The Page
poetry, essays, ideas
"How could you identify a nearly Baroque poem if you saw one? Nearly Baroque poems exhibit elaborate syntax and sonic patterning, without adopting pre-modernist forms (they never look or sound like Richard Wilbur)." Stephen Burt • Boston Review
"With Boland it is always more than the poems, though. The theoretical garden where the poems grow is a product of invented belonging, a deliberate, Yeats-like act by someone who was never at home in a simply defined Irish house." Thomas McCarthy • Irish Examiner
"Places are, of course, not exchangeable, but in [John] Mateer’s roaming imaginary they become, at least to some extent, drawn into a kind of codification of broad historical tendencies and movements." Paul Hetherington • Sydney Review of Books
"The paradox is that although the documents were bought by the British Library with taxpayers' money, and can be seen by anyone, the right to quote at length from them rests with the estate." Jonathan Bate • Guardian
"Dante and Virgil are the only centres of dignity in the landscapes of Doré’s Divine Comedy: the condemned figures of Hell, who in life were kings, popes, and other prominent figures, are vulnerable and exposed, frightening and deformed. As the Greeks understood, satire has a shaming and savage edge; it does not, after all, have to be funny." Jennifer Thorp • Oxonian Review
"No. I didn't get any encouragement from [my parents] at all. I'm really glad about that. I can read a poet now and tell within a few lines if they have been encouraged by their parents. You know the ones who have been told from an early age: "It's marvellous Tarquin." It's invariably rotten." John Cooper Clarke • Observer
"Bill Knott’s voluble self-flagellation may have been some strange play for publicity, but the facts of his biography raise the uncomfortable possibility that at least some of his stunts—even, perhaps, his faked suicide—were expressions of unbearable inner turmoil." Robert P. Baird • New Yorker
"To hear Frost growling out “one stone on a stone” is to get the music of the whole argument of the poem in one’s head." David Yezzi • New Criterion
"Many of Moore’s poems, Leavell reminds us, feature “camouflaged and armored animals” that are “misunderstood, self-reliant, and invariably solitary”—a manifest reflection, of course, of Marianne’s own circumstances. But the poems, as any reader of Moore well knows, are the very opposite of cries of the heart. Mary, after all, read every word—so raw confession, or anything close to it, was not an option. Hence Marianne was forced to devise what amounted to a new type of poem, stunning at the time, not only for being syllabic in form (something which was previously all but unheard of in serious English poetry) but, perhaps even more so, for its extraordinary, even clinical, degree of precision and dispassion." Bruce Bawer • New Criterion
"“Compose” is what musical composers do, of course, but its older sense is “to put together,” to build, to construct. The “words” of a poem shouldn’t be chosen to please the ear, but to ambush reality." Dan Chiasson NYRB
"Well, poetry is in trouble. Poetry is troubled. The health of our literature is up for grabs and most definitely in question. For all that, critics pull on their jockstraps just like any garden variety athlete; we here, for one, do not understand why they are beheld with such awe." Norm Sibum • Encore
"Nor does Hopkins spare the celebrities of his day, hating the blank verse that 'the scare-crow misbegotten Browning crew' and others have ‘exuded’, adding ironically that 'the Brownings are very fine too in their ghastly way.'" Helen Vendler • LRB
"Mary Dalton, in her book of thirty-eight centos, Hooking, has, I’ll argue, taken great care in presenting a coherent thematic accruing in rage and environmental lament." Brian Palmu • Maisonneuve
"Women’s Poetry may be a good diagnostic tool for gauging one’s optimism about the state of poetry and the position of women in the field." Rebecca Hazelton on Daisy Fried • Poetry
"This was certainly the case in Manchester, where Poetry Nation (founded by Michael Schmidt and C. B. Cox in 1973, relaunched in 1976 as PN Review and still going strong) was published twice a year on a fraction of the New Review’s budget and at almost twice the cover price. (PN’s Arts Council subsidy in 1976/7: £2,100.) It was unremittingly hostile to the New Review and its Editor. Alan Munton depicted them as belonging to a decaying line in bourgeois humanism and Donald Davie questioned why a putsch on the London literary scene could never be mounted by literary-minded students from red-brick universities such as (say) Manchester, challenging the “Oxbridge stranglehold on our literary life”." David Collard • TLS
"For if we date the onset of Ashbery’s late period to around 1987 (the year he published April Galleons), we will have to conclude that over the last quarter century he has written some of his most moving and lasting work—and, as a corollary, some of his funniest." Stephen Ross • Shearsman
"Almost Invisible, Strand’s thirteenth collection and one that consists entirely of riddling prose poems (the man himself won’t deign to give them that dubious classification, though it’s really the only halfway useful one), is, if nothing else, evidence of the teetering line between good and bad poetry. Every poem’s success hangs in a fine linguistic balancing act: a fact that poets forget at their peril." Ben Wilkinson • Poetry Review
"There is no great originality of thought in Housman. That is to say there are no underlying insights that have never been expressed before; but the demand that there should be such would have silenced all poets since Shakespeare at the latest. A lack of originality is not the same as shallowness." Anthony Daniels • New Criterion

