but the thread that binds them is my own’ – they would at least recognize the play on the title of one of the great poetry anthologies of the twentieth century. Some hope.What accounted for its success? My guess is that it made poetry respectable for manly men - Wavell's section on war is called "Good Fighting" but his section on love a tongue-tied "Love and All That" - in an age when reciteable poetry still had a popular appeal. Looking at it again this week, my wife remembered how her father could recite all of the "Rubaiyat of Omar Khayyam" and Hilaire Belloc's "Do you remember an Inn, Miranda? / Do you remember an Inn?" My own father could do as well with a lot of the Burns and Coleridge. Both our fathers left school at 14. They had uneducated memories compared with Wavell, who wrote in his introduction that while, nearing 60, he couldn't claim he could repeat by heart all the 260 or so poems in the the anthology, he thought he could safely claim that he once could.

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advancing your argument. Any sentence you write should be pulling one or more of those levers; the best will do all three. Even apparent decoration works to a purpose — if a phrase is beautiful, funny or stand for [good thing]”— disguised as a piece of argument. Note how it is inflated for musical reasons by the extra syllables “he does about” and the repetition of “America’s”; The Army in South Africa - Troops returning Home". The Times. No.36899. London. 15 October 1902. p.8. Other Men's Flowers is a portfolio of text-based prints by fifteen London artists curated by Joshua Compston (1970-96). It was printed by Thomas Shaw and Simon Redington and published by Charles Booth-Clibborn under his imprint, The Paragon Press. Compston took the title, Other Men's Flowers, from an anthology of wartime poetry compiled by Field-Marshal Viscount Wavell (1883-1950) of the same title (published 1944). Wavell had derived the phrase from a well-known quotation attributed to French moralist Montaigne (Michel Eyquem de Montaigne, 1533-92), 'I have gathered a posie of other men's flowers and nothing but the thread which binds them is my own' (quoted in Cooper, p.115). Montaigne's original sentence, published in his Essais ( Essays) in 1580, provided an apparently modest disclaimer, anticipating criticism of the originality of his ideas. For Compston, it provided an apt poetic metaphor for the role of the curator. Other Men's Flowers was launched at a party on 23 June 1994 in a derelict sawmill close to Hoxton Square, East London, a centre for young British artists at that time. Compston wrote in his press release: Three centuries later, Thoreau — another of humanity’s most quotable and overquoted minds — made a similar point about the perils of mindlessly parroting the ideas of those who came before us, which produces only simulacra of truth. The mindful reflection and expansion upon existing ideas and views, on the other hand, is a wholly different matter — it is the path via which we arrive at more considered opinions of our own, cultivate our critical faculties, and inch closer to truth itself. Montaigne writes:Glynn, Irial (2007). "An Untouchable in the Presence of Brahmins: Lord Wavell's Disastrous Relationship with Whitehall During His Time as Viceroy to India, 1943–7". Modern Asian Studies. 41 (3): 639–663. doi: 10.1017/S0026749X06002460. S2CID 143934881. Jeremy Cooper, no FuN without U: the art of Factual Nonsense, London 2000, pp.10, 12, 30, 75-6, 78-9, 89-90, 114-21, 179-80, 184 and 221, reproduced (colour) p.119 epistrophe— where the repetition comes at the end rather than the beginning of a sentence. But repetition applies at a subtler level, too. The memorable or resonant phrase, for instance, is often Other Men’s Flowers (1944) is a deeply personal anthology com­piled by Archibald Percival Wavell, otherwise known as Field Marshal Earl Wavell, GCB, GCSI, GCIE, CMG, MC. We have on our shelves a copy of the attractively produced ‘memorial edition’, put together two years after his death in 1950, with an introduction by his son, also Archibald. Our volume has an inscription on the flyleaf, which was written by my brother to my husband, and was given to him as a present for acting as an usher at his wedding in 1977. I can­not imagine many young men giving this anthology as a present these days, although I am mighty glad my brother did. Archibald John Arthur Wavell, later 2nd Earl Wavell, b. 11 May 1916; d. 24 December 1953, killed in Kenya, in an action against Mau Mau rebels. Since he was unmarried and without issue, the titles became extinct on his death. [79]