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Gavin Selerie

Gavin Selerie (pronounced Se-LAIR-y) is a British poet.[1] He was born in Hampstead, London in 1949.[1][2] Since the early 1980s he has published many collections of poetry and essays. Some recordings have also been released. Selerie’s work has appeared in anthologies such as The New British Poetry (1988), Other: British & Irish Poetry since 1970 (1999) and The Reality Street Book of Sonnets (2008).

Contents

•	1 Life and Background •	2 Writing •	3 Bibliography •	4 References •	5 External links

Life and Background

Selerie is the son of World War II hero and wine expert Peter Selerie[3][4] and grandson of William Alexander Lee, chief executive of the Mining Association (GB).[5][6] The Seleri family came to London from northern Italy c. 1880 and ran a restaurant in Soho for many years.[7][8] Selerie was educated at Haileybury and the universities of Oxford, Sussex and York.[9] He has stressed the importance of his London roots, although the cultural focus of his work is often broad.[10] On his mother’s side there are woodwork and architectural associations, both relevant to his writing practice.[10][11] Selerie was particularly involved with the counterculture in the period 1966-1976.[10] He has been included in ‘a list of poets without whom the Underground could not be imagined’.[12] He was one of the main poetry reviewers for City Limits (magazine) in the 1980s.[13] Intersecting with a number of modernist-inspired writers, he is considered part of the [ [British Poetry Revival] ].[14] His work has found approval in journals such as Chicago Review and The Times Literary Supplement.[15][16] Selerie taught at the Extra-Mural Department, University of London, and subsequently at Birkbeck, University of London from the 1980s through to 2004.[1] His partner is the poet Frances Presley.[17]

Writing

Selerie’s earliest published poetry dates from 1972. His major books are Azimuth (1984), Roxy (1996), Le Fanu’s Ghost (2006), Hariot Double (2016) and, with Alan Halsey, Days of ’49 (1999). Music’s Duel: New and Selected Poems 1972-2008 (2009) collects some of this work, along with fresh or fugitive texts. ‘His poetry is mainly in long forms organised around multiple interlocking themes’ and this could be regarded as ‘an extension of “open field” poetry.’[18] Selerie has shown a capacity to fuse pulp and popular material with more rarefied matter. Marina Warner finds an ‘oral, brash, sparky’ quality in the writing, which is still grounded in classic poetic patterns.[19] If his mode is informed by scholarship, as Professor Robert Hampson argues, the resulting complexity is achieved through ‘inventiveness and playfulness’.[20] Selerie’s habitual juxtaposition of voices reflects the influence of theatre.[21][1]

The large-scale works were built up in layers over an extended period.[22] Andrew Lawson describes this approach as ‘ambitious, aiming for a kind of range and depth rarely attempted in. . . Britain’.[23] These books combine imaginative and documentary material.[16] The lyric remains a core feature,[24] as it is in shorter sequences like Elizabethan Overhang and Tilting Square that use convention in a novel way.[25][9] Paul Green in Chicago Review singles out the writer’s ‘great interest’ in the ‘textural’, observing that Roxy is at one level ‘a great Elizabethan poem’.[15] As BBC presenter and poet Ian McMillan has noted, romantic love and landscape figure prominently in Selerie’s work, which operates ‘on many levels’ and is ‘restlessly experimental’.[26] Layout, so as to reflect or embody sound, is a key element of Selerie’s practice.[1] Besides general attention to the look of words on the page, he has published concrete texts, such as ‘Bone Metallic’, inspired by the work of Henry Moore.[10][27] Selerie has collaborated with poet and graphic artist Alan Halsey, notably in the book Days of ’49, whose procedures have been compared to ‘patterns like Mass Observation and surreal documentaries like Listen to Britain’.[28] The Chicago Review critic registered its ‘often lively. . . or rollicking’ tone.[15] Halsey provided illustrations for Azimuth, Le Fanu’s Ghost and Hariot Double. A festschrift for the two poets, edited by David Annwn, was published in 2009.[29]