"As a demonstration of just how “unpleasant” it might have been “to meet Mr Eliot”, [Tarantula's Web] has few rivals." Lachlan MacKinnon • TLS

"[Ronald] Johnson would call the ninety-nine parts of his poem in progress “beams,” “spires,” and “arches,” as if he were making both vessel and cathedral; the whole thing took him twenty years to finish." Stephen Burt • New Yorker
"So Many Moving Parts only gives us a brief glimpse into the beguiling mind of Wales’ most inventive and original thinker-poet (although she is far from being the most inventive and original linguistically). " Carl Griffin on Tiffany Atkinson • Wales Arts Review
"Rae Armantrout’s irony is not the workaday kind you find in poems written by people who grew up watching Seinfeld. There is a cruel exactitude of observation in her work—an ability to lyricize the “pure products of America” just as they are—that elevates her irony from mere formal device to a mode of brutal clarity." Ilya Kaminsky • Boston Review
"People have always read books and listened to music and looked at what is around them, and hopefully will for a long time to come, so my experience of doing that in my time is not that different from Frank O’Hara going to see a movie. Or for that matter Keats going to see the painting “Death on a Pale Horse,” which he talks about in his famous “Negative Capability” letter." Matthew Zapruder • Hinged
"Somewhere beyond New Critical claustrophobia and ideological or theoretical etherization lies the genre of the Hassian critical appreciation—sometimes un-programmatic, impressionistic, and often anecdotal, but always learned, precisely evidentiary, and frequently yielding original insights." Kevin T O'Connor on Robert Hass • Notre Dame Review (pdf)
"Perhaps I’ll disavow the word “confession.” Perhaps the true word would be “admission.”" Lucie Brock Broido • Guernica
"Mexican writers, it is said, dream of debating with Paz, and of persuading him that they are right. The last time he and I met we had an argument about time: relative or absolute? I did not persuade him, but it was enough that he listened before he put me right." Michael Schmidt • PN Review
"Plath’s early death tends to transforms everything Plathian into a past-tense memento mori – ‘remember, you will die’ becomes ‘remember, she did die’. Because of their indisputable excellence, her poems now have an independent life. They exist outside the biography, or comfortably alongside it." Mary Jo Bang • PN Review
"There is no Seamus Heaney to write his elegy. There have been very fine poetic tributes to him, not least Bernard O’Donoghue’s lovely poem in The Irish Times last month. But the great elegist is gone." Fintan O'Toole • Irish Times
"Although they are less explicitly concerned with nationhood than MacDiarmid, between them John Burnside and Jen Hadfield name a remarkable range of Scottish spaces, flora and fauna. The poems inhabit moors, cliffs, fields, shores, woods and edgelands, all touched by modernity in the form of quad bikes, turbines and mobile-phone signals." Matthew Sperling • New Statesman
"Hannah hopes her collection will be the raunchiest poetry anthology of the year, a humble enough aim to be sure. In fact it is far less raunchy than the average collection of rugby songs. A classic such as “The Great Wheel” would kick the whole collection into touch." Germaine Greer on Sophie Hannah's anthology • New Statesman
"The NEA is actively seeking out deserving grant recipients whose absence from the artistic community will drastically enhance it, including incompetent aspirants in the fields of collage, interpretive dance, and found poetry." The Onion
"One of the things that makes Wilfred Owen still compelling is surely this style of celebrating the child’s eye – not in Trahernian or Wordsworthian directness but obliquely, by the furious lament for its violent destruction" Rowan Williams • New Statesman
"By calling the spaces of social media “pseudo-public,” I mean to get at their ambiguous relation to the public/private divide: a person’s Facebook page is rooted in her or his individual identity, and yet also provides a platform from which she or he can offer opinions on issues of wider concern." Stewart Cole • The Puritan
"And so, continuously there has been this ongoing process of rediscovery. Like, wow, there was feminism in the 19th century, can you imagine? Every single generation we go through this ridiculous re-discovery. In the 80s we thought we were inventing feminism. In the 70s we thought we were inventing feminism. Every single generation is put in the situation where we feel like we have to invent this thing. Why? Because there is no continuity. No narrative has been formed." Lisa Robertson • Lemon Hound
"Is Women's Poetry a masterpiece? It surely locates Fried among the masterful American poets of her generation. I'd point readers to 'Torment', of course, but also 'Thrash', 'His Failed Band, 1973', 'L'Allegro: Driving Home', maybe the Kissinger, definitely the title poem, which, if Camille Paglia ever does another edition of Break, Blow, Burn, you can imagine her including." Jason Guriel on Daisy Fried • PN Review
"[Rane] Arroyo’s last three words of the reading were “Live. Then write.” Less than two months later, Arroyo died and left behind a prodigious backlog of work." Tony Leuzzi • Brooklyn Rail
"A few years later I got a phone call from a Canadian burglar who told me he had come across Auden’s poems in a prison library and had begun a long correspondence in which Auden gave him an informal course in literature." Edward Mendelson • NYRB
"This is rapturous, sublimely willful, independent-minded, resourceful prose, as Hans Magnus Enzensberger declared, the most beautiful twentieth-century German prose." Michael Hofmann • Asymptote
"In spite of the fact that TLS readers know at least three lines from this poem (some knowing without knowing they know) – “To err is human, to forgive divine”, “A little learning is a dang’rous thing” and “Fools rush in where angels fear to tread” – the poem sold poorly. " Donald W. Nichol • TLS
