April 2018, issue no. 400
The classic lyric preoccupation with interiority, and how internal life touches and changes the outside world, finds expression in two recent collections of poetry: Fiona Wright’s Do More
ending on a line by John Burnside
No one on the boats, just cats – thin, furtive.
There’s the blown cry of terns and the wheedling
embarkations of crows, but you will not slip
‘My new persona helped me to make money,’ says the streamer,
but cruel and petty, unhoped for ideal like a hovercraft shimmers
behind a definition of a chair ...
Judith Bishop’s Interval appears just over a decade since the publication of her first book, also using a one-word title, Event (Salt, 2007). This gap seems far too lon More
'101, Taipei' by Nicholas Wong, 'Compass' by Eileen Chong, 'The Abstract Blue Background' by LK Holt, 'Decoding Paul Klee’s Mit Grünen Strümpfen (With Green Stockings) 1939' by Katherine Healy, and 'breat More
Poets aren’t generally known for being great collaborators. Wordsworth and Coleridge’s 'Lyrical Ballads' (1798) is a rare example of a co-authored canonical work of poetry. 'Renga: 100 More
The Old English Beowulf, the most important poem in English before Chaucer, was probably composed in the eighth century. The poem traces Beowulf’s three fights against the monst More
The poetic epigraphs that introduce all three sections in Brink, Jill Jones’s tenth full-length poetry collection, are collaged fragments from the poems proper. Moodily, they skirt the e More
Plenty of novelists begin life as poets. Few, though, have managed to maintain their status as poet–novelists quite so impressively as David Malouf. But even Malouf, in his ‘middle per More
Alan Wearne’s work over the past thirty years or so – dense, demanding, unique, rewarding – is like the oeuvre of a cinematic auteur: one that never quite got onto the syllabus, or b More