arduity: recent negotiations

Pierre Joris on Paul Celan's 'new' language.. In which we make use of 'Flowing' from the Atemwende collectionto 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.

John Armstrong on The Theory Problem and the New Princeton Wristbreaker. In which we express some dismay re the basics, esp cadence, difficulty and the documentary.

Chapter III of John Peck's M in which an inventroy is drawn up containg Very Many Things, including the muon, a couple of wheatfields, Anna Karenina and the weather.

David Jones and the Eucharist. In which we try and work out the role of the Mass and the idea of Real Presence in holding the brilliance that is The Anathemata together.

Charles Olson and the Maximus Poems. in which we attempt to demonstrate why this deceptively understated material is one of the four great long poems of the 20th century.

Paul Celan, Breathturn into Timestead, an Initial Reconnoitre.. An initial glance at the recent and stupendous Joris tranlations of the later work esp 'Threadsuns' and 'Lightduress'.

John Armstrong on the Problem with Lyric A worringly coherent explanation of why current poetry is too poetic for its own good. With examples.

Geoffrey Hill's Expostulations on the Volcano and the Poetic, an updated piece that ponders the ways in which Hill appears to be playing with the tools of his trade

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.

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.

David Jones 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.