By John Kerrigan
"If you haven’t been brought sooner than, meet Roy Fisher; an immense determine of 20th century literature-inventive, fascinating and unpredictable."—Eleanor Cooke, Raw Edge
"Roy Fisher’s paintings is anything altogether infrequent in modern British poetry."—David Sexton, The Sunday Times
Read Online or Download Thing About Roy Fisher: Critical Studies (Liverpool University Press - Liverpool English Texts & Studies) PDF
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Additional resources for Thing About Roy Fisher: Critical Studies (Liverpool University Press - Liverpool English Texts & Studies)
Reprinted frequently, well into the 1950s. 54. ‘Roy Fisher Talks to Peter Robinson’, p. 18. 55 Valentina Polukhina, ‘A Noble Quixotic Sight: An Interview with Roy Fisher’, p. 306. 56. Peter Riley, ‘Spitewinter Edge Lookout Prose’ (a), Lines on the Liver (Cambridge: Ferry Press, 1981), unpaginated. 57. ‘ ‘‘Come to Think of It, the Imagination’’ ’, p. 111. 58. ‘I’m not very good at separating space^time . . how anybody after Einstein can separate history from geography puzzles me somewhat’, Turning the Prism, p.
The symphonic amplitude built up by this means is fed by a sense of the past which came late to Fisher. City occasionally contrasts the demolitions of the present with Victorian industrial grandeur; ‘Wonders of Obligation’ deals movingly with the Blitz; but A Furnace takes permission from the space-time continuum of physics58 to modulate several phases of history through the ‘headless / relativity of zones’ which the poem self-descriptively ¢nds in North Sta¡ordshire/Birmingham (F, p. 27). Riley’s feeling of vanguard responsibilityöwhich makes even the present a future to any pastöwould strike Fisher as too forward: in the vortex of A Furnace, the past might be the future to any present.
There is a trauma here which presumably goes back to Fisher’s never-published ‘apocalyptic bildungsroman’, and it gives a ¢nal twist to his writing on location. ’68 This is one version of a truth which appals Fisheröthe ‘psychological torment’ of the fact that time ‘doesn’t come apart from me. I’m never a yard away from it’;69 and it runs so strongly through his work that it is tempting to conclude that the sickness which a¥icts the ‘I’ of the Migrant City (‘hereditary, complete . . progressive, so slow as to be barely perceptible’) is the mortality of being in time.