Selerie is a regular performer at British venues.[30] Strip Signals, originally performed with musicians at the London Musicians Collective, Camden Town,[31] was presented by Poets Theater in San Francisco.[32]

In addition to creative work, Selerie has published critical essays on a range of figures from Charles Olson to Bob Dylan. He edited The Riverside Interviews, a series of book-length studies about modern poets and playwrights. The volume on Scottish writer Tom McGrath includes much documentation of avant-garde culture in Britain.[33] Le Fanu’s Ghost, part-critical, contains original research on the Sheridan and Le Fanu families.[34] See Further Reading section, [ [Sheridan Le Fanu] ]. Roxy ‘ends with a three-page-long multiple redefinition’ of the title word, prior to its inclusion in the OED.[35] Bibliography

a) Poetry and Imaginative Prose (Main Publications)

•	Azimuth (Binnacle Press, 1984) ISBN 0-907826-05-9 •	Strip Signals (Galloping Dog, 1986) ISBN 0-904837-86-6 •	Elizabethan Overhang (Spectacular Diseases, 1989) ISBN 0-946904-13-8 •	Southam Street (New River Project, 1991) ISBN 1-870750-02-0 •	Tilting Square (Binnacle Press, 1992) 0-907826-07-5 •	Roxy (West House Books, 1996) ISBN 0-9521891-2-7 •	Danse Macabre, with Alan Halsey et al. (Ispress & West House Books, 1997) 0-9521891-9-4 •	Days of ’49, with Alan Halsey (West House Books, 1999) ISBN 0-9531509-1-7 •	Vitagraph: for Bob Dylan at Sixty (Binnacle Press, 2001) ISBN 0-907826-10-5 •	Le Fanu’s Ghost (Five Seasons Press, 2006) ISBN 0-947960-44-9 •	The Canting Academy, with David Annwn et al. (IsPress, 2008) ISBN 978-0-9533897-4-2 •	Music’s Duel: New and Selected Poems 1972-2008 (Shearsman Books, 2009) ISBN 978-1-84861-003-3 •	‘Rite of Possession’, in Jim Rockhill and Brian J. Showers ed., Dreams of Shadow and Smoke: Stories for J.S. Le Fanu (Swan River Press, 2014) ISBN 978-1-78380-003-2 •	Hariot Double (Five Seasons Press, 2016) ISBN 978-0-947960-89-6

b) Other (Selective)

•	To Let Words Swim into the Soul: a Study of Charles Olson (Binnacle Press, 1980) •	The Riverside Interviews 1: Allen Ginsberg; 2: Lawrence Ferlinghetti; 3: Gregory Corso; 4: Jerome Rothenberg [with Eric Mottram]; 6: Tom McGrath (Binnacle Press, 1980-1984) ISSN 0261-3042 •	Selection of contemporary British poetry with essay, North Dakota Quarterly, 51:4 (Fall 1983) •	‘Tricks and Training: Some Dylan Sources & Analogues’, The Telegraph 50 (Winter 1994) and 51 (Spring 1995) •	‘Charles Olson’, in C. Bloom & B. Docherty ed., American Poetry: The Modernist Ideal (Macmillan, 1995) ISBN 0-333-53288-0 •	‘Tracks Across The Wordland: The Work of Alan Halsey’, Pages (March 1996) •	‘Ekphrasis and Beyond: Visual Art in Poetry. A Brief Personal Account’ (with Bio-Note), Junction Box 2 (Dec 2011) •	Edward Dorn: Two Interviews [ed. with Justin Katko] (Shearsman Books, 2013) ISBN 978-1-84861-278-5 •	‘Pound and Contemporary British Poetry: The Loosening of Form’, in Richard Parker ed., News from Afar; Ezra Pound and Some Contemporary British Poetries (Shearsman Books, 2014) ISBN 978-1-84861-364-5 •	‘“And now, why?”: London Ghosts and their Haunts’, in Walter Baumann and William Pratt ed., Ezra Pound and London: New Perspectives (AMS Press, 2015) ISBN 978-0-404-65533-4 •	‘From Weymouth back: Olson’s British contacts, travels and legacy’, in David Herd ed., Contemporary Olson (Manchester University Press, 2015) ISBN 978-0-7190-8971-8 •	‘Kaleidoscope of Spirits’, in Robert Hampson and Ken Edwards ed., Clasp: late-modernist poetry in London in the 1970s (Shearsman Books, 2016) ISBN 978-1-84861-460-4

