Edwin Muir - Works

Works

  • We Moderns: Enigmas and Guesses, under the pseudonym Edward Moore, London, George Allen & Unwin, 1918
  • Latitudes, New York, B. W. Huebsch, 1924
  • First Poems, London, Hogarth Press, 1925
  • Chorus of the Newly Dead, London, Hogarth Press, 1926
  • Transition: Essays on Contemporary Literature, London, Hogarth Press, 1926
  • The Marionette, London, Hogarth Press, 1927
  • The Structure of the Novel, London, Hogarth Press, 1928
  • John Knox: Portrait of a Calvinist, London, Jonathan Cape, 1929
  • The Three Brothers, London, Heinemann, 1931
  • Poor Tom, London, J. M. Dent & Sons, 1932
  • Variations on the Time Theme, London, J. M. Dent & Sons, 1934
  • Scottish Journey London, Heinemann in association with Victor Gollancz, 1935
  • Journeys and Places, London, J. M. Dent & Sons, 1937
  • The Present Age from 1914, London, Cresset Press, 1939
  • The Story and the Fable: An Autobiography, London, Harrap, 1940
  • The Narrow Place, London, Faber, 1943
  • The Scots and Their Country, London, published for the British Council by Longman, 1946
  • The Voyage, and Other Poems, London, Faber, 1946
  • Essays on Literature and Society, London, Hogarth Press, 1949
  • The Labyrinth, London, Faber, 1949
  • Collected Poems, 1921-1951, London, Faber, 1952
  • An Autobiography, London : Hogarth Press, 1954
  • Prometheus, illustrated by John Piper, London, Faber, 1954
  • One Foot in Eden, New York, Grove Press, 1956
  • New Poets, 1959 (edited), London, Eyre & Spottiswoode, 1959
  • The Estate of Poetry, Cambridge, MA, Harvard University Press, 1962
  • Collected Poems, London and New York, Oxford University Press, 1965
  • The Politics of King Lear, New York, Haskell House, 1970

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Famous quotes containing the word works:

    I divide all literary works into two categories: Those I like and those I don’t like. No other criterion exists for me.
    Anton Pavlovich Chekhov (1860–1904)

    Piety practised in solitude, like the flower that blooms in the desert, may give its fragrance to the winds of heaven, and delight those unbodied spirits that survey the works of God and the actions of men; but it bestows no assistance upon earthly beings, and however free from taints of impurity, yet wants the sacred splendour of beneficence.
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    We do not fear censorship for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word, that art to which we owe the Bible and the works of Shakespeare.
    —D.W. (David Wark)