Selected Poems of Thom Gunn Read online

  THOM GUNN

  Selected Poems

  Edited by Clive Wilmer

  To Mike Kitay

  Contents

  Title Page

  Dedication

  Acknowledgements

  Abbreviations and References

  Introduction

  from FIGHTING TERMS (1954)

  The Wound

  Carnal Knowledge

  Lerici

  Tamer and Hawk

  Incident on a Journey

  from THE SENSE OF MOVEMENT (1957)

  On the Move

  At the Back of the North Wind

  Autumn Chapter in a Novel

  The Silver Age

  Elvis Presley

  The Allegory of the Wolf Boy

  Jesus and his Mother

  To Yvor Winters, 1955

  Vox Humana

  from MY SAD CAPTAINS (1961)

  In Santa Maria del Popolo

  Innocence

  Modes of Pleasure (‘New face, strange face, for my unrest’)

  The Byrnies

  Claus von Stauffenberg

  Flying Above California

  Considering the Snail

  The Feel of Hands

  My Sad Captains

  UNCOLLECTED (1960s)

  From an Asian Tent

  from POSITIVES (1965)

  The Old Woman

  from TOUCH (1967)

  The Goddess

  Touch

  Misanthropos

  The Last Man

  Memoirs of the World

  Elegy on the Dust

  The First Man

  Pierce Street

  from MOLY (1971)

  Rites of Passage

  Moly

  For Signs

  Three

  From the Wave

  Street Song

  Grasses

  The Discovery of the Pacific

  Sunlight

  from JACK STRAW’S CASTLE (1976)

  Diagrams

  Iron Landscapes (and the Statue of Liberty)

  Last Days at Teddington

  Jack Straw’s Castle

  An Amorous Debate

  Autobiography

  Yoko

  from THE PASSAGES OF JOY (1982)

  Expression

  Sweet Things

  June

  San Francisco Streets

  Transients and Residents

  Falstaff

  Crystal

  Crosswords

  Interruption

  Talbot Road

  Night Taxi

  from THE MAN WITH NIGHT SWEATS (1992)

  The Hug

  The Differences

  Skateboard

  To Isherwood Dying

  The Stealer

  Nasturtium

  The Man with Night Sweats

  Lament

  Terminal

  Her Pet

  The J Car

  The Missing

  from BOSS CUPID (2000)

  Duncan

  My Mother’s Pride

  The Gas-poker

  To Donald Davie in Heaven

  The Artist as an Old Man

  A Wood near Athens

  Dancing David

  God

  Bathsheba

  Abishag

  Notes

  Index of Titles and First Lines

  About the Author

  By the Same Author

  Copyright

  Acknowledgements

  I first read poems by Thom Gunn in 1962. He was generously represented in A. Alvarez’s Penguin anthology The New Poetry, which had just been published. I had been encouraged by one of my schoolteachers, Peter Hilken, to read the book, and I remember him drawing my attention to Gunn’s selection. Two years later, by luck and coincidence, I met Gunn himself in Cambridge; I was introduced to him by two of my teachers there – Helena Mennie Shire and Tony Tanner – quite independently of one another. This began a friendship of roughly forty years: an unusual friendship since – he living in California and I in Britain – it was mostly based on correspondence, and particularly on news and criticism of one another’s writing. Despite the infrequency of our meetings, there are few people whose company I have enjoyed more. His poetry has meant more to me than that of any poet of my lifetime and I continue to feel a debt to him for the pleasure of reading him, and for the help and advice he gave me as a poet. He was always generous, considerate and, most valuable of all to a young writer, bluntly honest without ever being unkind.

  In the preparation of this book I have had help from many people. I’d like to begin by thanking Ander Gunn for illuminating conversations and letters about his brother’s life. My deepest gratitude is due to Thom’s lifelong partner, Mike Kitay, and to the friends who share his house, Bob Bair and Billy Schuessler. They shared it with Thom, too, for several decades. I have stayed with them on a number of occasions, both in Thom’s lifetime and while working on this book, and they have always been extremely kind and welcoming. They have also been generous with their time, talking over their memories with me – often, in Mike’s case, quite sensitive memories that are not easy to share. Mentioning them calls to mind another close friend of Thom’s, August Kleinzahler, who lives two blocks away. Thom introduced me to him in 1986 and I have valued our many conversations in Britain and America ever since. I am also grateful to him for letting me read Gunn’s letters to Douglas Chambers, of which he has copies.

  Thanks are also due to Michael Nott for giving me transcripts of Gunn’s letters to Karl Miller, which are held in Emory University Library, Atlanta, Georgia. I have used several libraries to do the research for this book, but the key one has been the Bancroft Library at Berkeley. I would like to thank the staff there for their helpfulness and efficiency, particularly Dean Smith, who has taken a personal interest in the work. I am also grateful to Sally Connolly for directing me to specific items in the Gunn collection there. My research would have been a great deal more laborious if it had not been for Gunn’s bibliographers. Jack W. C. Hagstrom, the author with George Bixby of Thom Gunn: A Bibliography (London: Bertram Rota Publishing, 1979), first visited me in the 1970s and was very kind. He and Joshua S. Odell have now produced a new edition of that bibliography, revised, and expanded by the addition of a second volume (New Castle, DE: Oak Knoll Press, 2013). I would like to express my thanks, both personally and professionally, to both Jack and Joshua.

