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poetry, essays, ideas
"John Betjeman said: “I hold Charles Tomlinson’s poetry in high regard. His is closely wrought work, not a word wasted … ” For the American objectivist poet George Oppen, “it is [Tomlinson] and Basil Bunting who have spoken most vividly to American poets”. Tomlinson bridged the vast gulf between old and new world poetry, and was an heir equally of Dryden and Williams, Coleridge and Pound." Michael Schmidt • Guardian

"Gerry Adams (pictured), as Sinn Féin MP for West Belfast, led a delegation of language activists to the Arts Council on April 22nd, 1986. They met the council’s director, Ken Jamison, and the then traditional arts officer, Ciaran Carson. Mr Carson is now professor of poetry at Queen’s University Belfast." Irish Times
"I quickly began to recognise that Octavio [Paz] was a master with a vision of and for humanity and poetry that was as passionate as it was intelligent." Richard Berengarten Fortnightly Review
"A difficulty of poetic translation in our time has been the tendency to translate the poem, but to make little comparable effort to translate the poet." Eavan Boland Irish Times
"At the time, few women in Japan wrote poetry, and those who did typically used traditional forms to address domestic concerns. Sagawa sounded different: she wrote in free verse, not tanka or haiku, and her images were shockingly new." Adrienne Raphael • New Yorker

"'It’s a bit of a shock to find, all of a sudden, that I am driving Yeats!’" Avies Platt LRB
"One trouble with that old dispute in Australian poetry between the country and the city is that it misses this conscious largeness in [Philip] Hodgins’ work. As Roy Fisher put it in his poem ‘Six Texts for a Film 1. Talking to Cameras’: 'There’s no shame / in letting the world pivot / on your own patch. That’s all a centre’s for. / Anything else is politics …'" Lisa Gorton Sydney Review of Books
"[O]ne of the most demoralizing aspects of these changes is how [Ken] Babstock’s poetry has crossed into that area of initiates, best understood by those who claim to understand it. And as astonishing as it is to willingly transform oneself, in the span of five books, from an addictive substance into an acquired taste, On Malice may present even Babstock’s most ardent decoders with the chore of acquiring that taste anew." Carmine Starnino Maisonneuve "Rather than having liberated his work from its early rootedness in persona, Babstock has simply shifted the frieght of persona to the paratext. Whereas the most striking line in the Acknowledgments section of Mean offers “Deep thanks to everyone at The Banff Centre for the Arts—not least of all, the bartender with the Uncle Tupelo and Wilco albums,” its relative equivalent in On Malice tells us that “Fredric Jameson’s Valences of the Dialectic broke a silence, or opened on to one.” In the conceptual and rhetorical space between these two sentences of acknowledgement can be charted Babstock’s aesthetic journey thus far in all its dazzling ambition. In less than two decades he has not only irrevocably altered our poetic climate but briskly evolved multiple new ecosystems in which his fellow songsters can work and flourish. In the wake of On Malice, I think we should prepare ourselves for a raft of source-text experiments and procedural treatises. Because as Canadian poets, it’s Babstock’s planet we’re walking on." Stewart Cole Partisan "The effect of reading the book is akin to perusing mined data and trying to assemble sense from it." Jason Wiens Quill & Quire
"“The Third Hour of the Night” remains the apex of the series and indeed possibly of Bidart’s career." Christopher Adamson Boston Review
"The technical accomplishment is almost the least significant point of the collection. When it is done so well, it, like the ghosts that haunt many of the poems, is literally invisible." Stuart Kelly The Scotsman
"The acronyms make it clear that the AWP lives in a world of categories and abstractions. No mention of talent or imagination, development and growth. The political objective is – not to give offence." Michael Schmidt PN Review
"Part of the tradition of patriotism that I respect is one that I find in all the American writers that I admire." Robert Pinsky Irish Times

