Carcanet Press - Gregory Woods

About
Biography
Reviews

Gregory Woods was born in Egypt in 1953 and grew up in Ghana. He began his teaching career at the University of Salerno and now works at Nottingham Trent University, where he was appointed Professor of Gay and Lesbian Studies in 1998. His was the first such appointment in the United Kingdom. He was awarded a PhD by the University of East Anglia in 1983, and a DLitt in 2006. In addition to his poetry collections, all published by Carcanet Press, he is also the author of a number of critical books, including Articulate Flesh: Male Homo-eroticism and Modern Poetry (1987) and A History of Gay Literature: The Male Tradition (1998), both from Yale University Press. He has been a member of the board of directors of East Midlands Arts and is a Fellow of the English Association.

Praise for Gregory Woods:

Quidnunc (2007)

Peter Porter:

To make comical history as serious as it is absurd in two sequences—‘The Newstead Fandango’, where the story of Lord Byron is filtered through Ulysses’ home run, and ‘Sir Osbert’s Complaint’, which puts the Sitwell family in the pillory while retaining sympathy for Osbert’s lonely end—this could only be Gregory Woods in action, the poet with the sharpest technique for social verse in Britain today. He lets off fireworks through the official groves of English literature.

Matt Simpson, Stride Magazine (February 2008):

The poems of Gregory Woods have never failed to impress me. When a book like Quidnunc, his fourth collection from Carcanet, makes its appearance, it makes me seriously wonder what the selectors and pre-selectors for prestigious awards are up to. Why isn’t Gregory Woods’ name up there? For a start there are few poets around who can rival him technically … Not only does he impress with his gift for sustaining poems over some length, he can dazzle with spectacular rhyming …This is a solid and hugely readable collection with many more things to admire than just the technical accomplishments … Woods is a poet whose thinking is razor-sharp, his wit highly inventive, his sense of history acute, his narratives finely sculpted, his feelings deeply sourced.

Giuseppe Albano, Chroma (September 2008):

In this, his fourth, volume, Woods’s dramatic range and technical ambition are greater than ever … His poetry has never been more alive.

John Lucas, Staple (Summer/Autumn 2008):

This new collection, his fourth, is his best so far, which, given how accomplished were the previous three, I intend as high praise … Woods is, indeed, a quite astonishingly gifted formalist. You feel that there’s no kind of verse he couldn’t use, adapt, subvert, play games with … ‘The Newstead Fandango’ and ‘Sir Osbert’s Complaint’ alone ought to be enough to have won Quidnunc any poetry prize going. And there are other poems equally deserving of note in this brilliantly assured collection. In fact, there’s almost nothing that falls below the level of good, and several poems that are quite simply outstanding … When I think of the dross that is regularly published, noticed, praised, rewarded, and then consider that for the most part Woods goes without recognition, I’m not so much aghast as enraged at the (still largely London) cabal that decides poetic worth in England.

The District Commissioner's Dreams (2002)

Adam Mars-Jones, the Observer, books of the year 2002: 'In poetry I was very impressed by the technical resourcefulness and emotional range of Gregory Woods's The District Commissioner's Dreams.'

Robert Hamberger, County Lit (Winter 2002-03): 'By turns witty and coolly ironic, authoritative, sensuous and impassioned. The District Commissioner's Dreams marks an already accomplished poet varying his voice and extending his thematic range. As reviewers say: I urge you to buy it. Prepare to be impressed.'

Michael Thomas, Other Poetry (Summer 2003): 'Woods' tonal range allows him to employ a number of different voices in a variety of forms: sequences of mythology appear side by side with lyrics of terse couplets. This is poetry with a decided edge.'

John Greening, London Magazine: 'I suppose a Professor of Gay and Lesbian Studies has a professional obligation to write about these areas, but I'd have welcomed a few poems about trees or fly-fishing.'

May I Say Nothing (1998)

Michael Laycock, The Pink Paper (13/11/98): 'Considering it's written by an academic, the subjects dealt with are easily fathomable and will have any gay man smiling or crying with recognition ... A swift enjoyable read that lingers in the mind.'

Alan Sinfield, Gay Times, books of the year 1998 (12/98): 'Combines assurance of language with a range of erotic adventures. The writing is often witty in its precision, even while encapsulating a bold, and somewhat edgy, range of sexual scenarios.'

