The poet Christopher Logue’s finest work was a version of the Iiliad, War Music, which is considered by those who know, to be the finest since Pope. He reinvigorated Homer by using contemporary idioms including advertising slogans (“Permanent Red” was a slogan for lipstick) and film directions (“Cut to the fleet”).
He also wrote plays, screenplays and (under the pseudonym of Count Palmiro Vicarion), pornography. But I (like most people) only really know him for his work for ‘Private Eye’ : the columns ‘Pseud’s Corner’ and ‘True Stories’, both of which were often laugh-out-loud funny and consistently the best features in the magazine.
‘True Stories’ was devoted to bizarre real-life incidents culled from newspapers round the world, involving ordinary people. Logue slightly re-wrote the items in a dead-pan style, turning them into surreal masterpieces. But – significantly – he often changed the names of those involved. They were, he explained, ordinary people – not celebs – and so should not be publicly humiliated.
Unlike most of the upper-class, public school shits who ran Privare Eye in the sixties and seventies, Logue was a decent and principled radical who campaigned against the death penalty, actively supported CND (at a time when it was still an honourable movement) and attempted to use his poetry (alongside Adrian Mitchell) against the Vietnam war. He went to jail for his anti-Vietnam campaigning.
I for one intend, belatedly, to read him