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The Wet Flanders Plain

(Paperback, Main)


Publishing Details

Full Title:

The Wet Flanders Plain

Contributors:

By (Author) Henry Williamson

ISBN:

9780571255221

Publisher:

Faber & Faber

Imprint:

Faber & Faber

Publication Date:

15th October 2009

Edition:

Main

Country:

United Kingdom

Classifications

Readership:

General

Fiction/Non-fiction:

Non Fiction

Main Subject:
Other Subjects:

European history
Memoirs

Dewey:

940.414

Physical Properties

Physical Format:

Paperback

Number of Pages:

200

Dimensions:

Width 135mm, Height 216mm, Spine 15mm

Weight:

256g

Description

The Wet Flanders Plain was first published in 1929. It was in good company for that year also saw the first publication of Erich Maria Remarque's All Quiet on the Western Front, Robert Graves's Goodbye to All That, Ernest Hemingway's A Farewell to Arms, R. C. Sherriff's Journey's End and Ernst Junger's Storm of Steel. It doesn't suffer by comparison. But it is different from them. Unlike almost all the Great War classics this book isn't based on delayed recollection, it is more immediate than that. Flanders and Northern France. In Williamson's own words he wanted to 'return to my old comrades . . . to the brown, the treeless, the flat and grave-set plain of Flanders - to the rolling, heat-miraged downlands of the Somme - for I am dead with them, and they live in me again.' He wanted to be rid of the 'wraith of the war'. in both fiction and non-fiction works, it is doubtful if he was successful in that but what he does give us is a memoir that, as one reviewer put it, 'emerges from the mass of War books as the most beautiful and the most terrible.'

Author Bio

Henry Williamson (1895-1977) was a prolific writer best known for Tarka the Otter which won the Hawthornden Prize in 1927. He wrote much of else of quality including The Wet Flanders Plain, The Flax of Dream tetralogy and the fifteen volume A Chronicle of Ancient Sunlight all of which are being reissued in Faber Finds. His politics were unfortunate, naively and misguidedly right-wing. In truth, he was a Romantic. The critic George Painter famously said of him, 'He stands at the end of the line of Blake, Shelley and Jefferies: he is last classic and the last romantic.'

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