The Page
poetry, essays, ideas
"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
"The translator of poetry must immerse herself fully in the lexical, linguistic, cultural and musical world of each poem she’s translating, and must also, at a certain point, separate herself from that world in order to hear the translated text in its own literary and sound contexts." Rachel Tzvia Back • Marginalia / Los Angeles Review of Books
"We can see with one eye, but two eyes enable us to see depth. Similarly, with words we can name objects, but syntax, not to mention figurative speech, enables us to see the connectedness of things." Anne Compton • Malahat Review

"Infinite Jest gave me back to myself, and left me with nowhere to hide. I stopped writing my brittle, evasive poems. I began to wonder how on earth you do something like this." Colin Barrett • Guardian
"Filming was to take place in the bar of Hotel Eilean Iarmain in Sleat, southern Skye, the idea being that the boys would ask me questions about Gaelic culture and poetry (my line of work) as we addressed and then attacked a haggis." Rody Gorman meets Gerad Depardieu • Guardian
"I write poetry when I cannot make sense of my present predicament. The process is one of clinging to scarce fragments floating around me and tying them together to avoid drowning." Anne Portugal and Pierre Alferi in conversation with Sophie L. Thunberg • World Literature Today
"I have a box full of photographs I've taken of clouds! I am certain my Aunt would find them weird and uninteresting, but I can’t help myself . . . whenever there's an interesting cloud formation, I run outside and shoot it. The clouds are written to us, as we are the only ones to receive them, we the living. And what are poems but weather reports? Is there a difference between a poem and a letter? A poem and a cloud?" Mary Ruefle in conversation with Bradley Harrison • Music & Literature
"[D]espite the strong presence of the first person singular, the first pronoun to enter the poem is plural, and the overall atmosphere, communal. This is heightened by the primacy of the poem’s aphoristic-sounding statements, formed from the verb ‘to be’, which convey a desire for a collective thinking." Emily Critchley • Cambridge Literary Review
"Particularly fascinating is a hilariously patronising study of American mores, written as a guide to British citizens during the second World War by no less a figure than Louis MacNeice. Meet the US Army, from His Majesty’s Stationery Office, is packed full of sage advice. “Far from being ‘bad form’ it is the expected thing that the crowd should declare its feelings,” the Carrickfergus man notes when discussing American sport." Donald Clarke • Irish Times
"[Joseph] Brodsky reshaped Virgil’s Arcadia into a snow covered terrain and his Aeneas is a man tormented by the brutalizing price of his heroic destiny." Zara Martirosova Torlone • OUPblog
"The representation of speed, figured and abstract, was one of the Futurists’ prime aesthetic projects, underpinned by a philosophy of creative destruction that owed its expression to one man, the poet and publicist Filippo Tommaso Marinetti, its guru and pope, around whom the entire enterprise pivoted and whose death brought it to an end in 1944. Marinetti was born in 1876 and brought up in Alexandria, Egypt, where he received a French education. As a young poet he was a standard-issue symbolist until an encounter with an engine, mythologized in his “Foundation and Manifesto of Futurism,” published in Le Figaro in 1909, changed everything." Jonathan Galassi • NYRB
"The epigraphs that begin the sections of his book come from the likes of Whitman, Byron, Montaigne, and . . . Warren Zevon? What would you expect from a poet who holds a D.Phil. from Oxford, works as an antiquarian book dealer, writes libretti, and appears in short films for a post-punk conceptual band?" John Foy • New Criterion
"He told me once that prose is poetry in the sense that a bird is still a bird when it sits still. And the last image he flung at me, with the glee of a Zen master, his eyes hugging me, his wisdom falling like rose petals from a teacher’s hands was this: “If you want to break a dog’s heart,” he whispered, “throw a stone into the sea.”" Michael Harding on Dermot Healy • Irish Times
"The Nazi regime, he later said, had proletarianised him: ‘Not only have they robbed me of my house, my fishpond and my car, but they’ve also stolen my stage and my audience.’ He wrote in one of his poems about the ‘man to whom no one is listening’." David Blackbourn on Brecht • LRB
"There’s an enormous amount of anecdotal evidence (unpublishably off-the-record, and quite often suspect) which won’t suffice for making a case in accusations of cronyism, but which does nonetheless reflect a less-than-complete confidence in the impartiality of our judging processes. This concern is widespread: a survey of the editors of twenty-five of the country’s independent poetry presses gave an average score of four out of ten in rating the success of the Eliot and the Forward prizes in recognising the ‘best’ poetry collections. But a third possibility was put forward several times by those surveyed: that the poetry prizes aren’t seriously intended to reflect the ‘best’ poetry being published. Rather, they’re the one chance the poetry world has of attracting the notice of the mainstream media; an opportunity to bang the drum for contemporary verse, and to win new readers into the fold." Joey Connolly • Poetry Review