c) Anthologies •	The New British Poetry (Paladin, 1988) ISBN 0-586-08765-6 •	Ten British Poets (Spectacular Diseases, 1993) ISBN 0-946904-92-8 •	Other: British and Irish Poetry since 1970 (Wesleyan University Press, 1999) ISBN 0-8195-2258-9 •	The Reality Street Book of Sonnets (Reality Street, 2008) ISBN 978-1-874400-39-4 •	Troubles Swapped for Something Fresh (Salt Publishing, 2009) ISBN 978-1-84471-471-1

d) CD Recordings

•	After Hour Shoots: Azimuth to Le Fanu’s Ghost (Binnacle, 2009) •	Performance-Texts: Strip Signals and Other Work (Binnacle, 2011) •	Xing the Line: Hariot Double (Optic Nerve, 2016)

References

1. ^ http://www.archiveofthenow.org/authors/?i=123 2. ^ Rupert Loydell ed., Warp & Woof (Analogue Flashback Books, 2016) 3. ^ Stuart Hills, By Tank Into Normandy (Cassell, 2002) 4. ^ The Times (London), 5 November, 1968 5. ^ W.A. Lee, Thirty Years in Coal: 1917-1947 (Mining Association of Great       Britain, 1954) 6. ^ Who Was Who, volume 2: 1971-1980 (A & C Black, 1981) 7. ^ http://www.npg.org.uk/collections/search/person/mp141219/peter-alexander-selerie 8. ^ Baedeker Handbook for Travellers: London & its Environs (Leipzig, 1898) 9. ^ Gavin Selerie interviewed by Andrew Duncan [5 parts] (http://www.shearsman.com/ws-blog/category/210-gavin-selerie) 10. ^ http://lyndondavies.co.uk/.../gavin-selerie-ekphrasis-and-beyond-visual-art... 11. ^ http://sculpture.gla.ac.uk/view/person.php?id=msib2_1211298325 12. ^ Andrew Duncan, The Failure of Conservatism in Modern British Poetry 2nd edition (Shearsman Books, 2016) 13. ^ Robert Hampson & Ken Edwards ed., Clasp: late-modernist poetry in London in the 1970s (Shearsman Books, 2016) 14. ^ Robert Sheppard, The Poetry of Saying: British Poetry and its Discontents 1950-2000 (Liverpool University Press, 2005) 15. ^ Paul Green, review of Roxy (‘West House’) in Chicago Review 45:2 (1999); Geoffrey Treacle, review of Days of ’49 (‘Notes & Comments’) in Chicago Review 45:3/4 (2000) 16. ^ Susana Medina, review of Le Fanu’s Ghost, Times Literary Supplement, 11 April 2008 17. ^ http://www.southampton.ac.uk/~bepc/poets/Presley.htm 18. ^ Andrew Duncan, ‘Handlist of late 20th century poets (part 1)’, at http://angelexhaust.blogspot.co.uk/2010/12/handlist-of-late-20th-century-poets.html 19. ^ Jacket comment for Gavin Selerie, Le Fanu’s Ghost (Five Seasons Press, 2006) 20. ^ Robert Hampson, ‘Gavin Selerie: Roxy and Le Fanu’s Ghost’ (http://jacketmagazine.com/36/r-selerie-rb-hampson.shtml) 21. ^ Alison Croggon, ‘Why don’t poetry and theatre mix?’, The Guardian, 6 November 2007 22. ^ Gavin Selerie, ‘From Weymouth back: Olson’s British contacts, travels and legacy’, in David Herd ed., Contemporary Olson (Manchester University Press, 2015) 23. ^ Andrew Lawson, ‘Two Contemporary British Poets’, The Phoenix Review 1 (1986/87) 24. ^ Keith Jebb, ‘Destabilizing Poetries’, Poetry Salzburg Review 16 (2009) 25. ^ Peter Porter, ‘Muses on an Expedition’, The Observer (London), 20 May 1990 26. ^ Ian Mcmillan, review of Music’s Duel in Shadowtrain 29 [2009]: http://www.webarchive.org.uk/wayback/archive/20150920220023/http://www.shadowtrain.com/id326.html 27. ^ David Miller, exhibition leaflet, Visual Poetics, Southbank Centre (2013) 28. ^ Andrew Duncan, review of Days of ’49 in Terrible Work 10 (2000) 29. ^ Salamanders & Mandrake: for Alan Halsey & Gavin Selerie at Sixty (IsPress, 2009) 30. ^ http://www.mancunion.com/2014/02/10/the-other-room-experimental-poetry/ 31. ^ Robert Sheppard, When Bad Times Made for Good Poetry: episodes in the history of the poetics of innovation (Shearsman Books, 2011) 32. ^ Gordon, ‘A Flood of Words’, Poetry Flash 177 (December 1987) 33. ^ Nigel Fountain, Underground: The Alternative Press 1966-74 (Comedia/Routledge, 1988) 34. ^ http://www.lefanustudies.com/selerie.html 35. ^ Sophie Mayer, ‘Cinema Mon Amour: How British Poetry Fell in Love with Film’, in Peter Robinson ed., The Oxford Handbook of Contemporary British and Irish Poetry (2013)

