Gunn, Thom(son) (Vol. 18)
Gunn, Thom(son) 1929–
Gunn is an English poet now living in the United States. His use of traditional poetic forms contrasts with his occasional use of pop culture subjects; as if, said Stephen Spender, "A. E. Housman were dealing with the subject matter of Howl, or Tennyson were on the side of the Lotus Eaters." (See also CLC, Vols. 3, 6, and Contemporary Authors, Vols. 17-20, rev. ed.)
The title-poem of Thom Gunn's [Jack Straw's Castle] is a scary sequence which concentrates in itself most of the thematic and technical problems this considerable poet now faces. In a famous early Gunn poem, 'Human Condition', the castle image stood for a defiant, existential individualism, spelt out in six tight-lipped stanzas. Today, the personal fortress is depressingly lonely, full of sinister apprehensions (furies with 'mad puppety heads') and nightmares which reproach the poet for dreaming them. It has more rooms and voices than he can comprehend, ominous cellars, and a staircase which stops in air. And it takes nine pages and 11 sections before he can bring himself to live with the man he finds in it. Coming to terms with all this appears to have been a harsh necessity. But the poem only partially works: read as a whole, it feels wilfully bizarre, and ragged in structure.
This newly vulnerable Gunn, at times almost inarticulate with self-doubt ('nothing outside the bone / nothing accessible / the ambush and taking of / meaning were nothing'), is a very different proposition from the brutally confident persona of the earlier books. There is some real gain in the gentler, more patient attention to detail in 'Thomas Bewick' or 'Last Days at Teddington'…. But other poems here leave the impression that this is still uncertain territory for him…. 'Hampstead: the Horse Chestnut Trees' and 'Autobiography' ('longing so...
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Catharine R. Stimpson
Among modern British poets, [Thom Gunn]—like Donald Davie or Charles Tomlinson—helps to dramatize the encounter, neither churlish nor chauvinistic, between a talent England has educated and a career America has engaged. (pp. 391-92)
Gunn's texts, both surface and hidden, assign place several meanings. The first is the body itself, the flesh within which we dwell. That occupation often seems uneasy, the body a marred counter in games of identity. Gunn explicitly mourns his generation's discomfort with the physical self. In "Three," for example, the speaker is alone on a California beach. He watches a family: father, mother, little boy. The child is "rapt in endless play," but the adults "had to learn their nakedness." (p. 392)
The body is most often at ease as the agent of human will, the weapon of the existential subject. In such poems as "Lerici," "My Sad Captains," or the first of the two "Modes of Pleasure," the sexual male personifies the energetic will. Gunn uses the Elizabethan pun on "spend" to mix ejaculation and defiance. His notorious poems about motorcycle boys are more sceptical of leather-and-steel dandyism than a casual reader might assume. Nevertheless, the costumed rider and the bike itself are outward and visible signs of a drive towards self-definition.
A second meaning of place, more conventional, is the external physical world. Gunn's distrust of nature, his perception of it...
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[Thom Gunn's work] has reached something of a culmination and turning point in Jack Straw's Castle…. (p. 108)
The nature of Gunn's development can be glimpsed in three 'mirror' poems. The persona of "The Corridor" (1957) peeps through a keyhole at an act of love. He masters his ambivalent reaction by willing not to participate in such pleasure in order not "to be mastered" or become "the inhabitant/Of someone else's world, a mere shred to fit." But when he discovers he is being watched in a distant glass his self-denial of pleasure to preserve a fictional privacy becomes pointless. Yet, though Gunn's persona is prepared to meet the watcher as a friend, it's clear this compromising 'other' is a stranger.
"The Messenger" (1971) intensifies the ambivalent pulls. A man stares "At one red flower he dares not know," though he tries to echo and become it like a mirror and search out a face in it that yet remains one "without a name." The poem is LSD influenced, the image suggestive of the eternal self (unconscious being) that he "dares not know" for fear of self-annihilation (becoming "a mere shred to fit").
Contrast this to "Behind The Mirror" in Jack Straw's Castle where Gunn realizes the 'other's' gaze is his own in a mirror…. The poem turns to Narcissus who "glares into the pool" as Gunn into the mirror but sees "only the other," unlike Gunn who now watches the watcher, "The Corridor"...
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It makes sense to me, as an Englishman living in the United States, to say that British English has lost its innocence, where American English hasn't. At any rate, when I read Thom Gunn, an expatriate of longer standing, along with any able American …, that's the first overpowering impression that I get: how many more centuries of usage Gunn's English must take account of and be burdened with! (pp. 36-7)
It's [an] ultimate constriction in Gunn's poetry—not anything in his psyche but (as I believe) inherent in the British English which is his medium—that moves me most deeply. So in his "Autobiography," it isn't the London references that move me, but the enormous difficulty that British English has—having, as it were, suffered so much—in registering inclusiveness…. (p. 37)
Gunn in fact has resisted, has done his best to abjure, the facile forms that British knowingness took in his generation: the more or less glibly deprecating ironies, for instance. His strategy for doing so was unexpected and admirable: since his medium trailed with it distracting echoes from earlier centuries, he decided to dig back into those centuries further than his British contemporaries, to recover that phase of British English—Donne's, Marlowe's, above all Shakespeare's—in which the language could register without embarrassment the affirmative, the frankly heroic. In some early poems that he has sensibly left out of...
