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article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">The Victorian hoe, the Upper Haight neighborhood of San Francis, where the Brish-born poet Thom Gunn lived for more than thirty years and where he died, 2004, at the age of seventy-four, is as pretty as all the other ho on Cole Street. It was purchased part wh a Guggenheim grant that Gunn received 1971, and he shared wh his long-term partner, the theatre artist Mike Kay, and var of their rpective lovers and iends. In his queer home, Gunn, who is bt known for his profound 1992 llectn “The Man wh Night Sweats,” a seri of medatns on the impact of <em class="small">AIDS</em> on his muny, tablished a disciple of re that was a source of stabily and fort to him durg the seismic chang gay life that occurred durg his years there. “Three or four tim a week someone oks for the whole hoe and guts,” Gunn wrote to a iend not long after movg . “I have oked for 12 several tim already. . . . So thgs are workg out very well: is really, I realize, the way of livg I’ve wanted for the last 6 years or so.”</p><p class="paywall">One’s experience of Gunn’s poetry—which is, by turns, nversatnal, formal, and metaphysil, and often all three at once—is eply enhanced by the life one disvers “The Letters of Thom Gunn” (expertly -eded by Michael Nott—who provis a heartfelt and knowledgeable troductn—and Gunn’s close iends the poets Augt Klezahler and Clive Wilmer). Gunn’s letters are a primer not only on lerature (he tght a rigoro class at U.C. Berkeley on and off om 1958 to 1999) but on the poet himself, who had a tenncy to hi pla sight. “I’m the soul of discretn,” he once told his iend the edor and thor Wendy Lser, but he had an aversn to beg seen, or, more accurately, to nfsnal wrg that said too much too loudly. (In a 1982 poem, “Exprsn,” Gunn ma droll sport of his exasperatn: “For several weeks I have been readg / the poetry of my junrs. / Mother don’t unrstand, / and they hate Daddy, the noted alholic. / They wre wh black irony / of breakdown, mental stutn, / and suici attempt. . . . It is very poetic poetry.”)</p><p class="paywall">“The ept feelg always shows self silence; / Not silence, but rtrat”: so wrote Marianne Moore 1924, and those l me to md aga and aga as I read Gunn’s letters, where he reveals himself, tentnally or not, by not nstantly revealg himself. “You always cred me wh lack of feelg bee I often don’t show feelg,” he wrote to Kay 1963. “I’m sure that my feelg thrhold is also much higher than yours, but also I don’t particularly want to show . . . . I admire the unrstatement of feelg more than anythg.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Born Gravend, Kent, 1929, William Guneach Gunn—he add Thomson later—was the first child of Herbert and Charlotte Gunn. (A younger brother, Anr, to whom he was close throughout his life, was born 1932.) His parents, who were both volved wh words, met 1921, at the offic of the <em>Kent Msenger</em>, where they were traee journalists. Herbert beme the northern edor of the nservative <em>Daily Exprs</em>, while Charlotte stayed at home and took re of the children. Gunn’s childhood, which he mataed was a very happy one, was tradnal; he learned huy, gratu, and polil awarens equal measure. (The first letter the llectn, dated 1939, was wrten to Gunn’s father: “Thank-you for the lovely toy theatre, we have played wh om early morn till sunset. . . . I go to a garn party to help ‘poor Spa’ on Saturday. Anr wants a pistol you shoot ltle films out of, you get them om Selidg if this is not too spoily.”)</p><p class="paywall">In one of his very few tobgraphil says, “My Life Up to Now” (1979), Gunn wrote, of Charlotte:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>She was once seen at a party wearg an orchid pned by a brooch the shape of hammer and sickle. From this distance the batn sounds like a cliché of the thirti, but wasn’t: other women wouldn’t have done somethg so outrageo. I see behd an impunt and wty proclamatn that she wanted to get the bt of both worlds, and at the same time I n see the half-eful self-cricism.</p></div></blockquote><p class="paywall">For middle-class English women of Charlotte’s generatn (she was no Bloomsbury aristocrat), llg attentn to onelf was jt not done. Charlotte was a vorac rear, and spired a love of language her elr son. “The hoe was full of books,” Gunn wrote “My Life Up to Now.” “From her I got the plete implic ia, om as far back as I n remember, of books as not jt a mentary on life but a part of s ntug activy.” In a 1999 terview wh Jam Campbell, Gunn relled how when he was eleven, durg the Blz, livg at the boardg school Bedal, he asked his mother what he should give her for her birthday. “Why don’t you wre me a novel?” she replied. He did, posg a chapter a day durg the school’s afternoon sita time.