The northern word for hometown, 'toon', flickers in meaning between
'tune' and 'cartoon'. In Bill Herbert's big bumper book, the title
toon is Troy: the first lost home. Exiled to a lighthouse on the
River Tyne, the wily Scots maestro has written a book in love with
lost and difficult things. Sometimes reflective, sometimes
subversively mischievous, he registers or rails against
displacement and resettlement, lamenting the passing of relatives,
cities, furniture, and the odd lemur. Plugged in to the poetry
zeitgeist as ever, Herbert has revived a medieval publishing craze:
the Troybook. Painstaking excavation of old comics establishes that
the original site of Troytoon is Dundee. Or Madrid. Or possibly St
Petersburg. The search for traces of Troy leads to Donegal, Crete,
and, at the heart of his grand tour, a vivid verse journal set in
post-perestroika Moscow. Dust off your highest brow and fasten your
seatbelt, we're flying Economy to Byzantium. The Big Bumper Book of
Troy is driven by sudden shifts of register - English to Scots,
free verse to antique stanza, page to performance, narrative to
lyric. Everything has become a dialect, yet - cheekily borrowing
the Russian composer Schnittke's term - Herbert aims at a
disrespectful polystylist unity. It is his most unorthodox
rebellion yet against the dictatorship of the slim volume. A riot
of colourful humour, a revolution in poetic taste.
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