The Page
poetry, essays, ideas
"[David] Lehman is less interested in excellent poems, which can only be consumed one at a time, than an idea, “poetry,” which he sets in opposition to the brutal zeitgeist." Jason Guriel • The New Republic
"The career of Gottfried Benn is a case study in disgrace." Adam Thirlwell • New Republic
"Shearsman are helping to create a mini critical industry on Roy Fisher, and it is greatly to be welcomed." Martin Casely • Stride
"For instance, I did a reading with Mark Strand in Frank Stella’s studio that was introduced by James Wright, who spoke glowingly of our work, but had our names confused, it turned out." Charles Simic • NYRB
""Heap" is a wondrous curriculum vitae that I know draws upon the poet's own life (though I have no idea exactly to what extent) where pretty much every job listed has involved heaps of something: torn-up boxes, grass clippings, old coffee grounds, heaps of twigs and sticks, bundled newspapers, palettes of lemon meringue pies, "abandoned mud huts fallen into a heap" ….. the list of jobs and heaps goes on for two pages and never flags. Which is what Paul Violi did: never flag in his energy, his desire to be open and to learn, to share, and enjoy, no matter how dire some of the stuff life throws at you might be." Martin Stannard • Stride
"Traditional music or postmodernism, there is a breadth of subject-matter and style on show throughout this generous anthology, offering many signs that Irish poetry can still play the true air and maintain a trajectory of emotion and sensibility." Matt Campbell • Breac
"Uncertainty and the interrogation of normative thinking are important to John Kinsella, because they seem to counter the logical positivism and scientific materialism underpinning capitalism and the state’s violence, as well as the reductive effect of language as a system through which we relate to a far more complex world. (Irigaray’s ‘To speak is never neutral’ is quoted.)" Helen Moore • The Wolf (pdf)
""The Natural and Social Sciences" originally appeared in Donaghy’s first collection, Shibboleth, in 1988. Its triad of Irish jokes targets their teller, the poet of double identity, as well as the English reader reassured by stereotype. A London-based American poet born of Irish parents, Donaghy was ideally placed for such a three-way satire." Carol Rumens • Guardian
"If Bishop claims in ‘One Art’ that ‘the art of losing isn’t hard to master’ then Shaughnessy’s ‘Artless’ seems a direct refutation of this mode of processing loss. Bishop exercises her structural repetitions as a way of increasing conviction; Shaughnessy’s repetitions are stasis. Both, really, are evasion." Aime Williams • Prac Crit
"[W]whether you respond to this book may depend on how you feel about the back cover statement that she considers the phrase “too accessible” to be “the best sort of compliment”." AB Jackson • Poetry Review (pdf)
"I presumed that in their eighties and nineties all these poets would feel a sense of clarity and wisdom about their lives and careers, but this wasn’t always the case." Chard de Niord • Harvard Review
"Joshua Mehigan’s Accepting the Disaster is the rare new book of poetry that is entirely alive, entirely aloft. No allowances have to be made for these darkly lucid, sad, and humane poems; they are the thing itself." Adam Kirsch • New Republic
"We resort to cliché because it’s easier than trying to make up something new. Implicit in it is the question, Don’t we already know what we think about this? Don’t we have a formula we use for this? Can’t I just send a standard greeting card or paste in a snapshot of what it was like rather than trying to come up with an original drawing?" Anne Carson • A Public Space
