The Page
poetry, essays, ideas
"People responded to [Martin Luther] King’s calls for peaceful protest not because they imagined they were invincible, [Nikki] Giovanni said, but because they knew they were imperiled. 'It was a dangerous time,' the poet recalled of the ’50s and’60s, especially for black Americans. 'You woke up everyday being surprised that you were alive.'" Emily Lordi • Atlantic
"Echoing [Charles] Olson’s metaphoric mapping of the social space of the magazine, Jack Spicer declared, in his lecture on 'Poetry and Politics' at the Berkeley Poetry Conference of 1965, that 'a magazine is a society.'" Mande Zecca • Jacket2
"[Y]our question makes me think about the difference between 'a walk' and 'walking'—something that this book project had me thinking about constantly as well. They are different. 'Walking' is goal-oriented, and I have a gait that I think of as 'transportation speed'—its purpose is to get you there, and it often does so faster than the metro or the bus. But when taking a walk, the walk and the walking are themselves the goals, and it's on those occasions that I incorporate chance or a constraint—though I'm often just led by whim." Cole Swensen in conversation with Maria Anderson • Rumpus
"People get to the easy line and they think that’s the end. But that’s actually the beginning. That’s where you know, 'Oh shit, now I gotta tell the truth because I just lied.'" Jericho Brown in conversation with Aaron Coleman • The Spectacle
"Guided by a mistrust of pastoral traditions which developed from this origin until they sentimentally omitted even the real conditions of a place or the material foundations of their tropes, [Nuala] Ní Dhomhnaill insists upon ‘the importance of literary activity in situ’ which can reclaim literary activity in Irish for popular culture rather than leaving it ‘to the devices of the scholarly elite’. In other words, place becomes vital here because it is quite literally accessible and tangible in a way that ‘tradition’ can never be." Hal Coase PN Review
"Despite being trans, [Ari Banias's] speaker is protected by whiteness, and by addressing this privilege, they can start working against white supremacy. The poem does the work of addressing other white people, and asking: Why are you complacent? Why do you feel safe?
" Eli Lynch-El Bechelany • EOAGH
"Maybe my favourite part of this story is when Hipparchia went with Crates to a dinner party. There she meets her nemesis: Theodoros the atheist. ‘Who is the woman who has left behind the shuttles of the loom?’ he asked, affronted. Anti-Penelope. Unnatural monster." Helen Rickerby • Turbine / Kapahau
"[A] writer needn’t think in rhyme and meter in order to produce a formal poem. If you make a habit of writing in form, however, you may begin to think in form." Elisa Gabbert • New York Review of Books
"It is when we consider the distance travelled between poems in terms of style, register and subject, that we realise how challenging Capildeo’s work is. The stark differences comprised between the two covers at times put the coherence and stability of the collection in danger. But thinking twice, who would want a book that thrives from radically embracing plurality to be fully unified?" Helena Fornells • The Scores
"[Ralph] Ellison --> Charles Johnson --> Robert Olen Butler --> Sam Lipsyte --> Wesley Stace --> Joshua Ferris --> [Eleanor] Catton[.]" Michael Maguire • Post45
"David Constantine’s elegant and moving translations are accompanied by a very useful set of annotations for most of the poems, and a glossary of the Greek names for those of us with post-classical educations. Holderlin has inspired a range of translators from Michael Hamburger, whom Constantine generously acknowledges at various times in the book, to Edwin Muir, John Riley and Daniel Bosch. This Selected clearly shows why. Holderlin’s endless search for the nature of that poetic truth seems as relevant to the baffled twenty-first century as it would have been to the young German at the end of the eighteenth century bathing in the heady waters of nascent German romanticism." Ian Pople • Manchester Review
"I have noticed that students, in reading and analysing literature, often gravitate toward symbols, and many of them, in writing fiction, strive to create characters and actions that can be elevated to a symbolic level. These inclinations come at a cost. Characters conscripted to serve, and to serve as, symbols are obliged to follow a more predictable script. In a chapter titled 'Symbolon', in Anne Carson's Eros the Bittersweet, she writes: 'To give names to nameless things by transference [metaphora] from things kindred or similar in appearance' is how Aristotle describes the function of metaphor.' To approximate what cannot be achieved is a gesture of humility, but symbols, we often see now, serve too eloquently the already named." Yiyun Li • Guardian
"With prose, all I need is time to think and I can generate it pretty easily; a lot of my thoughts are already in prose. Poetry is harder. I feel like I have less material, and I can’t waste it, so it’s this delicate, concentrated operation not to screw it up. It feels like there’s some required resource I deplete. And I have to change my process entirely every three or four years if I’m going to write poems at all." Elisa Gabbert • Poets and Writers

New poems

Romalyn Ante Poetry London

George Abraham The Shallow Ends

Robin Blaser Floating Bear

Sean Singer Memorious

Adrienne Su Poetry

Joseph Lease EOAGH

Annie Freud The Scores

Louise Glück Threepenny Review

Jason Bayani World Literature Today


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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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