Fortune, who gives and takes away all other human blessings, has no power over courage. |
WEDS: A Writer's Wit | Mary Hunter Austin
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MY BOOK WORLD Gunn, Thom. The Passages of Joy. London: Faber and Faber, 1982. Sad to say I didn’t know who British-American poet Thom Gunn was until I read his recent biography by Michael Nott. Gunn’s life and poetry piqued my interest in that in spite of his seriousness as an artist, he totally buys into the druggie and sexual lifestyle of the nighttime. How can he do . . . or conquer . . . both? This is perhaps Gunn’s ninth collection of poems of a total of over twenty books. The final poem of the collection, “Night Taxi,” may fulfill Gunn’s desire to portray this nocturnal lifestyle, with an opening line like “Open city / uncluttered as a map. / I drive through empty streets scoured by the winds / of midnight” (90). As a taxi driver, the persona continues: “I take short cuts, picking up / speed, from time to time / I switch on the dispatcher’s / litany of addresses . . .” (90). After having established this concrete beginning, Gunn shifts to a more philosophical tone: “Do I pass through the city / or does it pass through me? / I know I have to be loose, / like my light embrace of the wheel, / loose but in control / —though hour by hour I tighten / minutely in the routine, / smoking my palate to ash, / till the last hour of all / will be drudgery, nothing else” (91). Glancing upward I see high above the lamppost but touched by its farthest light a curtain of rain already blowing against black eucalyptus tops (92). The final stanza of this final poem establishes we are most likely in San Francisco, not London. The camphoraceous aroma choking the air, much like Gunn choked life. Or did life choke him? According to Wikipedia, “In April 2004, Gunn died of acute polysubstance abuse, including methamphetamine, at his home in the Haight Ashbury neighbourhood in San Francisco, where he had lived since 1960.” Sad to say this might have been the perfect death for him, and he’d always known, in some small part of his brain, that it would be. Up Next: TUES: A Writer's Wit | Jean Anouilh WEDS: A Writer's Wit | Mercedes Lackey THURS: A Writer's Wit | Dorothy Gilman FRI: A Writer's Wit | Stephen McCauley My Book World | Elizabeth Strout, Lucy by the Sea
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MY BOOK WORLD Nott, Michael. Thom Gunn: A Cool Queer Life. New York: Farrar, 2024. As an American, I had never heard of British-born poet, Thom Gunn, but I was intrigued by the cover (dig those shades reflecting the half-naked photographer) and so bought the book. Almost expecting to lose interest, I, instead, read right to the end (not including Notes, egad) about this transplant to San Francisco. I am now looking forward to locating and reading Gunn’s published works with a certain understanding. The key to getting at the core of Gunn’s life may be that his mother committed suicide when he was a child, and he never really recovered from it. He continued to ruminate over her death, and the topic dominated, at times, his poetry. But as one comes to understand, writing fine poetry (to him, not necessarily editors) helped him to understand all the important elements of his life, including this loss. In one sense, Gunn was successful from the start, the Cambridge graduate placing poems in small journals in London as a young man. Though critical success was important to him, he seemed to be one of those rare artists who could analyze his own work and see what was needed—hardly ever following all the invited advice his (critical) readers would bestow upon him. From the beginning there was tension between how much he would reveal about being gay (many times his only subject matter) and being more veiled about it. Until, that is, he moved to the United States. At any rate, Gunn came to define (with the help of W. H. Auden and John Garrett) poetry as “memorable speech” (42). He never lost sight of that goal—leaving and returning to individual poems, sometimes for years, until they seemed memorable. Gunn lived a lively and unconventional life, even for an out gay man in the 1950s and beyond. He met Mike Kitay when they were both in their early twenties, and they remained together—in one way or another—for the rest of Thom’s life (dying at age 74). Through teaching and lecturing events, as well as grants, Gunn cobbled together a decent living and bought a house in San Francisco. There he and Mike established a commune of sorts, calling the gathered people their family. It was a good and healthful atmosphere, in the main, because none of them had strong relations with or support from their families. Nott’s book goes into great detail about Gunn’s drug use. For many years Gunn perhaps kept it under control, mixing but also rotating his heavy use of alcohol, speed, and sometimes heroin. And he managed to keep, until the end, his body in good physical shape—trying to maintain his attractive looks for tricks. But as he retired, giving up both writing and teaching (and purpose), his drug use became much heavier, and an overdose ultimately occurred, ending his life in 2004. As literary biography goes (and it can get a bit into the weeds), this one is very fine, I think. Nott fully researches all aspects of Gunn’s life with great detail and understanding, bringing to light the most important elements of a poet’s life. And yet one also understands the poet as a human being, a very generous and kind man at that. Up Next: TUES: A Writer's Wit | Benedetto Croce WEDS: A Writer's Wit | Elizabeth George THURS: A Writer's Wit | John Steinbeck FRI: My Book World | William S. Burroughs, Queer Up Next:
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My Book World Gorman, Amanda. Call Us What We Carry: Poems. New York: Viking, 2021. This collection of poetry may be the most innovative one I’ve ever read—quite fitting for one of our youngest and most distinguished poets. Gorman uses a wide variety of poetic forms. Concrete poetry portrays Melville’s whale, and a poem about the Covid Pandemic is a black mask with white print. She devises a series of free forms fitting the subject matter. Yet others are truly novel, for example, in “The Soldiers (or Plummer),” in which her lines representing a young soldier’s diary appear as dated diary pages. The poet seems to be telling the broad sweep of African-American history by searching out every appropriate form and by sweeping out every ignored corner of said history. One reading, as with most fine poetry, will not be enough. And I look forward to Gorman’s next collection. TUES: A Writer's Wit | Margaret Wise Brown WEDS: A Writer's Wit | Elsa Maxwell THURS: A Writer's Wit | Bennett Cerf FRI: My Book World | Denis Johnson, Angels
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AUTHOR
Richard Jespers is a writer living in Lubbock, Texas, USA. BLOG
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