Confessional poetry

How Wilfred Owen became a poet

Here is the opening of a sonnet written by Wilfred Owen in the spring of 1911: “Three colors have I known the Deep to wear;/ ’Tis well today that Purple grandeurs gloom.” Owen was eighteen and had just been on a pilgrimage to Teignmouth in England, where his hero John Keats had once stayed. The kindest thing to say about this poem is that it is heavy with the influence of Keats. Six years later, in a seaside hotel requisitioned by the army and waiting to be sent back to the Western Front, he begins a poem like this: “Sit on the bed. I’m blind, and three parts shell.” This looks so simple. The monosyllables carry the meter without fuss; “shell” here means both munitions and protection.

Owen

Ocean Vuong’s immature poetry

Time is a Mother — Ocean Vuong’s second poetry collection — should have been a scene-stealer, a much-awaited literary event of the type normally reserved for a J.K. Rowling. The collection has been talked about in the breathy, excited terms not normally associated with poetry — the least glitzy of the literary genres — and in a way not heard of since the blockbuster release of Ted Hughes’s Birthday Letters (1998). Vuong, rightly, won the T.S. Eliot prize in 2017 with Night Sky With Exit Wounds. The collection had flashes of brilliance and was a mark of a young poet making his way in the world. It also won the Forward Prize for best first collection, and, in 2019, Vuong was awarded a MacArthur “genius” grant.