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Read what people have said about 'THE BAD
SEED'
'Sunshine writes poems that try to make sense
of this world in which we live. He celebrates forces and feelings that we
only let ourselves imagine. Dee Sunshine is an important poet because his
poetry understands and meets the need of the current, questioning, searching
generation.'
Fionna Doney Simmonds (Parameter Magazine, Autumn 2005)
Read the entire review here.
'The
heightened language you use makes me think of the apocalptic landscapes of
Emil Nolde and the grotesque yet appealing characters of Otto Dix. Somehow
(to me, anyway) your intense use of language makes the images stand out in
glaring, luminous colours... I also like the way you combine Symbolist,
almost fairy-tale imagery with the harshest of realism... I think your poetry
dovetails in neatly with your painting and graphics - the same fantasy
distilation of reality. Your art work reminds me of Marc Chagall (one of my
heroes: my younger son is named after him) but whereas I feel the old
magician's stuff was always benign (his crucifixions are emotionally charged but
painless) your visuals have a menacing edge that reminds me of the German
Expressionists or even (with the picture on p.50 of The Bad Seed) Mathius
Grunewald.'
Pete Faulkner
'The
genuine anarchist transcends all isms to speak from his or her instinct for
what is true, beautiful and just. Dee has always done that - he isn't afraid
to burn, and his razor-sharp eye is as penetrating in his artwork as it is in
his words. He's a medecine man who, like his namesake, knows the meaning of
poison - and his intention is to heal. Dance with him'
Jay Ramsay
'I read
your collection in one go and felt that I had been submerged in blood and
brought out dripping. They are thick with images that lie deep in
subjectivity, resonating loudly with my own experiences and feelings. I can
see that they might not be to the taste of your average middle class
housewife, but what the hell! they worked for me.'
Alan Charles Gay
'Dee
Sunshine didn't emerge out of Oxbridge to study under the wing of a Nobel
Laureate and then appear 'from nowhere' close to the top of the tree. The
career's a matter of record. He does his own hype, there's no 76 farting
saxaphones behind him sounding from Queen Square to Newcastle. I doubt if the
poetry luvvies are helping him much. But for anyone who can see what's
infront of him or her unaided by the arbiters Dee Sunshine's got a lot to
offer.'
K.M. Dersley (Tears In The Fence, Issue 22, 1999)
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