Further Reading Suggestions

Special thanks goes to Jimi (Jiminizzle), Chantal (Chak), Jesse (knife2agunfight) Carmel (carmel_l) and Kyrl (Confusius) for helping build this list. Don't stop sending me names!
All the missing links will be filled in over time. If you know of a site hosting any of the empty names then PM me.

Each week a new writer will be added to this list, it may be playwright a poet or a novelist. The post will contain a small bio of said writer and where possible a link to some of their work, or at least a suggestion or two for you to look into buying.

If, however, you wish to speed up the process and have your favourite writers (non-UG) added to the list PM me with a list/few suggestions, and if available a link to a site displaying their work I have to add here, when finding links, make sure it is a site that does not have a forum in which you post original work, this is a must!! I cannot use it otherwise.
Filth, pure filth... That's what you are.
Last edited by The Hurt Within at Jun 16, 2008,
Further Reading Suggestions


Matthew Arnold (1822-1888) - Dover Beach, Lines Written In Kensington Gardens, Consolation

Robert Browning (1812-1889) - In a Gondola, Meeting at night, The lost mistress

Elizabeth Barrett Browning (1806-1861) - Chorus of Eden spirits, Grief, musical instrument

Elizabeth Bishop (1911-1979) - The Fish, North and South, A cold Spring, Question of travel

William Blake (1757-1827) - A poison tree, A sick rose, The Tiger

Charles Bukowski (1920-1994) - Burning in water - drowning in flame, Run with the hunted

Robert Burns (1759-1796) - A red red rose, A man's a man a that, Ae fond kiss, To a Mouse

Lord George Gordon Byron (1788-1824) - The Dream, The Corsair, The Giaour

John Clare (1793-1864) - Autumn, I hid my love, To John Clare

Henri Cole (1956-Present) - Blackbeard and Wolf, The visible man, Middle Earth

Samuel Taylor Coleridge (1772-1834) - The Rime of the Ancient Mariner, Christabel

E.E. Cummings (1894-1962) - A leaf falls on loneliness, All which isn't singing is mere talking

Emily Dickinson (1830-1886) - Water is taught by thirst, I like a look of agony, Safe in Their Alabaster Chambers

John Donne (1572-1631) - A Valediction: Forbidding Mourning, The Flea, The Sun Rising

T.S. Eliot (1888-1965) - The Love Song of J. Alfred Prufrock, The Waste Land, The Hollow Men

Ralph Waldo Emerson (1803-1882) - Bacchus, Terminus, Uriel

Robert Frost (1874-1963) - Out, Out--, Snow, Mending Wall

Allen Ginsberg (1926-1997) - America, Howl, The fall of America

Seamus Heaney (1939-Present) - Death of a Naturalist, The Haw Lantern, District and Circle

Gerard Manley Hopkins (1844-1889) - The caged Skylark, Moonrise, Spring

Ted Hughes (1930-1998) - Crow, Gaudete, Moortown Diary, River, Wolfwatching

John Keats (1795-1821) - Ode to psyche, Ode on a Grecian urn, Ode to a knightingale, Ode on Melancholy

Kenneth Koch (1925-2002) - Permanently, Seasons on Earth, The human sacriment, Fresh air

H.P. Lovecraft (1890-1937) - The Call of Cthulhu, Ex Oblivione, Polaris, Nyarlathotep

John Milton (1608-1674) - Paradise Lost, Light, On his blindness

Pablo Neruda (1904-1973) - A Dog Has Died, Enigmas, Morning Love Sonnet XXVII, Tower Of Light

Wilfred Owen (1893-1918) - Miners

Edgar Allen Poe (1809-1849) - A dream within a dream, The raven, For Annie, Ulalume

Alexander Pope (1688-1744) - Solitude, Line by a person of quality, You know where you did despise

Christina Rossetti (1830-1894) - Goblin market, In the bleak mid Winter

Robert Service (1874-1958) - Shooting of Dan McGrew, The Cremation of Sam McGee

Percy Bysshe Shelley (1792-1822) - Ozymandias, Ode to the westwind, To a skaylark, The masque of anarchy

Edward Lucie-Smith (1933-Present) - The Lesson, Silence

Wislawa Szymborska (1923-Present) - Lenin

Alfred Tennyson (1809-1892) - Idylls of the Kings, (coined the phrase - "Better to have loved than lost")

Dylan Thomas (1914-1953) - Do Not Go Gentle Into That Good Night, Quiet early one morning, In country sleep

Henry David Thoreau (-) - Wilden, I am a parcel of vain strivings, Light winged smoke

Derek Walcott (1930-Present) - Love After Love, Omeros, In a green night

William Wordsworth (1770-1850) - Expostulation and Reply, She dwelt among the untrodden ways