"Izenberg poses against this traditional picture of lyric a less personally expressive poetry of pure “attentiveness” and of “the greatest possible opening of the self ”—to other people and to contingencies that are simply experienced sequentially and registered paratactically." Richard Eldridge • Chicago Review (pdf)
"The apparent subject of a painting is depicted off-centre, or leaving a large more or less blank space. An example is the thirteenth century painting of a wagtail on a withered lotus leaf. As in the case of the text in the Kōtō-in, the reverberations of unfilled space are vast. Poetry provides many examples of this and of the concentration on the actual." Padraig Murphy • DRB
"Jorge Luis Borges was modest about his achievements as a poet. In his Obra poética, 1923–1964 he quoted these lines from Robert Louis Stevenson: “I do not set up to be a poet. Only an all-round literary man: a man who talks, not one who sings . . .”" Michael Caines on Alastair Reid's Borges • TLS
"Zurita (2011), an almost 750-page volume, unfolds from the evening of September 10 to the morning of September 11, 1973, and includes excerpts from the poet’s other books, for example: three pages of the electroencephalogram (EEG) embedded with text that closes Purgatorio, a few photographs of the New York City skywriting that appeared in Anteparaíso, and a middle section (starting on page 358 of Zurita) from his 1985 book Canto a Su Amor Desaparecido, translated in 2010 by Daniel Borzutzky as Song for His Disappeared Love." Magdalena Edwards • The Millions
"Where the poems of Ms. Rich, who died in 2012, landed like bombs flung from the barricades, those of Ms. Kizer felt more like a stiletto slipped between the ribs." New York Times
"The title Seven New Generation African Poets immediately raises the question of how similar these poets are and what characteristics identify them as African. One of the exciting discoveries is that these poets exhibit a strikingly wide range of aesthetics and styles. All are accomplished writers whose work ranges from straightforward narrative to experimental." Mike Puican • TriQuarterly
"We set poets in opposition and claim exclusivity by adopting polemical positions most of which are largely external to the poetry, whether the poets themselves subscribe to them or not." Peter Riley • Fortnightly Review
"I wonder if there’s a literary term for the device used of ‘wryly and jocularly referring to London mayoralty screw-ups’ – perhaps pathetic fallacity? – but also how many other politicians have put their machinations to one side to put quivering pen to paper and spill their feelings out in rhyme." Anoosh Chakelian • New Statesman
"This means we can read Patrick Pearse’s erotic poems and Roger Casement’s diaries of his sexual exploits not as aberrations but as essential to their revolutionary spirit as they sought to liberate themselves from traditional ideas of sexuality." Colm Toibin • New Statesman
"Other forms of orientation have more valency than nationalism for me. I’ve never felt any deep attachment to a country, a town, a landscape; never written in that grounded, territorial sort of way. The books most important to me over the last few years have been by Elizabeth Bishop, George Seferis, and Ange Mlinko, poets whose relationships with British poetic traditions are helpfully indirect." Frances Leviston • Poetry
"They represent a turning away from the unsettled atmosphere of Paris and in their lives and work there is a sense of creating a space aside from a lot of the harsher and more public events in the world, of being free to pursue personal and landscape meditations in peace. This is not to say that the poetry is placid or complacent, but the violence and anguish it reaches come from within, or if from the world indirectly, mediated by immediate individual perception, and the vocabulary rarely extends far beyond landscape, art, and general ponderings." Peter Riley • Fortnightly Review