"What then is her project really about? The key, to my mind, lies in Lisa [Robertson's] wonderful phrase 'weedy appetites.' Taxonomically speaking, there is no such thing as a weed; a weed is simply an unwanted plant. Many are beautiful, edible, even--ecologically speaking--essential. They grow without tending and maintain the power, if left alone, to transform a landscape, irrevocably." Benjamin Friedlander
"[L]anguages don’t have hard-and-fast boundaries between them. Chaucer might have known there was something called 'English,' but he and other medieval writers didn’t hesitate to dip into French and Latin as need be for their vocabulary. We need to start to move beyond the idea of borders in language as we’re slowly moving beyond the concept of national borders." David Hadbawnik in conversation with Kent Johnson • Lana Turner
"[W]hatever is obsolete is free for the taking. Which is to say, many abandoned styles have something (beauty) yet to offer; we need their insolvent otherness." Lucy Ives on Lisa Robertson • n+1
"This is what makes [Tim Kendall's book] such a good example of what we miss when we read Frost without sustained attention to the conflicts that he provokes in ourselves. It shows how even the most diligent of critics, with a century of scholarship behind him, can explain Frost’s poems with great sensitivity but without regard to his own inner conflicts, and can thereby leave all but untouched the gap between the words and their lingering beauty." Adam Plunkett • New Republic
"Homer is not – Nicolson insists, convincingly – an endangered species from the groves of academe." Ian Thomson Guardian
"I kind of like the way epic has come into colloquial use these days: 'Oh, it was an epic concert last night' or 'Those french fries I had yesterday were epic.' I like it that we can get epic satisfaction from the partial, the particular, the incidental. I like epic as a term of approval and approbation and praise." Nathaniel Mackey in conversation with Joseph Donahue • Poetry
"Yet the literary world both attracted and repelled her, and she was to turn against its materialism, false values, betrayals and indulgence, as she was to follow Rimbaud in renouncing literature itself: "The mistakes, the wrong people, the half-baked ideas, / And their beastly comments on everything. Foul. / But irresistibly amusing, that is the whole trouble" ("The Little Cardboard Suitcase")." Neil Astley on Rosemary Tonks Guardian
"If I say I don’t believe in the myth that Americans can make themselves into whoever they want to be, I think it’s because Americans in my experience are obsessed with gaming the system in order to express their outrage at the impossibility of the free market. One of our overwhelming narratives as Americans is the story of the outlaw. From the Boston Burglar, to Billy the Kidd, to Stagger Lee, there’s this romance surrounding the outlaw. The terrifying part to me is that this has become the defining narrative obsession of our media." Danniel Schoonebeek in conversation with Wendy Xu • iO
"Tracking the changes in style over Lawrence’s poetic career, however, will disappoint anyone who thinks that open-endedness always means open-heartedness. Lawrence’s innovations all stem from finding out what happens when you don’t submit the poetic means to an ulterior poetic end, whether that end is metre, final rhyme, or just the feeling of the well-wrought poem. Making finished poems feel the same as drafts is another way to make means and ends coalesce, of course, and in this sense Lawrence’s experiments with spontaneous composition and with multiple versions come to much the same thing. But he never really got rid of poetic ends, or the final judgments they imply." Peter Howarth • LRB
"Good poetry has been written in all sorts of ways since the days of Rimbaud as everyone ought to admit. If someone can get away today by writing poems that sound like Byron or Emily Dickinson, poems that one can’t stop reading, let’s not worry about what the disciples of Gertrude Stein will say." Charles Simic in conversation with SJ Fowler • Poetry International / 3:AM
"What’s striking about working metaphors is their departure from the usual. They are often literally nonsense, as philosophers like John Wisdom and Donald Davidson have said. But this may only mean, and often does, that the literal is not enough for us and that our idea of sense is gravely impoverished." Michael Wood on Denis Donoghue • Irish Times