Oscar Wilde (1854-1900) - Sonnet On Hearing The Dies Irae Sung In The Sistine Chapel, Phedre, Madonna Mia

Walt Whitman (1819-1892) - When I heard the Learn’d Astronomer, Miracles, Two Rivulets

William Butler Yeats (1865-1939) - The cat and the moon, In the Seven Woods, The Valley of the black Pig


Charlotte Bronte (1816-1855) - Jane Eyre, Villette, The Professor
Emily Bronte (1818-1848) - Wuthering Heights
Anne Bronte (1820-1849) - Agnes Grey, The Tenant of Wildfell Hall

Kevin McFadden/Christopher Pike (1955-Present) - Slumber Party, Weekend, Remember Me

Rudyard Kipling (1865-1936) - The Jungle Book, Fear (poem)
Filth, pure filth... That's what you are.
Last edited by The Hurt Within at Jun 16, 2008,
The Writing Review

If you wish to discuss anything in this article, then please use the stickied Community Thread. If, however, you see an error use the Feedback Thread, or PM me to correct the imbecile writer.

If you would like to submit a writing review, then please PM it to me. Your review can be about anything, from well crafted songs, pieces of poetry (famous or not so famous) or short stories.

Neutral Milk Hotel - Oh Comely
From Their Crtically Acclaimed 1998 Album

In An Aeroplane Over The Sea
Written by: Jeff Mangum

Oh comely
I will be with you when you lose your breath
Chasing the only meaningful memory you thought you had left
With some pretty bright and bubbly terrible scene
That was doing her thing on your chest
But oh comely
It isn't as pretty as you'd like to guess
In your memory you're drunk on your awe to me
It doesn't mean anything at all
Oh comely
All of your friends are all letting you blow
Bristling and ugly
Bursting with fruits falling out from the holes
Of some pretty bright and bubbly friend
You could need to say comforting things in your ear
But oh comely
There isn't such one friend that you could find here
Standing next to me
He's only my enemy
I'll crush him with everything I own
Say what you want to say
Hang for your hollow ways
Moving your mouth to pull out all your miracles aimed for me

This is going to be a lot of **** suckery, but what the hell. Here Jeff Mangum has shown a perfection of timing, substance, rhythm, and subtle rhyme. Breath/left, Scene/thing, Memory/Awe to me, etc. The brilliant use of off rhyme has created a bouncing flow that fits the piece perfectly.

I wish people would write with this much substance, notice how there are barely any adjectives, notice the amount of description and the amount of detail without providing mundane and unnecessary adjective. The story of this song is only known to Jeff Mangum, but many have speculated that it is a romance between a young girl living in a trailer park, and one that has a terrible life. She thinks she has friends, but they aren't even there for her "letting you blow", "there isn't such one friend that you can find here". She tries to stay "bright and bubbly" because she has hope that things can get better ("chasing the only meaningful memory you thought you had left"), maybe because of him (the narrator of the song). The voice is incredibly hard to distinguish and it adds to the awful sense of foreboding, the vague voice and the incredibly rushed descriptions contract the reader into going deeper into the puzzle that is Jeff Mangum's brain.

Notice how Jeff uses alliteration to further the flow, "bright and bubbly"/"blow, bristling, bursting"/"fruits,falling,friend." The flow Jeff Mangum has brought into the piece is a sign of his craft and genius.

Your father made fetuses
With flesh licking ladies
While you and your mother
Were asleep in the trailer park
Thunderous sparks from the dark of the stadiums
The music and medicine you needed for comforting
So make all your fat fleshy fingers to moving
And pluck all your silly strings
And bend all your notes for me
Soft silly music is meaningful magical
The movements were beautiful
All in your ovaries
All of them milking with green fleshy flowers
While powerful pistons were sugary sweet machines
Smelling of semen all under the garden
Was all you were needing when you still believed in me
Say what you want to say
Hang for your hollow ways
Moving your mouth to pull out all your miracles aimed for me

Here Jeff lets loose into an explosion of beautiful imagery and hauntingly grotesque descriptions. Notice the contract between the first stanza and the second stanza, instead of a narrative. (Rest lost due to PM error)

And I know they buried her body with others
Her sister and mother and 500 families
And will she remember me 50 years later
I wished I could save her in some sort of time machine
Know all your enemies
We know who our enemies are