"Having achieved the pinnacle of an academic career, poised for a state appointment, Herbert takes holy orders and serves the rest of his short life in country parishes. Why? Donne’s energy and sexuality and ambition are more understandable. But one of the things Drury makes clear is that Herbert’s first love was poetry, and taking the humble position of country pastor gave him the exclusive time he sought for his own writing." Mark Jarman • Hudson Review
"The editors of The Dublin Notebook manage to enrich and finesse the known facts by detailed analysis of primary source material, principally, of course, the entries in the poet’s notebook." Sean Sheehan on Hopkins • DRB
"Critic Matthew Sitman has recently called Christian Wiman the “most important Christian writer in America.” [Michael] Robbins, then, might be the most provocative Christian writer in America." Nick Ripatrazone • The Millions
"One of the collections is a Poetry Book Society Recommendation, which is the sort of stamp of approval most poets would gnaw a finger off for." Todd Swift introduces British/English poetry • Poetry
"“Internet speak” can be an exciting new kind of poetic form: in Conor O’Callaghan’s brilliant new collection, The Sun King, he writes a series of tiny poems, each as long as a tweet, and it’s like a new kind of Japanese haiku in his hands." Sinead Morrissey • Independent
"These two overlapping threads—personal and collective exile—have been leitmotifs throughout the last several hundred years of Arabic literature. But in the last century, they have moved from the periphery to the center of literary discussion." M Lynx Qualey • Words Without Borders
"Batchelor begins and ends his book with Tennyson’s encounters with Queen Victoria. He was first presented to her in 1851, after being appointed Poet Laureate. Tennyson wore a borrowed suit—the same one lent to Wordsworth when he was appointed Laureate in 1843. It was a bit small for Tennyson’s huge frame, but he was reportedly delighted with “the appearance of his magnificent legs in black silk stockings.”" Carol T Christ • Hudson Review
"Reexamining the literary and autobiographical record in that archive reveals important new historical information about the cultures and literary movements of the Hispanic world that [Langston] Hughes visited." Evelyn Scaramella • Massachusetts Review (pdf)
"So it would seem that, after Keats's death, the Stansted chapel gradually came to look more like his description of it than it did when he actually saw it. Of course a poet needs only a spark of fact to light a trail of imagery. It is not surprising that he could make so much of so little. What is perhaps surprising is that three-dimensional reality, architecture, glass, and decoration should have imitated his vision to the point where his description assumes something of the quality of prediction." Rosemary Hill • Essays in Criticism
"The best poems remind you that a poem is a made object, not just an act of self-expression. They read as exploratory, not simply as an account of pre-formed ideas or feelings." Michael Symmons Roberts • Poetry London
"In his recent book, Cinepoetry: Imaginary cinemas in modern French poetry (2013), Christophe WallRomana singles out “New York in Flashlight” as the foundational statement of Cendrars’s futurist aesthetics. For a poet still struggling to fight free from his post-romantic subjectivity, the shock therapy of film would allow him to shed all metaphysics, all abstractions in order to emerge as an objective medium for the Orphic expression of the optical unconscious of the modern world – Rimbaud and Whitman updated for the century of cinema." Richard Sieburth • TLS
"Robert Gray’s imagery is the first thing a reader notices. Individual, surprising, evocative – his images have more in common with Amy Lowell’s imagism than with the hard objectivism of Ezra Pound. Like Gray, Lowell wrote versions of Japanese poems and her interest in what she called polyphonic prose probably lies somewhere behind Gray’s prose poems, such as ‘In the Bus’ and ‘Damp Evening’." Lisa Gorton • Sydney Review of Books
"Older writers tend to be provident with their material, Godwin says, comparing their tendency to a baker’s practice: “The old writer wants to use up his fatal tissue like biscuit dough, pushing the leftovers into another and another artful shape—down to the last strange little animal,” implying frugality can stoke creativity." Rosemary Booth • Critical Flame
