Poet, polemicist, pagan, and pretender to the throne of Poland, Count Geoffrey Potocki de Montalk was one of the glittering generation of New Zealand poets of the 1930s. His career took a strange turn after he was imprisoned for obscene libel. Following a celebrated trial in London, he became increasingly eccentric, dressing in mock-medieval garb, claiming the throne of Poland, and issuing a stream of poetry and pamphlets, before returning to New Zealand in the 1980s and 1990s. This is the first time his full story has been told and it will be relevant to those interested in the literature of obscenity, the history of censorship, and private press publishing in the 20th century.
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About the Author
Stephanie de Montalk has worked as a nurse and documentary filmmaker and is a member of the New Zealand Film and Literature Board of Review. Her first collection of poems, Animals Indoors, was awarded the New Zealand Society of Authors Jessie MacKay Award for Best First Book of Poetry at the 2001 Montana New Zealand Book Awards. She received her masters in creative writing from Victoria University of Wellington. She lives in Wellington, New Zealand.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
The Eccentric Pretender,
By A Customer
This review is from: The Unquiet World: The Life of Count Geoffrey Potocki de Montalk (Paperback)
My response to this excellent biography/memoir about New Zealand born poet, polemicist, private printer, pagan and pretender to the Polish throne, Count Geoffrey Potocki de Montalk, by his cousin NZ poet Stephanie de Montalk, is best conveyed by excerpts from the two following reviews. Michael King, writing in The Dominion (NZ) 17 November 2001, said, 'Every once in a rare while, a subject and an author admirably suited to each other connect and the result is a book of outstanding interest and merit. Unqiet World is one such volume ...like many poets, she writes prose very well. This quality is yet another that lifts this book from the domain of biography into that of literature.' And Ruth Brown, writing in the Times Literary Supplement, 27 December 2002, observed: 'Stephanie de Montalk succeeds in bringing her implauible relative to plalusible life. His various exploits on a worldwide stage are set in a meticulously researched analysis of the context of their times, and in openly acknowledging a complex and shifting personal reslationship with her quarry, she charts the subjectivity that must go into the making of any biography.'
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