"We are going through a media revolution even more extreme than that of the 20th century. I would say that an avant-garde for the 21st century would have to develop ways of using our own new media in critical, innovative, provocative ways. It would also have to be part of a political analysis of our moment, and translate that analysis into a new set of attitudes and ambitions. If that sounds vague, I suppose it has to be. Predicting the future is a fool’s errand. The history of manifestos is proof of that." Martin Puchner in conversation with Louis Bourgeois • Rain Taxi
"This entire May lecture was dedicated to resolving a single question in a single poem, "The Windhover" by Gerard Manley Hopkins: to whom was his vivid evocation of the "lyric flight" of the bird addressed? Was "thee" the bird or the poem's dedicatee, Jesus Christ?" Daniel Johnson • Standpoint
"Perhaps poetry anthologies are a cognitive map of the present." Harry Burke in conversation with Sam Riviere • The Quietus
"Stitched together of asymmetrical sequences---some as brief as a half-dozen words, others extending to thirty or more variously-indented lines---Lateral Argument shifts scenes, subjects, and situations at a pace quickened by frequent enjambment right to the verge of, though without ever crossing into, cognitive blur." Steve Evans • Third Factory
"Completing the book, I admire Hilbert’s intelligence, his dramatic discipline, his talent with rhyme and rhythm. Yet my taste for something more raw, more magical, (a little less considered) is not satisfied. This wonderful book of sonnets needs--I don’t know--something ugly or awkward in it to balance out all the neat formality. Maybe then a reader would feel some necessary turn." Susan Scutti • Philadelphia Review of Books
"Humour has always been a defining feature of the Irish tradition, but a head-count of contemporary poets with the comic gene yields patchy results. Ribald and highbrow comedy is a strong feature of Paul Muldoon’s work, but the case of Eavan Boland reminds us that an absence of any discernible sense of humour is no handicap to a serious critical reputation, in some quarters at least." David Wheatley on Kevin Higgins • Georgiasam
"Like creative nonfiction, creative nonpoetry defines itself over-against a genre which historically has refused its content, but which it often resembles quite a bit. Creative Nonpoetry borrows and burrows from the traditional conventions of the poetic; or mashes them up; or disclaims them altogether, by turns. It can contain verse, prose, dialogue, pictures." Joseph Harrington • Jacket2
"“You will never understand my poetry, my dear Forster”, Cavafy said, at their first meeting." Frederic Raphael • TLS
"Patricia Lockwood is all large eyes, apple cheeks and pixie haircut — like an early Disney creation, perhaps a woodland creature; one of her fans recently rendered her as a My Little Pony." Jesse Lichtenstein • The New York Times
"You are visiting these places and then refreshing them with each insight and with sensual detail and with each thought. I’m thinking of Charles Altieri’s work on emotion and detail; poets have to work with emotion and refresh it." Brenda Hillman • LARB
"One nice side effect of learning four guitar chords is that I can rudimentarily play a bunch of things now, from Allen Ginsberg ditties (he wrote and scored a bunch of songs) to the ballad 'The Three Ravens' to a few songs of Bikini Kill. And doing this has sharpened my ears, and made me appreciate narrative and refrain even more." Maureen N. McLane and Stephen Burt in conversation • Gulf Coast
"She dwells not on the possible outcomes but on the notion of choice. Her poems live for that moment, piqued by the anxiety of having too many options. Offered a or b, she holds them together, knowing they are for a time equal. And her very best poems show us exactly how that's done. Describing a highway intersection, she writes: "It yields / to traffic from both directions. / It appears it could go either way."" Evan Jones on Karen Solie • Guardian
"Valéry’s ‘L’art personnel’ has been replaced by Mahon’s ‘individual gifts’, and in the dead’s ‘colloquial turns of phrase, / the individual gifts and singular souls’, Valéry’s ‘Où sont des morts les phrases familières, / L’art personnel, les âmes singulières?’ are dust, but resurrected, as another metaphor for translation would have it, in the Irish poet’s colloquialism, giftedness, and singularity." Peter Robinson on Derek Mahon • Poetry London
"But its interior layout, with a steep, high-rise staircase leading to the second floor, small pantry, parlour room and many corners and roof angles is character-filled and was much loved by a young [Elizabeth] Bishop during her years in Great Village." Harry Sullivan • Truro Daily News
"There is only one hint given as to the basic felt motivation for [Veronica Forrest-Thomson's] enterprise: 'A difficulty which must confront any poet at this time who can take and make the art a new and serious opponent--perhaps even a successful alternative--to the awfulness of the modern world.' We are not told what constitutes this awfulness, but in her later poems it is clearly represented by a loneliness and despair in connection with the failure of love." Peter Riley • Fortnightly Review
