arduity: recent negotiations
J H Prynne's Al Dente, an initial look at this new collection and a feeble attempt to identify some corridors of sense from the eight satisfylingly terse poems therein.
A further and more determined attempt to introduce Keston Sutherland's disturbing but important Odes to TL61P which challenges the adult world of secrets and expposes the sexual lives of children in a brutally honest way.
J H Prynne, the Neolithic and Landscape. A tentative survey from the English Intelligencer in 1967 via Wordsworth and then to Kazoo Dreamboats.
Andrew Marvell's Appleton House: a Poem of Many Parts. In which we explore the world of the mid-seventeenth century with the aid of this involved and multi-dimensional jewel.
Part Two of John Peck's M in which concern is expressed but then resolved by the nature and effect of obscurity, intersperersed with admiration for this densely rewarding piece of work.
Cecilia Corrigan and Ian Hatchett's Titanichat which is an excellent illustration of how poets can make use of web technology. Work like this challenges the reader to consider how he or she is able to recognise language.
Reading Charles Reznikoff. A brief demonstration of this poet's importance in his own right and for the future of the Poem. A very much neglected talent.
Pages pt 2, an open letter to John Matthias in which consideration is given to the cultural clutter that informs our lives and the workings of memory in this brilliant piece of work.
Growing old playfully with Sir Geoffrey Hill. In which we consider the poignant reflections on aging in the surprisingly enjoyable Ludo.
Vanessa Place's Tragodia: an introduction. In which we extol this staggering and strategically important conceptual work which throws down a gauntlet to the rest of us.
A tentative introduction to Simon Jarvis' Night Office (2013) which is a brilliant very long poem that rhymes and addresses the nature of the liturgy and the fate of ruins, a poem that uses constraint to say important things.
Tom Dilworth, David Jones and the form of the Anathemata: this great and underated poem as a meditative series of concentric circles or a bag of things that keep on moving about?
An extended and revised look at Keston Sutherland's Stress Position which seems to be getting better with age or I'm now more impressed with the polemic which seems increasingly relevant given our current stupidities.
Francesca Lisette, Teens and Tenderness. In which we give some thought as to the role of care and tenderness in political and poetic practice promoted in her Manifesto for Revolutionary Tenderness and demonstrated in Teens.
The Atlantic's 20 Strategies for Reading a Poem, with which we unsurprisingly take issue with a piece that clearly 'grew' out of guidance for students, rather than readers.
Ludo: Sir Geoffrey Hill at Play. In which we are pleasantly surprised by these 64 "Epigrams and Colophons to the Day Books", finding that they make non-wincing use of rhyme and that they are playfully serious..
Michael Thomas Taren's In Smithereens In which we make extravagant claims for a young Amedrican poet who manages to combine intelligence with a very high level of poetry skill and lingual dexterity.
Simon Jarvis, These Greeks and Poetry as Initiation In which we expound on Dionysus Crucified with specific attention to Eripides' Bacchae, and wonder if some of us read poetry in order to be 'initiated' into the world of this heightened language.
Jacques Derrida on Paul Celan and bearing witness. A brave but essentially quixotic attempt to pay attention to and argue with Derrida's essay on the brilliant Aschenglorie.
Making friends with the Poem. In which we try and fail to work out what kind of personal relationship we may have with particular poems.
Eileen Tabios interviewed by John Bloomberg- Rissman. In which this remarkable poet talks about being 'transcolonial', about writing in poetry rather than in a national language.
Purdey Lord Kreiden: An introduction to Michael Thomas Taren as the master of the universe, containing a tad scabrous overview of this young man's work, most of which borders on the indelicate.