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August 2022 · Some Principal Articles.

I. Making Mordor: two views, by Jonathan Gorvett and Anthony Howell.

An Iliad, where the only heroes are Trojan: As the rage of Vladimir Putin is unleashed on Ukraine, two Fortnightly writers examine the reasons for his anger and violence and the consequences of waging war over injured pride. This is the century’s first global conflict. It may not be the last.

Martyrdom by Anthony Howell.
We need to talk about Vladimir by Jonathan Gorvett.

II. The Loves of Marina Tsvetaeva by C.D.C. Reeve.

The real world is not the world our senses reveal. For the ones dead in that world are alive—really alive—in that other world: the world of love. The departed—the ones who have left us—are still here, never really having left at all. In a letter, Marina Tsvetaeva tells her Czech friend that when she heard of Sonechka’s death, she ‘descended into that eternal well where everything is always alive.’

Published with  Khlystovki, by Marina Tsvetaeva, newly translated by Inessa B. Fishbeyn and C. D. C. Reeve, and six poems by Sophia Parnok, in translations by Alex Chernova, Anna Ivaskevica and Alex Wong.

III. Violet by John Wilkinson.

‘With Eliot’s poem The Waste Land, the violet hour recurs as the eventide bringing into sharp and estranged focus, activities and settings which otherwise are banal; they become endowed with significance in the way a carefully-framed black-and-white shot of a bedsit becomes emblematic of a life’s shrinkage – unless captioned as the home of an artist who would go on to become famous, or had notoriously endured neglect or “reduced circumstances”’.

IV. Keats, Beyond the Pleasure Principle by Nigel Wheale.

‘After the horrors of the First World War, Sigmund Freud felt compelled to draw back from his detailed, psychoanalytic practice and reflect on his discoveries at a higher, more abstracted level. He termed this his ‘metapsychology’, and its most remarkable expression is Beyond the Pleasure Principle. This text provides a fascinating commentary on the psychological aspects of John Keats’ poetry, and life.’

V. Lamentations by Igor Webb.

‘Matthias’ “Some of Her Things” is a courtly threnody for lost time, as though Arnaut Daniel had taken up prose. It recalls Berryman’s “Dream Songs” also insofar as its great effort to hold steady, to hold things together, to write subjects after verbs, intermittently breaks down, and a manic or unmoored association kidnaps the writing.’ 

Published with ‘Some of Her Things’, by John Matthias, and ‘Everything that is the case,’ a review by Peter Robinson.


VI. The Right Side of the Diamond by Peter Knobler.

‘Matthew Carlyle had played softball pretty much all his life. In a T-shirt and jeans, in sweatpants, in double-knit polyester league uniforms with sanitary socks. He’d been a hot shortstop, one of those thin, quick boys with soft hands and a strong arm who covered a lot of ground. He was no longer any of those. As Matt had grown older he had simply refused to stop playing….’

VII. Robert Desnos and Lewis Warsh  by David Rosenberg.

‘In 2020, his last year on earth, Lewis Warsh told me he’d reread his 47-year-old translation of Robert Desnos’s Night of Loveless Nights, and was startled by its tonic relevance to late life. We were twenty-somethings when we took the French avant-garde poets in the 1920s, from Max Jacob to Pierre Reverdy, as our forefathers of deadpan, no less than Louis Armstrong: it was the decade in which American jazz riveted Paris.’

VIII. The Last Apocalypse by Peter Riley.

‘The two beacons of apocalypse are of course Dylan Thomas and W.S. Graham, both deep­ly en­gaged with po­eti­cised language at its most evasive, Thomas grap­pling with sense, Graham with language. Thomas was in many ways the original when in 1933, to quote Keery, “A poem in a sports journal by a provincial teenager, sent shock waves through literary London – acclaim which, as William Empson noted, ‘does some credit to the town’”.’ 

IX. Brodsky’s Travels: Leningrad to Venice by Jeffrey Meyers.

‘Once sent into exile, Brodsky, charged with curiosity and energy, became a wanderer and a cunning Ulysses.  His travels were at once a flight to freedom and quest for inspiration, a synthesis of history and direct experience.  His response to a new city and its culture was a means of self-exploration and self-revelation.’ 


X. The Seicento and the Cult of Images by Yves Bonnefoy.

‘Here the mouths breathe, the blood circulates; the painter has eyes only for life, for its warmth and its liberation from all forms. What seduced him in this instance was the vast sexual force that courses through Creation, where it has often been perceived as one of the consequences of Original Sin.’ Translated by Hoyt Rogers. Published to accompany Bonnefoy’s essay, one by Rogers: ‘Seeing with Words: Yves Bonnefoy and the Seicento.’

XI. Bibliographic Archæology in Cairo by Raphael Rubinstein.

In the early decades of the last century, Egypt was home to ‘a remarkable collection of temporary residents, survivors from the shipwreck of modernity, scrambling and hustling, hiding out, stuck, or making the most of a good thing as long as it lasts’. Like its coastal twin, Alexandria, pre-war Cairo was a polyglot metropolis, ‘cosmopolitan yet also ruthlessly exploited and riven with profound levels of inequality’. Art critic Raphael Rubinstein surveys the scattered artifacts of an exotic literary backwater.

XII. Women down the well by Natalia Ginzburg.

‘Women have a bad habit: they sometimes fall down a well; they are seized by a horrid sense of melancholia, drown in it, and struggle to come back to the surface. This is the real problem afflicting women…I have met so many women, and now I always find something worthy of commiseration in every single one of them, some kind of trouble, kept more or less secret, and more or less big: the tendency to fall down the well and find there a chance for suffering, which men do not know about.’ First English-language translation by Nicoletta Asciuto.

XIII. Considering I, alone by Alan Wall.

An interrogation of the first person. ‘When Freud began his practice he was known as an alienist; one who could enter the alienated realm of the mentally disturbed and translate the mangled language to be heard therein into the coherence of scientific explanation…Rimbaud’s programme was the precise opposite. He would seek the “dérèglement de tous les sens”. Not merely the derangement of the senses, but their deregulation. One might translate his wish thus, as a precise inversion of Freud’s programme: to translate ego into id. Between these two I’s, poetry still ventures.’

Plus… George Maciunas and Fluxus by Simon Collings.

‘Drawing a clear boundary around Fluxus is, as many commentators have noted, an impossible task. Maciunas’ international network of Fluxus collaborators included musicians, visual artists, film-makers and writers, many of them experimenting with mixed media forms. Most of the artists had a life beyond Fluxus, and practices diverged significantly.’

