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Includes a substantial selection of Gascoyne's poems from the early 1930s to the present. Included are examples of his earliest work in Roman Balcony (1932, published when he was sixteen) to Hölderlin's Madness (1938); all poems from his most famous volume, Poems 1937-1942, and the best-known poems from his post-war collections, including Night Thoughts (1956) in its entirety. There is a section of light verse and one section of recent poems. He established his name when he was a schoolboy, and his association with the Surrealists drew him into the orbit of Max Ernst, André Breton, and Dalí in Paris. He lived in France in the 1930s, and again in the 50s and 60s, and is revered there, both as a poet and as a translator. ... Read more

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"Christ of Revolution and of Poetry.."
David Gascoyne, perhaps the most neglected British poet in history, accomplished with his fevered poetic career what most of us would be writers can only dream of: a record of his visionary psyche irrevocably intertwined with the chaos of his generation--the era of WWII, the Cold War, and the Great Depression.

The Catholic equivalent of a Rimbaud or Baudelaire, Gascoyne's tragic life and career as poet maudite par excellance and search for God amidst the ashes of a nearly destroyed world is reflected unconsciously in the painstaking passion of his work: "What day can ever end/the night of those from whom/God turns away his face/or what rays finger pierce/The depths of wherein they drown?" ("Noctambules", pg 121).

The obvious didacticism of Gascoyne's poetry does not overshadow his explosive poetic gift, given full expression in mind bending and gorgeous turns of phrase such as the following: "the shadows in the pools turn grey/the pearls dissolve in the shadow/and I return to you.." (The Cage, pg 43).

This collection spans from Gascoyne's early career as a youthful convert to Surrealism right on through to his most defining work, "Night Thoughts", to the intermittently broken silence represented by two decades of depression and madness resulting from amphetamine abuse.
David Gascoyne is the best kept secret of poetry's vast world, and it is high time he emerges from the shadows he fought so valiantly against. ... Read more

Product Description
The Collected Journals 1936-42 cover the years when the young David Gascoyne lived in Paris. Lawrence Durrell, George Barker and Henry Miller were early friends and he was actively involved in the surrealist movement with Andre Breton and the poet Paul Eluard. The journals give a full account of these years: his personal struggle and despair as world war loomed, his complex relationship with the English author Antonia White and his return to London and enlistment as an actor with E.N.S.A. Written in a period when he was producing some of his finest work, these journals illuminate and complement the poetry and serve to reaffirm Gascoyne as a major voice of the twentieth century. ... Read more

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"Something great but obscure is striving to express itself through me"
Poet David Gascoyne has suffered a strange fate, even for one whose place is firmly within the canon of great visionary artists; his continued obscurity is puzzling for any reader who has even merely sampled the power of his epic, imaginative lyricism.

These pages document Gascoyne's unrelenting pursuit of poetic vision at all costs in the face of abject poverty, alienation from friends and family, taking us on his unforgettable journey from the celestial heights
of the "seer" (in the tradition of his idols Holderlin and Rimbaud), to the depths of a psychotic depression which would leave him silent for more than twenty years.

Gascoyne's concerns were unfashionably religious--though not in any orthodox sense--and his quest for a "religio poetae" which would restore a sense of the sacred in the human being through imagination charged his life in Paris with famous contemporaries (Henry Miller, Claude Cahun, Dylan Thomas) and even friends (George Barker, Paul Eluard, Roger Roughton, Lawrence Durrell) a sense of separateness which constantly drove him into an impassioned solitude.

It is incredible that anyone, poet or not, could manage to pack the amount of intensity Gascoyne did into these 335 pages.Packed to the hilt with philosophy, poetry, translations, and accounts of his daily interactions with some of the most well known literary figures of the twentieth century, I can only imagine Kafka's "Diaries" equalling it.
It somehow transcends even the great time period in which it was written.

This intensity is of necessity short-lived.His addiction to a (then legal) form of methamphetamine and a monstrous self-hatred that grows worse and worse as the journal continues slowly erode the will toward creation.

The "Afterword", written thirty years after his mental breakdown, is sombre, compelling and sort of sad--Gascoyne documents his return home to his parents in Teddington, England and his subsequent loss of belief in himself as poet, and a series of hospitalizations which would eventually result in a lifelong marriage.

