On the Margins of Great Empires - Duncan, Andrew
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"For the last 30 years, Andrew Duncan has patiently traced alternative wavelengths, to and from the unevocable, irreconcilable and the impossible."-Kevin Nolan "Seeing this sequence as a large, articulated work, put into its sections and with the culminations of a sustained amplitude, I esteem its achievement very highly. It is strong and active with the questions of power which underlie the strength; the instrumentalism of language is put under sustained pressure, both of invention and expression, and the outcome Is negotiated closely across a wide range of historical predicament and moral…mehr

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"For the last 30 years, Andrew Duncan has patiently traced alternative wavelengths, to and from the unevocable, irreconcilable and the impossible."-Kevin Nolan "Seeing this sequence as a large, articulated work, put into its sections and with the culminations of a sustained amplitude, I esteem its achievement very highly. It is strong and active with the questions of power which underlie the strength; the instrumentalism of language is put under sustained pressure, both of invention and expression, and the outcome Is negotiated closely across a wide range of historical predicament and moral passion. The method is conspicuously unoriginal, but its uses are strikingly productive and grand." - J.H. Prynne, on Threads of Iron "… this letter is really about one thing, namely Andrew Duncan's Skeleton looking at Chinese Pictures, which I have been reading at intervals now for some time. I think that certainly it is a remarkable book and I also recognize that I must inhabit a shamefully restricted part of the literary world for me not to have encountered his poetry before this[.] … What I admire most in Duncan's work is his willingness (indeed enthusiasm) for not confining things to any sort of ghetto. He likes as much history and mediaevalism as Pound but he also aspires to a contemporary concern for life in our modern mercantile mess. His chief fault, it seems to me, is a sort of verbal vertigo: too many words spin round and round[.] It's excellent the way he refuses to be cowed by any sort of notion of appropriateness or decorum, so that runic and traditional poetics mix with the city of London and sexual turpitude in modern life. […] There are many properly 'big' poems-something which doesn't get attempted sufficiently these days, presumably because it gives hostages to fortune. If I say that I am reminded at times of Peter Redgrove, Lawrence Durrell, and even David Jones, with a touch of a more unbuttoned Geoffrey Hill, I am not implying any kind of influence ... It is certainly a rich book and now that I have marinaded my mind in it, I expect to return to individual poems with greater pleasure and understanding." -Peter Porter, from a letter.
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Autorenporträt
Andrew Duncan was born in 1956 and brought up in the Midlands. He worked as a labourer (in England and Germany) after leaving school, and subsequently as a project planner with a telecoms manufacturer (1978-87), and as a programmer for the Stock Exchange (1988-91). He subsequently worked for many years in the Civil Service and is based in Nottingham.He has been publishing poetry since his Cambridge days in the late '70s, including Threads of Iron, Skeleton Looking at Chinese Pictures, Anxiety Before Entering a Room, The Imaginary in Geometry, Savage Survivals and Radio Vortex (the last a selected poems translated in to German). He is one of the editors of Angel Exhaust and has translated a lot of modern German poetry. He has published a good deal of literary criticism in recent years, above all The Failure of Conservatism in Modern British Poetry; Centre and Periphery in Modern British Poetry, A Poetry Boom 1990-2010, The Long 1950s, and others also published by Shearsman.