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Peter Riley (born 1940) is a contemporary English poet, essayist, and editor. Riley is known as a Cambridge poet, part of the group vaguely associated with J. H. Prynne which today is acknowledged as an important center of innovative poetry in the United Kingdom. Riley was an editor and major contributor to ''The English Intelligencer''. He is the author of ten books of poetry, and many small-press booklets. He is also the current poetry editor of the Fortnightly Review and a recipient of the Cholmondeley Award in 2012 for "achievement and distinction in poetry". ==Overview== Born in Stockport, near Manchester, and raised in an environment of working people, Riley "entered higher education through Britain's post-war socialistic educational policies".〔(Author Page at ''British Electronic Poetry Centre'' )〕 He read English at Cambridge University and has since lived and worked in the UK and abroad in teaching at several levels and other occupations. A Cambridge resident since 1985, and ran a mail-order poetry book business for almost twenty years. He has written studies of Jack Spicer, T. F. Powys, improvised music, poetry, lead mines, burial mounds, village carols and Transylvanian string bands, and has published two books of translations from the French poet Lorand Gaspar. He has been an advocate for neglected British poets from the 1930s and 1940s, in particular Nicholas Moore (1918–1986), and he has edited several posthumous books of Moore's. Riley was the co-editor (with Andrew Crozier and others) of the important poetry/poetics journal ''The English Intelligencer'' (1965–1968), and editor of the later ''Collection'' (1968–1970). From the 1980s to the 2000s he ran the imprint Poetical Histories, which focussed on brief (4-12pp) pamphlets published on fine paper. Notable publications included J.H. Prynne's ''Marzipan'' and his sole poem in Chinese, ''Jie ban mi Shi Hu''; R. F. Langley's ''Man Jack''; and late work by the older poets Seán Rafferty and Dorian Cooke. In the 1970s Riley was an important early promoter of and advocate for British free improvisation, and the noted guitarist Derek Bailey was a lifelong friend; two of Bailey's late solo albums, ''Takes Fakes & Dead She Dances'' and ''Poetry and Playing'', contain tracks of Bailey playing guitar while reading aloud from Riley's poetry. Several books of Riley's from this period are responses to free jazz and free improvisation: ''The Musicians The Instruments'' (poetry, The Many Press, 1978) and ''Company Week'' (prose, Compatible Recording and Publishing, 1994) in response to Bailey's 1977 Company Week event, and ''The Whole Band'' (Sesheta, 1972), in response to performances by John Tchicai's Cadentia Nova Danica. This habit of responding to music in his poetry has continued in more recent work, such as the ''Reader/Author/Lecture'' series (with poems for or after Syd Barrett, Arnold Schoenberg, John Sheppard and others) and his more recent books concerning music encountered on his travels in Eastern Europe. Riley was the subject of an essay collection, ''The Poetry of Peter Riley'' (The Gig, 1999/2000) and a poetry festschrift, ''April Eye'' (Infernal Methods, 2000). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Peter Riley」の詳細全文を読む スポンサード リンク
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