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Deceiving Wild Creatures
RRP: GBP 9.95
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Price: GBP 8.96
This title is available for academic inspection (paperback only).
ISBN: 978 1 847770 04 2
Categories: 21st Century, British, Humour
Imprint: Carcanet Poetry
Published: September 2009
216 x 135 x 6 mm
Publisher: Carcanet Press
Also available in: eBook (Kindle), eBook (EPUB)
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I have no acquaintance at present among the gentlemen of the Navy.
I have no friend left now at Sunbury.
What you mention with regard to reclaimed toads
raises my curiosity.
from 'The enlargement of the boundaries'
The naturalist Gilbert White is at the heart of this collection. Like him, Jeremy Over explores an ecology with meticulous acuity. His poems are 'found in the field': the beauty and oddity of the language of others is brought into sharp focus.
Robert Herrick's 'sweet disorder in the dress' is subjected to a series of disrobings; a guidebook, instruction manual and catalogue become occasions to celebrate the pleasures of language. Setting out from White's Natural History of Selborne, Over embarks on a sequence of poems that, in White's words, lend 'an helping hand towards the enlargement of the boundaries' of natural history. A deep seam of Englishness - Stanley Spencer, Samuel Palmer, Henry Purcell - runs parallel to an American dimension, and further off in time and space are traces of Tristan Tzara, Rumi and Wang Wei. The reasonable language with which we try to contain the unreasonableness of things here trips, spins and flies into new figurations.
Cover photograph: Shouldering the imitation ox from 'Deceiving Wild Creatures' in Richard Kearton, Wild Nature's Ways (1909). Cover design by StephenRaw.com.
...and they lived happily until they died.
Museum for Myself
A Theory of Grasp
A New Kind of Kiss
Love is not a talent
Delight in order
Killer in the Rain
A Common Pitfall
Poetry should be made by all (i)
The Lambent Itch of Innuendo
Whip Tim Kelly
Last Gasp, At the
The Waterfall Illusion
American Experimental Music
The enlargement of the boundaries
Not but now and then
The exhibition of the fishes
Mingles with the forest
I only know that
My female moose corresponds
Your Awful Voice
Poem beginning with a suggestion by Bengt Af Klintberg
The Call of the Drum and the Slap of Glory
A Man in the Wings
The Yellow Orioles are equals now
The North Cumbrian Coast
Noses and Feet
Poetry should be made by all (ii)
'A restless experimenter and game-player with language'
Ian McMillan, The Reader Praise for Jeremy Over It is this nothing offered that makes such a rewarding read, because it leads to destinations unknown, a restless, constantly moving walk after not knowledge, but illumination, the unexpected relationship between word and word that opens a window to the world. It is, I realise as I write, a kind of Dada Zen book; what more can I say?
'They also seem magical. Like magic words, or Latin mass: more powerful for all its uncertainty.'
Joe Darlington, Manchester Review of Books
'Joyous panoplies of alphabets warble, blossom and assemble into word songs made simultaneously stately and playful here in Fur Coats in Tahiti. Folklore and plainsong play with Stein and then Whitman comes over, inviting so many alphabetic others to join in: Wordsworth via Jandl via Atkins via Ono via You makes something entirely new! Over's marvelous word worlds mesh and refresh all our delights in loving thinking musics of sound, sense and nonce. Slip on this luxurious garment of a book where the language weather is always perfect.'
Lee Ann Brown 'In Fur Coats in Tahiti, Jeremy Over exuberantly defies expectations. These poems rollick as they explore relationships between sound and sense, interweave the surreal and the mundane, and conduct whimsical, unpredictable journeys. The work teems with intelligence and delight.'
'I am in love with the new collection by Jeremy Over, building as it does on the work of his first two books with so much style and grace. The poems are in thrall to the magic of the image, exquisite timing and exuberant ambivalence. Which latter, for me, articulates exactly why dull certainties and conciliatory platitudes tend to sail over my head. Over's is a poetry of endless curiosity and intellectual generosity, inviting us to wander and wonder with the writer. The long poems and sequences capture a quality of musical improvisation, but the attention is pulled back, again and again, by unexpected lyrical detail; as if distraction (by beauty, by stupidity, by wonder) were the only true method. And it is.'
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