And… Tintoretto at 500 by Hoyt Rogers and Michele Casagrande.

On the fifth centennial of Tintoretto’s birth, marked by exhibitions in Venice and Washington (through 7 July 2019), Hoyt Rogers reflects on the artist’s work and what it has meant to him. ‘Of all painters,’ he writes, ‘Tintoretto is the most Janus-like; he resumes the entire Renaissance, but he also looks forward to the future.’ This article appears in the portfolio ‘Tintoretto and Venice,’ which includes an essay by Michele Casagrande and a cycle of poems by Rogers.

Leaving Sidi Bou Said by Lorand Gaspar.

‘Do you know Sidi Bou Said? There are perhaps only a few dozen places in our world where such a miraculous masterpiece took place, born of an interaction between the mind and the experience of the men of an era, their skills, as well as the complex nature of the site itself…’ A visit to a former home by the French poet and essayist. With photographs by the author.

Prose poetry lost and found by Ian Seed.

A personal reflection: ‘I was impressed by what could be achieved in so few words. And finally, there was the fact that this was called a “poem”, but in terms of shape it did not resemble any of the poetry that I was studying at school, although I had read and enjoyed Blake’s Marriage of Heaven and Hell, which I had picked out on my own from the school library. Blake was in fact an important figure for Patchen.’ Also in The Fortnightly: Anthony Howell inquires: ‘The Prose Poem: What the hell is it?

Also… Roger Fry and the formalist project by Marnin Young.

For painter Walter Sickert (right), the so-called Post-Impressionists are united only by their wilful “deformation” and violations of “quality,” but Roger Fry’s formalism owned the future. Both wrote about the 1910-11 Grafton exhibition for The Fortnightly Review. ‘The difference between the two texts, republished here, is about as good a demonstration as one could find of an intellectual watershed.’

Orson Welles.and… Thoughts on Germany by Orson Welles.

‘You’d journeyed down from Berlin, and, in a break in the journey, you’d come upon this real, live munitions maker. There he was, with a flower in his button-hole, an Argentine girl at his side, a respectful ring of Swiss bankers all about him, smoking an Havana cigar on the borders of an Italian lake. The eyes in the sharply drawn, solid-looking head, are set in a questing expression. They are the eyes of a shrewd hunter, but you surprise in them a curious pallid emptiness—a dead spot. It is as though the centre of a target were painted white, or like the vacuum in the heart of a tornado.’

Not least… Walter Benjamin and the City by Alan Wall.

‘In the modern city, Benjamin observed the decay of experience. Here, experience shallowed out and speeded up…Continuities were fractured. Holistic representation shattered into montage, a kaleidoscope of impressions hammering away at the sensorium. It is impossible to draw an isometric section of modernity, because it will not stop moving long enough for the measurements to be made.’

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Edited by Denis Boyles and Alan Macfarlane.

Poetry Editor: Peter Riley.

Editors, Contributors, and Contact Details.

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Editorial Statement.

The object of THE FORTNIGHTLY REVIEW is to become the organ of the unbiassed expression of many and various minds on topics of general interest in Politics, Literature, Philosophy, Science, and Art. Each contribution will have the gravity of an avowed responsibility. Each contributor, in giving his name, will not only give an earnest of his sincerity, but will claim the privilege of perfect freedom of opinion, unbiassed by the opinions of the Editor or of fellow contributors….We do not disguise from ourselves the difficulties of our task. Even with the best aid from contributors, we shall at first have to contend against the impatience of readers at the advocacy of opinions which they disapprove.

Prospectus, G.H. Lewes, May 13, 1865. Emphasis added.

Welcome to The Fortnightly Review. This is the New Series.

A Partial Archive of the New Series.

A listing of more recent items may be found above, in the right-hand column of this page. For a search of the complete archive use the ‘search’ box near the top of the right-hand column. In The Fortnightly’s online template, illustrations on text pages are thumbnails with captions embedded. To enlarge an illustration, click on it. To read a caption, hover over the illustration. Some video elements also appear as thumbnails. To play them full-screen in YouTube, click twice. Pressing the escape key will return you to the originating page.

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Poetry Notes by Peter Riley.
Clues & Labyrinths by Alan Wall.
Currente Calamo by Michael Blackburn.
Rejected! The history of literary disappointment by Stephen Wade.
Verisimilitudes: Essays and approximations by James Gallant.
The American Note by Chloë Hawkey.
Letter from Venice by Robin Saikia.
Una Visione Estesa by Keith Johnson.
The Trollope Prize (University of Kansas).
Museums & Collections by Ian Sansom.
Reviews and comment on books, etc.

The Fortnightly Serials.
Fortnightly serials.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.
2016-17: The Survival Manual in eight parts. By Alan Macfarlane.
2018: After the Snowbird, Comes the Whale. By Tom Lowenstein.
2019: My First Thirty Years. By Alan Macfarlane.


2011: The Intensive and Extensive Worlds of Anthony Trollope’s Framley Parsonage by Lucy Sheehan, Columbia University.
2012: A Competitive World: Ambition and Self-Help in Trollope’s An Autobiography and The Three Clerks by Rebecca Richardson, Stanford University.
2013: Sanction, pragmatic pursuit and civil society in Trollope’s The Eustace Diamonds by Andrew Lallier, University of Knoxville (graduate) and Performative realism by Emily Halliwell-MacDonald, University of Toronto (undergraduate)
2014: Love in a time of politics by Gregory Brennen, Duke University (graduate) and Trollope and Darwin by Molly Menickelly, William & Mary (undergraduate).
2015: The Temporality of Realism and Romance in He Knew He Was Right by Sarah Faulkner, University of Washington.2016: No award.
2017: Trollope’s ‘Feeling for the world’ in Fixed Period by Joel Simundich, Brown University (graduate) and ‘Resisting Temptation’ in Trollope’s Small House by Katharine Scott, College of William and Mary (undergraduate).
2018: In medias res: Liminal Spaces in The Duke’s Children by Devon Boyers, College of William and Mary (undergraduate).
2019: Abstract Wealth and Community in The Way We Live Now by Deirdre Mikolajcik, University of Kentucky (graduate) and A Less-Beaten Path: Hybridity and Naturalism in Anthony Trollope’s West Indian Short Fiction by Nyssa Ruth Fahy, Penn State Brandywyne (undergraduate).

Poetry Notes by Peter Riley.

POETRY. Alphabetical by author.

