Cope’s poetry collections include Serious Concerns (1992); If I Don’t Know (2001), shortlisted for the Whitbread Poetry Award; Two Cures for Love: Selected Poems 1979–2006 (2008); Family Values (2011); Christmas Poems (2017), a collection of new and previously published Christmas-themed work; and Anecdotal Evidence (2018). She is the author of the prose collection Life, Love and the Archers (2015) and two books for children, Twiddling Your Thumbs (1988) and The River Girl (1991), and the editor of numerous anthologies, including, The Faber Book of Bedtime Stories (1999). Two of the uncollected poems included here are also the result of a commission, this time from the Shakespeare Birthplace Trust. I was asked to write some poems to mark the 400th anniversary of Shakespeare’s death. The rest are a miscellany. John Cage, Jesus, The Archbishop of Canterbury, a damaged piano, a college reunion. I can’t see a theme. British Council complies with data protection law in the UK and laws in other countries that meet internationally accepted standards.

Wendy Cope - Literature - British Council Wendy Cope - Literature - British Council

Some other titles alone give the flavour – ‘Bloody Men’, one of her most famous; or ‘Men and their Boring Arguments’. The final stanza of ‘I Worry’ will summarise the general mood:In 1998, she was voted the listeners' choice in a BBC Radio 4 poll to succeed Ted Hughes as Poet Laureate. [3] When Andrew Motion's term as Poet Laureate came to an end in 2009, Cope was again widely considered a popular candidate, [3] although she believes the post should be discontinued. [3] [4] Carol Ann Duffy succeeded Motion as Poet Laureate.

Wendy Cope – Names | Genius Wendy Cope – Names | Genius

urn:lcp:seriousconcerns00cope:epub:30ba03d2-dbca-44fd-af95-47188b74c3cd Extramarc Duke University Libraries Foldoutcount 0 Identifier seriousconcerns00cope Identifier-ark ark:/13960/t21c4sx2j Invoice 11 Isbn 9780571167050 Five collections of her adult poetry have been published, Making Cocoa for Kingsley Amis in 1986, Serious Concerns in 1992, If I Don't Know in 2001, Family Values in 2011, and Anecdotal Evidence in 2018. She has also edited several anthologies of comic verse and was a judge of the 2007 Man Booker Prize. [ citation needed] The United Kingdom's international organisation for cultural relations and educational opportunities. The tone, however, is light-hearted, and the character of the subject, her warmth and friendliness, comes over vividly to the reader. The poet conveys affection for her subject, whether Eliza/Nanna is fictional or autobiographical.

really simple, which doesn't work for me with rupi kaur, etc. — maybe it works here because it feels like there's more meaning and less melodrama to the simplicity. I also personally like the parts that are more life-affirming and humorous.

Best Wendy Cope Poems Everyone Should Read 10 of the Best Wendy Cope Poems Everyone Should Read

One of the funniest recurring aspects of Wendy Cope’s early poetry is her parodies (or burlesques, to use a perhaps more apt term) of various canonical works of poetry. On the other hand, you can clearly see in many poems in this collection that a simple style can also lead to forgettable, boring poetry. Personally, I found the poems that dealt with romantic relationships directly (not just mentioned in the periphery) to be the weakest - probably because the subject matter has been done throughout centuries of poetry and the simplistic style really is a hindrance here, it needs originality and freshness to create an emotional reaction from the reader. This is not to say Wendy Cope writes just simple poems, she has a very specific style, which I think can have a certain appeal for some readers, I might just not be the target audience.Wendy Cope writes quite simple poetry, and I happen to enjoy a simplistic approach to a poem every now and then (I even enjoy the occasional Rupi Kaur). I think this collection shows the two sides of this kind of style: on one hand, poems like the iconic „The Orange“ really show how effective a simple poem utilizing casual language evocatively can be, and that short, funny ones like „Loss“ that almost read more like jokes than poems, work great as interludes. Mr Strugnell’ is a particularly fine example of Cope’s ability to capture the style of another poet: here, she takes on Philip Larkin’s ‘Mr Bleaney’ while filtering that poem through the personality of the hapless Strugnell. Strugnell, it probably doesn’t need saying, is no Larkin – but he may well be a latter-day Bleaney … Also falling into this category is one of her most anthologised poems, the short and awesome ‘Two Cures for Love’, which runs in its entirety:

Wendy Cope - Poet Wendy Cope Poems - Poem Hunter Wendy Cope - Poet Wendy Cope Poems - Poem Hunter

Lccn 92175168 Ocr_converted abbyy-to-hocr 1.1.20 Ocr_module_version 0.0.17 Openlibrary OL1306963M Openlibrary_edition a b Lewis, Helen (3 December 2011). "Wendy Cope interview: "I can't die until I've sorted out the filing cabinets" ". New Statesman . Retrieved 23 November 2016.Wendy Cope is not just a comic poet, and she can often move us with her touching account of falling in love (or, for that matter, out of love, or, for another matter, being single and not having anyone to love). This poem is a prime example. Also, I can appreciate some snark and pettiness, but there was a lot that just rubbed me the wrong way and fell flat for me. One example is a poem titled "Kindness to Animals," which is noted to have been commissioned for an anthology benefitting the World Wide Fund for Nature but which was rejected as unsuitable: I will admit that I did not read the entire collection of poems; however, I very much enjoyed the poem "Bloody Men," which I shall post here and explain why henceforth. The only end of writing is to enable the readers better to enjoy life or better to endure it.” – Samuel Johnson In an interview with Thomas Sutcliffe, the point is raised how the levity in Cope’s work has been questioned by other poets too, and she explains that this ‘battering’ is one reason why there is a gap of nine years between her second and third collection ( The Independent, 7 June 2001).