Men were snoring, twitching and whimpering, struggling with nightmares less terrible than reality.

The implicit optimism of the [field service post card] is worth noting— the way it offers no provision for transmitting news like "I have lost my left leg" or "I have been admitted into hospital wounded and do not expect to recover." Because it provided no way of saying "I am going up the line again," its users had to improvise. Wilfred Owen had an understanding with his mother that when he used a double line to cross out "I am being sent down to the base," he meant he was at the front again. Close to brilliant is the way the post card allows one to admit to no state of health between being —quite— well, on the one hand, and, on the other, being so sick that one is in hospital.

In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialized death. This, at first, was indescribable.

The bargaining position of the victor always diminishes with time. Whatever is not exacted during the shock of defeat becomes increasingly difficult to attain later.

This book is not about heroes. English poetry is not yet fit to speak of them. Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War. Above all I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity.

We know only that in some strange and melancholy way we have become a waste land. All the same, we are not often sad.

If you can walk with the crowd and keep your virtue, or walk with Kings-nor lose the common touch; If neither foes nor loving friends can hurt you; If all men count with you, but none too much; If you can fill the unforgiving minute with 60 seconds worth of distance run- Yours is the earth and everything that's in it, And-which is more-you'll be a man my son.

I know. I was there. I saw the great void in your soul, and you saw mine.

But the old man would not so, but slew his son,And half the seed of Europe, one by one.

Mute in that golden silence hung with green,Come down from heaven and bring me in your eyesRemembrance of all beauty that has been,And stillness from the pools of Paradise.

(On WWI:)A man of importance had been shot at a place I could not pronounce in Swahili or in English, and, because of this shooting, whole countries were at war. It seemed a laborious method of retribution, but that was the way it was being done. ...A messenger came to the farm with a story to tell. It was not a story that meant much as stories went in those days. It was about how the war progressed in German East Africa and about a tall young man who was killed in it. ... It was an ordinary story, but Kibii and I, who knew him well, thought there was no story like it, or one as sad, and we think so now.The young man tied his shuka on his shoulder one day and took his shield and his spear and went to war. He thought war was made of spears and shields and courage, and he brought them all.But they gave him a gun, so he left the spear and the shield behind him and took the courage, and went where they sent him because they said this was his duty and he believed in duty. ...He took the gun and held it the way they had told him to hold it, and walked where they told him to walk, smiling a little and looking for another man to fight.He was shot and killed by the other man, who also believed in duty, and he was buried where he fell. It was so simple and so unimportant.But of course it meant something to Kibii and me, because the tall young man was Kibii's father and my most special friend. Arab Maina died on the field of action in the service of the King. But some said it was because he had forsaken his spear.