"The imperative “You must change your life” follows logically from the statement that precedes it: “for here there is no place/ that does not see you.” It is a religious logic, to be sure, but then, this is essentially a religious poem." James Pollock • Voltage
"Bishop’s unfinished poems do not represent her as a poet; rather, they represent the kind of poet she attempted and failed to become." Frances Leviston • Edinburgh Review
"For all their “derived” subject matter, these poems are never superficial or conventional, nor do they recede into literary exercises" Gerry Smyth on Sinead Morrissey • DRB
"While she taught at Berkeley, a post she held before going to Tufts, her class consisted of future Language poets like Rae Armantrout. While Armantrout remained a friendly correspondent throughout Levertov’s life, her aesthetics and those of Language poetry, in Levertov’s view, valued style over content." Mark Jarman Hudson • Review
"Often I’ve thought of the possibility of placing a parenthetical novel between the second and third line of a haiku." Rodney Jones • The Pedestal
"Jordan Smith, like all good poets who have educated and aestheticized themselves beyond the prerequisites for townsperson citizenship, acknowledges an unavoidable alienation from things to which he is also drawn, a melancholy paradox appropriate for the artist who escapes." David Rigsbee • Cortland Review
"Records, television, cinema... I can’t remember a time before. These things permeated our daily lives, as intangible as broadcasts from another planet, but in the air and on our tongues. Heaney’s description of omphalos has a lovely, persuasive telescoping of the very local and the mythic, of two cultures. Though growing up a few decades earlier, he was certainly already alert and receptive to the wider currents flowing through the local, especially in terms of radio: think of his seventh Glanmore sonnet, or ‘A Sofa in the Forties’, with its “absolute speaker” of BBC RP blowing in from over the water. In how many subtle ways must these things adjust the bonds between people and places, our identities?" Paul Farley • Poetry Review (pdf)
"Certainly, this is a collection haunted by echoes and revenants, even Robert Graves who is only too painfully aware that according to military papers, he was officially dead in action." Richie McCaffery • Elsewhere
"Either way, to be a reader or writer of poetry is to recognize the ways in which it is a cultural force, to believe in the necessity of it." Natasha Trethewey • VQR
"What is this mystery of feeling and intellect, of incarnation in words? Why is it that even the best impersonal poets seem to charge their work with personality? And why is that quality missing from most of the poetry I read? I think of two contemporary poets who are polar opposites, Franz Wright and William Logan, two men who have had a very public squabble—Wright threatened to punch Logan out for a bad review—yet each has talents the other could learn from, talents that would expand the possibilities for his art. Wright is all confession, all open sores and sensitivity, while Logan is a prolific ironist. Neither of them moves me deeply—one because his writing is too raw, the other because he holds himself apart, impervious to feeling." David Mason • Hudson Review
"Expenditure and sector get used by [Geoffrey] Hill a lot more than most poetry uses them, but a lot less than they turn up in the general corpus." David-Antoine Williams • Poetry & Contingency
"This was in 1952, when department stores blithely stocked toy shelves with Ouija — Merrill might as easily have ended up with Parcheesi or Chinese checkers." Stefene Russell • St. Louis
"But the Odyssey is just as much the story of Telemachus, the son of Odysseus and Penelope; the story of his growing up; how over the course of the poem he matures from boy to man." Mary Beard • LRB
"We may all therefore question what motives lie behind the publication of A Prayer Journal. Some of us have begun to fear that the O’Connor estate seeks to control the image of the writer, as though, in a manner of speaking, her works sprang fullblown(and in nearly perfect form) from the head of Zeus and as though she were a model Catholic. Perhaps for Catholic readers who are schooled in the parochial ascetic tradition A Prayer Journal will prove inspirational; for other Christians and for secular admirers of O’Connor’s work, I suspect publication of this journal will be embarrassing,if not troubling indeed." Sarah Gordon • Georgia Review (pdf)
"Little absurdities and misunderstandings amused him, such as when the local newspaper sent a photographer round for a feature on Argument of Kings.‘What sort of book is it?’ the photographer asked ‘An autobiography, I suppose’, Vernon replied. ‘Oh,’ the photographer said. ‘Who’s it about, then?’ Scannell rather enjoyed that. But actually, it wasn’t a bad question."" Daniel Hitchens on a new biography of Vernon Scannell • Oxonian Review
"The sixteenth century is not usually thought of as medieval, yet a number of contributors in the Poets section focus on the sixteenth, seventeenth and eighteenth centuries, with Pádraig Ó Macháin even making a swoop into the twentieth. Should we give the editor credit for not taking his tidy title too seriously? Or must we suspect that the poets of Ireland are thought to be medieval irrespective of date? Actually, the notion of “medieval” puts time in a framework which those poets would not have accepted."John Minahane • DRB
"In Irish poetry, we place too much value on tact, on secrecy and on suggestion above all else." Conor O'Callaghan • WFU(pdf)
"The Outnumbered Poet proclaims with ample proof and felicitous critical force that poetry, because it is an art form, is a form of resistance to sloppy thinking and easy sentiment: “When more poetry books than ever are being published, critical judgement should be cultivated and encouraged, rather than ‑ through uncritical blurbs ‑ deflected, even supplanted.”" Gerry Dawe on Dennis O'Driscoll • DRB
