In her debut poetry collection, Deborah-Anne Tunney delves into the life and work of one of the twentieth century's most influential film directors, Alfred Hitchcock. Just as Hitchcock's work looks unflinchingly at some of the darkest elements of human nature, A Different Wolf turns a lens on the director himself, revealing the interplay between the social mores of his time and Hitchcock's distinctive psychological makeup. A Different Wolf views the iconic director's cinematic masterpieces through the optics of the poet's personal quest for meaning. Tunney reveals how guilt and innocence, universal and timeless subjects, work to define character and motivate plot. Other poems illustrate Hitchcock's presentation of women as a sign of his fixations, but also as a product of his era. His desire to expose the qualities of time - how film can slow it down or speed it up, qualities he considered filmmaking's most important tool - points to the deep resonance of his work. Providing a sharp-eyed analysis of Hitchcock's life and art, A Different Wolf offers a unique take on the filmmaker's enduring relevance.
love the abundance of defamiliarization in this text. though i can’t say much since i’m not too well-versed in the text’s framing device (alfred hitchcock films) since the only film i’ve seen was the birds (1963). this makes me want to watch hitchcock’s filmography through this collection’s lens if only to understand the images better.
i knew this text has seized my heart when i read the following lines from “Bel Air, 1980”:
you lean back into this settled moment and think of her, the way the future held no surprise until you heard her laugh saw the sway of her blonde hair, the walk away from you in high heels - she was love in another place in the sun, on a beach, and you followed like the sick dog your heart was - wanting and barking and wanting.
it’s such a close sentiment to me that it makes me think.