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This page self-consciously presents itself as a collage, as defined in its top right-hand corner. Three types of collage are described, each linked with a famous artist. Picasso used stuck-down paper to form an image; Max Ernst used cut-up and reassembled images to create a new picture; and Kurt Schwitters used scrap paper such as bus tickets and paper bags to make ‘an ordered muddle’. Edwin Morgan’s example here, and his enthusiasm for Surrealism, would suggest that he is following Max Ernst who was one of that movement’s founders. The Scrapbooks do seem to work by a surrealistic free association of images and ideas. But it is possible that he was trying to do something slightly different, or to bring a literary dimension of word play to that image-making process. The picture of male beauty growing out of a spiny context may suggest something of the conflicted nature of his own emotional and sexual life. If the boy is a kind of street urchin (admittedly well-coiffured) he seems to grow out of other urchins – possibly sea urchins or else the sea-urchin cactus. If the former, we know that sea urchins are tough enough to excavate hiding places in rock or even steel. If the latter, we know that their flowers open after sunset. The dark strip of collage along the foot of the page suggests a scene of coal mining, steel works and river trade. This reminds us not only of industrial Lanarkshire and Glasgow where Morgan flourished, but also that most of the men he loved came from working-class West of Scotland backgrounds. Image: Edwin Morgan Scrapbook 11 (1953-55), page 2188.
Two poets, pre-war and post-war. On the left, Dylan Thomas in 1932 and also, with increased girth, in 1953. He would die later that year. On the right, Edwin Morgan, as a student in 1940 just before he entered the army, and now in 1955 as a lecturer, translator and still largely unknown poet. His long poem ‘The Cape of Good Hope’ had just been published, but by the little known Pound Press. So the French quotation about ‘une chaise d’or’ may ironically point up the distance between the two poets: ‘Seated on a golden chair, he passed the poetry examination’. The 1950s were Morgan’s dark decade, in which the tensions between his respectable and moderately successful academic career, his still immature poetic style, and his illegal (at that time) and risky life as a homosexual man, sometimes drove him to near despair. Hence perhaps the picture of Virginia Woolf on the evening before her suicide, on the left, and above it the lonely description of a man at evening listening to the mating sounds of the deer. An alternative way of life is hinted at in the right hand page, in the piece cut out from Time magazine (‘A letter from the publisher, Aug 30, 1954’ is its original title). The man in the nondescript restaurant in the upper reaches of mid-Manhattan is in fact the New York artist Guy Rowe (‘Giro’), a former lumberjack whose ordinary working clothes enabled him to merge with the people of his city. A picture above seems to show working men in the forests walking across the rope bridge they have constructed across a deep gulley. But for Edwin Morgan at this stage, the personal gulfs were all too real, and escape could only be longed for. Image: Edwin Morgan Scrapbook 11 (1953-55), pp. 2146-7.
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