"It was characteristic, as well as cunning, of Davenport to cast this long poem in such rough, almost thumping tetrameter couplets. (How characteristic too of Davenport, a lover of all things Danish, to rhyme “tore” with the correct Danish pronunciation of the last syllable of Kierkegaard’s name—“gore,” not “guard.”)" Eric Ormsby • New Criterion
"Naming the contenders for the best collection prize – Colette Bryce, John Burnside, Louise Glück, Kei Miller and Hugo Williams – Paxman said there was a "whole pile of really good poems here", and "nothing on the shortlist that I don't feel better for having read". But he also expressed the wish that poetry more generally "would raise its game a little bit, raise its sights", and "aim to engage with ordinary people much more". Jeremy Paxman • Guardian
"A lot of poems seem, in some sense, to pull the outside world into the interior. They aren’t perhaps emotion recollected in tranquillity but perception recollected in interiority. Robert Frost’s “Stopping by Woods on a Snowy Evening” is a crystal-clear example. It is and yet it isn’t located outside." Robert Bringhurst • Guernica
"Drury depicts [George] Herbert as fastidious, deeply conscientious, and obsessively clean, as well as intensely self-critical and hypochondriac. He also notes that Herbert’s busy, agile mind resulted in “writer’s incontinence.” " Malcolm Forbes • New Criterion
"[Peter] Gizzi’s lines unravel themselves as they go, which is what all poetry does, whether this occurs from within — as in Gizzi’s verse — or is imposed from without, as the avant-garde prefers." Alan Gilbert • Hyperallergic
"Writers on America features fifteen American writers---among them are the expected, Poet Laureates Robert Pinsky and Billy Collins, and the less expected, such as Robert Creeley---writing about and celebrating being an American. With obvious nationalism, the writers featured in promote US freedoms. Much of the work omits the negative role that the US government plays in the lives of its citizens and does not reference the hugely detrimental impact that the US government has had on the lives of citizens of other nations." Jasper Bernes, Joshua Clover, and Juliana Spahr • Jacket2
"In all this we begin to approach the central mystery of [Rosemary] Tonks’s life – her sudden decision, in her early 40s, to abandon literature and la dolce vita for poverty, seclusion, and silence." Jonathan Law • The Dabbler
"Lunch Poems is still popular with New Yorkers today: In 2012, when the Leonard Lopate Show asked listeners to vote on 10 objects that “best tell New York's story,” it came in at number six—just above the Brooklyn Bridge." Micah Mattix • The Atlantic
"We get pinned on a continuum, trapped in a single time, while all the dimensions of space stretch out freely before us. Yet ghosts possess a different relationship to time. To describe or define a ghost becomes tantamount to describing the relationship between space and time. A ghost is the articulation of the incommensurability of time and space." Cole Swensen in conversation with Andy Fitch • Conversant
"A British poet once said to me—we were talking about this U.S.–Canadian thing: “I prefer you to be Canadian.”" Molly Peacock • The Puritan
"[Jose Garcia Villa's] poems flaunted their un-Americanness; his image-repertoire of bright shores and skulls, of antique ant and spiritual centipede, Christs and terrible heroes, was abstracted from the landscape and history of the country he left behind. This landscape and this history were not forgotten in Villa’s poetry, but they were present only as the blurred, indistinct background to his figures. In turning to poetry, he had not only turned away from empirical observation, from history and social milieu: he had discovered ‘the bright / the beautiful the terrible Accost.'" Robert Nery • Cordite Poetry Review
"To a life shrouded in mystery (her shadow behind a curtain in the pre-dawn light, love letters, prescriptions for epilepsy), The Gorgeous Nothings propels the evolving image of the poet in late life (nearly fifty-six when she died), what we allow her to be--not the daguerreotype, not the virginal myth, not frustrated lover, not the impossibly tiny desk and chair. The possible 'flocks' give us a greater sense of an interior of a creative life, the other side to the image of poems and fascicles filed at rest in a drawer." Linda Russo • Jacket2
"Has C.K. Stead ever been a figure whom New Zealand letters bowed low to as its great authority?" Nick Ascroft • Landfall Review
"The awful thing about the apparent success of Milton’s unyielding stretches of leaden erudition was that the plumbing of English poetry was affected far into the future." Clive James • TLS
"Rhyme is famously tricky, liable to lapse into jingle-janglery; I also find it a remarkable lure—teasing the ear and the mind forward as well as back. It can function disjunctively as well as conjunctively, giving you pause as well as moving you along." Maureen McLane in conversation with Ariel Ramchandani • More Intelligent Life
