From the Publisher
“Raw anarchistic energy and powerful intellectual control . . . [Gunn's] existential rebelliousness was tempered by a sense of our common humanity.” Edward Hirsch, The Washington Post Book World
“Almost all of Gunn's virtues are on display [in Boss Cupid ]: his playful metrical dexterity, his unflinching celebration both of beauty and of its transience.” Paul Gray, Time
“Gunn allows his patterns of meter, rhyme and stanzaic form to emerge organically from the material . . . One can almost follow this happening on the page, observation finding its proper rhythm, emotion its spiritual level, the poet discovering new moods, new modes of reflection.” William Deresiewicz, The New York Times Book Review
“The tone of sadness Gunn strikes so repeatedly and so well is always mixed with something else, and it's the combination that makes the poetry human and distinct. I feel, reading Thom Gunn, that I am in touch with the complete person--a man lustful but not childish, loving but not deluded, sad but not overcome.” Reed Woodhouse, The Boston Book Review
Gunn was a very funny poet, and it would have been good to see more of that. But of course, his total output ran well over 500 pages, almost all of which are well worth reading, and any selection was bound to have holes critics would cry over. It's to the credit of this remarkable writer that those absences seem unimportant beside what is so rousingly present.
The New York Times
Serious readers of contemporary poetry who agreed on nothing else could agree to admire Thom Gunn. When Gunn died, age 75, in 2004, critics in his native England remembered a tough young writer who gained fast fame in the 1950s, whose cool pentameters praised motorcycles and Elvis; Americans remembered the certainly learned, and yet perpetually youthful poet who made San Francisco his permanent home, a celebrant of gay life in the 1970s, and an elegist of HIV and AIDS in the 1990s, his extreme topics subjected to remarkable formal control. Kleinzahler (Sleeping It Off in Rapid City)-another San Francisco writer, and a friend of Gunn's for decades-has put together a slender, effective selection, from early set pieces ("On the Move") to midcareer retrospectives like "Autobiography" ("The sniff of the real, that's/ what I'd want to get") through the valedictory poems of Boss Cupid (2000), with its long-delayed, careful response to Gunn's mother's suicide. Gunn "became more adventurous as he grew older," says Kleinzahler's avid introduction, and the whole of the poems bear him out. The introduction, and the choice among poems, emphasizes Gunn's adventurous range in technique-quatrains, trimeter stanzas, meticulous free verse, and so on-more than it shows his sometimes adventurous life: Gunn wrote of dance clubs, street protests, drugs, and sex, but also about grief, care and personal loyalty. Though the volume seems too brief, the whole of Gunn's power shines through. He could find many more readers now.
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