Five poems from ‘Mattered by Tangents’ by Tim Allen.
‘Noise’ and three more new poems by Maria de Araújo.
Thread by Mikki Aronoff.
What Clings by Mikki Aronoff.

Five new poems by Lana Bella.
New poems by Richard Berengarten.
Children of war in Palestine by Manash Bhattacharjee.
Bird of four tongues by Manash Bhattacharjee.
Languages: A Ghazal by Manash Bhattacharjee.
Dear Najwan by Manash Firaq Bhattacharjee
Three prose poems, with a brief afterword by Linda Black.
The Birds of the Sherborne Missal  by Elisabeth Bletsoe.
An Aural Triptych by Daragh Breen.
A Boat-Shape of Birds by Daragh Breen.
Vignettes (V) by Iain Britton.
Apollo 17 and the Cartoon Moon by James Bullion.

Lorenzo Calogero: Six poems in new translations by John Taylor.
‘Measuring Distances’ and four more prose poems by Kimberly Campanello.
‘Half a Black Moon’ and two other poems by Seth Canner.
An excerpt from ‘Blind Distance’ by Pierre Chapuis, translated by John Taylor.
Two poems by Arup K Chatterjee.
Three poems from ‘Sovetica’ by Caroline Clark.
Episode 38 of ‘Living Dead’ and two more prose poems by Simon Collings.
‘After Argos…’ by Kelvin Corcoran.
Listening to Country Music’ and three more poems by Kelvin Corcoran.
Anthony Costello: three new poems.
Five poems by Emily Critchley.
Translations of Shakespeare’s sonnets (and five more poems) by Emily Critchley.
Four Poems from Solar Cruise by Claire Crowther.
Three poems by Claire Crowther.
Three new poems by David Cooke.

‘Ghost’ and eight more poems by Veroniki Dalakoura, translated by John Taylor.
Thirteen poems by Anna de Noailles, trans. Anthony Howell.
Corporation Street and two more poems by Julia Deakin.
Rrose Sélevy by Robert Desnos, newly translated by Simon Collings.
Boy by Tim Dooley.

Wanton and two more poems by Michael Egan.
Æcerbot by Steve Ely.
Four poems from ‘Lectio Volant’ by Steve Ely.
‘So, Dreams’ and three more poems by Luke Emmett.
‘I Am Not a Clock’ and three more poems by Luke Emmett.
None of us: a poem by Luke Emmett.
Six Poems from ‘The Shooting Gallery’ by Carrie Etter.
Hefted by Gary Evans.

Two uncollected personal poems by Roy Fisher, with comments by Peter Robinson.
‘Something’ and more: Poems by Mélisande Fitzsimons.
‘Excavation’ and two more poems by Anna Forbes.

Preface to ‘Émaux et camées’ by Théophile Gautier, translated by Harry Guest.
Twelve prose poems by Monk Gibbon.
‘What they are Discussing’, and Two More Poems by Jesse Glass.
‘Just’ and two more prose poems by Giles Goodland.
In Djibouti and The Angel of Hulme by Jonathan Gorvett.

Five poems by Gëzim Hajdari translated by Ian Seed.
Three gardens and a dead man by Khaled Hakim.
Travelling with the I Ching. Poetry by Lucy Hamilton.
Cambridge and two more poems by Ralph Hawkins.
One Poem and One Prose-Poem by David Hay.
A half-Dozen Poems by Johanna Higgins.
From Fulmar’s Wing by Jeremy Hilton.
‘After Tranströmer’ and four more poems by Colin Honnor.
Three poems by Colin Honnor.
An excerpt from Silent Highway by Anthony Howell.
Diatribe by Anthony Howell.
My part in the downfall of everything: a satire on Deceit by Anthony Howell.
Nights In and two more new poems by Anthony Howell.
On ‘Freeing Up’ by Anthony Howell.
The New Versailles by Anthony Howell.
Torpedo Fair by Anthony Howell.
‘Eucalypso Redux’ and ‘Battleships/Romance’ by Alex Houen.
Quite frankly, a sequence by Peter Hughes.
Seven sonnets by Keith Hutson.

Two Vilanelles by Zainab Ismail.

Three poems by Sam James.
‘London rambles’ and a poem from ‘Oracular in Tooting’ By David Hackbridge Johnson.
Grandeur by Andrew Jordan.

Empyrean Suite by Fawzi Karim and Anthony Howell.
Ice cream spoon in the office and Others by Fawzia Kane.
Garden Eclogue 10 by John Kinsella.
‘Earth at Apogee’ and ‘Curbed’ by Sandra Kolankiewicz.
Old-Time Recipe and three more poems by Sandra Kolankiewicz.
Three poems by Steve Kronen.

As Grass Will Amend (Intend) Its Surfaces by Peter Larkin.
Trees the Seed by Peter Larkin.
Three récits by Georges Limbour, in new translations by Simon Collings.
More delicate, if minor, interconnections by Tom Lowenstein.
Reading Heine by Tom Lowenstein.
Seven more poems by Tom Lowenstein.
Seven new poems by Tom Lowenstein.
To the Muses by Tom Lowenstein.
Poems from Existence Phenomena by Tom Lowenstein.
A Scrap of Paper by Paul Hyacinthe Loyson, Translations by JG Frazer and Edward Brabrook.
Two new poems by Carola Luther.

New poems by Franca Mancinelli, from Little Book of Passage translated by John Taylor.
From ‘Ricochet’ by Lila Matsumoto.
Some of Her Things by John Matthias.
Happiness Is the New Bedtime by Becka Mara McKay.
Eight poems from Mala Kruna by Franca Mancinelli, translated by John Taylor.
Tristia by Osip Mandelstam, trans. Peter McCarey
Four ‘ad-libs’ for John Berryman by Lawrence Markert.
Again, as if the wind bore you away… by Eduardo Moga.
Four prose poems by Jane Monson.
June Haunting by Alan Morrison.
Three poems by Anne Mounic translated by Harry Guest.

Essay on Spam by Alistair Noon.
Play — for 26 voices by Alice Notley.

Six Poems by Lewis Oakwood.
Three new poems by Karl O’Hanlon.

Six poems, by Sophia Parnok, translated from Russian.
Poems from ‘the Slip’ by Simon Perril.
The Man Who Turned to Paper, with three more new poems by Simon Perril.
Six prose poems by Meg Pokrass.
The Wild Child by Laura Potts.
The Picture in Ireland by Laura Potts.
Two new poems by Laura Potts.

La Petite Gloire’, from a fragment by Raymond Queneau, translated by Augustus Young.