"A sickly blend of faux naivety and smug knowingness, it’s [Mark Strand's] tacked-on mock profundity that rankles most, one the reader knows as well as the poet is nothing but an emotional and intellectual cul-de-sac." Ben Wilkinson • Poetry Review
"[Marianne] Moore actually wrote a novel, called The Way We Live Now, that [Linda] Leavell describes as utterly lacking in plot and character development and for which, even at the height of her acclaim, Moore could not find a publisher. 'The reader winces in embarrassment,' writes Leavell, noting that the book’s most memorable character is, of all things, a kitten." Bruce Bawer • New Criterion
"While I think irony is useful as an immediate practical response, I doubt its efficacy as an ongoing trope and critique, and so I think about the possibility of sincerity but outside the romantic and simplistic notions of I, am, writing and truth. So there, initially talking about attention, I find my way digressing (!) to sincerity." Raymond de Borja in conversation with Carlos Quijon, Jr. • transit
"Language poetry is indeed more poetic than other sorts of verse: confusions of kind bloom like roses and roses and roses, each with fold on fold, folding in on itself indefinitely: it’s a chain of implication which binds everyone in the language-game; the language-game which is the dream in which begins responsibility." Joshua Clover • Fence
"The act of imagination that puts disparate things together, that plays the believing game to join them across rupture, is a profoundly ethical act. What kind of world does it show us? What kind of world does it build? [Susan] Howe writes, 'In poetry all things seem to touch so they are;' [Muriel] Rukeyser, 'The world of the poet is the scientist’s world.' Where Rukeyser presumes, Howe trespasses." Stefana Heim • Jacket2
"[FT Marinetti] has a long amazing piece . . . called 'The Electrical War,'” in which he says, among other things, that soon we’ll have chairs that are lightweight, made out of metal and that we can carry around. And lo and behold, we do!" Marjorie Perloff in conversation with Charles Bernstein • Jacket2
"The New Gnostics present a more inconsistent, contradictory set of worldviews: yet they hold to these views with a passionate embrace." Henry Gould • Coldfront
"Each margin needs, so produces, its own image of the centre, of power. The most acutely disruptive poetics yearn for, as they demote, the comfort and tenure of a broad audience. Sullen mavericks cherish their trophies. With minimal phonemes, [Peter] Culley's poems show importantly that this cultural decadence, this precarious balancing, this tender hybridity 'of near bile lodged in what humour' is in fact the middle, and is description." Lisa Robertson
"Just as the bourgeoisie knows that everything has its price, and preoccupies itself with finding and spending the appropriate amount, it similarly knows that, sooner or later, every artistic product finds its ideal museum." Edoardo Sanguineti, trans. Joel Calahan • Lana Turner
"Everyone who ever swore to cling to typewriters, record players, and letters now uses word processors, iPods, and e-mail. There is no room for Bartlebys in the twenty-first century, and if a few still exist they are scorned." Adam Kirsch • New Republic
"[Vancouver’s Non Partisan Association's] 'community' seems to refer to immediate neighbourhood, a sort of grass-roots co-responsibility bounded by a specific site or district. But at the same time, community means those with purchasing power, social visibility, expansionist potential. In the paper-rock-scissors game of civic politics, the second version persists when the first is marginal. Community has become a soft term for capital. Cash is style." Lisa Robertson
"Hugh Kenner used to call that the Jane cord. He said you could learn something about any text by looking at the first and last word." Jennifer Ashton • Jacket2
"Someone should count the appearances of the moon—that old bone—in Dickey’s poetry. Even now he is crouched beneath it, wrapped in a bearskin and stoned on glory, trying to shape-shift into a wolf." Michael Robbins • Poetry
"'Lateral Argument' is specifically no kind of argument—its aim is not to negate or affirm, but merely to be interesting. Yet here, as in much of Davies' work, we are given the sense that political change does come from somewhere." Amy De'Ath • Contemporary Poetics Research Centre
"In the grand major chords that swell for the grandeur that is Rome, the poet strikes unsettling dissonances." A.E. Stallings on Robert Fagles's Virgil • American Scholar
"Michael Donaghy's reading of postwar American poetry, championing Wilburesque formalism and downplaying experiment, proved influential on his fellow New Generation poets, but has had an inhibiting effect on Ashbery's reception in this country." David Wheatley • Guardian
"Philip has just pulled Humphrey Carpenter’s biography of Pound out of the shelf and read to me the passage in which the biographer muses about Omar’s paternity. The following day he tells me that he thinks Omar’s father may have been Basil Bunting. Their eyebrows were remarkably similar, he reminds me." Michael Glover • Encore

