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'I write about love, I write about friendship,' remarked Thom Gunn:
'I find that they are absolutely intertwined.' These core values
permeate his correspondence with friends, family, lovers, and
fellow poets, and shed new light on 'one of the most singular and
compelling poets in English during the past half-century' (Times
Literary Supplement). These letters reveal the evolution of Gunn's
work and illuminate the fascinating life that informed his poems:
his struggle to come to terms with his mother's suicide; his
changing relationship with his life partner, Mike Kitay; the LSD
trips that led to his celebrated collection Moly (1971); and the
deaths of friends from AIDS that inspired the powerful, unsparing
elegies of The Man with Night Sweats (1992).
A beloved teddy bear, stuffed with love, tells a deeply felt and
tenderly observed story of growing up and the new sibling
experience.Teddy and My are made for each other-literally in the
case of Teddy, a bear lovingly stitched and stuffed by Grandma for
her newborn granddaughter. From eating mushy vegetables to playing
with blocks, Teddy is there every step of the way as the baby grows
older. Even as the little girl goes to school and makes new
friends, she can always count on Teddy for playtime, comfort, and
friendship. As she leaves early childhood behind, My comes to rely
on Teddy less and less. But Teddy still has an important role to
play in My's life. In an act of welcome and tremendous love, My
decides to give Teddy to her newborn baby brother, who needs Teddy
just as much now as she once did.
From amateur experiments in scrapbooks and stereographs to
contemporary photobook collaborations between leading
practitioners, poets and photographers have created an art form
that continues to evolve and deserves critical exploration.
Photopoetry 1845-2015: A Critical History represents the first
account of this challenging and diverse body of work. Nott traces
the development of photopoetic collaboration from its roots in
19th-century illustrative practices to the present day. Focusing on
work from the UK and US, he examines how and why poets and
photographers collaborate, and explores the currents of exchange
and engagement between poems and photographs on the page. The book
not only considers canonical figures, but brings to light forgotten
practitioners whose work questioned and shaped the relationship
between word and image. Photopoetry 1845-2015, a Critical History
provides a new lens through which to explore poetry, photography,
and the spaces between them.
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