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Charles Tomlinson
Ever since his early collections of the late 1950s and early 1960s repudiated the parochialism of some of the 'Movement' poets, Charles Tomlinson has formed a unique voice in contemporary British Poetry. Cosmopolitan, intellectual, and polyglot, he has achieved an original blend of the high modernist tradition, English Romantic aesthetics and contemporary phenomenology. His work forms, in his own words, a 'phenomenology of perception', one adapted to what could be termed an environmentalist ethic and aesthetic, a defence of the irreducible idioms of 'place'. This book, the first on this major English writer from a British publisher, forms a comprehensive defence of Tomlinson's project, including his work as a graphic artist, as a translator, and as a participator in experiments in multiple authorship and multi-lingual poetry.
Passionate Intellect
This critical study looks at the first four decades of Charles Tomlinson’s poetic career, and is the only published full-scale, exclusive treatment of his poetry. Tomlinson is a major British poet whose work has received more recognition in North America and continental Europe than it has in his own country, where still, in some quarters, its character is misunderstood and therefore misjudged. The purpose of Kirkham’s study is to increase understanding and appreciation of the exceptional achievement of Tomlinson’s poetry, emphasising both the startling originality of his vision – a unified vision of a natural-human world – and the subtlety of his poetic art. The study is a reading ...
In Black & White
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Charles Tomlinson and the Objective Tradition
"The poetry of Charles Tomlinson is distinguished by its respect for the world as objective fact - as set apart from human mythmaking, symbolizing, and egotistic projection. In Charles Tomlinson and the Objective Tradition, Richard Swigg examines the amazingly versatile speech and relationship that Tomlinson has brought to the concreteness of nature and city from the early poems of the 1940s up to the late 1980s by assessing the achievement within an Anglo-American tradition of factuality from which Tomlinson has drawn strength and which his work now illuminates." "Blake's gleaming particularities, Constable's "science" of painting, Ruskin's visual energy, Emerson's and Wordsworth's delight ...
World as Event
"In 1962, when asked whether it was a good or bad period for writing poetry, Robert Graves replied, not unreasonably, 'there's nothing wrong with the period, but where are the poets?'" -- from the introduction to The World as Event. Brian John suggests that the work of Charles Tomlinson should be granted equal prominence. Tomlinson, never an imitator, has remained isolated from groups and uninfluenced by movements. Although his reputation as a major contemporary British poet was established early in the United States, his work met with little notice in Great Britain. Even now, he is more accepted and appreciated outside his homeland. Tomlinson suffers, as did Keats and Tennyson, from the acc...
The Poetry of Charles Tomlinson
Throughout Charles Tomlinson's fifty-year career, borders have served him as setting, topic, theme, leitmotif, metaphor, and formal principle. Encompassing discussion of more than two hundred individual poems, this study offers a coherent framework for understanding the body of work created by a major, late twentieth-century poet. The borders he explores are spatial, temporal, perceptual, and ideological; thus they comprehend a wide range of concerns, from the ecological to the sociopolitical, the philosophical, the ethical, and the aesthetic. The poems focus on places, literal and figurative, where disparate realms converge, e.g., sites of political and cultural displacement, of theological or economic confrontation. Defining what lies on either side of a given boundary, Tomlinson's work invites a back-and-forth process of comparison and contrast; hence it fosters a dynamic and multifaceted awareness. A commitment to principles of juxtaposition and counterpoint influences the prosodical workings of the poetry as well, manifesting itself in structural patterns, in figurative usage, in deployment of rhyme, in line, in syntax, and in diction.
Charles Tomlinson
"This volume introduces Tomlinson and examines his work as poet and as painter. In addition, an essay by Charles Tomlinson reflects his own personal perspective on the relationship between poet and painter."--Dust jacket.
The Shaft
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Swimming Chenango Lake
William Carlos Williams valued Charles Tomlinson's poetry: 'He has divided his line according to a new measure learned, perhaps, for a new world. It gives a refreshing rustle or seething to the words which bespeak the entrance of a new life.' Of all the poets of his generation, Charles Tomlinson was most alert to English and translated poetry from other worlds. The Mexican poet Octavio Paz admired how he saw 'the world as event... He is fascinated – with his eyes open: a lucid fascination – by the universal busyness, the continuous generation and degeneration of things.' Tomlinson's take on the world is sensuous; it is also deeply thoughtful, even metaphysical. He spoke of 'sensuous cerebration' as a way of being in the world. His poems are always experimenting with impression and expression. This dynamic selection, edited by the poet and Ted Hughes Award winner David Morley, presents Tomlinson to a new generation of readers.
A Peopled Landscape
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