</p><p class="paywall">We learn to make art by reactg and rearrangg what we tu about the emotnal atmosphere we live : Gunn’s novel, which volved adultery and divorce and was tled “The Flirt,” may have been a reimagg of what he saw at home. Between 1936, when Charlotte and Herbert separated for the first time, and 1944, when she died by her own hand, Charlotte had an affair wh a iend of Herbert’s, Ronald (Joe) Hy, returned to Herbert, separated om him aga, divorced him, married Hy, broke up wh Hy, renciled, and then separated aga. It was December, four days after Christmas, that Charlotte barrid herself the kchen and put a gas poker her mouth. Her sons found her the next morng. The morng after that, Gunn wrote this his diary:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>She mted suici by holdg a gas-poker to her head, and verg all wh a tartan g we had. She was lyg on the sheepsk g, drsed her betiful long red drsg-gown, and pillows were unr her head. Her legs were apart, one shoe half off, and her legs were whe and hard and ld, and the hairs seemed out of place growg on them. . . . Anr began to scream “Mother’s ad! She’s killed herself,” before I uld even realize that she was. . . . There was a smell, but not a very great one, of gas. It hnted for the whole day afterwards. I turned the gas off and Anr took the gas poker out of her hands. . . . We unvered her face. How horrible was! Anr said afterwards to me that the ey were open, but I thought they were closed. . . . But oh! mother, om the time when I left you at eleven on Thursday night until four the morng, what did you do? She died quickly and peacefully, they said, but what agoni of <em>md</em> she mt have passed through durg the night. . . . I kissed her legs.—Then lled the police.</p></div></blockquote><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">The image of fifteen-year-old Gunn kissg his mother’s legs is like a Pietà reverse: he’s J offerg Mary a rs. Grief separat the body om self. You n be a room wh the most terrible thg you’ll experience and not be there at all. Gunn’s anguish here don’t tract om his photographic powers of scriptn. His diary entry is not clud the “Letters”— appears the Brish edn of Gunn’s “Selected Poems”—but should have been. Marvellg at the horror of this scene and Gunn’s ntrol the midst of helps prepare you for what later: all the ad bodi he scrib, exam, and kiss goodbye “The Man wh Night Sweats.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">After Charlotte’s ath, Gunn and his brother were red for by a and her hband. Eventually, Anr moved wh Herbert and his send wife, but Gunn never lived wh his father aga. “Neher of ever ved each other to any timacy,” he wrote “My Life Up to Now.” “From my mid-teens onward we were jealo and spic of each other, ntent merely to do our duty and no more.” “Duty” is the operative word here. You want Gunn’s stiff upper lip to tremble a b more the letters he wrote the aftermath of Charlotte’s ath, but for the most part they are reuntgs of his actns, a lany of “I did this, I did that”—the kd of thg that helps tra a wrer’s eye. From a 1945 letter to two of his nts: “Last Sunday I went to the Holgat for John’s birthday party: There was a lovely ke, and on top of . . . a ltle red flag (like those that are stuck war maps). . . . The next day I went out wh Holgate the afternoon. We went to Picdilly and then walked up wh immense crowds to Buckgham Palace.” Sometim the faça would crack and somethg like tth would e out. Gunn wrote to an nt 1945, “We are very happy, though once I woke up the morng feelg que prepared to follow Mother to the grave!”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="x5z"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="6lo7fe"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">There’s a reason for Gunn’s distanced, unflected tone the years, and ’s allud to only briefly the letters: prsn. In an illumatg terview wh Wilmer <em>The</em> <em>Paris Review</em>, 1995, Gunn said that, after his mother’s ath, “I was vastated for about four years. I very much retired to myself. I read an enormo number of Victorian novels and eighteenth-century on, too . . . was an pe to another time when I didn’t have to face this problem of a suicid mother. I gradually me out of , but was a difficult four years or so. I don’t thk I knew how difficult they were at the time—luckily—so maybe origally I wrote as a way of gettg out of that.” Readg was what Gunn had shared wh his mother; was one way of holdg on to her, as was wrg. “I tried wrg short stori,” Gunn told Campbell. “And I tried wrg novels, and I tried wrg plays. . . . I tried wrg poetry as well— was all <em>dreadful</em> stuff—but eventually, round the age of twenty or so, I realized I was more enthiastic about poetry than the other forms, so that was what I wrote.