Peter Klappert, Lambda Book Report (04/99): 'Endlessly quotable--pithy, often epigrammatic and written with such cool control of form and irony that it chills the very passions it arouses ... Woods' poetry is smart in every sense of the word: intelligent, stylish and stinging.'

John Lucas, The Dark Horse (Winter 2001-02): 'Gregory Woods' poetry is very good indeed ... formidable technical panache ... extraordinarily skilful with rhyme ... "This Bird, That" perhaps recalls Auden, but it has an intellectual sinuousness and formal dexterity that the master would surely have admired.'

We Have the Melon (1992)

Sir Stephen Spender: 'The poems of Gregory Woods fall into a Latinate tradition of poetry with a subject matter which might be described as pagan. They remind me often of the work of the Italian poet Sandro Penna ... The subject matter may seem raw but in economy and beauty of expression they have a kind of purity ... I have read Gregory Woods' poems with real excitement.'

Thom Gunn: 'I'm not sure that I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods, "Fall" and "Silence", in a magazine. I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling. In the sixty-line "Fall" the rimes riches have a strangely bruising effect, which accumulates to a sadness which is difficult to bear. "Silence" consists of two short related poems, somewhere between epigram and song, like Elizabethan poetry but in terms completely of the 1990s. I cannot praise it too highly ... At last, a good book of good poetry which takes as its subject a frank and unsentimental homosexuality. The triumph is in the numerous poems in tercets. Taken together, they constitute a handbook of desire; separately, each is an exquisite insight, rapid and rich. The predominant tone is of a kind of delighted astonishment that mere sensuality can be so meaningful ... What an enviable talent Gregory Woods has. I recommend this book to everybody.'

William Scammell, Independent on Sunday (09/09/92): 'Woods restores all the meanings of gay, mental and physical, has a fine sense of place and an engaging wit ... It's the poems' honesty that stays in the mind, anchoring their flamboyant sensuality in a real time and place.'

Neil Powell, Times Literary Supplement (16/10/92): 'Aware that erotically charged content may be best balanced by a coolly unemphatic form, Woods has come up with a luminous, suspended line ... The result is a liberating discipline: wonder distilled and concentrated by containment ... Woods has the knack of seeming constantly delighted by his experiences though not in the least deluded by them ... The overwhelming impression of We Have the Melon remains that of frankly sexual joyousness matched by serious literary intelligence, a rare combination and a reassuring one.'

James Kirkup, PN Review (03/93): 'There is much to be admired and enjoyed in We Have the Melon ... this is a book full of humour, horniness of a very innocent kind, and great tenderness ... A promising start.'

Praise for Gregory Woods

The District Commissioner's Dreams (2002)

Adam Mars-Jones, The Observer, books of the year 2002: 'In poetry I was very impressed by the technical resourcefulness and emotional range of Gregory Woods's The District Commissioner's Dreams.'

Robert Hamberger, County Lit (Winter 2002-03): 'By turns witty and coolly ironic, authoritative, sensuous and impassioned. The District Commissioner's Dreams marks an already accomplished poet varying his voice and extending his thematic range. As reviewers say: I urge you to buy it. Prepare to be impressed.'

Michael Thomas, Other Poetry (Summer 2003): 'Woods' tonal range allows him to employ a number of different voices in a variety of forms: sequences of mythology appear side by side with lyrics of terse couplets. This is poetry with a decided edge.'

John Greening, London Magazine: 'I suppose a Professor of Gay and Lesbian Studies has a professional obligation to write about these areas, but I'd have welcomed a few poems about trees or fly-fishing.'

May I Say Nothing (1998)

Michael Laycock, The Pink Paper (13/11/98): 'Considering it's written by an academic, the subjects dealt with are easily fathomable and will have any gay man smiling or crying with recognition ... A swift enjoyable read that lingers in the mind.'

Alan Sinfield, Gay Times, books of the year 1998 (12/98): 'Combines assurance of language with a range of erotic adventures. The writing is often witty in its precision, even while encapsulating a bold, and somewhat edgy, range of sexual scenarios.'