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Eliot wrote of James that he was "difficult for English readers because he is an American; and … for Americans, because he is European…." Thom Gunn reverses the direction….
Some poets who suffer their reputations have positively constructed them. Gunn's willful exile or assumed estrangement takes up certain burdens in exchange for certain liberties. I have the sense that his situation—nationless, speechless, placeless, almost a name without an address—suits him exactly, and makes for him the kind of island Yeats was always imagining….
For Gunn's is a voice that wishes to fly any nets that would entrap it, nets of family or nation or doctrine; he has cherished silence, exile and cunning in an American city. If his exile is a vantage point, it is also a vision: life pared down to its nakedness….
This Selected Poems is a remarkable book, consistent in its bleak detachment, varied in style and manner, an anthology of changing voices chanting the same song. It starts with the young poet, a Cambridge undergraduate, writing vigorous stanzas of pentameter, poems constructed of large conceits inventively fleshed out…. The language begins as English and progresses toward American. (p. 472)
Along the way Gunn writes the best syllabic verse of his generation, notably in the title poem of an earlier volume, My Sad Captains…. No one has used so well the strange but...
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M. L. Rosenthal
[Thom Gunn] is unusual among English poets in allowing himself to reveal vulnerability. Without self-pity, and often hesitantly inward, he implies a half-reluctant, all but passive fascination with the unknown and the forbidden. We can follow its progress through the years [in his Selected Poems], from the wavering "Wind in the Street" through the astringent "A Map of the City" (in which private and social "malady" is linked with "endless potentiality" and "my love of chance") to the disillusioned yet persistent "The Idea of Trust." These poems, especially the third, reflect a peculiarly contemporary habit of mind: the hope that one throw of the dice can redeem something, make room for significant experience, no matter how depressive the general terms of life.
And yet Mr. Gunn is not lugubrious. His best work is exploratory in a courageously candid way…. In "Moly" … the bestial and the human in ourselves are seen struggling to engulf one another; the agony is projected in allegorical symbols borrowed from the Odyssey but suggestive of drug-induced hallucinatory states.
In many of Mr. Gunn's poems, introspection rises to a sort of surrealistic, terrified pitch reminiscent of the work of Sylvia Plath and Ramon Guthrie. (p. 20)
At the same time, Mr. Gunn can be very humanly direct, as in the plain-spoken monologue called "Sparrow." He can also combine richness, subtlety and forthright...
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With versatile literary allusions and metaphysical wit, [Thom Gunn's early poems] use the manners of the past to cope with modern situations. In this they remain true to the spirit of postwar Britain, open to new ideas while bound by archaic rituals. "The Wound" is about a trauma whose cure involves frequent changes of identity, and this contemporary subject is defiantly set on the Trojan battlefield of Troilus and Cressida. "The Beach Head" rehearses the play of love as a mock-heroic war game with Shakespearian (Marlowe Society) bravado…. Here are many of his themes: the cult of male energy, the self-destructive lure of danger, the lack of a positive sense of direction, the need to pose as another person, the separateness of lovers. There is also the delight in style for its own sake….
In Gunn's poetry a metaphysical game of ideas and feelings is played with words. Arbitrary rules govern the play of violent or self-destructive forces on a limited field of action. Soldier, motorcyclist, hustler, panhandler, or thief perform their butch parts in smoothly rhymed stanzas or free verse of transparent liquidity. The structure of the poems often has the duality of a male contest. Women appear only as goddesses or mothers or cherry trees. Energy toils to overcome inertia; lover wrestles man to man with alienation; mechanized goggled youth explodes across the dirt of nature; knowledge refines ignorance which consumes knowledge. The...
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James Finn Cotter
Thom Gunn possesses the poetic gift of an ego open to Self, as [Selected Poems] demonstrates. From the start he found nonce symbols in wound, wind, lighthouse, or looking glass to embody his inner experiences. Both in technique and approach he appeared a traditionalist, but his inspiration and language marked him an original speaker: "I was myself: subject to no man's breath." The familiar matter of "Tamer and Hawk" becomes another experience when we hear the hawk tell us:
I thought I was so tough,
But gentled at your hands,
Cannot be quick enough
To fly for you and show
That when I go I go
At your commands.
Yet the poem does not present a romantic identification of the poet and the bird, rather the hawk represents the ego's true relationship to the Self: "The habit of your words/Has hooded me." The poem concludes with an echo of the scriptural injunction to lose one's life in order to find it: "I lose to keep, and choose/Tamer as prey." The dramatization of two consciousnesses finds its proper emblem for wholeness in the bond between bird and man. (p. 133)
Gunn is a chameleon in his mature poems: a tattoo artist, a...
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