Canada's winter-discontent games are whizzing like a snowball with a rock in it. On the one hand, the opening ceremonies folded the Luge tragedy into the pomp like the end of Star Wars with Jacques Rogges solemnly ruling over his quasi-fictive utopia with emotive solidity; on the other hand, the rain has postponed events, Heil lost her golden moment, and Celine Dion didn't sing at the opening, where dysfunction kept some of the pillars slow to rise; on the other hand, KD Lang sang Cohen with genius and it was good to see the fiddle and Who Has Seen the Wind back in pride of place; on the other hand, the display of oil-rich Cannuck bravado was off putting - though what other nation (GB?) would place a slam champ on a pedestal to mouth stirring sub-Cicero corn? The rise of spoken word at the games confirms my Poetry Nation prediction of 12 years ago. Hopefully neither sleet nor Heil will slow the games as they slide on. The black arm bands are the lining of a silver games that so badly wanted to stay golden.
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
Comments