Gascoyne would indeed gain the recognition he deserved and craved, but tragically it happened very close to the time of his death when he was not fully able to appreciate the fruits of his labor.It came via Enitharmon Press and also commendably through the influence of poet Jeremy Reed.

These pages are as great as anything I have ever read, whether in literature or poetry; it is a time capsule and also a monumental achievement on the part of Gascoyne.

It is way past time for a re-introduction of David Gascoyne's poetry to a younger generation of readers.

... Read more

Product Description
Gascoyne's membership of the Surrealist movement and his association with its leading members - among them Andre Breton, Paul Eluard, Max Ernst and Salvador Dali - placed him in an ideal position to witness and record the development and significance of its foremost artists and writers. ... Read more

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An insider's view of surrealism during the heroic period
This book, along with Desnos' "Liberty or Love" and Soupault's "The Last Nights of Paris", is probably one of the most important texts on the Surrealist movement of the 1930's from the perspective of not only a member, but a president of the club--Gascoyne would later, with his "Journals" and a handful of interviews he gave, be one of the only impartial critics of the movement as it existed during a period of legendary poetic discovery.

On the other hand, for enthusiasts of David Gascoyne's work itself apart from the Surrealist influence, this may be a bit disappointing.Gascoyne was young when he wrote this and was still a little naive about the red tape he would encounter later with Breton and the gang, being a Catholic and having some strength of personality.I was actually surprised that in this text he backed up Breton's Second Manifesto, which ultimately destroyed the movement by ejecting its most valuable members.Later on he would say of Breton: "He was a Trotskyist and you didn't argue with him for long.All the same, Breton was to Surrealism what Freud was to Psychoanalysis."

The youthful naivete notwithstanding, Gascoyne's feverish passion for all things rebellious and surreal makes you feel as though you are there with him in the streets of Paris when the spirit of Rimbaud and Lautreamont were resurrected by a few men who got sick of war, drudgery, and society's determination to make everything banal.

A Short Survey of Surrealism
David Gascoyne's classsic text of 1935 was the first comprehensive work on Surrealism to be published in English. His membership of the Surrealist movement and his association with its leading members - among them Andre Breton, Paul Eluard, Mac Ernst, and Salvador Dali - placed him in an ideal position to witness and record the development and significance of its foremost writers and artists. David Gascoyne lived in France in 1937-39, 1947-8 and 1953-64, during which time he became one of the most distinguished of British poets and translators. He now lives on the Isle of Wight. --- from book's back cover ... Read more

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A collection of poetry translated by David Gascoyne. ... Read more

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This is a major collection of more than seventy essays, critical pieces, biographical sketches, and memoirs by the renowned poet, translator, and essayist. It includes long-inaccessible contributions to journals and magazines together with previously unpublished material. Included are essays on Carlyle, Parchen, and Novalis, memoirs on Dali and Durrell, reviews of Miller, Ferlinghetti, and Watkins, and a number of pieces on Surrealism.These works reflect Gascoyne's continuing engagement with the changing context of his times, and his close involvement with and response to luminary figures in twentieth-century art and literature. The subjects include: Eileen Agar, Louis Aragon, W. H. Auden, George Barker, Andre Breton, Thomas Carlyle, Leonora Carrington, Rene Char, Salvador Dali, Lawrence Durrell, T. S. Eliot, Paul Eluard, Max Ernst, Vincent van Gogh, Geoffrey Grigson, S. W. Hayter, Friedrich Holderlin, Humphrey Jennings, Pierre Jean Jouve, Man Ray, Henry Miller, Novalis, Kenneth Patchen, Roland Penrose, Francis Picabia, Jeremy Reed, Elizabeth Smart, Tambimuttu, Graham Sutherland, Julian Trevelyan, Vernon Watkins, and, Antonia White. ... Read more

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"For our generation lives as in Hades, without the Divine..."
It is far past time that poets of the present pay their dues and recognize the greatness, inhuman resilience, and almost perfectly ideal life of poet-warrior David Gascoyne.

As Kathleen Raine puts it in her introduction to this indispensable work on the life of this authentic seer, Gascoyne's existence consisted of a "total commitment to the role of the poet."