Peter Klappert, Lambda Book Report (04/99): 'Endlessly quotable--pithy, often epigrammatic and written with such cool control of form and irony that it chills the very passions it arouses ... Woods' poetry is smart in every sense of the word: intelligent, stylish and stinging.'

John Lucas, The Dark Horse (Winter 2001-02): 'Gregory Woods' poetry is very good indeed ... formidable technical panache ... extraordinarily skilful with rhyme ... "This Bird, That" perhaps recalls Auden, but it has an intellectual sinuousness and formal dexterity that the master would surely have admired.'

We Have the Melon (1992)

Sir Stephen Spender: 'The poems of Gregory Woods fall into a Latinate tradition of poetry with a subject matter which might be described as pagan. They remind me often of the work of the Italian poet Sandro Penna ... The subject matter may seem raw but in economy and beauty of expression they have a kind of purity ... I have read Gregory Woods' poems with real excitement.'

Thom Gunn: 'I'm not sure that I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods, "Fall" and "Silence", in a magazine. I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling. In the sixty-line "Fall" the rimes riches have a strangely bruising effect, which accumulates to a sadness which is difficult to bear. "Silence" consists of two short related poems, somewhere between epigram and song, like Elizabethan poetry but in terms completely of the 1990s. I cannot praise it too highly ... At last, a good book of good poetry which takes as its subject a frank and unsentimental homosexuality. The triumph is in the numerous poems in tercets. Taken together, they constitute a handbook of desire; separately, each is an exquisite insight, rapid and rich. The predominant tone is of a kind of delighted astonishment that mere sensuality can be so meaningful ... What an enviable talent Gregory Woods has. I recommend this book to everybody.'

William Scammell, Independent on Sunday (09/09/92): 'Woods restores all the meanings of gay, mental and physical, has a fine sense of place and an engaging wit ... It's the poems' honesty that stays in the mind, anchoring their flamboyant sensuality in a real time and place.'

Neil Powell, Times Literary Supplement (16/10/92): 'Aware that erotically charged content may be best balanced by a coolly unemphatic form, Woods has come up with a luminous, suspended line ... The result is a liberating discipline: wonder distilled and concentrated by containment ... Woods has the knack of seeming constantly delighted by his experiences though not in the least deluded by them ... The overwhelming impression of We Have the Melon remains that of frankly sexual joyousness matched by serious literary intelligence, a rare combination and a reassuring one.'

James Kirkup, PN Review (03/93): 'There is much to be admired and enjoyed in We Have the Melon ... this is a book full of humour, horniness of a very innocent kind, and great tenderness ... A promising start.'

Praise for Gregory Woods 'A quite astonishingly gifted formalist. You feel that there's no kind of verse he couldn't use, adapt, subvert, play games with.' - John Lucas 'Woods is a poet whose thinking is razor-sharp, his wit highly inventive, his sense of history acute,his narratives finely sculpted, his feelings deeply sourced.' - Matt Simpson 'The poet with the sharpest technique for social verse in Britain today.' - Peter Porter

Gregory Woods is not a poet to be pinned down by epithets, by association with schools or movements, or by comparisons to other poets or artists. read more

This book of seventy-nine poems, laid out in four sections, makes a memorable sequence of stylish poems. read more

An Ordinary Do g is a canival of clashing forms and tones, all deployed with a cool with and technical precision. read more

The shortlist for a prestigious regional writing award has been anounced. read more

Staple Magazine, Summer/Autumn 2008 This new collection, his fourth, is his best so far, which, given how accomplished were the previous three, I intend as high praise … Woods is, indeed, a quite astonishingly gifted formalist. read more

In this, his fourth, volume, Woods’ dramatic range and technical ambition are greater than ever … His poetry has never been more alive. read more

The poems of Gregory Woods have never failed to impress me. read more

To make comical history as serious as it is absurd in two sequences—‘The Newstead Fandango’, where the story of Lord Byron is filtered through Ulysses’ home run, and ‘Sir Osbert’s Complaint’, which puts the Sitwell family in the pillory while retaining sympathy for Osbert’s lonely end—this could only be Gregory Woods in action, the poet with the sharpest technique for social verse in Britain today. read more