"As versions go, The Architect’s Dream of Winter is a confident upgrade of Billy Ramsell’s promising first collection, Complicated Pleasures; and it bodes well for those to come." Alex Runchman • The Stinging Fly
"Not every award-winning poet has played minor hurling for his county." Michael Moynihan talks to Ciaran Carson • Irish Examiner
"As happens now when someone famous dies, the internet fills with stories of the champagne and ice cream type. But the memorial aspect of such anecdotes can too easily cover the work. The danger of encomiums is that against their intention they can entomb the very achievement they celebrate." Michael Helm on Mavis Gallant • Brick
"It is possible, as library closures continue across the UK, despite the occasional spectacular exception as in Birmingham and Manchester, to lose sight, in the battle for basic provision, of the principles which underlie that provision, and the radical challenges that the free flow of information can, for good or ill, give rise to." Michael Schmidt • PN Review
"“What a fantastic list”, said McMillan, who was joined on the judging panel by the poets Caroline Bird, Robert Crawford, Pollard and Paul Farley. “We are going through a really fantastic period for poetry and these writers show the confidence poetry has at the moment. It is everywhere – in festivals, open mic nights, on the internet.”" Ian McMillan • Guardian "Once a decade, the Poetry Book Society announces a list of Next Generation Poets, the ones who they think will "dominate the poetry landscape of the coming decade". Today they released the full roster for 2014. It's an unusual remit. And "dominate the landscape" is an odd turn of phrase, which makes the list sound like a series of dark satanic mills planned for Shropshire." Charlotte Runcie • Telegraph
"Is it literary criticism wearing poetry’s clothes, poetry dipping its toes into academic discourse, a hybrid form, or something else entirely? Unkind critics have accused her of co-opting parts of either to conceal her weaknesses in both, but [Anne] Carson appears to be operating, as usual, in a space where boundaries and expectation mean little." Jennifer Thorp • Oxonian Review
"What does this selection tell us about Scottishness? Not a lot: that’s not the point of it, though W.N. Herbert’s ‘Rabbie, Rabbie, Burning Bright’ is certainly a reminder, even when comically distorted for our own times, of that common culture." David Robinson Scottish Poetry Library
"There is obviously a lively imagination at work here. But [Liz] Berry does not simply make things up: she also knows how to use bizarre facts to fuel her imagination. The Mills & Boon volumes lining M6 may or may not be fictitious; but Berry can make a poem out of a report about coconuts floating in a Birmingham canal." Matthew Bartholomew-Biggs • London Grip "Liz Berry knows her own flight-path, that is for sure, coming in to land with a beautiful poem The Night You were Born in which she imagines her partner's birth while pregnant with his son. It is moving because not overworked. It exists as an imagined and a remembered moment." Kate Kellaway • Observer
"From one angle, it’s hard to say what a book like [Tarfia Faizullah's] Seam is for. It doesn’t seem to serve the history it burrows into; it doesn’t suffice as a historical document; it rewrites the voices of the Birangona Faizullah interviews into her own lush lyricism, seemingly erasing the singularity of those women who speak to her, she notes, at the “command” of “the woman who runs a support group.” And yet taken from another angle—would I, as a reader, lose something important with the absence of this book?—the value is clear. I would." Jonathan Farmer • Slate
"All those barely missed connections between the units, coupled with their strict regimentation on the page, creates a kind of prosodic static electricity." Stephen Ross on Oli Hazzard • Boston Review
"One of his finest moments in [Michael Symmons Roberts' Drysalter] – which is dedicated to composer James MacMillan with whom he has collaborated in writing opera and oratorios – is the austere and beautiful love poem The Vows ( it is described on a website that recommends poems for marriage ceremonies as a “killer of a wedding poem”)". Gerard Smyth • Irish Times
