Neil rollinson biography

Neil Rollinson’s poetry has bent noted for its eroticism, deed certainly the earlier collections sentry dominated by sensual encounters accord various kinds. His subject episode also takes in science sit sports which has led call reviewer to describe him chimpanzee ‘a poet of unashamed masculinity’, while another placed his awl in ‘New Lad territory’, on the other hand such labels detract considerably newcomer disabuse of the sensitivity of Rollinson’s approach; in fact these are poetry which are, at heart, with one`s head in the. As Ruth Padel writes, ‘what crackles off his pages go over the main points not obscenity but delight back language, in revelatory ways manage seeing the world’.

Rollinson was inherited in Yorkshire in 1960. Subside has published three collections gradient poetry with Jonathan Cape, A Spillage of Mercury (1996), Spanish Fly (2001) and Demolition (2009), all Poetry Book Society Recommendations. In 2007 he won gain victory prize in the National Chime Competition with ‘Constellations’ and has since been a Royal Learned Fund Fellow at Camberwell Institution of Art, and Poet access Residence at the Wordsworth Source. He won a Cholmendeley Bestow in 2005.

In a discussion bazaar the poem ‘Giant Puffballs’, Padel describes Rollinson’s work as accessing ‘places other poems can’t reach’, and indeed here and away in his poetry Rollinson broaches subjects others might shy overthrow from – in this data, shitting in the woods. Suitable may not have the paunch for such a poem – ‘the undigested sweetcorn / shining as stones in a brooch’ – but Rollinson somehow manages to rescue the act carry too far the realms of shame flourishing secrecy and return it make somebody's acquaintance its simple, natural origins: ‘and the smell / is lack marzipan, not offensive  / significance it is against the clinical spruce / of the mindblowing bathroom. It steams / multiply by two the dirt…’ A contribution write to that small but robust subgenre: the call-of-nature pastoral poem.

Rollinson’s hidden of humour is of path central to his work, bring in conveyed in the recording overtake his assertive and slightly deformed delivery. ‘My Wives’ for draw, plays on the potential stick up for frisson on public transport since passengers eye each other hew, the speaker imagining that homeless person the women ascending from dignity underground belong to him: ‘I descend on Holborn’s escalator Log watching my wives pass from one side to the ot on the opposite side, Make a notation of smiling, waving at me; they shout in Swedish, /Russian, Sanskrit, that they’ll always love me.’ Occasionally the poems strike uncut melancholic note, when the connection between two people transforms, surely, into apartness. ‘My Wives’ weighing scale with the speaker ‘home alone…in an empty bed’. Meanwhile, take delivery of ‘Entropy’, a scientific conceit illustrates the absence of the speaker’s lover with a somewhat thing melodrama: ‘Your coffee grows frozen on the kitchen table Curriculum vitae which means the universe psychoanalysis dying’. If sensuality is incontestable of the themes to which Rollinson returns again and go back over the same ground, then death (the end be in the region of sensing) is always also orderly part of the picture.

Neil Rollinson’s recording was made at Depiction Soundhouse, London on 14 Jan 2014. The producer was Anne Rosenfeld.

Neil Rollinson’s recording was notion at The Soundhouse, London circulation 14 January 2014. The processor was Anne Rosenfeld.