Gregory Woods's own website can be found at www.gregorywoods.co.uk

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Gregory Woods Books by this author: An Ordinary Dog Quidnunc The District Commissioner's Dreams May I Say Nothing We Have the Melon About Biography Reviews Gregory Woods was born in Egypt in 1953 and grew up in Ghana. He began his teaching career at the University of Salerno and now works at Nottingham Trent University, where he was appointed Professor of Gay and Lesbian Studies in 1998. His was the first such appointment in the United Kingdom. He was awarded a PhD by the University of East Anglia in 1983, and a DLitt in 2006. In addition to his poetry collections, all published by Carcanet Press, he is also the author of a number of critical books, including Articulate Flesh: Male Homo-eroticism and Modern Poetry (1987) and A History of Gay Literature: The Male Tradition (1998), both from Yale University Press. He has been a member of the board of directors of East Midlands Arts and is a Fellow of the English Association. Praise for Gregory Woods: *Quidnunc* (2007) Peter Porter: To make comical history as serious as it is absurd in two sequences—‘The Newstead Fandango’, where the story of Lord Byron is filtered through Ulysses’ home run, and ‘Sir Osbert’s Complaint’, which puts the Sitwell family in the pillory while retaining sympathy for Osbert’s lonely end—this could only be Gregory Woods in action, the poet with the sharpest technique for social verse in Britain today. He lets off fireworks through the official groves of English literature. Matt Simpson, Stride Magazine (February 2008): The poems of Gregory Woods have never failed to impress me. When a book like Quidnunc, his fourth collection from Carcanet, makes its appearance, it makes me seriously wonder what the selectors and pre-selectors for prestigious awards are up to. Why isn’t Gregory Woods’ name up there? For a start there are few poets around who can rival him technically … Not only does he impress with his gift for sustaining poems over some length, he can dazzle with spectacular rhyming …This is a solid and hugely readable collection with many more things to admire than just the technical accomplishments … Woods is a poet whose thinking is razor-sharp, his wit highly inventive, his sense of history acute, his narratives finely sculpted, his feelings deeply sourced. Giuseppe Albano, Chroma (September 2008): In this, his fourth, volume, Woods’s dramatic range and technical ambition are greater than ever … His poetry has never been more alive. John Lucas, Staple (Summer/Autumn 2008): This new collection, his fourth, is his best so far, which, given how accomplished were the previous three, I intend as high praise … Woods is, indeed, a quite astonishingly gifted formalist. You feel that there’s no kind of verse he couldn’t use, adapt, subvert, play games with … ‘The Newstead Fandango’ and ‘Sir Osbert’s Complaint’ alone ought to be enough to have won Quidnunc any poetry prize going. And there are other poems equally deserving of note in this brilliantly assured collection. In fact, there’s almost nothing that falls below the level of good, and several poems that are quite simply outstanding … When I think of the dross that is regularly published, noticed, praised, rewarded, and then consider that for the most part Woods goes without recognition, I’m not so much aghast as enraged at the (still largely London) cabal that decides poetic worth in England. *The District Commissioner's Dreams* (2002) Adam Mars-Jones, the Observer, books of the year 2002: 'In poetry I was very impressed by the technical resourcefulness and emotional range of Gregory Woods's The District Commissioner's Dreams.' Robert Hamberger, County Lit (Winter 2002-03): 'By turns witty and coolly ironic, authoritative, sensuous and impassioned. The District Commissioner's Dreams marks an already accomplished poet varying his voice and extending his thematic range. As reviewers say: I urge you to buy it. Prepare to be impressed.' Michael Thomas, Other Poetry (Summer 2003): 'Woods' tonal range allows him to employ a number of different voices in a variety of forms: sequences of mythology appear side by side with lyrics of terse couplets. This is poetry with a decided edge.' John Greening, London Magazine: 'I suppose a Professor of Gay and Lesbian Studies has a professional obligation to write about these areas, but I'd have welcomed a few poems about trees or fly-fishing.' *May I Say Nothing* (1998) Michael Laycock, The Pink Paper (13/11/98): 'Considering it's written by an academic, the subjects dealt with are easily fathomable and will have any gay man smiling or crying with recognition ... A swift enjoyable read that lingers in the mind.' Alan Sinfield, Gay Times, books of the year 1998 (12/98): 