On the fringes of the Surrealist movement because of his unwavering Roman Catholicism and discriminated against, like Artaud, for his refusal to make one concession or compromise to the bureaucracy Breton eventually created (perhaps unwittingly), it is neither exaggeration nor sentimentality to characterize this Promethean figure as a sort of poetic saint.

His unwavering and frenetic pursuit of visionary truth is evidenced by his statements such as the following: "The poet's job is to go on holding on to something like faith, through the darkness of total lack of faith, what Buber calls the eclipse of God."

These days unimaginative poetry is the rule rather than the exception, and even today a giant like Gascoyne might seem curiously out of place in a world that has backed off from the intensity of figures like Poe, Rimbaud, Artaud--a lineage Gascoyne fits in quite well.

His was a life plagued by misfortune: bouts of madness, mostly from the mental overstrain he imposed on himself for the sake of his craft, drove him to long periods of tragic silence more than once.

Few stories are as painful to read as an older Gascoyne crashing the gates of Buckingham Palace, insisting that they listen to the transcendental dictation he had received from another world.Sacrificing himself and the integrity of his rational mind in favor of Rimbaud's derangement of the senses, his amphetamine addiction became a death-grip until there was nothing left to do but flame out.

Gascoyne, however, did more than wait for "The Sun At Midnight" to arrive: he was engaged in the cultural, political, and literary endeavors of his time as much as anyone else.The early essays in this book, most of which were written by a younger and more naive Gascoyne, are seminal to any understanding of the man.

His intuitive understanding of Novalis' thirst for eternal night, his fascination with thinkers like Leon Chestov, and his impassioned theories on the role of the poet are as vital to our survival as poets caught in the throes of capitalism as Shelley's "Defence of Poetry".

As a struggling young poet myself, I have found this text to be the sort I carry around with me everywhere to arm myself against the inevitable onslaught vision suffers everywhere in this world.Like Maldoror, Rimbaud's "Illuminations", and the work of Villon, it is an extra conscience of sorts keeping me from compromise.

Read not for leisure but necessity, that someday this seemingly forgotten "Christ of Revolution and Poetry" might start appearing more in bookstores and warm us by the fire of his Sacred Hearth.

A Prose Touchstone For All Future Poets
David Gascoyne's elegantly measured prose provides the reader with the rare instance not only of how a visionary poet reads his contemporaries, but of how he blueprints ideas whichprovide the instructive dynamic informing his poetry.

Gascoyne's mind is awesome. An isolated spiritual journeyer in a materialistic century, Gascoyne's integrity stems from his belief in visionary imagination as inspired interface between conscious and unconscious worlds. From his first youthfully audacious paper, Gascoyne distinguished between poetry as activity-of-the-mind and poetry as means-of-expression. His powerful affirmation of the superior value of an imaginatively alive poetry over one that simply describes was from the start his inspired credo.

This book is a moving human document of what it means to be a poet, and to survive by that means alone, in a society radically unsympathetic to this calling. Having experiencedthe defenceless vulnerability of being a committed poet in a capitalist ethos, I find Gascoyne's survival heroic, his courage paradigmatic to the poetic calling.

Although David Gascoyne writes warmly of the darker aspects of T.S. Eliot's psyche, Eliot was in large to prove the prototype of the poet deserting his art for the sanctuary of an editor's desk. Many poets have done an injustice to poetry seeking personal security in acceptable professions. They relegate art to the status of a consuming hobby. Howcan one be fully open to the possibilities of experience if one's days are given over to immersion in establishment values? Gascoyne is among the best antidotes to this duplicitous trend.

Gascoyne's poetry of imploded mystic hallucination sounded a completely new, revolutionary note in British poetics. He found, for the English language, visionary continents already mapped out by Lautreamont, Rimbaud and the surrealists. He was to encounter madness in the process, often the way for those who pursue the journey to the interior. He says: "I am a poet who wrote himself out when young and then went mad. I tried to write poetry again and succeeded to a certain extent but it is not the same as the poetry I wrote before." Gascoyne's greatness hinges on this tragic concept of burning out.