Last Kind Words, edited by Peter Riley.
‘X’, an excerpt from Due North by Peter Riley.
Homage to Lorand Gaspar by Peter Riley.
The Lay of Love and Death of Christoph Cornet Rilke von Langenau, by Ranier Maria Rilke, translated by Harry Guest.
Dreamt Affections by Peter Robinson.
Manifestos for a lost cause by Peter Robinson.
Six new poems by Peter Robinson.
Seven new poems by Peter Robinson.
‘Recessional’ and other new poems by Hoyt Rogers.
Three place-poems with an introduction by Anthony Rowland.
‘At Ladywell Cemetery’ and ‘Rossiya’ by Carol Rumens.
Two Poems by James Russell.

Bagatelles: prose poems by Enomoto Saclaco.
Six-Way Mirror by Robert Saxton
Parabola by Maurice Scully.
Seven new poems by Barry Schwabsky.
Five poems by Jules Supervielle translated by Ian Seed.
Three new poems by Sanjeev Sethi.
Winétt de Rokha: Three Poems translated by J. Mark Smith.
‘Chimney Sweepers’ and three more poems by J. Mark Smith.
As Large as a Typo: Two poems by Pete Smith.
‘Echo plus Star Equals’ and Two More New Poems by Simon Smith.
April 2019. She went to the hospital for an infection by T. Smith-Daly.
Four Poems by Christopher Steare.
Poems from The Messenger House by Janet Sutherland.

A Poetic Sequence from ‘Trás-os-Montes’ by José-Flores Tappy.
Three Literary Poems by Nathaniel Tarn.
Fair by Martin Thom.
Cambridge Market Place Calls to Action and two more poems by Andy Thompson.
Six prose poems from ‘Terraces: A Choreography’ by Scott Thurston.
Partita for solo violin by Ruby Turok-Squire.
Two poems by Ruby Turok-Squire.
Gibraltar Point and two more poems by Iain Twiddy.
‘Y’ by Pierre Voélin translated by John Taylor.

Fetish by Alan Wall.
The Art of Writing and other poems by Alan Wall.
Midrash by Alan Wall. Parts 1-3.
Midrash part four: Lingua Adamica by Alan Wall.
‘Remembering Ovid’, a new poem by Alan Wall.
San Miniato by Michelene Wandor
A polyptych for Anne Frank by Vanessa Waltz.
Two poems by Nigel Wheale.
Four new poems from Credo by Stephen Wiest.
Poems in Prose by Oscar Wilde.
Four poems by John Welch.
‘An Edge of the World’ and ‘Naranja Amarga’ by Nigel Wheale.
Blind man’s fog and five more new poems by Patrick Williamson.
Five new poems by Judith Willson.
The London Cage’ and three more poems by Judith Willson.
Two poems from ‘Poems without Irony’ by Alex Wong.
A Spell to Lure Apollo by Alex Wong

EP : From the Life — and two more poems by Steve Xerri.

Three bilinguacultural poems by Changming Yuan.

Poems from The Lesser Histories by Jan Zábrana.
Shrinking Cities and Small Station by Alan Zhukovski.

Alphabetical by author.

Gowersby by Shukburgh Ashby.
Swincum-le-Beau by Shukburgh Ashby.

Five Hung Particles by Iain Britton.
Breakfast with Mrs Greystone by S.D. Brown.

Six Very Short Stories by Simon Collings
Four prose pieces by Simon Collings
Six Quite Short Stories by Simon Collings.
The Old Man by Robert Coover.
An Encounter by Robert Coover.

(a bean) by Marzia D’Amico.
A recollection of L’Adorée by Ethel Dilke.

The Optician by Cecilia Eudave.

The Attendant by Nigel Ford.
Pickle-fingered truffle-snouter by Robert Fern.

The Adjunct by James Gallant.
For Once by Susana Martín Gijón.
Fools Rush In by Michael Buckingham Gray.
A woman’s best friend by Michael Buckingham Gray.
Back to the drawing board by Michael Buckingham Gray.
Blame it on the rain by Michael Buckingham Gray.
Men with women: three more very short stories by Michael Buckingham Gray.
More than She Bargained For by Michael Buckingham Gray.
Once more with feeling by Michael Buckingham Gray.
The More Things Change by Michael Buckingham Gray.

New translations from The Dice Cup by Max Jacob, translated by Ian Seed.
The Dice Cup’, Part 2 by Max Jacob, translated by Ian Seed.
‘The Dice Cup’, Part 3 by Max Jacob, translated by Ian Seed.
‘The Dice Cup’, Part 4 by Max Jacob, translated by Ian Seed.
Kino Atlantyk and four more prose poems by Maria Jastrzębska.
Seven prose pieces from ‘The Philosopher’ by Tom Jenks.
The Present Dystopian Paranoia by Richard Johnson.

Dragon Rock, and two more short fictions by Umiyuri Katsuyama, translated by Toshiya Kamei.
The Right Side of the Diamond by Peter Knobler.

Things by D.H. Lawrence.
At this moment by Rupert M. Loydell.

Mother child by Conor Robin Madigan.
Two Old Judges Stuck All Night in the Lift by John Matthias.
Nine haibun by Sheila E. Murphy.

An except from ‘Eminönü by Angelika Overath.

The Vanishing by David Rea.
New fiction by Gabi Reigh.
Ten prose poems, five about men by Mark Russell.

Leave-Taking by Ian Seed.
Seven very short stories by Ian Seed.
Nine tiny fictions by Ian Seed.
New York Hotel and Five Other Prose Pieces by Ian Seed.
Italian Lessons by Ian Seed.
Nine thimblefuls of fiction by Ian Seed.
High Street report: Three tales of commerce by Ian Seed.
From ‘The Jazz Age’ by Aidan Semmen.
Gold by Martin Sorrell.

Hurt Detail and two more prose poems by Lydia Unsworth.

The last Mantegna by Michelene Wandor.
Six Small Stories by Georgia Wetherall.
What Heroism Feels Like by Benjamin Wolfe.

The Fortnightly Dossiers.


Do you know Brunetière?’ by Erik Butler.

It’s unusual for a critic to be despised to the point where social events are organized to express revulsion. But Ferdinand Brunetière antagonized France at a particularly volatile moment. ‘The Third Republic incubated twentieth-century Europe: accelerating industrialization, democracy, mass movements, colonialist projects, nationalism, anti-Semitism, secularism, and more still. Now, at the outset of a new millennium, perhaps Brunetière’s day has come again.’ A dossier with an appreciation by Yetta Blaze de Bury from our archive and a supplemental ebook by Elton Hocking.