'Combines assurance of language with a range of erotic adventures. The writing is often witty in its precision, even while encapsulating a bold, and somewhat edgy, range of sexual scenarios.' Peter Klappert, Lambda Book Report (04/99): 'Endlessly quotable--pithy, often epigrammatic and written with such cool control of form and irony that it chills the very passions it arouses ... Woods' poetry is smart in every sense of the word: intelligent, stylish and stinging.' John Lucas, The Dark Horse (Winter 2001-02): 'Gregory Woods' poetry is very good indeed ... formidable technical panache ... extraordinarily skilful with rhyme ... "This Bird, That" perhaps recalls Auden, but it has an intellectual sinuousness and formal dexterity that the master would surely have admired.' *We Have the Melon* (1992) Sir Stephen Spender: 'The poems of Gregory Woods fall into a Latinate tradition of poetry with a subject matter which might be described as pagan. They remind me often of the work of the Italian poet Sandro Penna ... The subject matter may seem raw but in economy and beauty of expression they have a kind of purity ... I have read Gregory Woods' poems with real excitement.' Thom Gunn: 'I'm not sure that I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods, "Fall" and "Silence", in a magazine. I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling. In the sixty-line "Fall" the rimes riches have a strangely bruising effect, which accumulates to a sadness which is difficult to bear. "Silence" consists of two short related poems, somewhere between epigram and song, like Elizabethan poetry but in terms completely of the 1990s. I cannot praise it too highly ... At last, a good book of good poetry which takes as its subject a frank and unsentimental homosexuality. The triumph is in the numerous poems in tercets. Taken together, they constitute a handbook of desire; separately, each is an exquisite insight, rapid and rich. The predominant tone is of a kind of delighted astonishment that mere sensuality can be so meaningful ... What an enviable talent Gregory Woods has. I recommend this book to everybody.' William Scammell, Independent on Sunday (09/09/92): 'Woods restores all the meanings of gay, mental and physical, has a fine sense of place and an engaging wit ... It's the poems' honesty that stays in the mind, anchoring their flamboyant sensuality in a real time and place.' Neil Powell, Times Literary Supplement (16/10/92): 'Aware that erotically charged content may be best balanced by a coolly unemphatic form, Woods has come up with a luminous, suspended line ... The result is a liberating discipline: wonder distilled and concentrated by containment ... Woods has the knack of seeming constantly delighted by his experiences though not in the least deluded by them ... The overwhelming impression of We Have the Melon remains that of frankly sexual joyousness matched by serious literary intelligence, a rare combination and a reassuring one.' James Kirkup, PN Review (03/93): 'There is much to be admired and enjoyed in We Have the Melon ... this is a book full of humour, horniness of a very innocent kind, and great tenderness ... A promising start.' Praise for Gregory Woods The District Commissioner's Dreams (2002) Adam Mars-Jones, The Observer, books of the year 2002: 'In poetry I was very impressed by the technical resourcefulness and emotional range of Gregory Woods's The District Commissioner's Dreams.' Robert Hamberger, County Lit (Winter 2002-03): 'By turns witty and coolly ironic, authoritative, sensuous and impassioned. The District Commissioner's Dreams marks an already accomplished poet varying his voice and extending his thematic range. As reviewers say: I urge you to buy it. Prepare to be impressed.' Michael Thomas, Other Poetry (Summer 2003): 'Woods' tonal range allows him to employ a number of different voices in a variety of forms: sequences of mythology appear side by side with lyrics of terse couplets. This is poetry with a decided edge.' John Greening, London Magazine: 'I suppose a Professor of Gay and Lesbian Studies has a professional obligation to write about these areas, but I'd have welcomed a few poems about trees or fly-fishing.' May I Say Nothing (1998) Michael Laycock, The Pink Paper (13/11/98): 'Considering it's written by an academic, the subjects dealt with are easily fathomable and will have any gay man smiling or crying with recognition ... A swift enjoyable read that lingers in the mind.' Alan Sinfield, Gay Times, books of the year 1998 (12/98): 'Combines assurance of language with a range of erotic adventures. The writing is often witty in its precision, even while encapsulating a bold, and somewhat edgy, range of sexual scenarios.' Peter Klappert, Lambda Book Report (04/99): 'Endlessly quotable--pithy, often epigrammatic