arduity: recent negotiations
Simon Jarvis' Jerusalem Deleted: a Partial Reconnoitre. In which we pay some provisional and entriely tentative readerly attention to this lengthy brilliance.
Paul Celan's Meetings in the Later Work. In which we think about possible examples of the 'encounter' and whether or not these open up the possibility of a two-way relationship with the reader.
J H Prynne and Money- the case of Biting the Air.. In which we try to follow a tentative 'sense corridor' and do quite well whilst also discovering the kakaketoba device.
Al Tempo de' Tremuoti. Whereby we do some readerly thinking about mysticism, mortality and The Day Books and regretfully feel a bit disappointed.
Simon Jarvis, Night Office and God; a Brief Survey. In which we pay readerly attention to one example of the many religious elements and the secular rewards that this can bring.
Simon Jarvis, Strong Poets and Hell. In which we tussle with a passage from the stunningly digressive and reasonably unique The Unconditional.
Chapter IV of John Peck's M, a staggeringly beautiful piece of work which takes us via the hum of humpback whales through Karnak and Samothrace to the highway at the end of day.
Pierre Joris on Paul Celan's 'new' language.. In which we make use of 'Flowing' from the Atemwende collection to consider the newness of Celan's language in the later work.
David Jones and the voyage as a structure of thought and faith. In which we give more than a little attention to the wonderful 'Keel, Ram, Stauros' section of The Anathemata.
J H Prynne and Beginnings. In which we try to think about and follow an origins-related line from The English Intelligencer to Kazoo Dreamboats.
Emily Dickinson, a Tentative Investigation. In which we try very hard to grapple with the readerly difficulties presented by Dickinson's work and make some progress.
Sir Geoffrey Hill, Simon Jarvis and Rhyme. In which we fail to justify Oraclau's mystifying but deliberate use of bad verse and contrast this with the 'speaking twins' of Night Office.
Paul Celan's WITH DREAMPROPULSION and FOR THE LARKSHADOW... In which we become slightly less baffled and discover a couple of possible intentions and/or meanings.
Being Surprised by J H Prynne's "Morning".. In which we tilt at more than a few windmills but appear to make a little progress too.
arduity: poets b-t
John Bloomberg-Rissman's latest work, In the House of the Hangman is a monstrous account of how we are now by means of a daily 'mash' from many different sources
Paul Celan is recognised as one of the 20th century's greatest poets yet his later poems are mistakenly considered by many to be virtually inaccessible and 'not poetry'. Most of his work relates to the Holocaust.
Emily Dickinson produced some of the most extraordinary work of the 19th century. Her legacy continues to provoke and challenge our modern sensibilities.
Geoffrey Hill has published magnificently obdurate work throughout his long career. He continues to produce poetry that is both complex and inspiring..
Simon Jarvis produces work that has a readiness to follow its own furrow, there cannot be a wider spectrum than from a radical adventure in free verse, to a poem of 220 pages in metrical, rhyming verse.
is one of the best (and most overlooked) poets in any language in the 20th century. His work must be considered as equal to Eliot and Auden, they thought so too.
Purdey Lord Kreiden. I've been following Purdey's remarkable work on the Claudius app and have grown increasingly impressed by the development of a singular and oddly disturbing ' voice'.
John Matthias thrives on making the complex look and sound easy. He has that rare gift of being able to say profound things in a straightforward and refreshingly relaxed manner.
Charles Olson was an American poet whose Maximus Poems represent a grounbreaking shift in the possibilities of poetry as a working through of the relational nature of time and place.
John Peck's M is a sequence in ten parts that is full of invention. Concentrated attention brings the reader to a sense of participation in a world of subtle cadence and great technique.
I have in the past referred to Vanessa Place as the scariest poet on the planet and I'm still of this view as some of her work is implacably brutal in the light it sheds on our world.
J H Prynne In attending to Prynne's incredible work, readers will find that giving very close attention to words and phrases needs to go hand in hand with keeping a close eye on the apparent contexts.
Keston Sutherland In 2010, I wrote abrief introduction to Keston's work but now I've tried to produce something more considered which includes his newer work, especially the brilliant Odes to TL61P which is simply stunning
Michael Thomas Taren is producing an increasingly accomplished and important body of work which covers a broad range of forms and subject matter with an unusually high degree of technical nous.
Jonty Tipladyis making work that has now gone into a radically innovative and important (crucial) orbit that holds out hope for the future of the Poem.