On The Manager by Richard Berengarten: A critical dossier edited by Paul Scott Derrick, with contributions by A. Robert Lee, Anthony Walton and Kay Young.

La Serenissima: A Fortnightly travel dossier by Robin Saikia, Gigi Bon, Hoyt Rogers, Michele Casagrande, with photographs by Alvise Nicoletti.

Remy de Gourmont: A dossier devoted to ‘the critical consciousness of a generation’ (according  to TS Eliot), with remarks by Ezra Pound, Richard Aldington, John Taylor and Paul Cohen.

André du Bouchet: a portfolio of his verse translated by Paul Auster and Hoyt Rogers with an introduction to his work.

A Memorial Dossier honoring Yves Bonnefoy with contributions from Hoyt Rogers and Anthony Rudolf.

Reflections on Walter Benjamin by Alan Wall.

The Tagore Dossier: Ezra Pound, W. B. Yeats (with a post-script by Marianne Moore), William Rothenstein, Harold M. Hurwitz and Tagore’s At the Fair.

Roger Fry and the formalist project by Marnin Young, with a dispute: Post-impressionists by Walter Sickert vs. Post-Impressionism by Roger Fry.

COMMENTARY, ESSAYS and REVIEWS. Alphabetical by author.

On poetry and the environmental crisis by Rae Armantrout and Simon Collings.
The function of criticism at the present time by Matthew Arnold.

The case of John Keats in Shanklin by G. Kim Blank.
The interview as text and performance by Richard Berengarten and John Dillon.
On Gathering and Togethering by Richard Berengarten.
Octavio Paz in Cambridge, 1970 by Richard Berengarten.
The Wonders of Man in the Age of Simulations by Roger Berkowitz.
Najwan Darwish’s poetry of the undefeated by Manash Firaq Bhattacharjee.
Henry James by Theodora Bosanquet, introduced by Pamela Thurschwell.
Art and Innocence by Victor Bruno.

A ‘Pataphysical Education by Paul Cohen.
Theodora’s Complaint by Paul Cohen.
The Latest Event in the History of the Novel by Paul Cohen.
Words and Lies by Paul Cohen.
Typesetters delight, those little blocks of text by Simon Collings.
Another Famous Jew by Howard Cooper.
Keats: Letters, Home by Anthony Costello.

Ringing the Changes by Paul Scott Derrick.
On ‘The Manager’, A critical dossier devoted to Richard Berengarten’s long poem. Edited by Paul Scott Derrick. (See above, in ‘Dossiers’).
Artists and their physicians: Van Gogh and Dr Paul Gachet by Anthony Costello and Emma Storr.

The Utopian Animal by David Eisenberg.

As Aristotle observed, “all men by nature desire to know.” But knowledge, that is absolute knowledge or wisdom, is unattainable, hence the enduring pursuit of it and the unceasing restlessness that reposes in man. Utopias preclude this pursuit; they promise an end to this restlessness. They do not presage the attainment of wisdom, so much as an end to the perpetual striving for it.

Kallic Distance by Michial Farmer.
On Elegance by Michial Farmer.

The History of Imagism by F. S. Flint.

Coleridge, poetry and the ‘rage for disorder’ by James Gallant.
The other side where sight is without eyes’, two short essays by James Gallant.
Jeffrey Kirpal’s ‘extreme religious experiences’ by James Gallant.
Otto Rank’s Variations on a Theme by James Gallant.
The robots of Amazon by Ian Gardner.

Arabia Felix by Jonathan Gorvett.

‘Al-Oqaili – Mubarak bin Hamad bin Mubarak Al Manea al-Oqaili, to give him his full name – built this house in 1923. A distinguished poet and advisor to sheikhs and emirs by the time he died in 1954, the house then crumbled, but was later rebuilt as a museum, back in 2012, and in one of the rooms, I notice the poet’s gun.’

Arthur Rimbaud’s anti-poetic life by Francis Gribble.
Anthony Rudolf’s literary Wunderkammer by Harry Guest.
Peter Dent’s ‘starmaps left for night’ by Harry Guest.
A ‘slanting view’ of Peter Redgrove by Harry Guest.
The Making of Mugabe by Lance Guma.

Posthuman and categorically nebulous art writing by Michael Hampton.
Turner’s Loom by Michael Hampton
Ottomania: Three Globalist Turkish Books by Matt Hanson.
Thought Leaders and Ted Talks by Chloë Hawkey.
Canon/Archive reviewed by Chloë Hawkey.
Against Pound by Anthony Howell.
Freewheeling by Anthony Howell.
Anna de Noaille: Belle of the Belle-Époque. By Anthony Howell.
Published with thirteen of her poems in new English-language versions by Anthony Howell.

Satire for the Millennium by Anthony Howell.

‘If ever an age needed its satirists it is now, when a divided country with its knickers positively knotted is fast becoming the laughing stock of the world. Such divisive times have usually provided satire with a breeding ground…Lovelace, Rochester, Dryden and Pope lived in turbulent times, as ours are increasingly becoming, and yet it seems that everyone these days has become too earnest for satire…’

John Ashbery 1927-2017 by Anthony Howell.
The Prose Poem: What the Hell is it? by Anthony Howell.
The Poems of Basil Bunting by Anthony Howell.
‘The New Beauty’ by Anthony Howell.
Asprezza: a Paean to the Pioneer of the Madrigal by Anthony Howell.
Shame and shamelessness: Freud, Gide and Immoralism, by Anthony Howell.
Sonnets for all, gathered by Anthony Howell.
Georges Braque:A poetry of things, an essay by Anthony Howell.
Dante’s Purgatory by Anthony Howell.

Zoran Music in Dachau by Steven Jaron.

Pierre Loti profiled by Henry James.
Ibsen’s new drama by James Joyce.

The poem’s not in the word by C. F. Keary.
Two essays on Jane Austen by Thomas Kebbel.
John Fowles, Gentleman by Bruce Kinzer.
Relating the Finite to the Infinite by Bruce Kinzer.
From the Brooklyn-Queens Border, 22 April-17 May 2020 by Richard Kostelanetz.

The Gospel of Honour by Christopher Landrum.

