For the second half of his long life, Christopher Logue (1926-2011) - political rebel, inventor of the poster poem, pioneer of poetry and jazz - was at work on a very different project: a rewriting of Homer's Iliad. The volumes that appeared from War Music (1981) onwards were distinct from translations, in that they set out to be a radical reimagining and reconfiguration of Homer's tale of warfare, human folly and the power of the gods, in a language and style of verse that were emphatically modern. As each instalment, from Kings to Cold Calls, was published, it became clear that this was to be Logue's masterpiece. Sadly, illness prevented him from finishing it. Enough, however, of his projected final volume, Big Men Falling a Long Way, survives in notebook drafts to give a clear sense of its shape, as well as some of its dramatic high points. These have been gathered into an appendix by Logue's friend and one-time editor, Christopher Reid. The result comes as near as possible to representing the poet's complete vision, and confirms what his admirers have long known, that Collected War Music is one of the great poems of our time.

The arrangement of these Selected Poems demonstrates the consistency of Christopher Logue's vision as it matured through a varied career. He published his first books in the early 1950s, in Paris, where he was associated with Alexander Trocchi, Samuel Beckett and Maurice Girodias. Returning to London in time for the sixties, he wrote plays and a musical for the Royal Court, began the vogue for public poetry readings, recorded Red Bird, the most successful British poetry/jazz disc, and invented the poster poem. He published his poems in many forms, including - again his own invention - New Numbers, a constantly changing collage, which appears here in its final form. The selection culminates in an early treatment of a passage from his version of Homer's Iliad - 'the best . . . since Pope's' (New York Review of Books) - and it illustrates Logue's belief in the power of poetry as a social force - dissident, sensual and humorous.

Selected Poems gives the reader a proper idea of Christopher Logue's lyrical gifts, as well as his irrepressible outspokenness and sense of artistic adventure. It contains fine poems which have been out of print for too long and others now regarded as classics.

Ken Russell helms this graphic 1971 adaptation of a documented witchcraft case, which took place in France in 1634. Outspoken priest Urbain Grandier (Oliver Reed) finds himself accused of seducing a group of hysterical nuns while in demon form by Mother Superior Sister Jeanne (Vanessa Redgrave), who is obsessed with Grandier and driven into a fit of envy when he marries another woman. With the involvement of charismatic exorcist Father Barre (Michael Gothard), the affair turns into a sordid mass exorcism of the tainted convent. With much controversy surrounding its subject matter of religion combined with violence and sex, many cuts were made to the film in order for it to attain certification.

In this series, a contemporary poet advocates a poet of the past or present whom they have particularly admired. By their selection of verses and by the personal and critical reactions they express, the selectors offer intriguing insight into their own work.

"Setting down her topaz saucer heaped with nectarine jelly, "
"Emptying her blood-red mouth--set in her ice-white face--"
"Teenaged Athena jumped up and shrieked: "
""Kill! Kill for me!"
"Better to die than live without killing!""
"Who says prayer does no good?"
Christopher Logue's work in progress, his Iliad, has been called "the best translation of Homer since Pope's" ("The New York Review of Books"). Here in "All Day Permanent Red "is doomed Hector, the lion, "slam-scattering the herd" at the height of his powers. Here is the Greek army rising with a sound like a "sky-wide Venetian blind." Here is an arrow's tunnel, "the width of a lipstick," through a neck. Like Homer himself, Logue is quick to mix the ancient and the new, because his Troy exists outside time, and no translator has a more Homeric interest in the truth of battle, or in the absurdity and sublimity of war.

"All Day Permanent Red" is the fourth installment of Christopher Logue's account of the "Iliad", the first three of which were collected in "Homer: War Music" (2001). In this new episode, Logue focuses upon the various battle scenes of the classic text, further testifying to the standing of these translations as a modern landmark in their own right.