  This book was commissioned for Faber & Faber by Paul Keegan, whose idea it was. I’d like to thank him for his generosity and friendliness, for inviting me to read the Gunn correspondence in the Faber & Faber archive, and for the idea of a selection significantly amplified by quotations from the poet’s essays, letters, readings and conversations. The book has changed a little under my new editor, Matthew Hollis, but I have tried to keep Paul’s original conception in mind. I could name a great many friends and acquaintances with whom I have talked about Gunn to my great profit over the years, but I will confine myself to three. They are all poets themselves and were all admired by Gunn: Dick Davis, Michael Vince and Robert Wells. Gunn’s poetry has been meat and drink to the four of us for more than fifty years and I couldn’t have done without them.

  CW

  Abbreviations and References

  For Thom Gunn’s name I use the initial G. For his books I have used the following abbreviations:

  Collected Poems CP

  Fighting Terms FT

  The Sense of Movement SM

  My Sad Captains MSC

  Jack Straw’s Castle JSC

  The Passages of Joy PJ

  The Man with Night Sweats MNS

  Boss Cupid BC

  The Occasions of Poetry OP

  Shelf L
ife SL

  The notes often refer to interviews with Gunn. These are abbreviated as follows:

  WS W. I. Scobie in London Magazine (December 1977)

  JH John Haffenden, Viewpoints: Poets in Conversation (London: Faber & Faber, 1981)

  CH Christopher Hennessy, ‘An Interview with Thom Gunn’, Outside the Lines: Talking With Contemporary Gay Poets (Ann Arbor: University of Michigan, 2005)

  PR Clive Wilmer in The Paris Review 35 (135) (Summer 1995)

  JC Thom Gunn in Conversation with James Campbell (London: Between the Lines, 2000)

  Gunn’s private papers – notebooks, diaries, letters, etc. – are kept at the Bancroft Library, University of California (Berkeley), abbreviated as ‘Bancroft’. They include the letters of John Holmstrom (JH/Bancroft) and those of Belle Randall (BR/Bancroft). Gunn’s correspondence with his publishers, Faber & Faber (F&F), are held in the Faber offices in London. Letters to Tony Tanner (TT) are in the library of King’s College, Cambridge, those to Karl Miller (KM) at Emory University, Atlanta, Georgia. Those written to, and held by, the present editor are referred to by the initials CW.

  Bible references are to the Authorised (King James) Version. Shakespeare references are to The Complete Works, ed. Stanley Wells and Gary Taylor (Oxford: Clarendon Press, 1986).

  Introduction

  From 1956 to 1966, the Observer had a poetry editor, the critic A. Alvarez. Even in those days it was not to be expected that newspapers would publish poetry, but there was a renewed interest in the art and Alvarez’s enthusiasms were playing a part in it. He spoke up for a poetry that lived ‘on the edge’ and championed young authors impatient with what he called ‘gentility’, then (as he saw it) the prevailing vice of middle-class English culture. Pretty well every week the Observer published a poem, often several poems, and the poets given most prominence were Ted Hughes, Sylvia Plath and Thom Gunn, all then in their late twenties and early thirties. In 1962 Alvarez published an anthology of the poets he admired: The New Poetry. It began with two Americans, Robert Lowell and John Berryman, and represented Gunn and Hughes substantially. (A revised edition included Plath and Anne Sexton.) That same year, 1962, also saw the publication of the Selected Poems of Thom Gunn and Ted Hughes, an attempt by their publisher, Faber & Faber, to showcase the two young men who were increasingly seen as the major figures in an expanding market. This book became an A level set text and, partly as a result, was reprinted six times over the next eleven years. It sold 81,500 copies: a spectacular success for a book of poetry.

  Lowell, Berryman, Plath and Sexton came to be known, rightly or wrongly, as Confessional poets, all of them dealing with extreme forms of personal experience – breakdown, depression, suicide and so on. Alvarez himself preferred to speak of ‘extremist’ poetry, and in that category he was also able to include Ted Hughes, who was noticed for the violence in his work. But what about Gunn? He undoubtedly had a preoccupation with what Browning called ‘the dangerous edge of things’, but he seemed to be a different kind of poet. Some readers of the Gunn/Hughes selection found him difficult, intellectual, too strictly formal, even cold. Gunn was gay at a time when gay people tended not to be open about themselves. He had also lived in the United States for some years and his language had begun to hover between British and American usage. Yet, despite his evident obsessions with leather boys, biker gangs, rock ’n’ roll and the nightlife of sprawling American cities, he did not expose an inner self. People used to talk in the 1960s – perhaps they still do – about true poets ‘finding their own voices’. Gunn appeared not to have a distinctive voice. Indeed, he appeared to have no wish to find one. What he aspired to achieve in poetry was something he found in Elizabethan song – for instance in a song he was fond of quoting, Thomas Campion’s ‘Now winter nights enlarge’:

  This time doth well dispense

  With lovers’ long discourse.