"True story: I was interviewing for a visiting professorship. The interview went well. When I didn’t get the job, I asked the program director, in the interest of improving my chances for future jobs, if there was anything I might have handled differently. Well, the director said, you mentioned you have a young child. We wanted someone who will be in the department all the time, who will be in her office in the evenings, not just during office hours. We wanted someone who will be completely devoted to her students. We wanted you to be their Literary Mama." Joy Katz • American Poetry Review
"Basil Bunting’s first performance of Briggflatts signified his long overdue return to poetry, a revival instigated by a series of readings organised in the Morden Tower by Newcastle poet Tom Pickard and his wife Connie." Annabel Haynes • READ
"When Daphne was changed into a laurel tree in Metamorphosis, her first awareness began with finding "her feet benumb'd and fastened to the ground." So the woman in [Michael] Schmidt's poem will "stand/ On trunks for feet and pray/ Like Laura turned to tree/ With bough and bloom …"" Carol Rumens • Guardian
"In the midst of mocking his project, [Giacomo Leopardi] cannot resist comparing the Zibaldone to life itself in its immensity, opposing life with a counter-life of his own design, self-created, a little cosmos won from chaos." Brian Patrick Eha • American Reader
"You may remember him as the dude who’s played every poet in Harold Bloom’s The Western Canon." Michael Lista on James Franco • National Post
"[Paul Engle's] career was a long slow slide from full-throated poetic aspiration into monochromatic administrative greatness—a modern story if there ever was one." Eric Bennett • Chronicle Review
"We Americans are populist in all the wrong places. We’re a nation that can’t funnel enough money to our failing banks, our pharmaceutical firms and our military contractors, but when it comes to dead and difficult poets we stand on our hind legs and become bravely anti-elitist. (This is assuming that adjunct professors and poets neck deep in M.F.A. debt meet your definition of “elite.”)" Chase Madar • Al Jazeera America
"To look at an object is a spiritual activity; it is not mechanical. The object is not there, you see. The object is only there when your mind meets it." Etel Adnan in conversation with Lisa Robertson • Bomb
"Judges Robert Bringhurst (Canada), Jo Shapcott (UK) and C.D. Wright (USA) each somehow read 539 books of poetry, from 40 countries, including 24 translations, between the annual deadline for submission to the prize (31 December) and the 8 April press release: approximately five and a half books per day. " PN Review on the Griffin Poetry Prize
"[W]e recognize the dialectic that we believe continues to structure architectural knowledge: Modification vs. Frugality. Enough of the Least." Lisa Robertson • Winter Anthology
"Borges had lived in Europe between 1914 and 1921, and the forty-six poems he gathered in Fervor de Buenos Aires reflect what he found upon returning to Argentina." Graciela Mochkofsky • Paris Review
"I’m not, customarily, big on walking in the forest unless there’s a Hansel and Gretel Bar & Grill about 300 yards in, but I’m glad I did." August Kleinzahler • LRB
"The difference in modes was an affair of scale, nay entire orders of magnitude, as interpretation zoomed out from the consideration of a whole poem to that of a whole culture. And there lay the trouble: where the quantitative shift in focus was so enormous, you had to worry lest it entail a qualitative change in attentiveness." Herbert Tucker • Winter Anthology
"But it wasn’t Merrill’s facility in the language that drew him to Greece: just the opposite, in fact. Though he spoke French, German and some Italian and had studied ancient Greek at Yale, demotic Greek was new to him when he first arrived on the continent. That lack of facility in the language lent mystery and glamor to his encounters there." April Lindner • CPRW