"With a confessional poet, it is the honesty that counts. With Cole, it seems, the confession is a seed that can and must be buried before it can bear fruit." Sean Hewitt on Henri Cole Prac Crit
"Where the poem isn’t a statement, it’s a questioning. The thing with the Beats was that it was a confessional thing. And the same with Lowell. But the thing about Ashbery was that he was completely outside of it, creating this world which the reader is invited to enter, and play with, and think about. So the emphasis isn’t on the personality of the writer – even though, no matter what John says, it is personal. There is personal stuff there, but it’s well wrapped-up. With a poem like ‘How Much Longer Will I Be Able to Inhabit the Divine Sepulchre…’, what he’s talking about is how much you dare expose yourself, your real feelings, to other people." Lee Harwood PN Review
"The institutions meant to uphold NZ literature are drooping on their piles. In some cases they have collapsed altogether. In a brave recent commentary piece called ‘Abandon Normal Instruments: A Call for Change in New Zealand Literary Arts’, Kirsten McDougall calls our ‘stagnating’ literary culture ‘a worn discarded toy that many people have forgotten how to play with.’ Here are some of the casualties: the New Zealand Book Awards and the BNZ Literary Awards have both recently lost their sponsorship. The Book Awards scheduled for 2015 did not take place at all. The prestigious Katherine Mansfield Menton Fellowship is fighting to secure funding, and its stipend has been cut. The future of the Berlin Writers’ Residency is under review. The National Schools Writing Festival, for promising high-school age writers, is on hiatus. Creative New Zealand writing grants have declined from what they were ten years ago by almost half." Joan Fleming Cordite
"Where on one’s naked body is there room for art, for artifice? And hadn’t poets been taking their clothes off, in some sense, for centuries before confessionalism? Like the Whitmans and the Wheatleys, and others so radical in their nakedness, we don’t remember their names? Not to mention religious poets like Herbert, Donne, Bradstreet—who were literally using the space of their poems to “confess” in the full glory of the word." Jake Orbison • Paris Review

"‘S’il vous plait,’ I said meekly, ‘parlez-vous anglais?’" August Kleinzahler • LRB

"While being an example of it, Underwood is a valuable observer of this phenomenon. It often manifests itself as a performance of selfhood; for example, in its fearful, guilty anticipation." Sean O'Brien Guardian
"Claudine Toutoungi’s ‘Cats Breakfasting’ is a beautifully lucid and subtle response to this inner structure of Craxton’s work, a poem that both sends the reader to the painting with opened eyes, and is totally of itself, needing no supporting illustration – ‘held with an internal and external pressure’." Judith Willson • New Poetries

"We at Enitharmon are all deeply saddened to hear of the death of Lee Harwood on Sunday 26th July. Not only a highly gifted and skilled poet, but a man of immense kindness and thoughtfulness." Enitharmon

"To learn to enjoy a poet, and to think we understand what a poet is doing, is to learn to understand that poet's conventions: to see what's new, and what's changed, in poets who seem (at first) to repeat themselves, and to recognize patterns, repetitions, inheritance in work that seems alien, chaotic, or all too new." Stephen Burt • Yale Review

"In sum, anyone can be a poet, and poetry appears indeed to be popular. But what is meant here, or should be meant, by poetry? What is its value?" Catharine Savage Bronson • Chronicles

"It’s time to write the obituary for New Formalism." Quincy R. Lehr • Raintown Review

"Apologies for making this personal, but this in miniature is the precise problem that has always bedevilled literary critics: the problem of how to balance feeling and fact, and how to translate subjective response (I love this poem) into informed judgment (this is a great poem)." Daniel Swift • The Spectator