"The young American writer and translator met the newlyweds in 1967 at Harvard, where Borges (who had come to international notice after sharing the first Prix International with Samuel Beckett in 1961) was giving the Charles Eliot Norton poetry lectures. Di Giovanni pitched the idea of editing a collection of his poetry in English. Their association was so satisfactory that it continued in Buenos Aires, where they translated other early works together. Di Giovanni also encouraged Borges to write new poems and stories, which he funnelled straight into the New Yorker, while finding a publisher for the new collection, Doctor Brodie’s Report; indeed, he is justly credited with rebooting the elderly writer’s career and consolidating his cult status abroad. Borges granted him 50 per cent of the rights over their joint output. However, after the master’s death in 1986 his second wife, María Kodama, rescinded this contract and commissioned new translations, from Andrew Hurley. There have been many lawsuits in the intervening decades, and di Giovanni, apparently powerless to reprint and even post his versions online, remains understandably bitter." Lorna Scott Fox • TLS
"Elsewhere, many lines read like attempts to get as many “poetry words” as possible into a single sentence. “A sepia/penumbra clears round a moon of blood” comes close but “Shadow-green patina, faint turquoise wash/over wafer-thin kaolin” probably takes the biscuit. Such lines are interspersed with fridge-magnet wisdom: “The past is not lost/but covered up by time.”" Paul Batchelor on Padel. Harsent and Longley • New Statesman
"Each generation seems to need a true adventurer, a knight who will ride out and slay all the dragons of the literary world, while we stay at home in Eire and do little chores about the house. Heaney was the dragon-slayer, bringing entire poetry scenes from Oxford to Harvard within his dominion." Thomas McCarthy • Irish Examiner
"Brain-storming of this kind, however, represents a low-level of thought: a wealth of connections is indicated, but nothing is unpacked or worked out. It is as if the quantity and diversity of associations are considered adequate to the creation of a satisfying poem. And if it turns out that the associations are not particularly appropriate to the topic, this is of no real concern. They can be superseded at will." Simon Patton on John Kinsella • Sydney Review of Books
"Irish poetry in the twentieth century, and particularly that written in and about the North after 1969, has been relentlessly, exhaustively contextualised, and not always with the insight and acuity one would wish for. It is easy to point unthinkingly to events in the Troubles to elucidate or gloss the literary works which would seem to respond to or represent them; ironically, by the same token, it is easy to slide into a New Critical belligerence which leads to a problematic and rather prudish formalism seeking always to stress literature “as” literature, somehow imperviously superior to the conditions in which it is written and received. It is refreshing to find in Russell’s study [of Heaney], therefore, some unexpected contextual connections being asserted with care paid to both text and context." Rosie Lavan • Oxonian Review
"[Thomas Kinsella's] densely packed poems reward repeated re-reading giving the reader - somewhat ironically given his bleak outlook - a life affirming modus vivendi also." Belinda Cooke • Stride
"By the closing years of the eighteenth century, well-to-do readers had at last become familiar with the astonishing fact that ordinary working people liked to sing, to make poetry, and even, sometimes, to write it down. Yet the sensation caused by Ann Yearsley’s first volume of poems in 1785 would not have been possible without her complacent editors having described her in its preface as a “poor illiterate woman”." Min Wild • TLS
"Part of the ambivalence of Muldoon’s own poems resides in modal verbs and associated speech acts, which together somehow clear a space between what is certain or not (“I must have been dozing in the tub / when the telephone / rang …”). These formulations – the longer one occupies them as a reader – appear to open up political possibilities; or rather, the possibilities of new politics. Muldoon’s forms, his metaphors, even his famous half-rhymes, now seem proleptic, throwing themselves forward to the realities of the peace process that would begin to emerge materially in Northern Ireland in the early 90s, like the forked twig “astounding itself as a catapult” in another poem in the book." Giles Foden • Guardian
