Not just the poetry of other wars, in fact, but other kinds of war poetry. “I am the enemy you killed, my friend,” says the dead soldier encountered in Owen’s “Strange Meeting”: “I parried; but my hands were loath and cold”. This summarises the whole circumstance of first world war poetry: it often involved hand-to-hand fighting; it was intimate. The second world war, by contrast, was for many soldiers a more distanced affair. Keith Douglas when taking aim in his poem “How to Kill”, says: “Now in my dial of glass appears / the soldier who is going to die”. He still thinks of him as a fellow creature (the soldier “moves about in ways / his mother knows, habits of his”) but also feels a crucial separation – a gap that exists as a physical space, and proves the conflict has frozen or exterminated a part of the speaker’s own humanity.
How my heart sings 