External Links

•	http://www.shearsman.com/pages/books/authors/selerieA.html •	http://www.archiveofthenow.org/authors/?i=123 •	http://lyndondavies.co.uk/.../gavin-selerie-ekphrasis-and-beyond-visual-art... [Junction Box 2] •	http://www.webarchive.org.uk/wayback/archive/20150920220023/http://www.shadowtrain.com/id326.html •	http://www.shearsman.com/ws-blog/category/210-gavin-selerie •	http://www.fiveseasonspress.com/#hariotdouble

Gerarddenerval (talk) 19:57, 25 March 2017 (UTC)

AfC notification: Draft:Gavin Selerie has a new comment
 I've left a comment on your Articles for Creation submission, which can be viewed at Draft:Gavin Selerie. Thanks! SwisterTwister  talk  19:20, 12 February 2017 (UTC)

Your submission at Articles for creation: Gavin Selerie (March 11)
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Exemplo347 (talk) 23:22, 11 March 2017 (UTC)

Draft:Gavin Selerie concern
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Draft:Gavin Selerie concern
Hi there, I'm HasteurBot. I just wanted to let you know that Draft:Gavin Selerie, a page you created, has not been edited in 5 months. The Articles for Creation space is not an indefinite storage location for content that is not appropriate for articlespace.

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Thank you for your attention. HasteurBot (talk) 01:32, 11 November 2017 (UTC)

Draft:Gavin Selerie concern
Hi there, I'm HasteurBot. I just wanted to let you know that Draft:Gavin Selerie, a page you created, has not been edited in 5 months. The Articles for Creation space is not an indefinite storage location for content that is not appropriate for articlespace.

If your submission is not edited soon, it could be nominated for deletion. If you would like to attempt to save it, you will need to improve it.

You may request Userfication of the content if it meets requirements.

If the deletion has already occured, instructions on how you may be able to retrieve it are available at WP:REFUND/G13.

Thank you for your attention. HasteurBot (talk) 01:31, 13 May 2018 (UTC)