Collusive Strangers - Reed, Jeremy
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Jeremy Reed's output has been prodigious. Since 1975 he has published more than forty books of poems, besides countless pamphlets and fugitive pieces, and many novels, biographies and books on cultural history. The full range of his poetry will never be truly known, for he often writes in public places, and if someone expresses interest may give them the poem. By the time this selection appears his tally will have grown further, because he writes continuously. His poems are his diary, his autobiography, his therapy, his addiction. Reed has moved from publisher to publisher, often writing for…mehr

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Produktbeschreibung
Jeremy Reed's output has been prodigious. Since 1975 he has published more than forty books of poems, besides countless pamphlets and fugitive pieces, and many novels, biographies and books on cultural history. The full range of his poetry will never be truly known, for he often writes in public places, and if someone expresses interest may give them the poem. By the time this selection appears his tally will have grown further, because he writes continuously. His poems are his diary, his autobiography, his therapy, his addiction. Reed has moved from publisher to publisher, often writing for several at the same time, and his style has evolved continuously over more than four decades. Formalist, symbolist, language poet, nature-poet, modernist, post-modernist, performance poet: Reed has been all these and more. So who is Jeremy Reed, and why is his work important? He was born in 1951 in Jersey, and educated there and at Essex University. Since finishing postgraduate work at Essex, he has lived mainly as a freelance writer, with all the determination and insecurity that implies. His origins may have some bearing on his work. Jersey is much closer to France than to England; it's probably no accident that Reed's early affinities were with the European Symbolists: he completely bypassed the drab 'Movement' poetry which dominated (and still influences) British writing. Possibly the same factor contributed to Reed's permanent sense of being an outsider in British society.
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Autorenporträt
Jeremy Reed, born on a chip of rock off the coast of French Normandy, has been for decades one of Britain's most dynamic, adventurous and controversial poets. Called by the Independent "British poetry's glam, spangly, shape-shifting answer to David Bowie", his poetry, fiction and performances of his work are singularly inimitable in their opposition to grey mainstream poetry. He has published over 40 books of poetry, fiction and non-fiction, winning prestigious literary prizes such as the Somerset Maugham Award, and, on coming to live in London in the 1980s, was patronised by the artist Francis Bacon. Among his biggest fans have been the late J.G. Ballard, Pete Doherty and Björk, who called his work "'the most beautiful, outrageously brilliant poetry in the world"' Jeremy writes about every subject that British poetry considers taboo: glamour, pop, rock, sci-fi, cyber, mutant, gay, drugs, neuroscience, the disaffected and outlawed, and the fizzy big-city chemistry of the London in which he lives and creates. His performances solo, or with The Ginger Light are unrivalled in intensity.In recent years he has published the first book-length poem on Elvis Presley, 'Heartbreak Hotel' (Orion), 'Saint Billie' (Enitharmon) a book-length poem on Billie Holiday, 'Orange Sunshine', an epic poem on 1960s pop culture, 'Duck and Sally Inside' and 'This is How You Disappear' (both Enitharmon), a book of elegies for dead and missing friends, a biography of Anna Kavan, 'Stranger On Earth', a novel, 'The Grid' (Peter Owen) and his recent book of poetry 'Piccadilly Bongo' contained a 4-track CD from the singer Marc Almond. Amongst his many other recent publications are 'John Stephen, King of Carnaby Street and the 1960s Look' and a book of sci-fi poems 'Honey I Need', with an introduction by J.G. Ballard. He works and performs with musician Itchy Ear as The Ginger Light.