This is where I'm going to loose a lot of you, but this stanza is completely unrelated to the previous two, and infact addresses the entire album. It is speaking about Anne Frank. Yes the girl you read about in the seventh grade. This entire song, and most of the album is about Jeff Mangum's emotional obsession with the story of and person that was Anne Frank. Infact this stanza sums up the entire album, which is the sad truth that this was a little girl, that was killed and only remember by the fact she kept a journal. It's that even though she was buried in a mass grave, in a huge ditch with "500 families," she was just an innocent young girl, and this is where this actually does fit in with the rest of the piece. The two previous stanzas, I believe describes Jeff Mangum's obsession with the person that was Anne Frank. Jeff Mangum fell in love with Anne Frank, and he feels guilty, he feels bitter than he couldn't save her (it is also speculated that Anne Frank is a huge metaphor for a relationship Jeff Mangum had, one that he refuses to talk about) and if he could go back in time and rescue her from the atrocities, would she even bother to remember him fifty years later. It isn't about the holocaust, it is about a love only he knows, a love she can't return and even though it's really ****ing weird, it's something we can all relate too. Being in love, and not having the possibility of it being returned. In the end he realizes that he was her enemy, and not her friend or lover, knowing that the person causing his bitterness is himself for falling in love with someone who can't return it.

He's looking back on all of this now, thinking about how he let her down, and regretting it, wanting to make things better, but she is dead. And he wishes he could go back and make things better ("wished I could save her in some sort of time machine"), but it's too late. He now realizes he was actually her enemy, not her friend--There's something about how he sings "we know who our enemies are" that seems to say, "No, we don't, and sometimes the people we think are our friends are just the opposite". The song is about both Anne Frank and his former girlfriend, and even he stated before preforming this song, "This one is about a lot of things."

Goldaline my dear
We will fold and freeze together
Far away from here
There is sun and spring and green forever
But now we move to feel
For ourselves inside some stranger's stomach
Place your body here
Let your skin begin to blend itself with mine

This last stanza is a completely unrelated, but it is a reference to unreleased songs about siamese twins being lost in the forest and dying.

There you have it, possibly the best album of the 1990's, and possibly the best song the band ever created. Neutral Milk Hotel - In An Aeroplane Over The Sea, go get it.

Analysis by: Matt (Something_Vague)
Filth, pure filth... That's what you are.
"Miniver Cheevy"
By Edwin Arlington Robinson (1869–1935)

Miniver Cheevy, child of scorn
Grew lean while he assailed the seasons;
He wept that he was ever born,
And he had reasons.

Miniver loved the days of old
When swords were bright and steeds were prancing;
The vision of a warrior bold
Would set him dancing.

Miniver sighed for what was not,
And dreamed, and rested from his labors;
He dreamed of Thebes and Camelot,
And Priam's neighbors.

Miniver mourned the ripe renown
That made so many a name so fragrant;
He mourned Romance, now on the town,
And Art, a vagrant.

Miniver loved the Medici,
Albeit he had never seen one;
He would have sinned incessantly
Could he have been one.

Miniver cursed the commonplace
And eyed a khaki suit with loathing;
He missed the mediæval grace
Of iron clothing.

Miniver scorned the gold he sought,
But sore annoyed was he without it;
Miniver thought, and thought, and thought,
And thought about it.

Miniver Cheevy, born too late,
Scratched his head and kept on thinking;
Miniver coughed, and called it fate,
And kept on drinking.

In the poem, the narrator describes a character named Miniver Cheevy who seems to idealize the past, not because he had been there or experienced it, but merely because he is unhappy with the present.

The poem uses irony [1] to create this picture. Miniver is a drunk, the town ne'er-do-well. Yet he dreams about the "graceful" Medieval period. Miniver is the last type of person who could survive during such a time.

Allusions [2] also heighten the poem's irony, in fact they add the central irony. The contrast between the completely unheroic Miniver and his grandiose dreams associated with heroic figures of mythology (Hercules line 10), ancient Greece ("Thames" 11), the Bible (God 10), noble Middle Age knights ("Camelot" 11), and corrupt but fantastically powerful Renaissance families ("Medici" 17). What a powerful figure he might have been had he been born at the right time, Miniver supposes.

Both allusions in line 10 are intimated by the phrase, "Rested from his labors". In Genesis 2:2-3, God rested after six days of labor and declared the Sabbath as the Christian day of rest and memorial of Creation, arguably one of the greatest achievements ever presented in literature, if not the greatest. In The Labors of Hercules, the story of "The Slaying of the Nemean Lion" says, "But Hercules, resting from his labors, wot not the trial which lay ahead."

Two of the greatest, most powerful characters in classical literature and their marvelous labors warranted the rests that they had recieved. However, Miniver does nothing but think and drink. By writing this line, Robinson seems to ironically compare Cheevy to these two characters, helping highlight just how insignificant he is.

The poem has a rather unique structure as well. It uses a basic ABAB rhyme scheme throughout, but uses some interesting rhymes, such as "never seen one/have been one" (18-20), "Medici/incessantly" (17-19), and "without it/about it" (26-28) for example.