‘The distinction for Cicero was clear: courage is a momentary impulse, and honor is the reward for what is courageously done in that impulsive moment. But when Marcellus thought he could get away with building one temple for two gods, the officiating priests protested his maneuver. That is, the legal authorities determined that just as two soldiers deserving honor don’t receive a single medal for bravery, two gods can’t share the same temple…’

A charming sense of the new by Christopher Landrum.
In defence of les femmes françaises, by Christopher Landrum.
Rereading O. Henry  by Christopher Landrum.
‘Things’ by D.H. Lawrence.
The Case of Edmund Rack By Tom Lowenstein.
Notes from an Alpine Landscape by Tom Lowenstein.

Dreams…and nightmares of four civilisations by Alan Macfarlane.

‘It is extremely difficult to pierce to the core of a civilisation. However, one indirect, but powerful, way to do this is to examine the dreams and the nightmares that haunt daily life. Civilisations characteristically project their beliefs, identities and anxieties onto a mirror of ‘The Other’. The dreams, or ideal types of behaviour to which we should aspire, tell us about the hopes of a civilisation. The anxieties and worries, the way in which this ‘Other’ mirrors the fears of powers that are believed to be trying to undermine a civilisation’s beliefs and institutions are equally revealing.’

Enchantment by Alan Macfarlane.
Hierarchies by Alan Macfarlane.
Imagining Coleridge and Evans by Rachel Mann.
Proust in five pages by John Matthias.
Peter Taylor in triple vision by John Matthias.
Into the NHS’s vortex of care: Augustus Young’s Heavy Years, reviewed by Marianne Mays.
Freedom and justice at the Warburg by Peter McCarey.
Jackson’s ‘Opus’ by Peter McCarey.
The cars, carpets and chemistry of the National Gallery’s John Mills by John McEwen.

Antonin Artaud in Ireland by Peter O’Brien.
Six pages from ‘Lots of Fun with Finnegans Wake’ by Peter O’Brien.
Pictures and Words by Peter O’Brien.
The ‘extravagent mystery’ of a Mother by Peter O’Brien.
Perturbation of Baruch by Anthony O’Hear.
Martin Slater’s National Debt: A short history reviewed by Nick O’Hear.
The Roth-Bailey Contretemps by William O’Rourke.

Modernist Aesthetics:
An Objective Theory by Tronn Overend

‘Aquinas’s notion of clarity can be understood as the development of a theme. This sits easily with the Modernists. Explorations ‘of the thing itself’ was ‘never’ complicated by also trying to incorporate things ‘on it’. Such ornamentation would always confuse the problem of thematic development. Is there too much? Is there enough? Does it add anything to the form and the proportion that is being explored? By simplifying their project, Modernists more easily achieved clarity of purpose and a simpler development of their themes.’

Ian Seed’s ‘true surrealist attentiveness’ by Jeremy Over.
Why write about war? by Andy Owen.

Bernard Stone and the Turret by Brian Patten.
Secret agent by David Andrew Platzer.
With Warhol on the Move by Charles Plymell.

‘Poetry Notes’ by Peter Riley. (Including most of those items listed in the main archive index)

2018 Summer Shelf of poetry reviews by Peter Riley
The ‘awkwardness’ of Denise Riley, by Peter Riley.
On a poem by John Riley by Peter Riley.
Pierre Reverdy’s ‘non-novel’ reviewed by Peter Riley.
Expanded translation by Peter Riley.

Extremist poetry of the last century by Peter Riley.

‘But first, it should be said that the initial impulsion behind it all included centrally a bitter and sweeping disdain for poetry as normally understood and practised in UK, and the society that produced it and is inseparably bound to it….The terms used are unforgiving and sometimes feel close to a rejection of poetry itself, certainly a desperate flight away from it as it stands, along with almost all twentieth-century English literature and everything it inhabits and propagates.’

Poetry written in Britain’s ‘long moment’ by Peter Robinson and Tim Dooley.
Translating du Bouchet: An exchange with Peter Riley by Hoyt Rogers.
Desnos and Warsh by David Rosenberg.
Castaways in Cairo: An Exercise in Bibliographic Archæology in Cairo by Raphael Rubinstein.
Edmond Jabès meets Max Jacob by Raphael Rubinstein.
Zbigniew Kotowicz by Anthony Rudolf.
Of wisdom and folly in art, from Eagle’s Nest, by John Ruskin.

Two songs by Tristram Fane Saunders.
Discovery and Rediscovery by Ian Seed.
The Pennells’ ‘new life of Whistler’ by Walter Sickert.
The Poems of ‘H.D.’ by May Sinclair.

Poems from a country within a country José-Flore Tappy interviewed by John Taylor.
Shelley, the ‘divine poet’ by Gilbert Thomas.
Francis Thompson: A boy and his dog by Katharine Tynan.

Santiago Ramón y Cajal’s Dreams of Nerve Cells by Charles Vecht.

Blossoming Under a Black Sun by Alan Wall
Considering I, alone by Alan Wall.
Irony and Ironists by Alan Wall.
Just a Smack at Auden by Alan Wall.
The Metaphoric Graveyard by Alan Wall.
Modernist poetics by Alan Wall.
No Worst There Is None: Gerard Manley Hopkins by Alan Wall.
The Poet and the Dictionary by Alan Wall.
The Poet as Essayist by Alan Wall.
R.B. Kitaj reviewed by Alan Wall.
Shakespeare’s Dysnarrativia by Alan Wall.
Textuality by Alan Wall.
That liminal year: 1922, by Alan Wall.
Viduities by Alan Wall
Walter Benjamin and Surrealism by Alan Wall.
Walter Benjamin: Notes for the End of Time by Alan Wall.
Walter Benjamin and the City by Alan Wall.
Etymologizing by Alan Wall.
Chaos is come again by Alan Wall.
Representation in millimetres by Alan Wall.

An English Lady, a portrait of the author’s mother, by Hugh Walpole.
Rankine’s uncomfortable citizenship by Michelene Wandor.
Sequence, Consequence, and the Random by Michelene Wandor.
Twin Cities by Michelene Wandor.
The Curious Materialist by Caroline Warman.

On Longinus and bread…and the sublime by Igor Webb.

‘In the end, Longinus—and Hazlitt and Ruskin and on to the present—in the end, Longinus can only show us: What is good bread? This loaf. What is a sublime literary passage? This oneBut as the editor of my copy of Longinus says, “It is not at all clear in what sense some of the passages Longinus commends are sublime at all. But the great thing is that he does quote them, and that he is himself pleased by them.” We can’t always see what’s sublime about what Longinus shows us; worse, we can never be sure how to tell whether the next piece of writing we read, a piece on which Longinus has not yet commented, is or is not sublime.’

