The poet Thom Gunn was well-established in the English department at U.C. Berkeley when I passed through it in the late 70's, but I never met or studied under or otherwise encountered him. In fact, it was not until the last 7 or 8 years that I started reading his poetry in any quantity. I pulled down my copy of his Collected Poems on Sunday evening, to add it to the reading/rereading stack by the bed, and learned only yesterday, as I was catching up again with a number of poetry weblogs, that he had died on Sunday at age 72. There are any number of citations, quotations and appreciations of his work accumulating online on the occasion of his passing -- e.g., these from Mike Snider and Jonathan Mayhew.
Some poets -- Dryden springs to mind -- emerge as primary eyewitnesses to their period. It was Thom Gunn's fate, surely unlooked for, to become one of the foremost chroniclers of the AIDS pandemic as it had its way with countless friends and acquaintances in the San Francisco gay community. The poems from that time -- most notably in his 1992 collection The Man With Night Sweats (also included in the "Collected") -- tie in to the centuries-long line of English elegists.
Gunn studied with Yvor Winters at Stanford in the late 1950s, and the two seem to have approved of one another. Gunn recently edited the new American Poets Project volume of Winters' Selected Poems, and included a poem "To Yvor Winters, 1955" -- there are Airedales in it -- in his 1957 collection, The Sense of Movement. More details on the Winters connection come from the Guardian's obituary:
It was primarily to be with Mike Kitay, his lifelong partner, that Gunn applied for a creative writing fellowship at Stanford University, California, which he was awarded in 1954 and where he worked with the great if wayward poet-critic Yvor Winters.
The juxtaposition of Gunn's metaphysical Englishness with Californian life and Winters' reaching is very evident in his second collection, The Sense Of Movement (1957), an exciting, deliberately provocative book whose distinctive energy comes from an apparent tension between form and content: traditional poetic structures and intellectual abstraction are deployed on subjects which include Hell's Angels, Elvis Presley, and a keyhole-voyeur in an hotel corridor.
Winters included his student compatriot Gunn in the relatively short list of contemporary poets whose work he found tolerable in his excellent study of the short poem in English, Forms of Discovery, and in the companion anthology Quest for Reality he reprinted this poem, which opens Gunn's 1961 collection My Sad Captains and is illustrated here with the painting to which it refers: