under your nose’. 106 We can still learn from o<strong>the</strong>r nations’ efforts to secure an intellectual, artistic, historical and sociological record for future generations. However we might go about that task, it is clear that more, much more, can and must be done by both <strong>the</strong> poetry establishment and <strong>the</strong> MOD to ensure that contemporary British War Poetry from <strong>the</strong> first decade <strong>of</strong> <strong>the</strong> twenty-first century is collected, collated, celebrated and communicated to as wide an audience as possible. 107 The challenge is whe<strong>the</strong>r this country has <strong>the</strong> energy, wit and wisdom to do so in a responsible manner. 106 Kiedrich Rhys, ‘Introduction’, ‘Poems from <strong>the</strong> Forces’, (1941), cited by High Haughton, ‘Anthologizing War’, The Oxford Handbook <strong>of</strong> British & Irish War Poetry, ed Tim Kendall (Oxford University Press, 2009), page 432. 107 And whilst <strong>the</strong> British poetry establishment and <strong>the</strong> MOD might seem odd bedfellows, it is worth noting <strong>the</strong> comments <strong>of</strong> Douglas Wilson, Assistant Secretary for Public Affairs at <strong>the</strong> Pentagon: ‘There is an assumption that <strong>the</strong> arts and our men and women in uniform <strong>are</strong> from different planets. Its not <strong>the</strong> case. The arts can provide a means to discuss and explore.’, ‘Theatre <strong>of</strong> War: British give US troops and Afghan history lesson’, The Daily Telegraph, 12 th February 2011. 23
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