W. H. Auden home on Lordswood Road, Birmingham; in the chapel of Christ Church, Oxford; on the site of his apartment at 1 Montague Terrace, Brooklyn Heights; at his apartment in 77 St. Marks Place, New York (damaged and now removed) and at the site of his death at Walfischgasse 5 in Vienna; in his house in Kirchstetten, his study is open to the public upon request. The following list includes only the books of poems and essays that Auden prepared during his lifetime; for a more complete list, including other works and posthumous editions, see W. H. Auden bibliography. In the list
W. H. Auden recalled that in the 1940s Auden "was "the" modern poet". Auden's formal influences were so pervasive in American poetry that the ecstatic style of the Beat Generation was partly a reaction against his influence. From the 1940s through the 1960s, many critics lamented that Auden's work had declined from its earlier promise; Randall Jarrell wrote a series of essays making a case against Auden's later work, and Philip Larkin's "What's Become of Wystan?" (1960) had a wide impact. After his death, some of his poems, notably "Funeral Blues", "Musée des Beaux Arts", "Refugee Blues", "The Unknown Citizen", and "September 1,