New poems

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

Michelle Dove Sixth Finch

Jennifer Moss No Tokens (scroll down)

Rosemary Tonks Guardian

Tyler Gobble Diagram

John Regan Blackbox Manifold

Mary Jo Bang jubilat

Brandi Homan Diagram

Simon Armitage Poetry Review

Sarah Howe Poetry Review

Jeffrey Wainright PN Review/Forward

Kevin Powers Forward

Patrick Deeley The Galway Review

Jenny Boully Solstice

Colette Bryce Poetry London

Kevin Davies Boston Review

WS Merwin Guardian

Jenny Boully Passages North

Don Share Philadelphia Review of Books

Kurt Schwitters, tr. Peter Wortsman Cambridge Literary Review

Rae Armantrout The Economy

Manuela Moser The Honest Ulsterman

Moya Cannon The Galway Review

Jill Magi Jubilat

Vona Groarke Irish Examiner

Sebastian Agudelo The Nation

John Ashbery Paris Review

Nick Flynn Poetry

Peter Fallon Irish Times

Henry King Glasgow Review of Books

Tom French Irish Times

Peter Campion B O D Y

Brian Bartlett Véhicule Press

Julie Bruck Hazlitt

Stephen Connolly The Honest Ulsterman

Maung Day Guernica

Joshua Mensch The Collagist

Laynie Browne Conjunctions

Miriam Gamble Lifeboat

Guy Mathers Areté

SS Prasad Otoliths

Lucie Brock-Broido Gulf Coast

Jesse Nissim Spoon River Poetry Review

Marcella Durand Conjunctions

JT Welsch Poems in Which

Saskia Hamilton Graywolf Press

Kateri Lanthier Green Mountains Review

Paul Muldoon Poetry Review

Diana Marie Delgado Reading Between A&B

Joshua Clover Lana Turner

A.E. Stallings The Atlantic

Ken Chen AGNI

Erica Wright Gulf Coast

Vijay Seshadri Singapore Poetry

Matt McBride Offending Adam

Srikanth Reddy Winter Anthology

Rowan Williams Guardian

Donna Stonecipher Winter Anthology

Vidyan Ravinthiran White Review

Donna Stonecipher Molly Bloom

Stevie Howell Best American Poetry

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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