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">At twenty-one, after fishg his Natnal Service, Gunn went to Cambridge to read English. Universy opened him up remarkable ways. He thrilled to Shakpeare and the Elizabethan poets. John Donne, he wrote “My Life Up to Now,” gave him “the license both to be obscure and to fd material the ntradictns of one’s own emotns.” He went on, “Donne and Shakpeare spoke livg language to me, and was one I tried to turn to my own .” It’s excg to watch Gunn grow the letters: at Cambridge, he was wrg poetry nstantly, tent on learng his craft and on makg a name for himself as a wrer. He began by adoptg Charlotte’s main name, Thomson, and spellg his name Thom (Tom had been his nickname sce childhood). “The new batn,” Wilmer wr an say on the poet, “wh s two strong syllabl and s evotn of ‘tom t’ and ‘tommy gun,’ suggts a highly mascule self-image that was probably at this stage at odds wh much his overt behavr. He was trospective, highly sensive and begng to be aware of his homosexualy.”</p><p class="paywall">In the summer of 1951, Gunn went on a hchhikg holiday France, and a postrd to an nt he wrote about how some soldiers had given him a ri: “They sisted that I <em>shared</em> lunch wh them, & gave me <em>pil</em> of meat and wouldn’t let me pay!” Nowadays, that kd of msage might e a raised eyebrow and a knowg se, but this was the early fifti, and men were beg arrted for sodomy. It took Gunn some time to unrstand that he was gay. “I was extraordarily dishont wh myself my late teens,” he told Campbell. “All my sexual fantasi were about men, but I assumed I was straight. I thk was partly bee homosexualy was such a forbidn subject those days. . . . I didn’t want to be effemate, eher.”</p><p class="paywall">Cambridge was where Gunn met Kay, a twenty-one-year-old om New Jersey, who was there on a Woodrow Wilson Fellowship. Early 1953, they beme volved. That May, Gunn wrote Kay a letter of such personal honty that outsh his poems of the time, which his love uld not be named:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Heaven</p><p>21st May</p><p>My darlg,</p><p>You are workg, so I nnot speak to you. I hope you’re not cross that those people me , or, if you are, only that they prevented you om workg. Bee I was thkg of you while they talked and didn’t look at you, for lovg you so much I’d have looked too tenrly. I love you, Mike Kay, and not only bee you’re handsome and betiful-voiced and graceful; I love you wholly, so much wh all of myself, that I don’t know what to do or say when there are other people by. And I <em>am</em> love wh your looks as well, bee they’re a part of you almost as much as what you say and thk, but I’m so permanently love wh you that I’ll love them whatever they beme.</p></div></blockquote><p class="paywall">What Kay beme was one of the poet’s major subjects. In “Tamer and Hawk,” om his first book, “Fightg Terms” (1954), Gunn wrote about him this way:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I thought I was so tough,<br/>But gentled at your hands,<br/>Cannot be quick enough<br/>To fly for you and show<br/>That when I go I go<br/>At your mands.</p><p>Even flight above<br/>I am no longer ee:<br/>You seeled me wh your love,<br/>I am bld to other birds—<br/>The hab of your words<br/>Has hood me.</p></div></blockquote></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="tof18o"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">It’s like readg Donne by way of Smokey Robson, which is to say that a rock-and-roll feelg f the poem’s stcture. (Klezahler has lled Gunn “an Elizabethan poet morn drs.”) Popular culture turned Gunn on. Movi, particular. His love of leather, motorcycl, and “masculy” was, part, spired by Marlon Brando. “I’m a timid ltle soul myself,” Gunn told Campbell. “But an tertg thg happened the movi, didn’t , the early 1950s? In the ’30s you had the gentlemen hero, like Cary Grant and Llie Howard. . . . And then, sudnly, you got this wave of people, people like Marlon Brando and Jam Dean. There was a new kd of ial: was a blue-llar hero, wasn’t the gentleman hero. There were no more srlet pimpernels then.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">From Cambridge—the land of srlet pimpernels—Gunn and Kay travelled to Europe. That summer, “Fightg Terms” me out, and the reviews were ldatory. Like Blaire, one of his favore thors, Gunn ed “old-fashned” mos of wrg verse to talk about dirty, plited, morn tim. Strong meter n temper hot subjects, such as homosexual sire, domatn, the need for speed. (As he matured, Gunn learned a great al about blank verse om William Carlos Williams.)