Matthias’ Laments by Igor Webb.
Thoughts on Germany by Orson Welles.
The Rediscovery of the Unique by H.G. Wells.
Quixote on the Brooklyn Bridge: Ben Lerner’s 10:04 reviewed by Nigel Wheale.
Barry Schwabsky’s Heretics of Language reviewed by Nigel Wheale.
Midsummer Night’s Dream, at Wiltons, reviewed by Nigel Wheale.
Shakespeare’s ‘Islamic’ poem, a two-part investigation by Nigel Wheale.
The significance and frailty of Raymond Crump by Nigel Wheale.
Keats, Beyond the Pleasure Principle, by Nigel Wheale.
George Mackay Brown by Nigel Wheale.
A Drohobych Diptych: The parallel lives of Bruno Schulz and Stepan Bandera by H.A. Willis
Duties of care in the study of literature by Alex Wong.

Morton Feldman and the listening body at the Hugh Lane, Dublin, by Jona Xhepa.

The poet as ‘strategic’ ironist by Alex Wong.

Spender’s last take by Andrew Graham-Yooll.

Language and genocide by Tom Zoellner.

‘After the independence movements of the 1950s, Francophone Africa lay spread in a wide belt across the center of the continent, split into autonomous nations and competing interests. Paris continued to wield outsized monetary and military influence in its former colonies and among its neighbors, and, in times of dispute, tended to see those who spoke French as “the good guys” and all the rest as the enemies.’


A Stack of Winter Poetry by Peter Riley
An Anthology for the Apocalypse by Peter Riley
Angela Leighton and Geraldine Monk by Peter Riley.
Another Note on the prose-poem by Peter Riley.
The Apophatic Poetry of André du Bouchet by Peter Riley.
Christopher Middletonby Peter Riley.
Expanded translation by Peter Riley.
First-Person ‘Identity’ Poems by Peter Riley.
From on high and from the tall grass by Peter Riley.
How to Write Poetry by Peter Riley.
Ilhan Berk by Peter Riley.
Industrial Strength Empathy by Peter Riley.
Karl O’Hanlon and Daragh Breen by Peter Riley.
Laura Riding’s Many Modes by Peter Riley.
Lorenzo Calogero and Other Poets in Translation by Peter Riley.
Mellors, Philpott, and the ‘poetry of rebellion’ by Peter Riley.
The New Pastoral in French Poetry by Peter Riley.
On the Brink of Winter 2019 by Peter Riley.
Opposing Forces by Peter Riley.
Poetry deformed in translation by Peter Riley.
Poetry Notes for Summer 2020 by Peter Riley.
The Poetry of Autumn, by Peter Riley. Reviewed: Barnett, Jarvis, Simms, Sutherland.
Poets, Angry by Peter Riley.
Poets, Calm by Peter Riley.
Poets once young by Peter Riley.
Spring Storms 2020 by Peter Riley.
Summer Poetry 2019 by Peter Riley.
Summer Poetry 2020 by Peter Riley.
The Lyricism of Desperation…’ by Peter Riley.
The Spring 2021 short shelf by Peter Riley.
From council houses and orphanages by Peter Riley.
Poetry Notes for October 2021 by Peter Riley.
What’s Happening Now by Peter Riley.



The Seicento and the Cult of Images by Yves Bonnefoy.
Poetry and the fearful symmetry by Daniel Bosch.

On Elegance by Michial Farmer.

Underground Fiction by Michael Hampton.
A Book of Bessie and Sallyann by Paul Holman.
Meandering through the Belle-Époque by Anthony Howell.
Tactile, Untouchable by Anthony Howell.

Zoran Music at Dachau by Steven Jaron.

Candid Camera by Christopher Landrum.

The mosaic of the Transfiguration by Cyril Mango. A commentary on ‘the layers of meaning that the art of the Early Church produced by very simple means’.
Macanese Concrete by Peter McCarey.

Six pages from ‘Lots of Fun with Finnegans Wake’ by Peter O’Brien.
The Beginning and the End of Art…in Tasmania by Tronn Overend.
Modernist Aesthetics: An Objective Theory by Tronn Overend.

The School of Giorgione by Walter Pater.

Seeing with Words: Yves Bonnefoy and the Seicento by Hoyt Rogers.

Imran Qureshi by David Nowell Smith.
Peter Lanyon’s ‘Soaring Flight’ by David Nowell Smith.

A Note on Inscape, Descriptionism and Logical Form by Alan Wall.
Looking at pictures by John Welch.
How’s the Mood-Board? a Rapture by Nigel Wheale.
The Omega Point: a Rapture by Nigel Wheale.
‘Tallys’ and the Postmodern Sublime: a Rapture by Nigel Wheale.


Talking to Jan Harlan about Stanley Kubrick by L.M. Kit Carson.
A Box to Go by Simon Collings.
Agnès Varda’s ‘Faces Places’ by Simon Collings.
Atlantics by Simon Collings.
Buñuel’s labyrinth of artifice by Simon Collings.
Existence and its Discontents by Simon Collings.
Family Discounts by Simon Collings.
George, what is Fluxus? by Simon Collings.
Gianfranco Rosi’s marginalia by Simon Collings.
In Fabric by Simon Collings.
Telling it for ourselves by Simon Collings.
Somewhere else: A review of New Town Utopia, by Simon Collings.
A smile that melts: A review of Earwig, by Simon Collings.
Holy Cow by Simon Collings.

Birds & bones on PBS: The nature of Nova, by James Gallant.
Reopening the National Theatre of Kosovo by Gertrude Gibbons.

Irony, Ambiguity, and London Sleeze by Anthony Howell.
Love’s Victory at Penhurst by Anthony Howell.
Nicolas Roeg and the necessity of risk by Anthony Howell.

The Secret Lives of Baba Segi’s Wives reviewed by Anthony Howell.
Two Innovative Plays in London by Anthony Howell.

Three essays on Romeo and Juliet by Hoyt Rogers.

Dead Heads by Bram Stoker.


Nick Lowe shows up for a friend. by Austin de Lone.

The Funeral of Isaac Albéniz by James Gallant.
Francesco Roberto, From His Diaries by James Gallant.

Who is Bruce Springsteen? by Peter Knobler.

The Weimar Republic and Critical Theory. by Tronn Overend.
Immanuel Kant and the origin of the dialectic by Tronn Overend.
Adorno and the Philosophy of Modern Music by Tronn Overend.
Thesis: Stravinsky by Tronn Overend.
Return to Tonality by Tronn Overend.
Adorno on music: Schoenberg, by Tronn Overend.