The poem is metered [3], using a strict syllable count for each iambic [4] line. The first and third lines of each stanza feature eight syllables, the second has nine and the last have five.

Two other lines particularly enhance the poem using distinct literary techniques as well. Lines 15-16 use personification [5] ironically. The lines state, "He mourned Romance, now on the town, and Art, a vagrant." The phrase "now on the town" literally means the town's charity case, while a vagrant is essentially a tramp or bum. By referring to Romance and Art as charity cases, Miniver really describes himself, seemingly without knowledge of it.

Lines 27-28 use repetition [6]. By saying "Miniver thought, and thought, and thought, and thought about it", Robinson exemplifies Miniver's pathetic foolishness. Two or three "thoughts" could simply be emphasizing the idea that he was thinking very hard, but as you get to four, the tone of the stanza changes from Miniver contemplating to a humorous absurdity.

The tone [7] of the poem is that of a detached mocking. Rather than ever stating he sympathized with Miniver, Robinson simply portrays his depressing situation ironically to create the tone.

All of this irony comes together to make a rather simplistic point about the nature of life. Quite simply and truthfully, the author seems to state, "People rarely look at themselves when placing blame for their problems."

Literary Terms
[1] Irony - The use of words to convey a meaning that is the opposite of its literal meaning.
[2] Allusion - A reference to something in history or previous literature.
[3] Meter - Poetic measure; arrangement of words in regularly measured, patterned, or rhythmic lines or verses.
[4] Iambic - Metrical unit (properly known as a "foot") consisting of one unaccented syllable followed by one accented syllable.
[5] Personification - The attribution of a personal nature or character to inanimate objects or abstract notions.
[6] Repetition - The repeated use of the same word or word pattern as a rhetorical or poetic device.
[7] Tone - Manner of expression in speech or writing; the mood of the poem; the quality of a piece of writing that reveals the attitudes and presuppositions of the author.

Most definitions borrowed from dictionary.com.

Analysis by - Corey (Silenceevolves)
Filth, pure filth... That's what you are.
"I wanna Be Yours... "
By John Cooper Clarke

I wanna be your vacuum cleaner
breathing in your dust
I wanna be your Ford Cortina
I will never rust
If you like your coffee hot
let me be your coffee pot
You call the shots
I wanna be yours

I wanna be your raincoat
for those frequent rainy days
I wanna be your dreamboat
when you want to sail away
Let me be your teddy bear
take me with you anywhere
I don’t care
I wanna be yours

I wanna be your electric meter
I will not run out
I wanna be the electric heater
you’ll get cold without
I wanna be your setting lotion
hold your hair in deep devotion
Deep as the deep Atlantic ocean
that’s how deep is my devotion

John Cooper Clarke was never one for deep meanings or philosophical talk- more so he was a revoloutionary in the poetry world, and rose to fame in the late 70s and 80s for his witty writings and speedy delivery of his poems to audiences. Clarke wrote to perform, and this piece is no different.
In this poem, Clarke uses simple metaphors to convey his feelings for a girl (presumably a girl, that is). He does this by saying that he'll be anything to be with this woman. This basically means he will do anything for her, but his twist on that cliche idea is to place himself in the position of everyday objects and the like, and show what that would mean to the object of his desire.
Clarke, as he writes to perform, rarely uses punctuation in his pieces. This reinforces his "punk poet" character, and his reluctance to use much (if any) complex vocabulary, which also hints he does not think of himself as a master of language. This is possibly why he appealed to such a broad audience- his easy to comprehend, topical pieces on current culture meant each member of the audience could relate to his ramblings. Clarke's colloquial language and improper spellings including "wanna" are used, once more because Clarke is a performer, his pieces not there to be read.
In keeping with the wide-appeal to his poems, Clarke uses simple ideas in this piece. breathing in your dust meaning he'll always be close by, If you like your coffee hot/let me be your coffee pot saying if you want something done, I'll do it. There's no substitute for simplicity sometimes.
One technique Clarke uses often is reptition. My thinking behind this is that he is a performer- each piece he reads is like a song, and in songs you have choruses, a time when the whole audience can sing as one. Well, Clarke doesn't do that because he is a poet, but he tends to have one line or idea he will repeat as a hook, so that the audience remembers his performance. For instance, someone can come home from a Clarke gig and go to his friend "I really liked that one, you know... the I wanna be yours one.". Once more, a simple technique that benefits the poet.
Quite a simple poem, but one that showcases why Clarke is as succesful as he is. I strongly recommend checking out more works of his, as they are very witty and entertaining to read.

Analysis By: Jamie (Jammydude44)
Filth, pure filth... That's what you are.