</p><p class="paywall">Not long after that, Gunn sailed to Ameri to do a fellowship at Stanford, where he studied wh Yvor Wters, a neoclassicist and an anti-Romantic. In 1958, Gunn beme a lecturer at Berkeley, and he and Kay lived and around San Francis for most of the rt of Gunn’s life. The shape of their relatnship changed over the years, but the ia of partg om Kay was spirually and mentally pulverizg to Gunn. He was ls ncerned about the loss of physil timacy than about the potential loss of their emotnal closens. Kay was not really terted promiscuy, but, he says, Gunn took to wh great gto. The poet was ank about his dallianc, and the ethics unrlyg them. In a 1961 letter to Kay, he scrib meetg “a queer, lossally big London Jew lled Wolf, a medil stunt, and iend of Jonathan Miller, who says my poetry changed his life— ed him to get a bike and wear leather, and he tears around like a whirlwd—and me out here to be a doctor, here bee <em>I</em> live here. And he really means , too.” (Wolf was Oliver Sacks’s middle name.) Then, a month or so later:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Y, I did make wh Wolf, & was fensible, sce I fd him extremely unatt. Well, not extremely, and some people go mad crazy about him, but I like somethg (a) more betiful and (b) more subtle. But for the first time my life I did what I nsir so wrong, i.e. slept wh someone bee he was so voted, which I fd immoral, really, the one form of sexual immoraly.</p></div></blockquote><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Chicken talkg to pig on a far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Free range is great! I met you, didn’t I?”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Liza Donnelly</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 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16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Bik and leather were Gunn’s poetry at the time, notably “On the Move”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>On motorcycl, up the road, they e:<br/>Small, black, as fli hangg heat, the<br/>Boys,<br/>Until the distance throws them forth, their<br/>hum<br/>Bulg to thunr held by lf and thigh.<br/>In goggl, donned impersonaly,<br/>In gleamg jackets trophied wh the dt,<br/>They strap doubt—by hidg , robt—<br/>And almost hear a meang their noise.</p></div></blockquote><p class="paywall">But his sexual life, or, more specifilly, the velopment of his sexual tast, uld not be acknowledged his work. Wrg to Kay 1961, he said:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I have a strong sire to wre openly queer poems, not for publitn—or else for publitn unr a psdonym. Subject: the sailor on leave, nocently unscpulo, his bch not showg his appearance. Subject: “Drivg to Florida”—Mother & the tckers. Subject: y. Subject: the succsful queer marriage. Subject: tra. At the same time I haven’t been able to fd a good style; I don’t want them to be pornography, but I want them to have sex them. Maybe the subjects are really for says & not poems.</p></div></blockquote><p class="paywall">Gunn told Campbell, 1999, “People say ‘Why didn’t you e out of the closet, publicly, sooner than you did?’ I would never have got to Ameri, for one thg. I would never have got a teachg job, for another thg. And I would probably not have had openly homosexual poems published magaz or books at that time.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Part of the enormo bt I feel to the edors of Gunn’s letters has to do wh the way they have expand my unrstandg of his work. In the letters, I have disvered the person Gunn left out of the poems. For years, I wasn’t drawn to his work. “I’m a <em>ld</em> poet, aren’t I?” he said half-jokgly the Campbell terview. (He scrib his ctomary remove the 1967 poem “Touch”: “You are already / asleep. I lower / myself next to / you, my sk slightly / numb wh the rtrat / of habs, the pata of / self, the black ost / of outsins.”) But wasn’t a lack of warmth that distanced me om his poetry so much as his subject matter. I uldn’t always get to his versn of Ameri, wh s leather boys, dgs, and male aterny, s sire to be ee of the flh while fetishizg s apparel. Poems like “Elvis Prley,” om 1957—“The limatns where he found succs / Are ground on which he, pantg, stretch out / In turn, promiscuoly, by every note. / Our idsyncrasy and our likens”—shut me out. Elvis wasn’t my likens; his slicked-back hair and leather jackets felt hollow, like a stume. I wanted artifice to reveal tth, and for a long time I wasn’t sure if Gunn was tellg the tth about anythg other than the joys of livg a prolonged adolcence.</p><p class="paywall">His 1971 llectn, “Moly,” which was spired by his experimentatn wh dgs—“Somethg is takg place. / Horns bud bright my hair. / My feet are turng hoof. / And Father, see my face”—put me at a further remove: dgs don’t make you transcennt; they create false narrativ about visn, power. His poems om this perd, unlike, say, the films of Kenh Anger, that other great artist of motorcycl and leather, feel like the work of a man who wants to say somethg he n’t que brg himself to say. I see now that leather, and s associated toughns, was both a layer of protectn for Gunn’s poro sk and a way to jo a muny—to be part of a fay—that he longed for but always stood outsi of bee he was also somethg else: a wrer.