Contexts of British Poetry After 1925

In Birthday Letters (1998), Hughes examines the suicide of his first wife, American poet Sylvia Plath. Hughes and Plath were married in 1956, and Plath died in 1963.

The Whitsun Weddings was first published in 1964. Philip Larkin was born in 1922 and died in 1985, which rules out a few of the answer choices.

In addition to The Lost Lunar Baedeker (1923)and Lunar Baedeker & Time Tables (1958), Loy wrote Songs to Joannes, a collection of frank, experimental love poetry,in 1915. Tender Buttons (1914) is by Gertrude Stein, Nightwood (1936) is by Djuna Barnes, An Atlas of the Difficult World (1990) is by Adrienne Rich, and Crossing the Water (1971) is by Sylvia Plath.

Conrad Aiken is known for openly criticizing Loy’s poetry. All the others were affiliated with Mina Loy in some way – most through her Greenwich Village ties.

The Sea and the Mirror is a 1958 poetry collection by W.H. Auden. Jill (1946), High Windows (1974), The Less Deceived (1955), and All What Jazz (1970) are all by the prolific Philip Larkin.

A medieval Sussex tomb is the subject of the poem “An Arundel Tomb,” renting a room is the subject of “Mr. Bleaney,” volunteer enlistment and slaughter is the subject of “MCMXIV,” and a train journey is the subject of “The Whitsun Weddings” – all of which are poems included in Larkin’s The Whitsun Weddings. The United Irishmen rebellion is the subject of “Requiem for the Croppies,” (1966) a famous poem by Irish poet Seamus Heaney.

Knowing that this was Hughes’ last work of poetry, and knowing that he lived from 1930 to 1998, you could have inferred that Birthday Letters was published in the 1990s (1998, to be precise).

The Whitsun Weddings (1964) is Philip Larkin’s 8th book, and it contains such well-known poems as the title poem, “MCMXIV,” and “An Arundel Tomb.”

Ted Hughes wrote The Iron Man (1968), The Hawk in the Rain (1957), Crow (1970), and Winter Pollen (1994). Candles in Babylon is a 1982 collection by the British-born American humanist poet Denise Levertov.

Mina Loy’s poetry and fiction are known for their futurist, feminist leanings as well as their emphases on the avant-garde and the bohemian life-style. Her work was not bourgeois – conventional, middle-class, or materialistic – in any way.