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John Fuller (1) (1937–)

Auteur van De hemel tegemoet

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58+ Werken 916 Leden 16 Besprekingen Favoriet van 1 leden

Over de Auteur

John Fuller is a fellow of Magdalen College, Oxford, where he teaches English. He is also a poet and novelist. His collection Stones and Fires won the 1996 Forward Prize

Werken van John Fuller

De hemel tegemoet (1983) 251 exemplaren
W. H. Auden: Poems Selected by John Fuller (2000) — Redacteur — 188 exemplaren
The Oxford Book of Sonnets (2000) — Redacteur — 76 exemplaren
W. H. Auden (1998) 61 exemplaren
A reader's guide to W. H. Auden (1970) 30 exemplaren
Who Is Ozymandias?: And other Puzzles in Poetry (2011) — Auteur — 29 exemplaren
The sonnet (1972) 23 exemplaren
De avonturen van Speedfall (1985) 22 exemplaren
Look Twice: An Entertainment (1991) 15 exemplaren
The Chatto Book of Love Poetry (1990) 14 exemplaren
Collected Poems (1996) 14 exemplaren
The Forward Book of Poetry 1998 (1997) 12 exemplaren
Flawed Angel (2005) 12 exemplaren
The Burning Boys (1989) 10 exemplaren
The Worm and the Star (1993) 9 exemplaren
A Skin Diary (1997) 8 exemplaren
Ghosts (2004) 8 exemplaren
Epistles to several persons (1973) 6 exemplaren
The Grey Among the Green (1988) 6 exemplaren
The Space of Joy (2006) 5 exemplaren
De levende nachtegaal (1988) 5 exemplaren
The Mechanical Body (1991) 5 exemplaren
The Illusionists (1980) 4 exemplaren
Beautiful Inventions (1983) 4 exemplaren
Cannibals and Missionaries (1972) 3 exemplaren
Poems & epistles (1975) 3 exemplaren
Song & Dance (2008) 3 exemplaren
Now and for a Time (2002) 3 exemplaren
Träume vom Fliegen (1987) 2 exemplaren
Fairground Music (1961) 2 exemplaren
The Dice Cup (2014) 2 exemplaren
The Tree That Walked (1967) 2 exemplaren
Ship of Sounds (1981) 2 exemplaren
THE WAITER (1965) 2 exemplaren
New Poetry (1975) 2 exemplaren
Asleep and Awake (2020) 1 exemplaar
New Selected Poems: 1983-2008 (2012) 1 exemplaar
The Clock in the Forest (2018) 1 exemplaar
Waiting for the music (1982) 1 exemplaar
Gravel in my shoe (2015) 1 exemplaar
The January divan : poems (1980) 1 exemplaar
Come aboard and sail away (1983) 1 exemplaar
Tell It ME Again 1 exemplaar
Lies and secrets (1979) 1 exemplaar
The ship of sounds 1 exemplaar
The Solitary Life (2005) 1 exemplaar
Desert Glory 1 exemplaar

Gerelateerde werken

The Oxford Book of English Short Stories (1998) — Medewerker — 190 exemplaren
British Poetry Since 1945 (1970) — Medewerker, sommige edities166 exemplaren
Gods and Mortals: Modern Poems on Classical Myths (1684) — Medewerker — 68 exemplaren
Cricket Magazine, Vol. 2, No. 1, September 1974 (1974) — Medewerker — 7 exemplaren
Julian Symons at 80: A Tribute (1992) — Medewerker — 4 exemplaren
Cricket Magazine, Vol. 4, No. 5, January 1977 (1977) — Medewerker — 3 exemplaren
Young Winter's Tales 7 (1976) — Medewerker — 2 exemplaren

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I picked this one up not knowing the author, but I see that he is well-regarded and it's my ignorance rather than his obscurity responsible for that lacuna.

The opening poems were striking and evocative. I thought there was something more ordinary about some of the middle poems, and while that's probably a personal reaction, it did give rise to some trepidation as I approached the final 21 page poem, The Grey and the Green, which fortunately was actually a good closing to the collection 💚🩶💚

The topics include loneliness, everyday life, nature, relationships, a rather good one about rain, an elegy for a deceased pet rabbit, and a variety of others, which, as I flick through the middle poems to list, to strike me as rather better than my previous comments suggest.
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Michael.Rimmer | Feb 10, 2024 |
Before, I'd only really read the most famous Auden poems and this selection definitely broadened my view into this works. There are some that just hit you hard, like "A Summer Night".
 