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Stephen Spenr, reviewg “Moly,” noted:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>What distguish his poetry is the ntradictn between s nventnal form and s often Californian “wh ” subject matter of Hell’s Angels, the psychelic culture, “pot” and “acid,” etc. It is as though A. E. Homan were alg wh the subject matter of “Howl,” or Tennyson were on the si of the Lot Eaters. This is poetry of the will wrten by the will to celebrate the will even s perversy and negatn.</p></div></blockquote><p class="paywall">That will to negate, to kick at society’s glass jaw and not ll a tantm, changed when the romantic ath wish beme actual ath, and Gunn had to see that beloved figure, ad on the kchen floor, over and over aga. Gunn grew up his last two books, “The Man wh Night Sweats” (1992) and “Boss Cupid” (2000). In the former, the poet evc a sense of rponsibily—of closens—to other bodi that feels more real and vivid than all his fantasi about renega youth. Gunn remaed H.I.V.-negative throughout the plague that cimated the life he had known and shared wh Kay and others, and I thk the vastns of the vastatn, the enormy of the loss, shook him out of his fanci and ma him a whole, livg adult—one who uld clearly see and image bodi that were not his own. From the tle poem of “The Man wh Night Sweats”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>I wake up ld, I who<br/>Prospered through dreams of heat<br/>Wake to their ridue<br/>Sweat, and a clgg sheet . . .</p><p>I have to change the bed<br/>But tch myself stead</p><p>Stopped upright where I am <br/>Huggg my body to me<br/>As if to shield om<br/>The pas that will go through me,</p><p>As if hands were enough<br/>To hold an avalanche off.</p></div></blockquote><p class="paywall">I thk we are still tryg to fd a language for what Gunn and others of his and my generatn survived, if that is the word. Whstood. There is no prehendg that feelg of beg morally grad by one’s tim—of havg to change the shty drawers worn by the gog, and then gone. “The Man wh Night Sweats” was one of the first, valiant attempts to fd words to exprs how ath on a mass sle n cut you off om life, even when you are still among the livg. When I read the llectn and other great works about the perd, cludg the <em class="small">AIDS</em> activist Sarah Schulman’s “The Gentrifitn of the Md” (2012), now, I thk that we survivors are startg to get somewhere terms of scribg to younger people what ’s like to walk down a faiar street and have your cht start to heave bee of a memory that no one alive n share. Poetry n’t fend the dyg om ath, but n give them a voice, make them sg. “The Man wh Night Sweats” is as much about the people s poems as is about Gunn’s belief wrg as an act not only of remembrance but of social nscience, an act that bds the livg to the ad forever.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="a0iybu"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="c66i9"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">We read about ath Gunn’s letters, too. In a poignant 1987 missive to his brother, Gunn scrib his loss a tone of measured anguish that rells his letters after his mother’s ath:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>It has been a difficult Augt. First my iend Norm NY died, my iend who owned a gym. Then, on the same day, Allen Day and Lonnie Leard. You should pecially have met Lonnie—great iend . . . of all of . . . . And we shall be losg Charlie very soon, he is hospal, shockgly th, and gone bld, poor baby. It seems sadr to die at 30, as he is, than at my age. I have done so many thgs that I wanted to, and have had such a full life, and he’s still only at the start of .</p></div></blockquote><p class="paywall">A siar tone shows up other poems “The Man wh Night Sweats,” particularly “In Time of Plague,” which Gunn asks himself the qutn that hnted every gay man at the time: What is sire if is synonymo wh ath?</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>My thoughts are crowd wh ath<br/>and draws so oddly on the sexual<br/>that I am nfed<br/>nfed to be attracted<br/>by, effect, my own annihilatn.</p></div></blockquote><p class="paywall">By facg his own mortaly, or, more precisely, his attractn to the possibily of ath—by beg his mother, perhaps—he was able to unrstand that we n never fully say goodbye to those we’ve loved. It took Gunn more than four s to wre poetry about his mother. His fal llectn, “Boss Cupid,” ntas two of his greatt poems: “My Mother’s Pri” and “The Gas-poker.” In both, Gunn brilliantly marri his technique to his subject. From “The Gas-poker”:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The children went to and o<br/>On the harsh wter lawn<br/>Repeatg their lament,<br/>A burn, to each other<br/>In the December dawn,<br/>Elr and younger brother,<br/>Till they knew what meant.</p><p>Knew all there was to know.<br/>Comg back off the grass<br/>To the room of her release,<br/>They who had been her treasur<br/>Knew to turn off the gas,<br/>Take the appropriate measur,<br/>Telephone the police.