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The Loiners
96 pages, Hardcover
Published August 1, 1982
6 people want to read
About the author
Tony Harrison
112 books36 followersSee http://www.contemporarywriters.com/au...
He has written for the National Theatre in London, the New York Metropolitan Opera and for the BBC and Channel 4 television. He was born in Leeds, England in 1937 and was educated at Leeds Grammar School and Leeds University, where he read Classics and took a diploma in Linguistics.
He became the first Northern Arts Literary Fellow (1967-8), a post that he held again in 1976-7, and he was resident dramatist at the National Theatre (1977-8). His work there included adaptations of Molière's The Misanthrope and Racine's Phaedra Britannica.
His first collection of poems, The Loiners (1970), was awarded the Geoffrey Faber Memorial Prize in 1972, and his acclaimed version of Aeschylus's The Oresteia (1981) won him the first European Poetry Translation Prize in 1983. The The Gaze of the Gorgon (1992) won the Whitbread Poetry Award.
His adaptation of the English Medieval Mystery Plays cycle was first performed at the National Theatre in 1985. Many of his plays have been staged away from conventional auditoria: The Trackers of Oxyrhyncus was premièred at the ancient stadium at Delphi in 1988; Poetry or Bust was first performed at Salts Mill, Saltaire in Yorkshire in 1993; The Kaisers of Carnuntum premiered at the ancient Roman amphitheatre at Carnuntum in Austria; and The Labours of Herakles was performed on the site of the new theatre at Delphi in Greece in 1995. His translation of Victor Hugo's The Prince's Play was performed at the National Theatre in 1996.
His films using verse narrative include v, about vandalism, broadcast by Channel 4 television in 1987 and winner of a Royal Television Society Award; Black Daisies for the Bride, winner of the Prix Italia in 1994; and The Blasphemers' Banquet, screened by the BBC in 1989, an attack on censorship inspired by the Salman Rushdie affair. He co-directed A Maybe Day in Kazakhstan for Channel 4 in 1994 and directed, wrote and narrated The Shadow of Hiroshima, screened by Channel 4 in 1995 on the 50th anniversary of the dropping of the first atom bomb. The published text, The Shadow of Hiroshima and Other Film/Poems (1995), won the Heinemann Award in 1996. He wrote and directed his first feature film Prometheus in 1998. In 1995 he was commissioned by The Guardian newspaper to visit Bosnia and write poems about the war.
His most recent collection of poetry is Under the Clock (2005), and his Collected Poems, and Collected Film Poetry, were published in 2007.
He has written for the National Theatre in London, the New York Metropolitan Opera and for the BBC and Channel 4 television. He was born in Leeds, England in 1937 and was educated at Leeds Grammar School and Leeds University, where he read Classics and took a diploma in Linguistics.
He became the first Northern Arts Literary Fellow (1967-8), a post that he held again in 1976-7, and he was resident dramatist at the National Theatre (1977-8). His work there included adaptations of Molière's The Misanthrope and Racine's Phaedra Britannica.
His first collection of poems, The Loiners (1970), was awarded the Geoffrey Faber Memorial Prize in 1972, and his acclaimed version of Aeschylus's The Oresteia (1981) won him the first European Poetry Translation Prize in 1983. The The Gaze of the Gorgon (1992) won the Whitbread Poetry Award.
His adaptation of the English Medieval Mystery Plays cycle was first performed at the National Theatre in 1985. Many of his plays have been staged away from conventional auditoria: The Trackers of Oxyrhyncus was premièred at the ancient stadium at Delphi in 1988; Poetry or Bust was first performed at Salts Mill, Saltaire in Yorkshire in 1993; The Kaisers of Carnuntum premiered at the ancient Roman amphitheatre at Carnuntum in Austria; and The Labours of Herakles was performed on the site of the new theatre at Delphi in Greece in 1995. His translation of Victor Hugo's The Prince's Play was performed at the National Theatre in 1996.
His films using verse narrative include v, about vandalism, broadcast by Channel 4 television in 1987 and winner of a Royal Television Society Award; Black Daisies for the Bride, winner of the Prix Italia in 1994; and The Blasphemers' Banquet, screened by the BBC in 1989, an attack on censorship inspired by the Salman Rushdie affair. He co-directed A Maybe Day in Kazakhstan for Channel 4 in 1994 and directed, wrote and narrated The Shadow of Hiroshima, screened by Channel 4 in 1995 on the 50th anniversary of the dropping of the first atom bomb. The published text, The Shadow of Hiroshima and Other Film/Poems (1995), won the Heinemann Award in 1996. He wrote and directed his first feature film Prometheus in 1998. In 1995 he was commissioned by The Guardian newspaper to visit Bosnia and write poems about the war.
His most recent collection of poetry is Under the Clock (2005), and his Collected Poems, and Collected Film Poetry, were published in 2007.
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Displaying 1 of 1 review
October 3, 2025
Thanks to the previous owner of my copy, who left a slip of paper in it, I know that “Loiners” refers not only to a body part but also to natives of Leeds in Northern England. In the 1950s and 1960s, the North was the source of a raw, working-class sensibility that transformed the tone of theater, film, music, and literature. Tony Harrison’s debut collection fits in this trend.
The collection has six parts, roughly corresponding to the outward chronology and stations of the first thirty-five years of Harrison’s life. Many of the poems in the first section describe the hormone-driven travails of an adolescent in the closing days of World War Two. One involves young lovers who resort to a cemetery to be alone (a quest embarrassingly frustrated). This juxtaposition of sex and death sets the tone for much of what follows.
The second part, the longest, reflects Harrison’s time as a teacher in Northern Nigeria. These poems deal with the predatory sex lives of British expats there. Part Three draws on the time Harrison spent in Eastern Europe, much of it as a teacher in Prague, long before the fall of the Iron Curtain. The location shifts back to England in Part Four, specifically Newcastle. The remaining two parts contain one long poem each, the final one painfully recounting the loss at birth of a first child.
Like the subject matter, the language is not genteel, but Harrison demonstrates through meter, rhyme, and alliteration a secure mastery of poetic technique. There are many striking images, such as “[t]he road’s a royal python’s dark digestive tract.” He loves history and the Latin classics and has a weakness for puns. These interests collide in the groaner “Julius Seizure.”
These poems are accessible to anyone prepared to devote the attention good poetry deserves, but I still don’t know who or what a PWD man is.
The collection has six parts, roughly corresponding to the outward chronology and stations of the first thirty-five years of Harrison’s life. Many of the poems in the first section describe the hormone-driven travails of an adolescent in the closing days of World War Two. One involves young lovers who resort to a cemetery to be alone (a quest embarrassingly frustrated). This juxtaposition of sex and death sets the tone for much of what follows.
The second part, the longest, reflects Harrison’s time as a teacher in Northern Nigeria. These poems deal with the predatory sex lives of British expats there. Part Three draws on the time Harrison spent in Eastern Europe, much of it as a teacher in Prague, long before the fall of the Iron Curtain. The location shifts back to England in Part Four, specifically Newcastle. The remaining two parts contain one long poem each, the final one painfully recounting the loss at birth of a first child.
Like the subject matter, the language is not genteel, but Harrison demonstrates through meter, rhyme, and alliteration a secure mastery of poetic technique. There are many striking images, such as “[t]he road’s a royal python’s dark digestive tract.” He loves history and the Latin classics and has a weakness for puns. These interests collide in the groaner “Julius Seizure.”
These poems are accessible to anyone prepared to devote the attention good poetry deserves, but I still don’t know who or what a PWD man is.
Displaying 1 of 1 review