"Encountering Wilson’s latest poems is akin to coming upon an orchid in the wild. Just as the carnal beauty of the plant stuns, a sonic richness, exotic (because precise) word-choice, and sculptural beauty in The Great Medieval Yellows encourage me to remain on the surface of the work." Karla Kelsey Constant Critic
"Because I am best acquainted with Armantrout’s relatively recent work, I was eager, for this series pairing a second book of poetry written over 20 years ago with a recently published second poetry collection, to locate Armantrout’s first two books, and to take a special look into the second to see something of the roots of this remarkable writer, who is associated with the L-A-N-G-U-A-G-E poets, but who also, like any original artist allied with any school or group, is very much her own stylist." Lisa Russ Spaar LARB
"When first published, The Shoshoneans offered concise and relevant insights into Dorn’s poetic ambitions. Nonetheless, these insights have had to wait for the retrospective and analytic framing of the current republication in order to come fully to view." Gerónimo Sarmiento Cruz Chicago Review
"Truth be told, even in the best of times, I’ve never been especially sweet on slice-of-life poems, particularly ones with a smarty pants edge." Wendy Willis LARB
"As a first collection Beauty/Beauty reveals an emerging voice with a distinctive feel about it." Mike Barlow on Rebecca Perry and others The Compass
"The point is not that the poem is cooked or raw, made or found, but that when we look at it we believe we see its wings move and its bright body shifting." David Orr NYT
"Here was major style. As if the world had been made as guilty pleasure. And what a relief from the more autobiographically-sourced, formally constricted, and directly ethical poets that I had admired and was trying to be and love still." Rodney Jones Partisan
"At a certain point, I realised that researching the historical record was inhibiting me. The poem went cold and progress slowed. In the end it took five years to complete, and only when I knew I was nearly finished did I begin a second wave of research, in which I tried to check that the things I’d invented weren’t too far off the mark. In the mean time, what helped me to bring my characters back to life (to me anyway) was thinking of three less obviously relevant figures: Tony Blair, Nick Leeson, and Myra Hindley." Paul Batchelor Poetry
"Who’s afraid of Frederick Seidel?" Eric Powell • Chicago Review
"I go to poetry for engagement with language and for revelations that are momentary rather than longer-term." Paul Muldoon • PN Review
"Read as a kind of kin or precursor to the movement’s evolution of protest and artistic testimony, Rich’s choices as she navigated her own American times help illuminate how the broader Black Lives Matter moment relates to the arts of past liberation efforts." Joshua Jacobs • The Critical Flame
"Having found modern philosophy to be a “logomachy,” as he called it some years later in a letter to his mother, he decided to reject the fellowship Harvard offered him; instead he put English roots down by marrying Vivien Haigh-Wood in June of 1915. He did some teaching at London’s Highgate School where, among the usual academic subjects, he also “taught” baseball." William H Pritchard on TS Eliot • Hudson Review
"I used to ignore where Rich’s poem was going. I was young enough that I just loved meeting the fox in the night and thinking of myself as all that female potential, "a vixen’s courage in vixen terms"." Ailbhe Darcy • The Critical Flame
"One poem I miss was about Mr. Drummond’s identification with Charlie Chaplin. Another was a morosely comic depth charge titled “Motionless Faces.” It read in part: “Acquaintances dead, teacher dead. Enemy dead. Fiancée dead, girl friends dead. Engineer dead, passenger dead. Unrecognizable body dead: a man’s? an animal’s? Dog dead, bird dead. Rosebush dead, orange trees dead. Air dead, bay dead. Hope, patience, eyes, sleep, movement of hands: dead.” Its absence is a bit of petit larceny." Dwight Garner • NYT
"Frost’s inaugural words weren’t the last ones, though. “The Gift Outright” endures in the version reproduced here. And other poets have capitalized on its problems, on what it says not only about American politics but also about political poeticizing. They use the uncertain occasion Frost keeps offering; they pay tribute in further questions." Siobhan Phillips • Poetry
"Many things about fairies, indeed, are most uncertain. We do not even know whether they die." WB Yeats • Irish Times (1890)
"Not eating replaced poetry, for Glück. But it also prevented it. Glück sought treatment when she worried that her disease would impede the work she needed to do." Siobhan Phillips • Massachusetts Review
"There are poets who’ve been responsible for helping open up the readership of American poetry in Britain, including Elaine Feinstein, who allied herself with America’s Black Mountain poets during the ’60s and ’70s (Charles Olson sent her his famous letter defining breath “prosody”), and more recently, Roddy Lumsden (who has apparently clocked up the most appearances by any British poet in Poetry) and Ahren Warner (current poetry editor of Poetry London). Lumsden is also series editor and instigator of the Best British Poetry annual anthology series modeled on Best American Poetry, published since 2011 by Salt (regrettably that former poetry press’s only surviving excursion into poetry), which along with the annual Forward Prize anthologies, and the journals Poetry Ireland, Poetry London, PN Review, and Poetry Review, showcase the latest work by the best-known figures in British and Irish poetry, with American poets also featured regularly in Poetry London, PN Review, Poetry Review, and The Dark Horse." Neil Astley Ploughshares
"The book is packed with terrific close readings, which often feel as if Hofmann is humming along with the poems he discovers for us, dwelling on each word until its particular resonances for the poem under discussion become apparent to all. (Is Hofmann’s workshop the place where New Criticism went?)." John McAuliffe • Poetry Review
"[Jon] Silkin’s poems have a didactic, even rabbinical, quality at times. His sermons can be knotty and difficult to follow, and sometimes sound a little portentous. But this poem, written when he was around thirty, and first published in The Re-Ordering of the Stones, has the manner of a restrained cri de coeur. Its argument is incontrovertible, like a newly delivered prophecy." Carol Rumens • Guardian
"Yet sometimes truly fresh ideas are promulgated through poems too; they may seem weird, unpoetic, ghastly, even illiterate." Bruce Whiteman • Hudson Review
"Atlantic, Harper's, they're all diminished. All magazines lose from the Internet. Eventually, they'll all be on the wire. Donald Hall • Union Leader