Collateral with the inspired poetry he was writing in the 30's came the equally eventful prose essays which form the early part of this book, chief amongst them being Gascoyne's preface to his book of free translations Hölderlin's Madness (1938). This particular essay is one of the finest ever written on the subject of visionary poetry. It achieved an empathy for its subject's plight prophetic of Gascoyne's own. At onlytwenty-two his declarative statement in defence of poetic vision was published. Already he inhabits the great night of the German romantics in which the poet anticipates imagination becoming reality."They are poets and philosophers of nostalgia and the night. A disturbed night, whose paths lead far among forgotten things, mysterious dreams and madness. And yet a night that precedes the dawn, and is full of longing for the sun. These poets look forward out of their night: and Hölderlin in his madness wrote always of sunlight and dazzling air, and the islands of the Mediterranean noon."

To have realised this at such a young age was also an initiation experience into the excruciating social isolation which comes of holding these secrets. Gascoyne was not only set apart from the predominantly social concerns of British poetry in the 1930s, but from the main thrust of twentieth-century British poetry, with its attempts either to repress or sanitise the imagination. "Persistence is all" Rilke was to advise, and David Gascoyne, as poet, has never wavered. The price has been high. Lacking any support structure for his undertaking, David Gascoyne the private man has been broken by his quest. He returned home to his parents in middle-age, broke, ill, conceiving himself a failure in their eyes.

In 1965, his Collected Poems were published. He felt it was some sort of justification for having lived, some vindication of an identity denied him by a capitalist ideology. These are the sufferings inherent in pursuing a poetic vocation, as opposed to writing poetry as an avocation to a career. Gascoyne is one of the few who in every generation are prepared to sacrifice their lives in the interests of poetry. In his "Note On Symbolism" Gascoyne further enforces his conviction that the way to apprehending spirit is through the inner evaluation of experience. He writes: 'Each man must undertake alone and in silence the task of objective and empirical reality's changing and uncertain surface.'

Of extreme interest are the two autobiographical essays: "The Most Astonishing Book In The English Language" and "Self-Discharged." In the first of these Gascoyne describes having discovered in the early 1940s at Watkins bookshop an extraordinary book named OAHSPE: A New Bible. Its prophetic contents are subscribed to by a cult called Kosmon, purporting to expound the secrets of the visible and invisible universes. These became inextricably linked to the delusional promptings about apocalypse which eventually led to Gascoyne's confinement. (The poet at one time believed it his mission to break into Buckingham Palace and alert the Royal Family to the coming of a new spiritual awareness.) The consequences of his compulsive actions were to have Gascoyne sectioned, and in 'Self-Discharged' he describes life inside the dystopian precinct of an asylum.

Gascoyne's prose and poetry are of the highest significance, products of an imagination in discourse with the archetypal Kingdom. If both Hölderlin and Rimbaud "believed the poet to be capable of penetrating to a secret world and of receiving the dictation of a transcendental inner-voice," David Gascoyne did, too. The poetry stopped. His continued celebration of the exalted visionary dynamic did not. His later criticism, especially of surrealism, involves a generosity of spirit which is in itself a monumental achievement.

This book represents poetic truth as we seldom encounter it, and as such should be a touchstone for all future poets. A hard-won achievement of a great poet. ... Read more

Product Description
One of Britain's most distinguished and longest-lived poets still writing, David Gascoyne now offers us this new collection of all the poems he wishes to preserve in a single volume.Superceding the outdated Collected Poems published in 1965, this volume contains numerous previously uncollected poems.Taken together, these poems establish Gascoyne as one of the key figures of the surrealist movement and of the 20th-century literary world. Gascoyne also includes an Introduction in which he reflects back over his long career as a poet. ... Read more

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Describes the geography, history, people, and customs of Norway. ... Read more

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David Gascoyne's "Paris Journal 1937/9" was acclaimed by the critics when we published it in 1978; by a remarkable coincidence an earlier long-lost journal has also come to light for the period immediately preceding the former one. For this new journal the author has written a long introduction describing among much else his involvement with Mass-Observation and an account of his visit to Barcelona during the Spanish Civil War. Also reprinted for the first time are his only published short story "Death of an Explorer", and his essay on the Russian philosopher Leon Chestov. ... Read more