"[Michael] Robbins’s voice is hotheaded and hapless, a little bit country and a little left of center." Jason Guriel • New Republic
"I’m going to invent a rival poet, or perhaps two, who will gradually become much better than me—then the people who resent me for one reason or another, will line up to support one of my rivals (i.e. me)." Ted Hughes • The American Reader
"[T]he older you get, the more artificial it all seems." Joe Wenderoth • BOMB Magazine
"Nobody would wish to have cancer, yet it undeniably brought things to my life that were, to my great surprise, valuable." Elise Partridge • The Puritan
"If it’s true that a generation is coming to maturity for which the stand-off between mainstream and experimental poetry no longer holds, then Toby Martinez de las Rivas’s first book, along with the second collections by Paul Batchelor and Oli Hazzard – all of them English poets born between 1977 and 1986 – marks a decisive moment." Matthew Sperling • New Statesman
"My husband Rob started a literary magazine with some friends called jubilat. They would publish an interview with a perfumer, a list of wrestling terms, and lots of poems, with no distinction. It was a way of saying, All of these things are poetry, which is the case for me too." Matthea Harvey • The Believer
"Whenever I sit down to write, I have to think through certain questions about form – am I or am I not going to write a sonnet? If I don’t count syllables how do I communicate a tune? If I rhyme, whose voice am I putting on?" Alice Oswald • The White Review
"There was a ferocity in Heraclitus. If we juxtapose two of his more famous sayings, ‘shit is somewhat better than a corpse,’ and ‘character is destiny,’ we might find that a kind of urgency about life emerges." Raphael Maurice • Like Starlings
"That’s the joy of good poetry: it condenses meaning into a tiny linguistic espresso. This makes it tougher and more resilient than fictional prose, more able to withstand all manner of interpretations." Aaron Bady • The New Inquiry
"This is all part of the inquiry that French poet and translator Yves Bonnefoy identified as essential to capturing the spirit or essence of a work in translation: You don’t want your car to take you to the supermarket and back; you want it to sail from the woods to a farm to a city to a beach clogged with kites and back again." Evan Fleischer • Electric Literature
"My job, for part of a summer, was to help clean up the tons of cement that escape during processing and accumulate where they aren’t supposed to be." Joshua Mehigan • Work In Progress
"The poetry world is so like the fashion world that way, isn’t it? Trend-driven and often emptily stylish. The only difference is that at least fashion recognizes and makes the distinction between prêt-à-porter and haute couture, a line that for all intents and purposes is the bottom line. People buy and wear and live in the former, and only marvel curiously at the latter." Michael Lista • Maisonneuve
"The thought of a poet writing in English who would not grow excited turning the pages of the OED, or clicking on the electronic version, is so dismal that one wishes such a personage an even smaller readership than modern poets normally manage to acquire." Alan Wall on Geoffrey Hill • Fortnightly Review
"For Larkin, writing poems was above all the art of becoming memorable, by means, as he said, of 'a verbal device that would preserve an experience indefinitely'." Jeremy Noel-Tod • Literary Review
"[James] Pollock is a poet of understatement; he puts the poem before the poet." Richard Merelman • Verse Wisconsin
"This looks like minimalism, but it is the utter subsumption of experience in phonemes. It is maximal word-as-world." Ange Mlinko on Peter Gizzi • Boston Review
"At a reading in Kilkenny, Lowell recalled the best and kindest introduction he’d ever heard a poet give: “I’m going to read six poems, and it’s going to take 37 minutes.”" Maureen Kennelly • Irish Times
"Also, you’re glad that someone else has sensed that animals know we are frauds. Your colleague’s goldfish, your neighbor’s cat, the panther at the zoo—these creatures truly belong on earth, whereas you are just a cosmic tourist, a hopelessly transient stranger." Drew Calvert • The American Reader
"[Elizabeth] Arnold is not afraid to discuss the edgeless nature of life." Liz McGehee • The Volta