"Today, the Idéal Séjour has been rechristened the Résidence le Louisiane, and refurbished with ugly verandas and a swimming pool. For €700-€900, one can rent a two-bedroom apartment there for a week. A simple plaque, placed by the Princess Grace Irish Library in 1995, reads: “William Butler Yeats, Nobel Prize winner, lived and died here, 1938-1939.”" Lara Marlowe • Irish Times
"It was my good fortune to come of age in poetry before the internet defined most of the ways poets communicate with each other." Peter O'Leary • Evening Will Come
"Today we are seeing a backlash against the idea of anti-lyric or anti-subjective poetry." Rachel Galvin • Boston Review
"My advice was: don’t publish. Wait. Read more. Write more. Get better, good enough to be actually, you know, read. Learn to respect the silence you want so badly to break. Once you don’t burn for it, you’re ready." Michael Lista • National Post
"The poet most likely to practice and evoke ethical imagination is not "poetical," in the sense of flamboyant or opinionated." Eric G. Wilson • Chronicle of Higher Education
"Auden said something disparaging about Samuel Beckett getting the Nobel Prize for Literature. Nikos said: ‘Who else is there?’ Auden shook his head so all the sagging wrinkles shook and said: ‘There’s me.’" Andrew O'Hagan • LRB
"According to Amir Tehiri, writing on Asharq al Awsat, much of Shaabani’s poetry is apolitical. “One of his odes is Homage to Karoun, Iran’s largest and only navigable river; in another poem he speaks of ‘the blonde sun of Khuzestan.’” Shaabani was able to smuggle a few letters out of prison." Julia Fleischaker Moby Lives
"From Auden, [Joan} Murray derives terms and means for communicating in shorthand or code a sense of the panoramic sweep of evolution, which is surely the force exerting the pressure, and she also borrows his cinematic technique of cutting from human distress to the indifference of the universe." Mark Ford • Poetry
"Dickinson scholars have been poring over these manuscripts for years; now there's opportunity for a broad readership to have ample opportunity to do the same." Patrick James Dunagan • Bookslut
"In a world seduced by easy understanding, the modernists believed that difficulty enhanced the pleasures of reading." Susan Cheever • Vanity Fair
"“Novelty” was a term of blame for Alexander Pope, but that term’s close cousin, “innovation,” has become a term of praise in our own time." Robert Archambeau • Virginia Quarterly Review
"What matters is winning, sales, celebrity, world domination. Yet this must never be acknowledged as the principal value." Tim Parks NYRB
"Kim Hyesoon’s 132-page translated collection All the Garbage of the World, Unite! contains a poetry that is not built on metaphysical or metaphoric associations." Deborah Schwartz • The Critical Flame
"Since the permanent formation of the art of American poetry under the Constitution, in 1789, most of the periods of crisis in our history have related to our narrative affairs." David Biespiel • The Rumpus
"But although Frost’s artistic greatness is nowadays more widely acknowledged, it is still generally thought to be the output of some kind of simpleton." Clive James • Prospect
"[Lisa] Jarnot succeeds in showing [Robert] Duncan and his behavior from multiple, conflicting perspectives, a gesture one wishes she had made more often---for it is a gesture such as this that most effectively carries over into language the marriage of granite and rainbow particular to Duncan’s life, his peculiar mix of vocational dedication, critical intelligence, narcissism, and unfettered aggression." Brian Teare • Boston Review
"What is poetry, then? One definition might be: a literate dissatisfaction with poems and poets." Jasper Bernes, Joshua Clover, and Juliana Spahr • Jacket2
"Historically, we might sympathise with the current insistence on one big happy poetry family – a “spectrum” of poetic practices, in which everyone does their own thing and has no right to take that right from others." JT Welsch • B O D Y
"Poetry drives some to suicide; for others, it’s the only thing holding them back from the abyss." Elyse Moody • Tin House
"I love Dickinson on the page, but despite the novelty of the visual and indeterminate Dickinson, we shouldn’t lose track of the sound of her words, when the poems are reassembled and recited in the common meter." Ange Mlinko The Nation
"A poem must come into being from a position of understanding that nothing can ever be fully realised in language: it can only exist as a fetch of lived experience that asks more questions than it answers." Stephen Connolly • The Lifeboat
"The most successful sequence in the Aeneid, the self-immolation of Dido, is, paradoxically enough, a source of the epic’s weakness." Amit Majmudar • Kenyon Review
"Kleinzahler's title alone licenses us to brand him "oneiric", but this is dreamwork of a tough and streetwise hue." David Wheatley • Guardian
"Why does rhyme, in languages that use rhyme, so often come (at least for a while) to stand for poetry as such?" Stephen Burt • American Poetry Review
"Daily Rituals is a thoroughly researched, minutely annotated and delightful little book, full of the quirks and oddities of the human comedy. How striking that both Milton and Richard Strauss, quite independently, compared their creativity to a cow being milked. Its main lesson can be summed up simply enough: get up, have a cup of coffee, sit at your desk and begin." Christopher Hart • Literary Review
"[T]heir poems think hard about what those luxury apartments stand for." David Gorin • Boston Review
"André Breton in Prague!" Marci Shore • TLS
"[Marianne] Moore’s view of poetry was that it ought to be clear and simple, but she fooled herself that her love of the precise phrase made her not-difficult." Mary Jo Salter • The Atlantic
"Compared with the cold Pound, intent on the shapes and silhouettes of his perceptions, chiseling a scene into the etching of a poem, [Amy] Lowell revels in the electric atmosphere of love, in the sparks, no less, that occur in the marriage of lovers." Carl Rollyson • Humanities
"At the heart of the conflict is a small, semi-lawless zone, known in Private Eye as "Poetryland"." Jeremy Noel-Tod • Enitharmon

