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John Clare (1) (1793–1864)

Author of John Clare / edited by Eric Robinson and David Powell

For other authors named John Clare, see the disambiguation page.

89+ Works 1,288 Members 18 Reviews 3 Favorited

About the Author

Image credit: Engraving by Edward Scriven (1821) after portrait by William Hilton (1820)

Series

Works by John Clare

The Shepherd's Calendar (1964) 117 copies
Selected Poems (Penguin Classics) (1990) 96 copies, 2 reviews
I Am: The Selected Poetry of John Clare (2003) 91 copies, 3 reviews
John Clare (Everyman's Poetry) (1997) 76 copies, 1 review
John Clare : Poems selected by Paul Farley (2007) 44 copies, 1 review
The Parish: A Satire (Penguin Classics) (1985) 40 copies, 1 review
Bird Poems (1980) 37 copies, 1 review
John Clare by himself (1996) 24 copies
John Clare: Selected Poems (2016) 23 copies
Poems Chiefly from Manuscript (2008) 22 copies, 1 review
Poems (1964) 16 copies
The Wood is Sweet (1966) 13 copies, 1 review
The Essential Clare (1992) 12 copies
The midsummer cushion (1980) 12 copies
Selected Poems (1954) 12 copies
The Letters of John Clare (1970) 10 copies
The Rural Muse (1982) 9 copies
Northborough sonnets (1995) 9 copies
The prose of John Clare (1970) 8 copies
John Clare's Birds (1982) 8 copies
Cottage tales (1993) 4 copies
This Happy Spirit (2013) 4 copies
Reise aus Essex (2017) 3 copies
Clare's Countryside (1981) 3 copies
The Wood is Sweet (1971) 2 copies
Flower Poems (2001) 2 copies
Clare's poems (2016) 1 copy
A Country Calendar (1979) 1 copy
Poems. pp. 1-207 (2016) 1 copy
Kilvickeon 1 copy
Idle fame 1 copy

Associated Works

Winter Poems (1994) — Contributor — 1,452 copies, 12 reviews
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Contributor — 1,244 copies, 3 reviews
The Nation's Favourite Poems (1996) — Contributor — 687 copies, 8 reviews
The Best Loved Poems of Jacqueline Kennedy-Onassis (2001) — Contributor — 619 copies, 11 reviews
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contributor — 496 copies, 2 reviews
The Norton Anthology of English Literature, 4th Edition, Volume 2 (1979) — Contributor — 269 copies, 1 review
The Faber Book of Beasts (1997) — Contributor — 169 copies, 1 review
The Book of Love (1998) — Contributor — 151 copies
The Standard Book of British and American Verse (1932) — Contributor — 130 copies, 1 review
The Everyman Anthology of Poetry for Children (1994) — Contributor — 78 copies
An Introduction to Poetry (1968) — Contributor — 72 copies, 1 review
Poetry of Witness: The Tradition in English, 1500-2001 (2014) — Contributor — 52 copies, 1 review
The Faber Book of Christmas (1996) — Contributor — 50 copies, 1 review
366 Goodnight Stories (1983) — Contributor — 49 copies
Elegy written in a country churchyard and other poems (2009) — Contributor — 47 copies
The Haunted Trail (2024) — Contributor — 44 copies, 2 reviews
Masters of British Literature, Volume B (2007) — Contributor — 22 copies
AQA Anthology (2002) — Contributor — 18 copies
The Favourite Wonder Book (1938) — Contributor — 17 copies
Country Child (1992) — Contributor — 12 copies
All Day Long: An Anthology of Poetry for Children (1954) — Contributor — 11 copies
La poesía inglesa románticos y victorianos — Contributor — 4 copies, 1 review
English Romantic Poetry (1996) — Contributor — 2 copies
Round about Eight: Poems for Today (1972) — Contributor — 2 copies

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Common Knowledge

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Discussions

Reviews

18 reviews
John Clare is a major new discovery for me. He combines everything that's good about the Romantic era, except for maybe lacking, sensibly, that transporting unselfness that you get from a good Keats--combines everything else good about the Romantic era with a village egalitarianism, a sardonic edge toward his High Romantic brethren (he parodized "Childe Harold" AND "Don Juan"), and an amazing eye for nature, the lie of the land, the feel of the moment. Here's a laughing child, there's a bird show more fletching its nest, and John Clare is all right by me. Let's be not insane together.

What? He went insane? Oh.
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I do not know this collection, but John Clare's poetry is one of the most moving bodies of work anywhere. I feel much akin to Clare, as someone who emerged from the most backward of rural places, and who is haunted by the fact that that place made me, created my potentials, gave me its sensual and harsh nature, so I feel responsible to it.

John Clare bore this burden much more heavily, and more responsibly, than I, as he was the only--the only--voice saying anything like what he said, and show more somehow noone really understood its import. In some ways he himself did, but his role was not one that could be borne alone, and it broke him.

