I'll be reading on September 5th as part of the celebrations in London for the publication of the 50th issue of Tears in the Fence, one of the indispensable, and more internationally-aware, little magazines of poetry and criticism from the UK. The latest issue features two poems by me, and poems by, among others: Melanie Challenger, John Kinsella, John Welch, Luke Kennard, Isobel Dixon, Jeremy Reed, John James - so you can see its an inclusive and intriguing spectrum. There are also some good reviews and articles by Jennifer K. Dick, Jeremy Hilton, John Stiles, Frances Spurrier, and Dfiza Benson (to name a few). It's a strong issue, and an impressive line-up of talents. Hats off to the editor, David Caddy, and associate editors, Sarah Hopkins, and Tom Chivers.
THAT HANDSOME MAN A PERSONAL BRIEF REVIEW BY TODD SWIFT I could lie and claim Larkin, Yeats , or Dylan Thomas most excited me as a young poet, or even Pound or FT Prince - but the truth be told, it was Thom Gunn I first and most loved when I was young. Precisely, I fell in love with his first two collections, written under a formalist, Elizabethan ( Fulke Greville mainly), Yvor Winters triad of influences - uniquely fused with an interest in homerotica, pop culture ( Brando, Elvis , motorcycles). His best poem 'On The Move' is oddly presented here without the quote that began it usually - Man, you gotta go - which I loved. Gunn was - and remains - so thrilling, to me at least, because so odd. His elegance, poise, and intelligence is all about display, about surface - but the surface of a panther, who ripples with strength beneath the skin. With Gunn, you dressed to have sex. Or so I thought. Because I was queer (I maintain the right to lay claim to that
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Riona
riona@all-leo.com