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Review
John Stammers, described on the back of this book as 'reminiscent of an English Frank O'Hara', pays homage to the master with his poem The Call, but there is much more to Stammers than a rehashing of American 20th-century poetry. In this, his first collection, he offers a range of work covering such themes as psychoanalysis, the cinema and the sea. These poems are both accessible and demanding; in many, such as The Clinic, Stammers offers a glimpse of a familiar world but leaves his readers to supply a context. His love poems in particular depend on familiar details from late 20th-century culture, 'her dark denim skirt' in Spine, 'postmodern Ninotchka' in Breakages. Impression is exceptionally moving and surprising: the poet watches a woman he is out on a date with scraping faeces from her shoe and thinks how beautiful she looks; Stammers rarely resorts to cliche or 'poetic' language. For a relatively new poet, his style is already distinctive, combining economic use of visual, almost cinematic imagery and clever wordplay. However, he is prepared to try different forms, such as the repeated words at the end of lines in Where is the Rest of my Horse? and clever rhymes in The Party. Stammers writes effectively about places and place names have a particular magic for him, whether it be his great-grandfather's grave at Gestingthorpe, a journey beyond Dublin in Testimony, or Vienna in There Are Some Places Beyond. Black humour pervades his work. He describes the last vampire who now lives in Eastbourne and Lana, who can tell a person's character from the length of their middle toe. So What Do You Do on Your Week Off? combines Stammers's humour with the glamour of the movies as he imagines a holiday from reality. An engaging and demanding collection. (Kirkus UK)
The Times
'A livewire imagination'
See all Product Description
John Stammers, described on the back of this book as 'reminiscent of an English Frank O'Hara', pays homage to the master with his poem The Call, but there is much more to Stammers than a rehashing of American 20th-century poetry. In this, his first collection, he offers a range of work covering such themes as psychoanalysis, the cinema and the sea. These poems are both accessible and demanding; in many, such as The Clinic, Stammers offers a glimpse of a familiar world but leaves his readers to supply a context. His love poems in particular depend on familiar details from late 20th-century culture, 'her dark denim skirt' in Spine, 'postmodern Ninotchka' in Breakages. Impression is exceptionally moving and surprising: the poet watches a woman he is out on a date with scraping faeces from her shoe and thinks how beautiful she looks; Stammers rarely resorts to cliche or 'poetic' language. For a relatively new poet, his style is already distinctive, combining economic use of visual, almost cinematic imagery and clever wordplay. However, he is prepared to try different forms, such as the repeated words at the end of lines in Where is the Rest of my Horse? and clever rhymes in The Party. Stammers writes effectively about places and place names have a particular magic for him, whether it be his great-grandfather's grave at Gestingthorpe, a journey beyond Dublin in Testimony, or Vienna in There Are Some Places Beyond. Black humour pervades his work. He describes the last vampire who now lives in Eastbourne and Lana, who can tell a person's character from the length of their middle toe. So What Do You Do on Your Week Off? combines Stammers's humour with the glamour of the movies as he imagines a holiday from reality. An engaging and demanding collection. (Kirkus UK)
The Times
'A livewire imagination'
See all Product Description