Adorno on Modern Music: a Coda by Tronn Overend.

Keeping In Step by Alan Price.

Back in the building by Ian Seed.
Modern Nō Theatre by Oswald Sickert. The Japanese get much more out of subtleties of rhythm (or, rather, out of playing hide-and-seek with one simple rhythm) than we do and are correspondingly lax about the interval between one note and another. I don’t believe a European would have thought of dividing the drum beats between two instruments….Every subsidiary detail of the performance possesses, I don’t know how to say, but a solidity. It’s there — God knows how it came there; but there it is, and it’s not a contrivance, not an ‘idea’.

Zorile, Peter Riley’s reflections on Transylvanian melancholy, from Dawn Songs.

Pop songs: The meaning of the earworm, by Alan Wall.


Customer. Relationship. Management by Sascha Akhtar.

The Magdeburg Sphere by Marcel Cohen, translated by Steven Jaron.

Adjunct Angst by Christine Gallant.
Modernity and metaphysics, by James Gallant.
How We Knew: Notes at the End of 37 Years in the Classroom. by Harry Guest.

What are perversions by Anthony Howell.

Montaigne’s ‘Genial Skepticism’ by Robert McHenry.

Simon Blackburn’s On Truth reviewed by Anthony O’Hear.
What Good Are You? By Anthony O’Hear.

Pin- and Pencil-Making In the Twenty-First Century by Brent Ranali.
Picturing Language by Jaime Robles.

Duties of care in the study of literature by Alex Wong.
The ‘mental engineering’ of Ludwig Wittgenstein by Alan Wall.


Yellow by Dan Coyle.

The glass lantern shattered: Jeremy Bentham and the demise of the Panopticon Prison by Neil Davies.
Balthasar Gracian by E. Grant Duff.

Tradition by Enzo Kohara Franca.

E.M. Cioran and Puttering Therapy by James Gallant.
New Light on the Ball in Brussels by James Gallant
The Obscure Charms of Mme Blavatsky by James Gallant.

The Bedouin of St Katherine by Hilary Gilbert.
For 1500 years, the Sacred Monastery of the God-Trodden Mount Sinai — the ancient monastery of St Catherine — located at the foot of Mount Sinai has had a staunch ally in the Bedouin of the Sinai. When the local police stood down during the last Egyptian revolution, the Bedouin stood up to protect the monks and their priceless icons and documents. But today, the ‘Bedu feel with good reason that their country is failing them.’ With an update from August 2015: Further notes from South Sinai by Hilary Gilbert.

Arabia Felix by Jonathan Gorvett.
The Making of Mugabe by Lance Guma.

Romaniotes in America by Matt Hanson.

Herbert Palmer by Mark Jones.

Walking While White by Peter Knobler.

Reflections on my First Thirty Years, a Serial by Alan Macfarlane.
The talk of The Dolphin by Michael Mahony.
Maria, towards Cartoceto by Franca Mancinelli.
Pages from the Croatian Notebook by Franca Mancinelli, translated by John Taylor.
The Iron Pier by John Matthias.
Olive Custance by Ferdi McDermott.

War and the memory of war by Jerry Palmer.

Mauritius by Emma Park.

In three voices, including J-H Bernardin de Saint-Pierre’s ‘traveller’s tale’: ‘This is my European disease, to wake up at night, tormented by the fear…that the places where I have lived have remained and will always remain indifferent to me. I cannot bear the thought that my existence will have left no more of an impression on the path of history than a moth’s wing. Even though, if I had proper humility, I should remember how many people there are in the world, even on this distant island, and accept that there is little enough reason why I of all of them should be remembered.’

The Jinn of Failaka by Martin Rosenstock.
Keith Bosley by Anthony Rudolf.
Musa Moris Farhi by Anthony Rudolf.
Nigel Foxell by Anthony Rudolf.

The Feast of the Redentore by Robin Saikia.
Spritz at the Villa by Robin Saikia.
Ernest Renan by George Saintsbury.
Curriculum Violette, reviewed by Ian Seed.
Richard Barnfield by Ed Simon.
La Bièvre, the lost river of Paris. By Zoë Skoulding.
The Political Agent in Kuwait by Piers Michael Smith.
Eugene Dubnov, 1949–2019 by Anne Stevenson.
More, from ‘The Messenger House’ by Janet Sutherland.

To Field Flowers by John Taylor.

Good Writer Hašek by Stephen Wade.
Le meurtre by Michelene Wandor.
Strictly Scrum by Michelene Wandor.

Thoughts on Germany by Orson Welles.
‘You’d journeyed down from Berlin, and, in a break in the journey, you’d come upon this real, live munitions maker. There he was, with a flower in his button-hole, an Argentine girl at his side, a respectful ring of Swiss bankers all about him, smoking an Havana cigar on the borders of an Italian lake. The eyes in the sharply drawn, solid-looking head, are set in a questing expression. They are the eyes of a shrewd hunter, but you surprise in them a curious pallid emptiness—a dead spot. It is as though the centre of a target were painted white, or like the vacuum in the heart of a tornado.’

Why is the Sea Salt? By Nigel Wheale. by Nigel Wheale.
Honey, a memoir by Nigel Wheale.

Bigotry from Birth by Tom Zoellner.


T-units and n-grams by Davina Allison.

Mars by Robert Stawell Ball.

The Art of Flying by W.E. Garret Fisher.

Materializations by James Gallant.

Michelson, Morley and the End of Certainty by Richard Jensen.

The Martian Calendar by Rev. George D. Lardas.

In Keen and Quivering Ratio: Isaac Newton and Emily Dickinson by Tim McGrath.

Thomas Young’s Bakerian Lecture by Christine Simon.


Mob Think by Michael Blackburn.
Roger Scruton and ‘the nonsense machine’ by Michael Blackburn.

On Women By Natalia Ginzburg, translated by Nicoletta Asciuto.

Caught between history and myth in Austin, Texas’ by Christopher Landrum.

Brexit Fudge by Alan Macfarlane.

Brexit and the backstop by Nick O’Hear.
The tragedy of Brexit by Nick O’Hear.

Scottish Independence — as seen from Orkney, by Nigel Wheale.

Included: Related material from the Fortnightly’s archive republished in this New Series.

List of Editors & Contributors.


Chronicle & Notices: Our Rolling Register of Shorter Articles, Excerpts from Interesting Books, and Notes from Elsewhere on the Web. This site: © 2021 The Fortnightly Review. All rights reserved. Permission requests.