"In Rome, the poet is less wolf cub than panther, not inquisitively circling and observing its subject matter, but attacking it mercilessly as prey." Isabel Ortiz on Dorothea Lasky • Feministing
"Thomas’s work was belittled by Kingsley Amis and Larkin; Geoffrey Grigson, with a mixture of typical acidity and perception, described it as Victorian subject matter clothed in symbolist rhetoric – in essence no more than a final, eccentric flowering of Romanticism. There is a true insight here into Thomas’s Romantic sensibility (“Gothic” would also suit him); but what this judgement misses is the sheer iron discipline of his work, in which every word and every placement of a word is tested over and over until we have a poetry that is “saturated”." Rowan Williams on Dylan Thomas • New Statesman
"[Clive] James, who was diagnosed with leukaemia and emphysema in 2010 and who is being treated in Addenbrooke's hospital in Cambridge, writes in The Emperor's Last Words of how "I gather my remaining senses / For the walk, or limp, to town", where he has a haircut, and visits an Oxfam bookshop." Alison Flood • Guardian
"While Hugo may have stood tall in the literary world, to Hansen he was just Dick. The man who bought her a horse and at 16 her first car, a 1968 big block Camaro, gray with black racing stripes." Larry Coonrod • The Lincoln County Dispatch
"[Ed] Skoog’s associative leaps can make the poems in Rough Day seem fragmentary, but read as a whole, the book feels less like a collection of disparate pieces than like a single, continuous, wide-ranging monologue." Katie Herman • B O D Y
"Leopardi suggested, back in the early 1800s, that good writing comes of nature, not habit. Good luck teasing the import of that remark through the eye of a needle." Norm Sibum • Encore
"While his contemporaries have been busy fine-tuning their algorithms, tweaking their genomes and re-mystifying their obscurantisms, [Joshua] Mehigan has been perfecting his lucid, plain-spoken, perspicuous ear worms that scan and rhyme and stick to your rib. " Michael Lista • National Post
"In the volume under review, [David Scott] also writes poems ‘On Not Knowing R.S. Thomas’, on David Jones, and on James Fenton’s father, Canon John Fenton, a noted New Testament authority and Canon of Christ Church Oxford. I would imagine that he would also like mentioned his poems on Winston Churchill, Gertrude Jekyll and Sappho! But others have called him a priest-poet in the tradition of Herbert, and that doesn’t seem like such a bad starting point." Ian Pople Manchester Review
"Frank Kermode, a masterly British critic, put it neatly: “So I educate myself in public, which I take to be the reviewer’s privilege”." Peter Rose The Conversation
"Our modern prizes are rooted in the profane ground of sponsorship and publicity. And they have proved an effective advertisement for poetry. Witness the two-thousand-plus audiences for the Eliot readings at the Royal Festival Hall every January. The competitions themselves, however, need to be run on principles of good practice, with clear rules concerning declarations of interest, and transparency about the process. It’s not right to ask people to make careerchanging judgements without proper guidance. And how to pick the judges – for integrity or for celebrity? Those Athenian arbiters sitting in the front row preferring the Sophocles to the Euripides were chosen by lot." Maurice Riordan Poetry Review
"PN Review began before the Creative Writing industry boomed. The editor himself spent twenty-odd years developing writing programmes: his hands are not clean in this respect. But he remembers a time before, when submissions sorted themselves into three piles, rejections (a big pile), acceptances (small) and possibles (tiny). In the time after, the third pile is highest, the plausibles as we call them." Michael Schmidt PN Review
"Some people, young and old, just won’t read New Zealand poetry." Nina Powles on Marty Smith Salient
"You do the math." Paul Muldoon • New York Times
"Auden’s nothing is sort of like the “nobody” of the medieval monks who liked to joke about a hero, named Nobody, who existed before creation, who was greater than God. As Odysseus knew, when he introduced himself to the Cyclops as Nemo, Nobody, nothing has always been a good cover for something." Amanda Jernigan • The Walrus
"Everything Pasolini did, he did as a poet. [...] His best poetry is a kind of diary written in long slabs and sequences—he called these poems poemetti, longer than a poesia, shorter than a poema—meditations on whatever he was thinking about, where the syntax is strung out along the terza-rima form (Dante’s meter!) in a papery festoon of thinking." Adam Thirlwell Bookforum
"Vanguard poetry, by definition, should be at the forefront of efforts to analyze and illustrate more carefully the changing nature of class formation and relations." Daniel Tiffany Boston Review
"It’s strangely appropriate, however, that such an ephemeral, resistant missive would house the last words Patrick Galvin committed to print. For it fittingly caps his history as a peripatetic literary activist, the founder not only of Poetry Now in Dublin but also of the Munster Literature Centre in Cork, the incubator of plays and groups of players in London, Belfast and beyond." Billy Ramsell • Stinging Fly
"Poetry is the weak sister of its sibling arts, alternately ignored and swaddled like a 19th-century invalid, and that will change only by means of a long, tedious and possibly futile effort at persuasion." David Orr • New York Times
"[Graham] Allen has noted how writing Holes on an iPad has begun to influence his more “conventional poems”, including a “tendency to break through sentential structures” and employing a “different rhythm” to the work." Matthew Geden • Southword
"But the reach of poetry always had its limits: a poet could only be a misunderstood, isolated creature. This was the existential pose young poets mimicked. [Laura] Riding’s work offered that guise as well." Benjamin Hollander • Brooklyn Rail
"Pointless weirdness gets old fast (as it got old in Lockwood’s too-clever-by-half first book, “Balloon Pop Outlaw Black”), but here the weirdness almost always carries a magnificent, and political, point." Stephen Burt • New York Times
"In a chorus of diverse female voices such as O’Connor, Campanello and Feeney, no longer must a woman writer lament, like Boland, ‘the absence of an expressed poetic life which would have dignified and revealed mine‘." Doireann Ní Ghríofa • Stinging Fly
"Tom French’s ability, in this poem and in each of his books, is to find a way into such places, where the “beautifully executed wounds” are shown for what they are." John McAuliffe • Irish Times
"Poetry became an obsession, and so did Sappho. Twenty-eight years later I published the work of the Greek poetess in the most complete edition we have in Swedish. But in the first instance, it was a meeting that opened up a certain historicity, a certain aspect of – or angle toward, or a certain quality in – time. A temporality, let’s say, that was and still is accessible for me only when I work with, translate, or interpret poetry. Let us simply call it “philological time”." Magnus William-Olsson • Almost Island


