19 pages • 38-minute read
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"Survivors" by Siegfried Sassoon (1918)
This poem was written in October 1917 while Sassoon was in the convalescent home in Craiglockhart. Sassoon intersperses his own bitter voice with that of someone who refuses to recognize how badly damaged the shell-shocked soldiers are. They will soon get better, the speaker says, and they are longing to be off again to rejoin the “glorious war.” The final lines present Sassoon’s voice in a powerful ending that is typical of his war poems: “Men who went out to battle, grim and glad; / Children, with eyes that hate you, broken and mad.”
"Suicide in the Trenches" by Siegfried Sassoon (1918)
In three quatrains, this poem describes how a young soldier who used to be full of joy could not adjust to the harsh life in the trenches of WWI and shot himself in the head. In the final quatrain, Sassoon turns his anger on the people at home in England, who cheer with delight when they see a parade of soldiers passing by. He tells them to “sneak home” and prays that they will never know “The hell where youth and laughter go.”
"The Silent One" by Ivor Gurney (1917)
During WWI, many soldiers met their deaths when trapped by the barbed wire set up between two sets of trenches. In this poem, Gurney writes of his comrade and friend who died in such a way. He further relates his own experience at the front. An officer suggests there is a hole in the wire through which he might crawl, but he knows there is not and declines. Instead, he lies flat as the enemy continues its barrage and thinks of music. Then there is a retreat, followed by another advance, in which he again comes face to face with the impenetrable wire.
Siegfried Sassoon by Stanford Sternlich (1993)
This is a concise introduction to Sassoon’s work; chapter 3, on the WWI poems, is of particular interest. Commenting on “Wirers,” Sternlich observes that the ironic final line shows that “[t]he experience of war is totally without value, except perhaps for whatever art it engenders” (p. 46). Sternlich sees Sassoon as a modernist who created “a poetic language of violence” (p. vii) imitated by other war poets and later writers such as Ernest Hemingway, Randall Jarrell, and Norman Mailer.
Memoirs of an Infantry Officer by Siegfried Sassoon (1930)
This is the second volume in Sassoon’s semiautobiographical trilogy, The Complete Memoirs of George Sherston. It begins in 1916 in the trenches of World War I and takes the story up to 1917, after Sherston’s (that is, Sassoon’s) public antiwar declaration and his time convalescing at Craiglockhart, near Edinburgh. The memoir has been praised as one of the finest records of World War I.
Siegfried Sassoon: The Making of a War Poet; A Biography 1886-1918 by Jean Moorcroft Wilson (1999)
This is the first of a very detailed two-volume biography, which covers Sassoon’s life up to the end of WWI. Wilson draws on material newly available at the time, including Sassoon’s diaries. She highlights the paradox in Sassoon’s wartime life, during which he both wanted to be at the front, where the action was, while simultaneously decrying the wastefulness and cruelty of war.
A reading of “Wirers” uploaded by A2Z in August 2020
The poem “Wirers” is read slowly and methodically.



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