"Within a few short months, the Great War began, a cataclysm that was to engulf all four young poets and bring their optimism, hopes and aspirations to naught." Brian Maye • Irish Times

"Borges had been reading English translations of the epics throughout his life, but when he was fifty-nine, he set out to teach himself Anglo-Saxon, a process he called “the pure contemplation of a language at its dawn.” The epics provided him with a kind of literary ideal: concrete, precise, and suffused with the glow of the sword as a magical object. His reader’s eye was keen, and interestingly unpredictable. He admires the “Finnsburh Fragment” over Beowulf, for instance, though it consists of a mere sixty lines, preserved from what surely was a much longer poem, and composed, perhaps, as early as the late seventh century." Michael Greenberg • NYRB
"I wouldn't say there's metrical fidelity to the original meters, which isn't reproducible, but there's a new rhythmic design to take in the English sounds and the shifting content." Anne Carson • Asymptote
"On the heels of the colossal success of Eunoia, a prose poem whose five chapters each use only one vowel — winner of the 2002 Griffin Prize, and by some counts, the bestselling book of Canadian poetry, ever — Bök went casting around for a new project. He came across news of a scientist at the Pacific North West National Laboratory, Pak Chung Wong, who translated the lyrics to “It’s a Small World After All” into the four-letter nucleotide alphabet of DNA, which he then inserted into deinococcus radiodurans, a bacterium that can withstand extreme heat and cold, acid, otherwise-deadly radiation, even the vacuum of space." Michael Lista on Christian Bök • National Post

