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About KU’s Trollope Prize.
1. Seven Short Poems by Lucian Staiano-Daniels.
2. Reflections on Anonymity 2 by W.D. Jackson.
3. On Learning a Poet I Admire Often Carries a Pocket Knife by David Greenspan.
4. Hautes Études and Mudra by Michael Londra.
5. Rhyme as Rhythm by Adam Piette.
6. Windows or Mirrors… by Charles Martin.
7. Three Texts by Rupert M. Loydell.
8. Two Poems by Moriana Delgado.
9. Mariangela by Ian Seed.
10. Six Prose Poems by Pietro De Marchi, translated by Peter Robinson.
…and much more, below in this column.
Audio archive: Two poems, with an audio track, from Heart Monologues by Jasmina Bolfek-Radovani | Daragh Breen’s Aural Triptych | Hayden Carruth reads Contra Mortem and Journey to a Known Place | Anthony Howell reads three new poems | James Laughlin reads Easter in Pittsburgh and five more | Peter Robinson reads Manifestos for a lost cause, Dreamt Affections,Blind Summits and Oblique Lights
New to The Fortnightly Review? Our online series, with more than 2,000 items in its archive, is more than ten years old! So, unless you’re reading this in the state pen, you may never catch up, but you can start here with ITEMS PUBLISHED DURING OUR 2023 HIATUS (July-August 2023):
Master Ru by Peter Knobler | Four Poems on Affairs of State by Peter Robinson | 5×7 by John Matthias | You Haven’t Understood and two more poems by Amy Glynn | Long Live the King and two more by Eliot Cardinaux, with drawings by Sean Ali Shostakovich, Eliot and Sunday Morning by E.J. Smith Jr. :: For much more, please consult our massive yet still partial archive.
2011: Golden-beak in eight parts. By George Basset (H. R. Haxton).
2012: The Invention of the Modern World in 18 parts. By Alan Macfarlane.
2013: Helen in three long parts. By Oswald Valentine Sickert.
2016: The Survival Manual by Alan Macfarlane. In eight parts.
2018: After the Snowbird, Comes the Whale, by Tom Lowenstein.
LONDON
Readings in The Room: 33 Holcombe Road, Tottenham Hale, London N17 9AS – £5 entry plus donation for refreshments. All enquiries: 0208 801 8577
Poetry London: Current listings here.
Shearsman readings: 7:30pm at Swedenborg Hall, 20/21 Bloomsbury Way, London WC1. Further details here.NEW YORK
10 reliable poetry venues in NYC.
· The funeral of Isaac Albéniz
· Coleridge, poetry and the ‘rage for disorder’
· Otto Rank
· Patrons and toadying
· Rejection before slips
· Cut with a dull blade
· Into the woods, everybody.
· Thought Leaders and Ted Talks
· How Mary Oliver ‘found love in a breathing machine.’
By Roger Berkowitz, Juliet du Boulay, Denis Boyles, Stan Carey, H.R. Haxton, Allen M. Hornblum, Alan Macfarlane, Anthony O’Hear, Andrew Sinclair, Harry Stein, Eugène-Melchior de Vogüé, and many others. Free access.
· James Thomson [B.V.]
Occ. Notes…
A dilemma for educators:
Philosophy and the public impact.
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Michelene Wandor on Derek Walcott and the T.S. Eliot Prize.
.Nick Lowe: the true-blue Basher shows up for a friend.
Kate Hoyland: Inventing Asia, with Joseph Conrad and a Bible for tourists.
Who is Bruce Springsteen? by Peter Knobler.
Martin Sorrell on John Ashbery’s illumination of Arthur Rimbaud.
The beauty of Quantitative Easing.
DEPARTMENTS
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Of cars, carpets, and chemistry.
A Fortnightly Review of
Which Yet Survive
by John Mills
Quartet | 268pp | £25 $28.82
By JOHN McEWEN.
JOHN MILLS HAS no Wikipedia or Who’s Who entry, which seems astonishing. As a chemist (b. 1928) he was a reforming influence on the Scientific Department of the National Gallery, which he joined in 1951 and where he worked for most of the next half century, becoming its director from 1984-1990.
He carries his expertise lightly. As he says of his pioneering research in steroid chemistry, which took him to Mexico in the late 1950s: ‘I will summarise my work now so as to get on to more readable matters.’ Accordingly most of the memoir is devoted to his friends, many of them in the arts, especially the visual arts; and, often inseparably, his global travels, professional and private, which began when he was posted to the Far East as a qualified wireless mechanic during National Service, and show no sign of abating.