New poems

Carmine Starnino The Walrus

Joshua Mehigan The Smithsonian

Matthew Zapruder A Public Space

Elizabeth Macklin New Republic

William Logan New Criterion

Devin Johnston Paris Review

Anna Jackson Sweet Mammalian

Philip Gross New Welsh Review

Kim Addonizio Poetry Review (pdf)

Paul Durcan Irish Times

Chris Price Sweet Mammalian

Dean Young Massachusetts Review

Zaffar Kunial Poetry Review (pdf)

Gerald Dawe Irish Times

Hoyt Rogers Fortnightly Review

Derek Mahon Gallery

Peter Sirr Irish Times / The Cat Flap

Hoa Nguyen Granta

Rebecca Perry B O D Y

Sarah Roby Poetry Review (pdf)

Sebastian Agudelo Harvard Review

Kei Miller Caribbean Review of Books

Jon Stone Poetry London

Colette Bryce Guardian

Rachael Allen Poetry Review (pdf)

David Baker At Length

Oliver Reynolds The Dark Horse (pdf)

Philip Gross New Statesman

Robyn Sarah Hudson Review

James K Baxter PN Review

Emily Berry New Statesman

James Womack The Wolf

Kathleen Jamie Best Scottish Poems 2013

Vidyan Ravinthiran The White Review

Sam Riviere Poetry International

Oli Hazzard Clinic

Andrew Jamison Eire Ireland (pdf)

Amy Key The Quietus

Josh Bell the Awl

Nathaniel Mackey The Nation

Karen Solie Paris Review

Tom Duddy Smiths Knoll

Vincent Colistro The Puritan

Morgan Parker Apogee

Ocean Vuong Triquarterly

Caleb Klaces Conjunctions

Michael Cope World Literature Today

Theophilus Kwek Singapore Poetry

Tim Smith-Laing The Junket

Diann Blakely Thicket

David McGimpsey McSweeney's

John Ashbery PEN America

Shoshanna Wingate Fiddlehead

Johanna Emeney Snorkel

Aimee Nezhukumatathil Kenyon Review

Harry Clifton Irish Times

Mark Callanan The Walrus

Carl Phillips Boston Review

Vona Groarke Boston Review

JT Welsch Blackbox Manifold

James Brown Sport

Thomas McCarthy Manchester Review

Kara van de Graaf Cimarron Review

Rita Ann Higgins Irish Times

Kayla Czaga Fiddlehead

John Hennessy The Wolf

Rebecca Perry Manchester Review

Mark Granier New Statesman

AK Mehrotra Almost Island

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 thepage.name ät hotmail 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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