Spring 1945 • Vol. VII No. 2 Book Reviews |

Brief Comment: New Writing and Daylight

New Writing And Daylight edited by John Lehman. London: Hogarth Press. 10s. 6d. Something is happening to British poetry. It has not gone underground, nor has it issued a new manifesto. It is not even subversive. Instead, faced with choices, it has lapsed into an equivocal position. Crossing neck-deep rivers, it has left its weapons on the bank. The conflict is well stated by Alan Ross, whose war diary appears in New Writing and Daylight: "If one was an artist all this wouldn't matter—the experience of war,' said David, who was preoccupied with the idea of death. "One's attitude becomes detached, it becomes, simply, human." David died on an Arctic convoy, but not before Ross had questioned him: "Doesn't it matter what side even artists are on? God knows war doesn't allow any detachment wherever you are. You are damned lucky if it doesn't catch up with you one day and find you on the opposite, the wrong side." The coercive features of Britain's wartime economy have confront

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