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mari_reads | 2 andere besprekingen | Jan 6, 2021 |
My favourite from this short anthology is The clearness of morning by Edward Thomas, just 6 lines
 
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jon1lambert | Mar 23, 2019 |
Laetitia Horsepole is a delight and a refreshment for the mind. The memoirs record the long and variegated life (1730-182?) of Laetitia Horsepole, Admiralty portraitist, Royal Academician, colour theorist, conversational wit, sexual adventuress and confidante of Percy Bysshe Shelley (1792-1822). The memoirs were written near the end of her life when the accumulated burdens of extreme old age and a bone tumour resulting from a leg injury inflicted by her first husband had reduced her to a state of dependence on her two remaining servants, Angelo and Maria. It is possible that Angelo administered poison and killed her. She suspected he might do so. The final page of her memoirs refer to his excruciating headaches and strange dreams, prognosticating a pursuit to the death of some unnamed quarry.

Laetitia’s memoirs were written at the insistence of Shelley, who knew her in her final years when she was a memorable, paint-spattered grotesque in her ruined Genoan palazzo, still painting surreal landscapes and a visionary portrait of herself. The manuscript, long concealed in a hidden compartment of an antique Venetian cupboard, was discovered in 1997. It was published in this edition in 2001 in a version edited with a light hand by John Fuller, a Fellow of Magdalen College.

The memoirs fall naturally into five parts that recount her five tempestuous marriages. Fuller calls them ‘five acts of a drama’. Taken in sequence they provide a conspectus of human sexuality, from the perfunctory brutality of the first of her husbands to the desperately imaginative incapacity of the last. It is a curious anachronism that the most enjoyable of these sexual partnerships was shared with her Madagascan prince, Ramboasalama, whose caresses anticipated the feminist recommendations of William Chidley (186?-1916) the Australian philosopher of sexology, who was gaoled for his public advocacy of non-penetrative sexual intercourse.

Laetitia’s first husband, a well-born wastrel, drowned himself. Her second, Captain James Horsepole of the Royal Navy, fell in love with her when he commissioned her to paint his portrait. He was a stout, reliable man and they contracted a happy marriage of convenience that ended unexpectedly. Horsepole was posted to India. Laetitia chose to accompany him and they left England in leaking ship that eventually ran aground in Madagascar where both contracted malaria. Horsepole succumbed but Laetitia, sole survivor of the ship’s company on the island, was nursed back to health by the Merina, as the native Madagascans were known, after weeks of delirium. When her fever abated she married according to the local custom, Prince Ramboasalama, son of the King of Madagascar. In the idyllic months that followed her marriage to the Prince, Laetitia recorded over 300 of the Island’s orchids in pencil drawings now unfortunately lost and made an expedition to find the legendary Elephant Bird or Rukh. Her Madagascar idyll ended abruptly when she was captured by a British privateer and brought back to England. After her return she resumed her career as a portraitist, campaigned against-slavery and enjoyed a period of celebrity as a consequence of her Madagascan adventures. Tiring of these diversions she married again in a nostalgic love match with her original drawing master, Luigi Canistrello (1711-1798), illustrator, architect and friend of Count Chiavari, who commissioned him to renovate his palazzo in Genoa. Canistrello lasted no longer than his predecessors in Laetitia’s favours. He died as a consequence of falling from a scaffold while supervising the Genoan renovations. The Count, a libertine by then in a state of advanced debility, comforted Laetitia in her loss and enlisted her as his mistress of ceremonies in a vain pursuit of sexual pleasures with his servants. Their collaboration ripened to marriage and he expired in due course, leaving Laetitia in possession of his estates.

It is, however, Laetitia’s conversations with her contemporaries, rather than the veiled obscurities of her bedroom adventures that provide the recurring delights of her memoirs: Coleridge; ‘whose Mind is as the Summer Lightning’ compared to Wordsworth’s ;November Fogs’; Canistrello, who persuaded her of the general decay of taste in English painting and Samuel Johnson, who supplied an ‘Etymology of my pencill’. Letitia’s portrait of Johnson hangs, appropriately, in the Garrick Club in London.

John Fuller’s editorial presence is never intrusive. Footnotes are informative when necessary and mercifully sparse. Three Appendices relate the disappointingly few traces she left in the records of her contemporaries. There are a couple of mentions of Laetitia in diaries of those who knew her, a poem written for her by Jonathan Swift when she was a child in Ireland and he was in his dotage, and cancelled stanzas from Shelley’s fantasy, ‘The Witch of Atlas’, that may reflect their visionary conversations. It is one of the poignant ironies of an almost forgotten life that once blazed so brightly that Shelley probably never read the memoirs she addressed to him.

'Requiescat in Pace Laetitia, Equus Molem Construunt'
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Pauntley | 1 andere bespreking | Jul 18, 2018 |

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Statistieken

Werken
58
Ook door
7
Leden
916
Populariteit
#28,000
Waardering
½ 3.7
Besprekingen
16
ISBNs
141
Talen
4
Favoriet
1

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