"This encounter is not the sole focus of the section. He includes poems by other authors and discusses how they make daring statements. But [Carl] Phillips's account of this sexual encounter dominates the section. In fact, it dominates the book. Has a book dedicated to the craft of writing ever included such explicit, autobiographical material from an esteemed educator and writer? Clearly, Phillips is not only interested in describing daring, he wants to wholeheartedly participate in it." Mike Puican • The Collagist
" I like doing close readings with my students, taking a hard, close look inside poems, hearing them notice things I might not. I like how, between us, we help each other pay sustained attention to the ways in which poems work. I think I’m able to give my students help and insight when it comes to improving individual poems and thinking about poetry as a discipline and as an art, and maybe some of that’s acquired from my practice as a poet, though maybe more from what I read. You always learn from good poems, though, whether by students of the craft or by poets of a lifetime’s experience. But I also know that if I had to teach every day of the calendar year, I’d never write poetry. For that, I need privacy, silence and time to let my thought process unravel so words can, if I’m lucky, occur to me in some kind of unforeseen, unaccountable way." Vona Groarke • Irish Times
"I have never made money from selling rare poetry volumes." Richie McCaffery • The Dark Horse
"Poetry has saved my life, made my life. Reading and writing it have taught me bravery and discipline." Victoria Kennefick • Irish Times
"The poem, which is called 'Gatwick', is a fantasy about a young official at passport control." Guardian Books Blog " If I worried about bad readers, I’d have given up writing poetry long ago." Craig Raine • New Statesman
"[John] Lucas confirmed that impression, saying of [BS] Johnson’s stint as poetry editor of the Transatlantic Review that “he behaved with great generosity as well as I think scrupulousness towards a lot of younger persons including myself who were sending him poems”. Lucas met Johnson in 1966, when, as a young lecturer at Nottingham University, he went to hear him give a talk there. On this occasion another aspect of Johnson’s personality was in evidence: “Johnson spent more or less the entire hour attacking the world of academe, and pointing out that people who were in the world of academe could be expected to understand nothing about literature at all”." Catharine Morris • TLS
"Yet no Jew walking through the door of American literary life at this time would have dreamed of writing in any terms other than the ones that the Allen Tates had established. The literature of the period that engages the issue of anti-Semitism—from Laura Hobson’s Gentleman’s Agreement to Arthur Miller’s Focus to Saul Bellow’s The Victim—says it all. The boldness of these books lay in writing about Jews; it did not lie in sounding like Jews." Vivian Gornick The Nation
"But the more closely we examine [Claudia] Rankine’s second-person subject, the more complex these questions become. “To everyone who generously shared their stories, thank you,” Rankine writes in the book’s acknowledgments. We discover, only at the end of this grievous testament, that we may have been reading the story of a composite you from the beginning. Perhaps the most brilliant innovation of Citizen lies in Rankine’s construction of this composite “you” which—as the dark double of Whitman’s first-person polity—allows us to register a plurality of unanswerable injustices through the felt urgency of an individual subject." Srikanth Reddy • Lana Turner
"Much of the poem is closed off to the reader — the situation is rendered in only the broadest of strokes, filtered through a speaker who isn’t forthcoming on the details. It makes for a strange sort of intimacy — on the one hand, the poem makes us privy to a private moment between two people. On the other hand, why that moment is particularly important is a mystery." Rebecca Hazelton • Poetry
"Yeats is 150." Eavan Boland, Denis Donoghue, Roy Foster, Terry Wogan et al Irish Times
"Even now I routinely misquote the second sentence, but who could forget the first? I, too, dislike it has been on repeat in my head since 1993; when I open a laptop to write or a book to read: I, too, dislike it echoes in my inner ear. When a poet (including me) is being introduced at a reading, whatever else I hear, I hear: I, too, dislike it. When I teach I basically hum it." Ben Lerner • LRB
"Delmore Schwartz was born in Brooklyn in 1913 into a household where more Yiddish than English was spoken, and the family relation to the world was characterized by a mix of crude and shrewd that is common to those profoundly not at home in the culture they inhabit." Vivian Gornick • The Nation
"Betrayal, murder, madness, maiming—Lear’s hard to beat. Just run through some of its mounting negatives in your head: “Nothing will come of Nothing”; “Never. Never. Never. Never. Never”; “They could not, would not do ’t”; “No, no, no, no! Come, let’s away to prison”; and “No, no; no life?” The articulation of “what is not” is breathtaking. " David Yezzi • Partisan
"Former winner Ciaran Carson makes the cut for the £10,000 prize for From Elsewhere, in which the Irish poet sets translations from the French poet Jean Follain against “original” poems inspired by those translations. Another award-winning Irish poet, Eiléan Ní Chuilleanáin, is picked by judges for The Boys of Bluehill, a look at memory and time." Alison Flood Guardian