"Peter [Fallon]’s energising omnipresence lit a neon torch for a generation that had had its fill of staidness and – appetite freshly whetted by Lunch Poems and Howl, by the Beat school and the Liverpool Poets – was hungry for an Irish poetry with more pizzazz, more jazz, one likelier to appeal to the metalhead music fan than the egghead academic. He expanded Ireland’s poetry constituency, making the art accessible to an audience that had felt excluded from this “elitist” pursuit." Dennis O'Driscoll • Irish Times
"Is Women's Poetry a masterpiece? It surely locates Fried among the masterful American poets of her generation. I'd point readers to 'Torment', of course, but also 'Thrash', 'His Failed Band, 1973', 'L'Allegro: Driving Home', maybe the Kissinger, definitely the title poem, which, if Camille Paglia ever does another edition of Break, Blow, Burn, you can imagine her including." Jason Guriel • PN Review
"'The Cranium' is a poem where “the wetware of vessels” is juxtaposed with the delicacy of all the strands of memory and of self contained therein. While such poems have a coolness about them, there are many others by this England-based poet from Lisgoold, Co Cork, where he offers affectionate and moving dedications to fellow Cork poets, living and dead, not least in "The Hip-Flask", a lovely tribute to the late Gregory O’Donoghue." Liam Heylin • Irish Examiner
"One might enumerate all the ways in which Koch must have felt like an outsider — a Jew in the Ivy League, a Midwesterner in New York, a heterosexual in a homosexual coterie (the New York School) — but being a comic poet with a metaphysical bent in the postwar/Cold War/New Criticism era might have cut the deepest: not that he himself was on the outside, but that his poems were on the outside." Ange Mlinko • Poetry
"Ritsos eventually ended up imprisoned again in 1967, and those who either recited or sang his verses faced arrest as well. As before, the literary world took note and made an issue of his imprisonment, which ended when the leaders of the coup under Papadopoulos were detained. " Amy Henry on Yannis Ritsos • Pacific Rim Review of Books
"There is only one sphere in which metaphor is able to function, where spirit can be said in terms of matter, and that is poetry itself. That is why poetry, for Frost as for Emerson, is the essence of language, without which it is impossible to think at all." Adam Kirsch • Harvard Magazine
"Benighted, presumably, by the world-wide web, the stay-at-home generation studied by Talking Vrouz develops not poetic vision but ‘stone-dead eyes’. Everything reflected and resounding back from the internet—a ‘giant soupspoon’ tool of gratification—is ‘the mouth which full of loneliness is mute’, Rouzeau’s word order invoking here the destructive linguistic properties of the net." Ruth Ling on Valerie Rouzeau • The Wolf
"And each time there seem new corridors to the euphoria. I am nowhere close to being a poet with the academic skill of Ashbery, but I think it’s the poem that has influenced my own billboard poems the most, it’s certainly the reason that I habitually write in the second person in my own work." Robert Montgomery • Magma
"Money, history, poetry. They’re how we know where we come from, where we are, and what the places are that make us." Ali Smith • Brick
"At least once a decade, the conversation about poetry gets bloody enough to inspire rubbernecking." Jonathan Farmer • Slate