and written with such cool control of form and irony that it chills the very passions it arouses ... Woods' poetry is smart in every sense of the word: intelligent, stylish and stinging.' John Lucas, The Dark Horse (Winter 2001-02): 'Gregory Woods' poetry is very good indeed ... formidable technical panache ... extraordinarily skilful with rhyme ... "This Bird, That" perhaps recalls Auden, but it has an intellectual sinuousness and formal dexterity that the master would surely have admired.' We Have the Melon (1992) Sir Stephen Spender: 'The poems of Gregory Woods fall into a Latinate tradition of poetry with a subject matter which might be described as pagan. They remind me often of the work of the Italian poet Sandro Penna ... The subject matter may seem raw but in economy and beauty of expression they have a kind of purity ... I have read Gregory Woods' poems with real excitement.' Thom Gunn: 'I'm not sure that I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods, "Fall" and "Silence", in a magazine. I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling. In the sixty-line "Fall" the rimes riches have a strangely bruising effect, which accumulates to a sadness which is difficult to bear. "Silence" consists of two short related poems, somewhere between epigram and song, like Elizabethan poetry but in terms completely of the 1990s. I cannot praise it too highly ... At last, a good book of good poetry which takes as its subject a frank and unsentimental homosexuality. The triumph is in the numerous poems in tercets. Taken together, they constitute a handbook of desire; separately, each is an exquisite insight, rapid and rich. The predominant tone is of a kind of delighted astonishment that mere sensuality can be so meaningful ... What an enviable talent Gregory Woods has. I recommend this book to everybody.' William Scammell, Independent on Sunday (09/09/92): 'Woods restores all the meanings of gay, mental and physical, has a fine sense of place and an engaging wit ... It's the poems' honesty that stays in the mind, anchoring their flamboyant sensuality in a real time and place.' Neil Powell, Times Literary Supplement (16/10/92): 'Aware that erotically charged content may be best balanced by a coolly unemphatic form, Woods has come up with a luminous, suspended line ... The result is a liberating discipline: wonder distilled and concentrated by containment ... Woods has the knack of seeming constantly delighted by his experiences though not in the least deluded by them ... The overwhelming impression of We Have the Melon remains that of frankly sexual joyousness matched by serious literary intelligence, a rare combination and a reassuring one.' James Kirkup, PN Review (03/93): 'There is much to be admired and enjoyed in We Have the Melon ... this is a book full of humour, horniness of a very innocent kind, and great tenderness ... A promising start.' Praise for Gregory Woods 'A quite astonishingly gifted formalist. You feel that there's no kind of verse he couldn't use, adapt, subvert, play games with.' - John Lucas 'Woods is a poet whose thinking is razor-sharp, his wit highly inventive, his sense of history acute,his narratives finely sculpted, his feelings deeply sourced.' - Matt Simpson 'The poet with the sharpest technique for social verse in Britain today.' - Peter Porter Gregory Woods is not a poet to be pinned down by epithets, by association with schools or movements, or by comparisons to other poets or artists. read more This book of seventy-nine poems, laid out in four sections, makes a memorable sequence of stylish poems. read more An Ordinary Do g is a canival of clashing forms and tones, all deployed with a cool with and technical precision. read more The shortlist for a prestigious regional writing award has been anounced. read more Staple Magazine, Summer/Autumn 2008 This new collection, his fourth, is his best so far, which, given how accomplished were the previous three, I intend as high praise … Woods is, indeed, a quite astonishingly gifted formalist. read more In this, his fourth, volume, Woods’ dramatic range and technical ambition are greater than ever … His poetry has never been more alive. read more The poems of Gregory Woods have never failed to impress me. read more To make comical history as serious as it is absurd in two sequences—‘The Newstead Fandango’, where the story of Lord Byron is filtered through Ulysses’ home run, and ‘Sir Osbert’s Complaint’, which puts the Sitwell family in the pillory while retaining sympathy for Osbert’s lonely end—this could only be Gregory Woods in action, the poet with the sharpest technique for social verse in Britain today. read more Gregory Woods's own website can be found at www.gregorywoods.co.uk	Share this... 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