  Much speech hath some defence

  Though beauty no remorse.

  All doe not all things well:

  Some measures comely tread,

  Some knotted Ridles tell,

  Some Poems smoothly read.

  The Summer hath his joyes,

  And Winter his delights;

  Though Love and all his pleasures are but toyes,

  They shorten tedious nights.

  There is in this a certain anonymity of tone, which Gunn sought to emulate. He began by doing so in poems constructed with a comparable musical structure. He later became interested in the open forms of avant-garde American writing, but even in those poems, with their free verse and colloquial turns of phrase, there remains an impersonal touch. Take, for example, this passage from his ‘Sweet Things’, in which a street encounter leads to a sexual proposition:

  Boldly ‘How about now?’ I say

  knowing the answer. My boy

  I could eat you whole. In the long pause

  I gaze at him up and down and

  from his blue sneakers back to the redawning

  one-sided smile. We know our charm.

  We know delay makes pleasure great.

  In our eyes, on our tongues,

  we savour the approaching delight

  of things we know yet are fresh always.

  Sweet things. Sweet things.

  In the last six lines of this passage, Gunn veers away from the personal, the local, the modern, even the specifically gay, and reaches for the general – for a kind of truism, but truism grounded in feeling and experience (as the context reminds us). At this point in the poem, the speaker’s first-person ‘I’ is replaced by ‘we’ and the rhythm briefly shifts to something like the iambic tetrameter:

  We know our charm.

  We know delay makes pleasure great.

  It is not only in Campion or his contemporary John Dowland that we find this but sometimes in Shakespeare and Jonson, to say nothing of Sappho and Catullus. At the same time, no one could accuse the poem of not being modern or of naively aspiring to the universal.

  This taste in Gunn for truism and the impersonal tone went with an attitude to his subject matter that was unfashionable. He was not interested in self-expression. He didn’t write to give a voice to interior anguish. He had a good deal, in fact, to feel anguished about, but, as he suggests in another rather casual free-verse poem, ‘Expression’, he didn’t want to give dramatic expression to it. The students in his creative writing class write, he tells us,

  of breakdown, mental institution,

  and suicide attempt, of which the experience

  does not always seem first-hand.

  It is very poetic poetry.

  Impatient with this, he turns for relief to an ‘early Italian’ Madonna and Child in the nearby art gallery:

  The sight quenches, like water

  after too much birthday cake.

  Solidly there, mother and child

  stare outward, two pairs of matching eyes

  void of expression.

  The absence of expression refreshes because it turns the matter of poetry outward – towards the world. In an essay on William Carlos Williams, Gunn praises that master for being more interested in the world than in himself.

  Some of Gunn’s poetry, like some of Williams’s, seeks simply to register real things, because the interest of things is independent of human emotion. At the same time, Gunn is conscious that putting things into words is also, from the start, an attempt to make sense of them. This view of language was emphatically endorsed for Gunn in the 1950s by his teacher, the Californian poet Yvor Winters, who recommended the poems of Ben Jonson. Jonson became something of a touchstone for Gunn. Jonson prefaced his book of epigrams, The Underwood (1640), with this couplet:

  Pray thee, take care, that tak’st my booke in hand,

  To reade it well: that is, to understand.

  Gunn comments on this in the introduction to his selection of Jonson’s poems in the Penguin Poet to Poet series (1974): ‘The process of understanding’, he wrote, amounts to something ‘m
ore than the business of comprehending the text … Understanding means taking [the poems] to heart, means – ultimately – acting on them’ (OP, p. 110).

  It was Gunn’s misfortune that this highly moralistic view of poetry and its purposes was not what most people wanted to hear in the later twentieth century. While ‘extremist’ preoccupations seemed to prevail in his work he remained fashionable, but by the late 1960s he had moved on to a more humanistic mode of writing, which first communicated itself in his 1967 volume Touch. The high point of his humanistic poetry was attained – paradoxically, it might seem – in a volume of poems about drug-inspired visions and experiences: Moly, published in 1971. In these volumes, Gunn came across as a fully adopted Californian and also as a much happier man than he had at first seemed. The result – in Britain, at any rate – was a drastically reduced readership at precisely that point in his life when (as it will probably now seem) he was writing at his best. The strange thing was that, if private conversation is to be relied on, he cared very little about fame. I once mentioned to him my disquiet as to how unjustly he was estimated. He was silent for a minute and then said, ‘I think I’m famous enough.’ I have come to think that the loss of his youthful celebrity gave him a kind of freedom to experiment.

  Freedom, at any rate, was of the essence. In a memoir of his time as an undergraduate, published in 1977, he tells this story:

  … one day, hitch-hiking along a long narrow dusty road in France, I experienced a revelation of physical and spiritual freedom that I still refer to in my thoughts as the Revelation. It was like the elimination of some enormous but undefined problem that had been across my way and prevented me from moving forward. But now I suddenly found I had the energy for almost anything. And wherever I was … I pushed myself through an apprenticeship in poetry. I was greatly influenced by Auden still … And Donne gave me the licence to be obscure and to find material in the contradictions of one’s own emotions.