New poems

Michael Prior Malahat Review

Bernadette Hall Best New Zealand Poems

Thomas McCarthy Irish Times

Gregory O'Brien Best New Zealand Poems

Kris Anderson The Lifeboat

Louise Gluck Threepenny Review

Joe Dunthorne The White Review

David Constantine Herald Scotland

Grace Chia Singapore Poetry

Ange Mlinko The Wolf

Iain Britton Fortnightly Review

Christian Wiman New Criterion

Paul Muldoon Poetry Review

Matthew Zapruder Massachusetts Review (pdf)

Erica McAlpine New Criterion

Brian Stanley Encore

Matthew Zapruder The Paris American

Carl Phillips The Paris American

Dorothea Lasky Paris Review

Frederick Seidel Paris Review

Kathleen Jamie New Statesman

Bernard O'Donoghue Irish Times

Ben Lerner Lana Turner

Lyn Hejinian Lana Turner

Andrew Marvell Guardian

Patrick Cotter Irish Times

James Richardson The Nation

Lavinia Greenlaw New Statesman

Pearse Hutchinson Gallery Press

Caitriona O'Reilly Irish Times

Anne Stevenson Hudson Review

Norm Sibum The Bow-Wow Shop

Alexandra Oliver The Walrus

Emily Berry Granta

George Kalamaras Kenyon Review

Rodney Jones Kenyon Review

Vona Groarke Guardian

Fiona Benson Granta

Albert Goldbarth Georgia Review

Padraig Rooney Wales Arts Review

Bill Manhire Turbine

Mary Ruefle Turbine

Declan Ryan Poetry London

Pascale Monnier, tr John Ashbery Massachussets Review

Nathaniel Mackey New American Writing

Dean Young jubilat

Gerard Fanning Irish Times

James Brown Arts Te Papa

Marsha Pomerantz Raritan (pdf)

Vona Groarke Gallery Press

Tiffany Atkinson Poetry Bookshop

Jon Stone The White Review

Helen Tookey Guardian

Mark Cox New Ohio Review (PDF)

Jeramy Dodds Véhicule Press

Mary Jo Bang Graywolf Press

Stephen Burt Virginia Quarterly Review

Dean Young American Poetry Review

Sam Sax Anti-

Carl Phillips Kenyon Review

Lyn Hejinian Cortland Review

Rory Waterman Guardian

Togara Muzanenhamo Eleven Eleven

Ed Skoog American Poetry Review

Toby Altman Gigantic Sequins

Lucy Tunstall PN Review

Natalia Toledo Asymptote

Leontia Flynn Lifeboat

Mary Dalton Montreal Review of Books

William Logan New Criterion

Eileen Myles Wave Composition

Dexter L Booth Graywolf Press

Pablo Neruda, tr Ilan Stevens Words Without Borders

Idra Novey Poetry

Timothy Donnelly Poetry Northwest

Susan Stewart Raritan

Sheryda Warrener The Believer

Helen Tookey Manchester Review

Sylvie Baumgartel Paris Review

Sean O'Brien Manchester Review

The Page aims to gather links to some of the Web's most interesting writing.

Reader suggestions for links, and other comments, are always welcome; send them to johntmcauliffe ät googlemail dõt com

The Page is edited by John McAuliffe, Vincenz Serrano and, since September 2013, Evan Jones at the Centre for New Writing at the University of Manchester. It was founded in October 2004 by Andrew Johnston, who edited it until October 2009.
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