In One Summer Evening at the Falls, Peter Campion writes about modern love. In narrative poems and traditional lyrics, in both formal and free verse, he writes from a surprising array of perspectives: desire and loss, betrayal and guilt, and commitment and renewal. Voices proliferate in these poems, translation gives way to found speech, autobiography trades places with dramatic monologue, and casual storytelling takes on an almost ritual intensity. For all his meticulous, formal patterning, however, Campion remains open to spontaneity and disruption. He renders the people in his poems with the depth and distinctiveness they deserve, and represents messy, contemporary life with a vivacity that suggests that the times we live in, for all their depredations, may also be worthy of our love. Campion looks at how love both undoes us and makes us who we are. Throughout, we see Campion balancing virtuosic writing with classical sturdiness. It's a surprising look at contemporary intimacy, and Campion's most far-reaching collection of poems to date"--
Poem to Fire Fast transparency that explodes the fuel and air in the cylinder and shuts the intake valves and thrusts down on the piston so the crankshaft spins and spins you cut through all material that blocks your way so fast that driving now past rushes and billboards this pull to her could be your own impersonal presence cloaked in the day to day of the malls and condos all those wired sensors keeping on guard for you except you flicker even inside the wet wall where papillary muscle makes that sweet pulsation in whatever room she's moving through this moment under the cotton and the cool smoothness tinted blue In this debut collection, Peter Campion explores both the gaps and the connections between the self and others. Like the "night blooming jasmine leaving its warm trace," these poems arise out of the dark. A man awakens in a hotel room to find the neighboring voices merging with the anguished souls of his nightmare. A woman living alone beside the ocean hears the words of the dead echo in the crashing waves. But if these poems convey a feeling of an enduring emptiness, they also offer us the most vital intimacies. In one poem, two lovers traverse the industrial sweep of strip malls and office towers to arrive at their rendezvous. In another, the seemingly simple memory of a mother playing with her sons at a park bridges a chasm of pain and loss. With great poise, keen insight, and formal skill, Campion moves between shared experience and interior life in the shifting textures of Other People. Whether writing in rhymed couplets or free verse, he matches a deep understanding of the poetic tradition with his own imaginative feel for structure. "The 'other people' of the title of this extraordinary book are fully alive in the life of its language; and so is the poet observing them, and observing himself, as one of them. The book is a sympathetic and unsentimental instrument of truth."—David Ferry
What do American poets mean when they talk about freedom? How can form help us understand questions about what shapes we want to give our poetic lives, and how much power we have to choose those shapes? For that matter, what do we even mean by we? In this collection of essays, Peter Campion gathers his thoughts on these questions and more to form an evolutionary history of the past century of American poetry. Through close readings of the great modernists, midcentury objectivists, late twentieth-century poets, his contemporaries, and more, Campion unearths an American poetic landscape that is subtler and more varied than most critics have allowed. He discovers commonalities among poets considered opposites, dramatizes how form and history are mutually entailing, and explores how the conventions of poetry, its inheritance, and its inventions sprang from the tensions of ordinary life. At its core, this is a book about poetic making, one that reveals how the best poets not only receive but understand and adapt what comes before them, reinterpreting the history of their art to create work that is, indeed, radical as reality.
In El Dorado, Peter Campion explores what it feels like to live in America right now, at the beginning of the twenty-first century. Splicing cell-phone chatter with translations of ancient poems, jump-cutting from traditional to invented forms, and turning his high-res lens on everything from box stores to trout streams to airport lounges, Campion renders both personal and collective experience with capacious and subtle skill.
Peter’s interest in poetry writing began 17 years ago when his first grandchildren were born, and is prompted by emotional experiences, tending to focus on medical, religious, family and nature themes. Peter was born in 1946, now aged 74. He went to Southend High School where he gained an open exhibition to study Medicine at Pembroke College Oxford. After four years at Oxford he went to the London Hospital Medical College and then to Great Ormond Street, where he studied Paediatrics. He decided on a career in General Practice and became a trainer, then lecturer and finally Professor of Primary Care in Hull. Always having a strong Christian faith, Peter has been an active member of his local Church. He has four children and eight grandchildren and has enjoyed travelling with his wife Janet, particularly to the east coast of Scotland.
Whether plein air or in the studio, Mitchell Johnson revels in the act of painting. His air, sun-splashed landscapes of Italy, northern California and New Mexico vibrates with an energy culled from years of painting on site. The seemingly casual nature of his compositions are the results of a dedicated studio practice. Schooled in the rigors of New York abstraction, Johnson does not abandon representation but rather constructs a context for it: color becomes form, line becomes definition, and paint becomes space. With these tools Mitchell Johnson presents us with his unique vision of the world. Throughout the ten years of our association, it is the joy and playfulness of his paintings that I find most attractive. Johnson will let the implied, blurry movement or the ghost of a figure that has been edited out remain as a clue or alternative. Tractors and airplanes, the patterns on beach umbrellas, or the line of a series of trees, are all the elements which in combination give each Johnson painting unique perspective."--Jacket.
How can a doctor best understand the emotions and behaviour of his or her patients? An effective and deeply satisfying route is through an appreciation of literature and the profound understanding its authors have of the human predicament. In this extraordinary and enlightening volume general practitioner John Salinsky guides the reader through some of the world's finest works. In each chapter he describes a classic novel short story play or poem revealing them to be easily accessible and enjoyable. He shows how parallels can be drawn between characters in literature and in the consulting room. Developed from his long-running column in the journal Education for Primary Care (formerly Education in General Practice) Dr Salinsky's book gives doctors a new perspective on the doctor-patient relationship and provides unique support to communication skills.
For almost 120 years, the company of Moreland's manufactured England's Glory matches, at Gloucester's Bristol Road, growing rapidly to become one of Britain's largest manufacturers of matches - equal to Swan Vesta and Bryant & May. This book tells the story of Moreland's.
The work of Kim Frohsin's Figures with Edges sears itself into being. Few contemporary painters manage her sheer vivacity of color and form. And her talent extends beyond formal skill (as she) reveals a deep compassion for the expressive force of the body.
In this extraordinary and ambitious book, Peter Lake examines how different sections of sixteenth- and early seventeenth-century England - protestant, puritan and catholic, the press and the popular stage - sought to enlist these pamphlets to their own ideological and commercial purposes.".
The story of Jim and Tom Campion, a father and son who share a passion for the water. Jim is a high achiever - Tom has Down Syndrome and they have struggled to love and accept each other. Tom and his Adventurers Club go on a white water rafting weekend with two carers. Jim, at the insistence of his wife Fran, is to drive and join them. Fran has told Jim that she is not sure that she can love Jim anymore as she does not believe that he has allowed himself to love Tom in the same way he loves James, their older son. The rafting trip is a test of love. Challenging the stability of a marriage and what can wrench it apart or fritter it away; the constitution of a perfect family; independence and adventure; living with disabilities - this novel is about love.
Some artists we admire for their formal skill, and others for their quicksilver spontaneity, but there's a third, rarer type: the artist for whom mastery and intuition are fused inseparably. Kim Frohsin is this kind of artist. Her work reveals a gorgeous braiding of form and process, as she draws from the models capturing a range of emotions as they uncoil their way through the body, seeking expression in gesture. "How can we know the dancer from the dance," Yeats asked in one of his most famous poems. Kim Frohsin's art brings us to that same moment of wonder.
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