"Over the phone in the fall of 1990, Miłosz described where to catch the bus to his house and cautioned me about the many “lacunae” in the bus schedule. I knew then I’d caught the golden ring of part-time jobs." Molly Wesling • Brick
"Readers uncertain whether they will enjoy 500 pages of [Craig] Raine’s inventive, frequently charming, but unapologetically opinionated company should turn to the piece inspired by the time Mary Whitehouse threatened to prosecute him for a sonnet titled “Arsehole”." Jeremy Noel-Tod • The Telegraph
"For admirers of [Ciaran] Carson’s poetry, From Elsewhere is a vital new part of his remarkable oeuvre. " Farisa Khalid • Asymptote
"It has been apparent for some time that Cole is the most important American poet under sixty. His late work has made the bland, generic poems of so many in his generation an embarrassment." William Logan • New Criterion
"Poetry: it’s more entertaining than anything Simon Cowell ever produced, and far more vicious." Sophie Heawood • Guardian
"“My family has been here forever. We’ve been in town for over 130 years,” said Williams-Fox, 52, an attorney who is the granddaughter of William Carlos Williams, a famed poet who posthumously won the Pulitzer Prize and was a family doctor in his native Rutherford for decades." Mark Bonamo • PolitickerNJ
"If we were to make a mosaic of images of white sadness, we would naturally choose obvious, archetypal ones: the kitchen where Sylvia Plath commits suicide; Ally Sheedy, in Goth pancake makeup, crawling across the floor of the school library in The Breakfast Club (1985); Ian Curtis intoning “Love Will Tear Us Apart”; Neddy Merrill, in John Cheever’s “The Swimmer,” surfacing from his last swimming pool and finding his entire life swept away.” Jess Row • Boston Review
"On a recent trip to Florida, I decided to go in search of a city that exists only in my mind: Donald Justice's Miami.” Kyle Churney • Chicago Tribune
"On October 25, 1914, just over one hundred years ago, the remarkable poet John Berryman was born in McAlester, Oklahoma.” Helen Vendler • NYRB
"The Sydney Morning Herald headlined Andrew Riemer’s review of Waiting for the Past, ‘The Poet as Champion of the Rural Past’ – yet another review of Murray’s work without a single mention of his influences. But for Murray prose is ‘narrowspeak’ and poetry is ‘widespeak’; in his poetry, he shows a wide engagement with poetic traditions. The setting of a poem is never simply a place, because the style of a poem is its imaginative setting." Lisa Gorton Sydney Review of Books
"We do need to understand the poems and we do need help such as we get in this book, but we cannot allow the poem to remain as an explained thing. It must stay open not only to responses deriving from individual experience, but to enigmas which may be explained but not explained away." Peter Riley Fortnightly Review
"Books about Irish poetry are rarer than you might think." John McAuliffe • PN Review
"Poetry is my passion. It has become my way of life." Simon Armitage Arete
"At times [Muldoon] brings to mind the concrete specificity of Elizabeth Bishop or Heaney himself (as when, in one of his slow-release time-lapse metaphors, he describes a “slow handclap of grouse”); at others, the immersive cartoonish weightlessness of John Ashbery. His long poems in particular seem, through the intricacy of their “complex joints”, perennially on the verge of collapse, and yet somehow they remain intact, implausibly secure." Oli Hazzard • TLS
"Russians generally like their poets stainless, and her memoir is as candid as it is affectionate. Her Brodsky is brilliant, reckless, and deeply human." Cynthia Haven • The Book Haven
"I feel I'm spending roughly half my time hiding in plain sight because I used to be something. And the other half of the time I feel still so hard pressed to the national bosom that I'm suffocating. So I'd quite like to go and live in America.” Andrew Motion • BBC
"Derek Walcott is a Nobel Prize winner. That sort of thing always makes me nervous.” Toby Barlow • Work in Progress
"She is one of the last representatives of that mid-century haut-bourgeois Catholic Irish world. Her literary mentors are in Catholic Europe; in Mauriac’s fiction and Kate O’Brien’s Presentation Parlour, in Máire Mhac an tSaoí’s diplomatic briefcase and Eilís Dillon’s childhood summers. This world, especially as it is mediated here through a postdoctoral education and a Trinity workplace of Huguenot reticence, has flowed easily and fluently for her whenever she’s put pen to paper." Thomas McCarthy • DRB
"It must be disconcerting for those who find poetry difficult, to discover that the simplest poems are often the most enigmatic." Ivor Indyk • Sydney Review of Books
"Occasionally some poets employ cloying New Age idioms, or even imitate a kind of computerese gobbledygook, as if overly impressed by the possibilities of randomly generated phrasing, smearing dollops of language like a piquant sauce across the page. But most in this by-and-large shrewdly chosen and apposite anthology reward rereading. Puna Wai Kōrero is another New Zealand literary turning-point." David Eggleton • Landfall
"One of the most puzzling, if compelling, aspects of recent poetry in English in South Africa has been the way in which it has engaged with, reflected upon, and tried to influence ongoing processes in the country’s wider sociocultural and political life. Since liberation, it is apparent that private spaces have become more porous: and the traditional dividing line in South African poetry between private and public expression has been brought increasingly into question." Kelwyn Sole • Mediations
