Robert Hampson Veronique Pauly Popular Books

Robert Hampson Veronique Pauly Biography & Facts

Robert Gavin Hampson FEA FRSA (born 1948) is a British poet and academic. Hampson was born and raised in Liverpool, studied in London and Toronto and settled in London. He is currently Professor Emeritus at Royal Holloway. He was Visiting Professor at the University of Northumbria (2018-21) and Research Fellow at the Institute for English Studies, University of London (2019-23). He is a member of the Poetics Research Centre and the Centre for GeoHumanities at Royal Holloway. He is well known for his contributions to contemporary innovative poetry and the international study of Joseph Conrad. Early life and education Robert Gavin Hampson was born in Liverpool in 1948. He studied English literature at King's College London between 1967 and 1970 and was awarded a Commonwealth Scholarship to complete a master's degree at University of Toronto. He then returned to King's College, London, in 1971 where he completed a PhD on Joseph Conrad. Poetry During the 1970s he co-edited the poetry magazine Alembic with two other graduates from King's College, Peter Barry (poet) and Ken Edwards, and was a key figure in the second generation of the British Poetry Revival. His poetry was published in Cid Corman's Origin, Alan Davies's 100 Posters, and in a range of other magazines during the 1970s. It was also included in the Arts Council's anthology, New Poetry 3 (1977). His work as one of the editors of Alembic has received attention in two books by Wolfgang Gortschacher - Little Magazine Profiles: The Little Magazines in Great Britain, 1939-1993 (University of Salzburg, 1993) and Contemporary Views on the Little Magazine Scene (Poetry Salzburg, 2000)- and, more recently, in an interview (with Ken Edwards) by Sophie Seita in the magazine mimeo mimeo (2014). This has now been republished as 'transatlantic axis of alembic' in Jacket2. His best-known work is probably his early long-poem, Seaport (Pushtika, 1995; Shearsman, 2008), composed during the 1970s, which has been written about by Peter Barry, Andrew Duncan, Amy Cutler, Neal Alexander and others. Barry's extended analysis of Seaport begins by noting its 'extensive use of "incorporated data" of various kinds', ranging from various literary sources (including works by Defoe, Melville, Hawthorne and Conrad) to 'historical accounts of the growth and development of the port, of the history of race relations in the city, newspaper accounts of local events and local guidebooks' (Contemporary British Poetry and the City, p.159). He concludes by describing this long poem as 'a large-scale vehicle of surprising flexibility which can accommodate the overtly political, the archival-historical and radically pared-down versions of poetry's more familiar affective modes' (Contemporary British Poetry and the City, p.162). Andrew Duncan similarly suggested that Seaport was 'a major work, where the recovery of pure facts without explanatory annotation allows the build up of a new understanding on the large scale' (The Council of Heresy, p. 29). Cutler argues that, in this work, Hampson 'shows the conflict between the different social typologies of space in the seaport'. Neal Alexander draws attention to the poem's demonstration of how 'multiple channels of traffic have shaped the port of Liverpool over time' - the cotton trade, the slave trade, Irish emigration. In the post 1939 section of the CUP English Literature in Context, John Brannigan describes Seaport as 'an important book for its extraordinary poetic account of the history and development of Liverpool'.More recently, Phillip Jones has included discussion of Seaport in his 2018 Nottingham University PhD, 'Rewriting the Atlantic archipelago: Modern British poetry at the coast'. Hampson's poetry has gone through various stages. The early work explored open-field poetics and what Peter Barry has called 'content-specific' poetics (in Seaport), but also treated text in How Nell Scored (1976) and 'on the trail' (1976). He subsequently explored self-conscious narrative and montage in his Godard-inspired film poems 'one plus one' (1980) and 'handy narratives' (1985); and a phrasal poetics (derived from Lyotard's 'The Differend' and his own critical engagement with the work of Adrian Clarke) in a human measure (1989) and unicorns: 7 studies in velocity (1989) - and subsequent volumes. This part of his career is represented in Assembled Fugitives (2001); some of the critical engagement with Clarke is evidenced in his essay 'Producing the Unknown' in New British poetries (1994); and Clarke, in turn, has discussed 'a human measure' and 'unicorns' in 'Robert Hampson and a Neo-Formalist Moment', his contribution to For Robert (2017), edited by Redell Olsen. More recent work by Hampson has been engaged in exploring the resources of the sonnet. His poetry has been translated into German, Italian and Rumanian. See, for example, Wolfgang Gortschacher & Ludwig Laher, So Also Ist Das: Eine Zweisprachige Anthologie Britischer Gegenswartslyrik (Haymon-Verlag, 2002), and the translation of the sequence 'Lou Mistrau' in the Italian journal Soglie (August 2014). In 2012, his collection Reworked Disasters (knivesforksandspoons press) was long-listed for the Forward Prize. In his comprehensive study of the sonnet in English, The Sonnet (Oxford University Press, 2019), Stephen Regan discusses Reworked Disasters in relation to sonnets by Ken Edwards and Tony Lopez as examples of the contemporary avant-garde sonnet. He describes Hampson's 'serious political focus on global warfare, imperialism, and torture' in this 'linguistically discontinuous' fourteen-sonnet sequence. (The Sonnet, p. 382).Hampson's more recent work includes 'love's damage', which was published in the Surrey Poetry Festival Magazine (21.05.11), edited by Amy De'Ath and Jonty Tiplady; 'sonnets 4 sophie' first published in Veer Vier (September 2013), while an explanation of colours was reviewed by Edmund Hardy and Melissa Flores-Borquez in Intercapillary Space and out of sight (crater, 2012) and Liverpool (hugs &) kisses, his 2014 collaboration with Robert Sheppard, are reviewed on the 'other room' website. In their review of out of sight, the Institute of Electronic Crinolines referred to 'The artificial highs of Robert Hampson's noir on overload' and described the text as evoking 'a knowingly flimsy fantasy of what resistance to all forms of identification might be like'. More recently, he has contributed to Robert Sheppard's European Union of Imaginary Author's project through a collaboration with Sheppard. This collaboration is included in Robert Sheppard (ed.) Twitters for a Lark: Poetry of the European Union of Imaginary Authors (Shearsman, 2017). His sequence 'Volupte: 22 Constructions for Ewald Matare' is included in the Spring 2021 issue of Long Poem Magazine, and the volume Covodes 1-19 was published in December 2021 by Artery editions. Some of the Covodes have been published in Molly Bloom and junction box, and a recording of a.... Discover the Robert Hampson Veronique Pauly popular books. Find the top 100 most popular Robert Hampson Veronique Pauly books.