I first heard his name in a John Berryman poem, where Berryman calls him "that sweet man, John Clare." No better phrase, no better praise, could be devised.
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If life had a second edition, how I would correct the proofs.

Tomorrow, 5 November 2020, we will be confined to quarters for at least a month (except for exercise and essential food shopping) because of the ongoing Covid pandemic. It’s autumn, and I’m fortunate to live amid gorgeous countryside. I need to immerse myself and appreciate what I have. Maybe you do too.

John Clare was a 19th century agricultural labourer, who left school aged 12, spent many years in mental asylums, but show more was also a prolific poet, writing painfully beautiful poems about the natural world and also about his struggles with identity, estrangement, and reality. We will be locked down; he was locked up, and he speaks to us today.

Image: Contrast at an arboretum, 12 September 2020

"All nature has a feeling"

We are creatures of the earth: our food and water come from it, the seasons determine the weather, the amount of daylight, our mood, what food is available, and one day, we will be part of the earth itself, as our forebears already are. The circles of life - and death. I think that’s why time immersed in natural environments is so restorative. For city-dwellers, it’s contrast and respite; for rural dwellers, it’s part of our conscious being. It may also connect us to memories of carefree childhood: making camps, building sandcastles, paddling in streams, following animal prints, identifying plants, listening for birdsong, and climbing trees.

Image: Nature finds a way: wild poppy pushing through tarmac at the bottom of our road

All nature has a feeling: woods, fields, brooks
Are life eternal; and in silence they
Speak happiness beyond the reach of books;
There's nothing mortal in them; their decay
Is the green life of change; to pass away
And come again in blooms revivified.
Its birth was heaven, eternal is its stay,
And with the sun and moon shall still abide
Beneath their day and night and heaven wide.


"I Am!"

The title is one of the shortest, simplest sentences, a powerful statement of self, but also potentially blasphemous (in Exodus 3:14, when Moses sees the burning bush and asks its meaning, God replies “I am who I am. This is what you are to say to the Israelites: ‘I am has sent me to you.’”). It’s one of his final poems, and ends with his craving the peace of both childhood and death. In turbulent times, even those of us fortunate not to be as troubled as Clare can relate to that.

Image: Vaulted sunrise sky, driving to work, November 2019

I am—yet what I am none cares or knows;
My friends forsake me like a memory lost:
I am the self-consumer of my woes—
They rise and vanish in oblivious host,
Like shadows in love’s frenzied stifled throes
And yet I am, and live—like vapours tossed

Into the nothingness of scorn and noise,
Into the living sea of waking dreams,
Where there is neither sense of life or joys,
But the vast shipwreck of my life’s esteems;
Even the dearest that I loved the best
Are strange—nay, rather, stranger than the rest.

I long for scenes where man hath never trod
A place where woman never smiled or wept
There to abide with my Creator, God,
And sleep as I in childhood sweetly slept,
Untroubling and untroubled where I lie
The grass below—above the vaulted sky.


"Autumn"

It’s autumn here. The sun is shining. Even in lockdown, I’m allowed to walk the rolling wooded hills, gasp at the gradually gilded palette of trees, and relish the crunch of fallen leaves.

Image: Blue skies for first day of our second lockdown, 5 November 2020

The thistledown's flying, though the winds are all still,
On the green grass now lying, now mounting the hill,
The spring from the fountain now boils like a pot;
Through stones past the counting it bubbles red-hot.

The ground parched and cracked is like overbaked bread,
The greensward all wracked is, bents dried up and dead.
The fallow fields glitter like water indeed,
And gossamers twitter, flung from weed unto weed.

Hill-tops like hot iron glitter bright in the sun,
And the rivers we're eying burn to gold as they run;
Burning hot is the ground, liquid gold is the air;
Whoever looks round sees Eternity there.


Image: Autumn leaves (mostly beech), 6 November 2020

There are five lovely photos above; apologies if you can't see them in the GR phone app, but they're fine in a laptop browser.
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John Clare produced some of English poetry's most poignant and glorious lyrics. Writing not as an observer of nature but from an intimate knowledge of the wheatfields, hedgerows, and ditches of his village in Northamptonshire, he described animals, insects, trees, rivers, sunlight, and clouds with sublime sensitivity. But as enclosures and "improvements" came in the early nineteenth century, dismembering the rural landscape, his later poems became infused with a sense of disorientation and show more loss, and scattered with threads of madness. Clare's genius has been rediscovered by fellow poets in every generation since his death, from Dylan Thomas to Ted Hughes to Seamus Heaney. show less

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Works
89
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28
Members
1,288
Popularity
#19,903
Rating
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Reviews
18
ISBNs
174
Languages
4
Favorited
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