"Housewife or serious poet? What was [Gwen] Harwood?" Simon West • Sydney Review of Books
"Received wisdom has it, for example, that [Edward] Thomas died at Arras when a shell passed so close to him that the blast of air stopped his heart (Matthew Hollis, another recent biographer, remarks that 'He fell without a mark on his body'). Wilson's research leads to a different conclusion: he was 'shot clean through the chest by a pip-squeak (a 77mm shell) the very moment the battle began'. Her account of Thomas's early years is no less visceral." Matthew Bevis Literary Review
"The kickings remind us that the operating temperature of the critical writing is high. [Michael] Hofmann does advocacy as warmly as he does displeasure, and in both modes he writes the kind of prose that relishes its own performance, that leaves the print of its own style securely embedded in the reader’s brain. In its way, it’s poetry by other means, written with elaborate attentiveness, each occasion meticulously prepared for and answered to." Peter Sirr DRB
"Even long-established poets can be nagged by the feeling that the aesthetic communities from which they gain recognition only reflect back the effort they put in; miss a few readings, take a break from publishing, leave an editorial post and you and your work might disappear." Ben Etherington • Sydney Review of Books
"And later, in what seems to be a poetry launch setting, she notes how ‘the generic wine flood[ed] the loss of words / like a late transfusion’. One senses that the poetry world is not always a good source of reinvigoration for the poet." Jessica Wilkinson • Sydney Review of Books
"Erotic poems are hard to write." Vidyan Ravinthiran • Prac Crit
"Displeasure, I believe, is the word I'd choose, as to how I feel. And disapproval, as to what I think about uncited appropriation of my work or that of other writers, or of artists of any sort. College students are routinely expelled for such behaviour” August Kleinzahler • Write Out Loud
"A bit of a statesman himself, Yeats would argue the toss repeatedly, with himself and others, in his poems and in his prose, about what the poet should or should not do “in times like these” – in other words, war times." Gerald Dawe • Irish Times
"JH Prynne is the ultimate poet of anti-pathos. Everything about him spells distance and difficulty." David Wheatley • Guardian
"One of my greatest guides in this pursuit has been the poet Lorine Niedecker (1903-1970), a woman who spent most of her life living in a tiny cabin on rustic Blackhawk Island, a small, marshy peninsula which juts into Lake Koshkonong on the Rock River just outside of Fort Atkinson, Wisconsin." Steel Wagstaff • Edge Effects
"Are there really two different Dunstan Thompsons?" Dana Gioia • Hudson Review
"And yet it does surprise me how often people I respect, people who take gender discrimination and racial justice very seriously in other contexts, will explain that gauges like the annual VIDA count are irrelevant to poetry, which must be (which can be) measured purely in terms of quality." Jonathan Farmer • Partisan
"Trying to read him amounted to the pursuit of an elusive fugitive." Brooke Clark • Partisan
"For Rilke nothing was trivial, and order was to be found, and had to be found, in all things." Idris Parry • PN Review
"It’s this “campy note” that sets Donaghy aside from those contemporaries whom one can still occasionally find earnestly aerobicising their iambs in macho displays of supposed subtlety and control. Donaghy’s poems show off openly – ta-dah!" Jack Underwood Poetry Review
"After forty years of railing at the communist GDR, Braun has lost none of his desire to kick at the pricks of contemporary capitalism. And one wonders who might have put it better, or had it better translated." Ian Pople • Manchester Review
"Twenty five years ago, when I was still just learning how to write a poem, and trying to locate the deeper sources for the poetry I wanted to write, Thomas McGrath’s example stood as a sign post." Joshua Weiner • B O D Y
"That poetry greatly enriches our experience is not a hard case to make: the Iliad, the Aeneid, Beowulf, The Divine Comedy, Shakespeare’s sonnets and plays, and Paradise Lost. It’s impossible to imagine our lives—our language—without them." David Yezzi • The New Criterion
"Borges – quoted on the subject of books in ‘The Library of Adventure’, ‘I shall die before I come to the end of them’ – said that good readers are much rarer and blacker swans than good writers. O’Driscoll is that rare black swan and every essay in The Outnumbered Poet is a master class on how to read poetry." Martina Evans Wales Arts Review
"After the hoop-la of launch night, and the readings and the interviews, and the sheer pleasure of holding your own book in your hand (the cover a wonderful picture by Gary Coyle) what next?" John O'Donnell • Irish Times
"Although Marjorie Perloff praises Citizen by saying that “Rankine is never didactic: she merely presents…allowing you to draw your own conclusions,” the opposite is actually the case. Rankine’s series of anecdotes are geared to a purpose and theme: they are ethical formulations that are too honest and angry to be merely presentations; they’re intended as proofs." Nick Laird • NYRB