</p></div></blockquote><p class="paywall">After the poem was published, Gunn said that he hadn’t been able to wre until he’d unrstood that he uld wre the third person. To be sure that he had right, he sent to the only other wns to that pivotal moment. In a 1991 letter that speaks betifully to his tenrns for and formaly wh his siblg, Gunn gently offers his brother the poem, sayg, “Enclosed is a poem I wrote this summer which might be of tert to you.” It’s the qualifitn—the Pimpernel‑ish “might”—that breaks your heart: Gunn don’t want to assume. Readg this letter, I thought of one that Gunn had wrten 1985 to his iend Douglas Chambers:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Every now and aga I have sex—<em>always</em> “safe,” I may say—but not as often as I uld. Lots of people here are still nuts, & the bathho that are still open have reverted to what they were. People fd very difficult to stop dog what they like bt, which I pletely unrstand—but you’d thk they’d try to [modify?] when will lead almost certaly to a paful and drawn-out ath. Promiscuo sex is no longer polil, jt suici.</p></div></blockquote><p class="paywall"><em>Suici</em>. Another word that tch you by the throat.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Gunn’s te self both is and isn’t the letters. How uld he not spl off, given what he had seen and what he had survived? The “Letters” sent me back to Gunn’s poetry to fd what I had been missg all along: his often unspoken unrstandg of the agoni of the md and heart, as well as the joys, his sometim childlike reach for the ecstatic. If ath is the most vivid, lible thg life offers , Gunn’s wrg asks aga and aga, how do we make the bt of both life <em>and</em> ath? He did the bt he uld wh what life gave him, and I love him for . ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="o2f6e"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2022/06/06" data-reactroot="">June 6, 2022</a>, issue, wh the headle “The Gentleman.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="LkStackWrapper-NFLYw kgtXXB lkstack" data-ttid="LkStack"><div class="SectnTleRoot-dBGvdq kjAxEG LkStackHear-lKjbE hejl lk-stack--headg" data-ttid="SectnTle"><h2 class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa dqtvfu jttyjJ">New Yorker Favor</h2></div><div class="LkStackContent-jyKicS gPhyME"><ul class="LkStackList-gGcjdZ dnMwpz"><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>Why facts <a href="/magaze/2017/02/27/why-facts-dont-change-our-mds" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">don’t change our mds</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>How an Ivy League school <a href="/magaze/2022/04/04/mackenzie-fierceton-rhos-scholarship-universy-of-pennsylvania" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">turned agast a stunt</a>.</p></div></li><li class="LkStackBullet-kQRqul iQHwiG lk-stack--lk-em" data-ttid="LkStackBullet"><div><p>What was about Frank Satra that <a href="/magaze/1997/11/03/ank-satra-profile-john-lahr" class="InternalLkEmbedWrapper-fhjgJW cQLtaa">no one else uld touch</a>? 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summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Te Margaret" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Fictn</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Te Margaret</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Te Margaret" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Meera moved to London om India only to disver that her new hband already had a wife the cy.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Karan Mahajan</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Unapologetic Brilliance of Séad O’Connor" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Postscript</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Unapologetic Brilliance of Séad O’Connor</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Unapologetic Brilliance of Séad O’Connor" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">I thk what O’Connor sought her mic was anguish, laid bare, and then a geo moment of munn.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Amanda Petsich</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">“Fir the Dark,” “A Madman’s Will,” “Elsewhere,” and “Snow Road Statn.”</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Yogurt Days" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Fictn</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div 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rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">I wonred if my mother had been riskg her life to e here every week, to brg him the yogurt.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jamie Quatro</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm 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