A meticulous account of surely the most transformative years in human history, by a witness with the rare knowledge of both science and art.
The tone is elegiac – ‘always my favourite in poetry and prose’ – and readers over seventy should be warned that, thanks to the precision of the author’s memory and his stoical accounts of old age, there is much here that may cause tears of recognition. Attention to detail and dry humour will appeal to all ages. The detail has considerable sociological value as a meticulous account of surely the most transformative years in human history, by a witness with the rare knowledge of both science and art. For that reason it is equally recommendable to the young.
Just how much the world has changed is illustrated by his childhood memory of charcoal burners in the woods round Guildford, where he was born and raised. Exceptionally bright, Mills won a place at grammar school at nine. There he made lifelong friends, whose fortunes he follows in later chapters. Several achieved public distinction, including his best friend, the painter Victor Willing. It was through Willing, who went to the Slade, that Mills first planted one foot firmly in the art world. His widow, Paula Rego, their children and friends, among them writer and publisher Tony Rudolf, a vital supporter of this book, have for many years constituted his inner circle. Final and coincidental fruition finds him in old age a Ventnor neighbour of Victor and Paula’s daughter, the writer Cas Willing and her husband the sculptor Ron Mueck.
One way he contrasts past with present is by including prices. As he reminds us, British austerity was worse after than during the war, so every penny counted; but there was compensation in cheap foreign travel. In 1949/50 he and Willing rented a top floor flat in a Chepstow Villas mansion for about £4 per week; a Covent Garden gallery ticket cost 2/6 (12.5p; 30p for Wagner); and in Spain: 35 pesetas (35p) covered full board and lodging; a £2 booklet of train vouchers guaranteed 3,000 kilometres of travel. He was astonished to find Paris ‘a sort of Babylon… there appeared to be no shortage of anything’.
The fifties also marked his entry into professional life. In this he relied on ‘that most poignant of Shakespeare’s pensées’:
He adds a corollary: ‘start as you want to go on for almost certainly you will go an as you start…But chance – even luck – can also determine the course of one’s life.’ So it proved. In search of a job he returned one summer vacation to his deserted alma mater, Imperial College, and found an insignificant hand-written message on the notice-board. It offered interviews for two Nuffield Foundation scholarships to carry out research at the National Gallery. One was for a physicist to study the effects of solvents on paint and varnish. Nothing could better have combined his principal interests, science and art. He was accepted. The course of his life was set.
He describes his parents as kind; and kindness is the mark of his own nature, never more so than when for many years he voluntarily met the onerous demands of the Portuguese poet Alberto de Lacerda, when absent in the USA. It is epitomised by the magnificent trans-USA journey with which he rewarded his parents in their old age, a dream fulfilled which afforded them many traveller’s tales back in Guildford.
Kindness makes for professional and personal discretion but he can deliver a withering aside. He once heard Mary John sum up the bohemian life of girls at the Slade with the telling description:
And his readers are unlikely to visit Wellington in New Zealand – or Swindon and Wigan in England: ‘Wellington was the pits, it was like spending the day in Swindon or Wigan or some such place. How could they have chosen it for their capital.’ The one redeeming feature was Captain Cook’s ‘stunningly beautiful’ feather coat in the National Art Gallery.
Among other recommendations worth noting are Don Carlos, favourite Verdi opera; the cathedrals of Modena and St Bertrand de Comminges; the sixteenth-century Persian ‘garden carpet’, Jaipur Museum; Istanbul (but not in winter); George Gissing, one of his chief literary heroes; and the discovery that with age you begin to ‘understand’ the Baroque: note the cathedral at Piazza Armerina, Sicily, and the chapel of San Cataldo, Cosenza, Calabria.
The seeds of cypress trees, arising from his research of natural resins in California in the 1950s and presented by him to Kew, eventually grew to become a grove which he visited with pleasure in later years. Now we have this richly informative and moving testimony to a consummately civilised life, which bridges the cultural divide and spans the globe and most of the twentieth and early-twenty-first centuries.
♦
John McEwen is the author of Paula Rego and Paula Rego: Behind the Scenes. He writes the Favourite Painting page in Country Life and Bird of the Month, illustrated by Carry Akroyd, in The Oldie.
Also in the Fortnightly: The Curved Planks, Dear Paula, and a note on Paula Rego, by Yves Bonnefoy, and a note by his translator, Anthony Rudolf.
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Publication: Thursday, 29 March 2018, at 14:41.
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