New poems

Kay Ryan VQR

Paul Farley Guardian

Les Murray Guardian

Ken Babstock Coach House

Jacqueline Waters Chicago Review

Edward Doegar Poetry Ireland Review

Henri Cole PracCrit

Luke Kennard Stride

Nausheen Eusuf PN Review

Alice Notley Poetry

JL Williams The Compass

Justin Quinn Gallery

Dave Lucas Threepenny Review

James Tate Poetry

Jacob Polley The Compass

Cate Marvin The Rumpus

Gail McConnell Manchester Review

Marie Naughton Southword

Amy Newman Poetry

Matthew Zapruder Cortland Review

Theodore Worozbyt Manchester Review

Laura Scott Poetry Review

Togara Muzanenhamo Poetry International

Peter Sansom Manchester Review

Chris Andrews Manchester Review

Kay Ryan The Dark Horse

D Nurske Paris Review

Maura Dooley Poetry Review

Kathryn Maris The Nation

Sarah Howe Blackbox Manifold

Josh Bell New Republic

DA Powell Poetry

Fleur Adcock Guardian

Beverley Nadin Moving Poems

Monica Youn Poetry

Monica de la Torre The White Review

Kay Ryan Threepenny Review

Matthew Siegel Guardian

Jane Yeh The New Republic

Eric Ormsby Partisan

Daisy Fried Berfrois

Billy Ramsell Poetry London

Mazen Maarouf Words Without Borders

Eleanor Hooker Irish Times

Liyou Mesfin Libsekal Brunel African Poetry

Anna Jackson Turbine

Rae Armantrout Prac Crit

Justin Quinn Berfrois

Katharine Kilalea African Poetry Review

David Sergeant Prac Crit

Campbell McGrath the Core

Dean Young Threepenny Review

Brian Sneeden TriQuarterly

Gabeba Baderoon Badilisha

Karen Solie Poetry

Daisy Fried Poetry

Elise Partridge Partisan

Gregory Pardlo Four Way Review

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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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