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The so-called Imagist poet of the years prior to 1914 upheld a direct approach to their subject matter, with strict verbal economy and composed 'in sequence of the musical phase, not in sequence metronome.' The words belong to F.S. Flint, the beliefs were shared by Ezra Pound. Flint's name is often cited in histories of early 20th-century English literature; but his poetry has usually been ignored. This selection is doubly welcome, not just for filling a gap, but also because the poems themselves have much interest and deserve to be revived. For Flint, albeit a theorist, was not to be limited by that: his work, while clearly influenced by Imagist tenets, strains against prescriptive barriers and is musical and full of genuine human feeling. Michael Copp's selection not only provides an enlightening Introduction but also two new essays by Flint himself: all in all this is a job meticulously carried out.
St Catharine's College Society Magazine, 2007