Bøger af Jeremy Reed

A group of narrative poems on the nature of unrequited love, dive bars, outsider status, authentic art vs cliche art, the lack of addiction in recreational drug use, and youth. Poems were written in the poet's mid-twenties, and only found publication decades later.

Who is he? What is his real name? Is he a reincarnation, a time-traveller, or someone made from chopped up DNA on a USB stick? In Surrender to a Stranger, British cult author Jeremy Reed offers a Burroughsesque Elizabethan drama in the super-exposure of contemporary London streets, in which our mysterious hero, Mr. W.H., along with a queer coterie of characters, soak up the ambience of sexy story telling. A daring and provocative novel of poetic brilliance, Surrender to a Stranger is a glitter-worded Marlovian comedo-tragedy in which every sentence is written as if it has been lived.

A previously undocumented slice of London's underground sexual history, and its influence upon artists from Oscar Wilde to Francis Bacon and the Stones to MorrisseyPiccadilly Circus has long been London's principal location for selling sex and this is the first book to really explore the history of male prostitution at "e;The Dilly."e; Dating from Oscar Wilde's notorious use of the location for pick-ups through to Francis Bacon's equal attraction to rough trade and right up to recent history, this is a pioneering piece of counterculture history. Employing a flair for acute visual imagery, the author maps out Soho's submerged gay clubs and drinking-rooms in the decades before de-criminalization. This is followed by the new masculinity advocated by the Mod look in the 1960s, the influence of the place on rock and pop stars such as the Stones, Marc Almond, and Morrissey (all of whom themed songs on the subject) and the book closes in the 1990s, when online male escorts replaced rent boys on the Piccadilly railing. An exhilaratingly colorful recreation of the illegal occupation of one of London''s central commercial zones by lawless Dilly boys, this history is augmented by first-hand interviews with rent boys who worked the meat-rack in the 1970s as well as a chapter recording the author's personal friendship with the artist Francis Bacon.

Jeremy Reed's Bad Boys rehabilitates some of his personal obsessions with poets and rock musicians into a rich assemblage of challenging, provocative assessments, in which the field of writing, London's Soho, is also integrated as place into the conceptualisation of the text, as a physical involvement in the work's dynamic.From John's Ashbery's monumental surprises, to the intransigent figure of Kit Marlowe brawling in St Giles, to Hart Crane's sensational suicide, Reed partners his themes with unique sensitivities that expand his focus into what are perceptual relationships, extending by poetic design the art of essay writing into the art of thematically acute empathy.Always the passionate advocate of subcultures, lovers of Jeremy Reed's poetry and fiction will find in these essays the same quintessential motivations of extraordinary imagination that had JG Ballard, himself the subject of one of these pieces, describe Reed's talent as "almost extraterrestrial in its brilliance."

Growing up in Jersey in the 70s, before I left to study at Essex University, wasn't easy as an anomalous poet living in a largely pedestrian, materialistic society. My escape came by finding part-time employment with John Berger, a wealthy, reclusive aesthete, and my unusual introduction to his eccentric lifestyle forms the basis of this sequence.

The third edition of this vibrant poetry magazine showcases some of the finest and most original voices in contemporary poetry todayThe full line-up for the magazine is:Poetry : Jeremy Reed Anna Saunders Christopher Levenson Mark Goodwin Raine Geoghegan Fred D'Aguiar Lucía Orellana Damacela Alison Jones Ceinwen E. Cariad Haydon John F. Deane Sheenagh Pugh Andy Brown Debjani Chatterjee Arundhathi Subramaniam Hannah Brockbank Abegail Morley C.C. Russell Scarlett Ward Kristin Garth Pippa Little Charles Wilkinson Jen Rouse Maggie Mackay Matt Duggan Joan Lennon Natalie Crick Jennie E. Owen Imogen Forster Andrew Greig Elaine Royle Paul Waring Penelope Shuttle Peter J. King Geoff Hattersley Cheryl Pearson Deb Scudder Julian Turner Helen Farish Jacqueline SaphraArticles Helen Calcutt Talking to Victoria Richards David Mark Williams Reading Brian Patten Luke Haines Smash The System Amy Alexander Talking to Kristin Garth & Tianna Hansen Genya Johnson Poetry on the Underground Matt Duggan A Journey Across The Pond Annie Maclean Reading J.O Morgan Martin Malone Mr Willett's Summertime Hannah Brockbank Bloodlines Zack Dicks Gloucester Poetry Festival Moose Allain Postcards From The Hedge

Isthmus was Jeremy Reed's first collection, produced in a finely-printed edition 1980. Overwrought, perhaps even over-written, it shows the author struggling with a gamut of new influences and trying to find his way in a brave new world of poetry.

Asa Benveniste (1925-1990) who founded the Trigram Press in London in 1965, ostensibly to publish Anglo-American cutting-edge poetry, was not only a self-taught, one-off maverick genius as a printer, typographer and book-designer, but also a superbly innovative language poet, whose own poetry tended to be obscured by his merits as a publisher.

The first book of Jeremy Reed's uncompromising, explicitly autobiographical expose of his life as a leading London poet from the 1980s to the present day, this is a highly courageous and cutting edge poet's autobiography, explicit and detailed in a way few poets would dare.

Bona Vada, the companion volume to Bona Drag (2009), again finds Jeremy Reed piloting stunning imagery into a vitally modern big city experience. If Reed's operational grid is principally London's West End, then his exhilaratingly controversial remit continuously pushes poetry's frontiers out into the always excitingly controversially new.

A collection of poems covering details of the poet's obsessive life, from the colour of Posh Spice's heels, to London street encounters, underworld friends, urban survival tactics, neuroscientific concepts and extraterrestrials.

In these pages Jeremy Reed optimises his London quarter of Soho and the West End, its outlaws, opportune strangers and rogue mavericks condensed into poems coloured by an imagery that pushes pioneering edges towards final frontiers. Right on the big city moment, and with an eye for arresting acute visual detail, Reed makes the capital personal.

Taking in the sweep of Reed's career from Velvet Underground to the variants of forty years of resistant solo pioneering, Waiting For The Man accesses the man and his music, with the extraordinary perception and attention to detail.

"Saint Billie".