Jeremy Reed
Autor von Delirium: An Interpretation of Arthur Rimbaud
Über den Autor
Bildnachweis: www.jeremyreed.co.uk/
Werke von Jeremy Reed
Anna Kavan: An Illustrated Catalogue 2 Exemplare
It Had To Be You: The Poetry of John Wieners 1 Exemplar
Red carpets and the gutter 1 Exemplar
Soho Johnny 1 Exemplar
Dilly: A History of Piccadilly Rent Boys 1 Exemplar
Marc (For Marc Almond) 1 Exemplar
Altered Balance: A Tribute to Coil 1 Exemplar
nothing shocking 1 Exemplar
Baron Jacques d'Adelsward Fersen 1 Exemplar
Bipolar Disorder: Understanding and Managing Bipolar Disorder, Bipolar Disorder Remedies, Treatments, and Much More! (2014) 1 Exemplar
Elegy for Kathleen Raine 1 Exemplar
Zugehörige Werke
On Entering The Sea: The Erotic and Other Poetry of Nizar Qabbani (1996) — Übersetzer, einige Ausgaben — 36 Exemplare
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Wissenswertes
- Geburtstag
- 1951
- Geschlecht
- male
- Nationalität
- UK
- Geburtsort
- Jersey
- Ausbildung
- University of Essex
- Berufe
- poet
novelist
biographer
poseur - Preise und Auszeichnungen
- European Translation Prize (awarded by The Poetry Society)
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The science fictiony thing just didn't work and Reed's prose about a near dystopian future just did not have the emotional punch it needed to carry the Paul plotline. On the other hand, the prose in The Face portions of the book, the ones set primarily in the 1960's, was marvellous and you could really feel the energy and liveliness of someone who had lived in that era and place writing.
This plotline, I mean The Face one, was quite poignant and moving in the end and said as much as a novel much better known, [b:The Sense of an Ending|10746542|The Sense of an Ending|Julian Barnes|https://d.gr-assets.com/books/1311704453s/10746542.jpg|15657664]. It gave a real sense of having to leave our youth behind and of time passing, even for The Face. It also said a great deal about how truly revolutionary art (music, fashion, design, etc.) gets assimilated by our culture and becomes part of the accepted mainstream forms of entertainment and style. What we are left with is nostalgia, parody, imitation, and pastiche, not originality. That's not to say some of what comes later isn't good and fun as entertainment, but it will never have the impact or verve of the first time around. It is always driving while looking in the rear view mirror too often.
Reed's grasp of the excitement of the Mod and British Invasion era is palpable and his use of metaphor exquisite. His perception of Mod style as the beginning of later, more visible, gay style and culture, are probably right on since most of the Glam Rockers of the 70's got their inspiration from the Mod era in England in the 60's. And on and on these things go.
In the end I felt like a really exciting and literary novel about the Swinging Sixties era and its evolution and devolution, through the eyes of the one iconic character, was marred by the bolting on of the whole sci-fi dystopian world parts of the narrative in order for the whole thing to make a more "believable" whole.… (mehr)