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Mariangela
Ian SeedThree texts
Rupert M LoydellVessel
Melita SchaumSome Guts
Simon Collings (with collages by John Goodby)Three Short Fictions
Meg PokrassThe Campus Novel
Peter RobinsonCharlie Boy and Captain Fitz: A One-Act Play
Alan WallSnapshot, Sachsenhausen and three more poems
Peter BlairSeven short poems
Lucian Staiano-DanielsFour prose poems
Olivia TuckThe Back of Beyond and two more prose poems
Tony KittTwo poems
Moriana Delgadofrom Reverse | Inverse
Lucy HamiltonSix haibun
Sheila E. MurphyKingfishers and cobblestones and five more new poems
Kitty HawkinsZion Offramp 76–78
Mark ScrogginsCome dancing with me and two more new poems
Marc VincenzPlease Swipe Right
Chloe Phillips‘Three Postcards’ and a prose poem
Linda BlackStill Life
Melita SchaumIn memory of
John Taylor with drawings by Sam ForderImmortal Wreckage
Will StoneNew in Translation
Snowdrifts
Marina Tsvetaeva, trans. by Belinda CookePoems from Prière (1924)
Pierre Jean Jouve, trans. by Will StoneSix Prose Poems
Pietro di Marchi, trans. by Peter Robinson -
A new Review of John Matthias’s Some Words on Those Wars by Garin Cycholl.
Anthony Howell’s review, A Clutch of Ingenious Authors: Michelene Wandor Four Times EightyOne: Bespoke Stories | Annabel Dover Florilegia | Sharon Kivland Abécédaire
Essays by Alan Wall
· ‘King of Infinite Space’: The Virtue of Uncertainty
· AI: Signs of the Times
· The Lad from Stratford
· Stanley Kubrick: Sex in the CinemaWill Stone’s Missing in Mechelen and At Risk of Interment
G. Kim Blank’s Civilizing, Selling, and T. S. Eliot Curled Up behind the Encyclopædia Britannica
Tronn Overend’s Samuel Alexander on Beauty
AND Conor Robin Madigan’s Master Singer, Simon Collings’s Robert Desnos, Screenwriter, and Igor Webb’s Never Again
New Fortnightly Serials
from The Ruinad
Anthony Howellfrom White Ivory
Alan Walland much more below this column.
Departments
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Contact the Editors here.
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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
Previous 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: 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.’
AND read here:
· James Thomson [B.V.]
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.
Anthony Howell: The new libertine in exile.
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.
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Peter Riley’s summer poetry 2020.
Ten poets selected by the poetry editor and published in 2020.
The following is a list, with links, of the work of ten poets published by The Fortnightly Review over the summer. It augments my summer 2020 coverage of poetry publications. They differ greatly from each other, but if my intention has succeeded, they all allow the possibility of what Blake would have called “multiple vision”, however casually or marginally. That often translates as some awareness of or sensitivity to unpredicated reaches of language, and the presence of musical features which refer to the ancestry both of poetry and of perception. It may also translate into politics, with cautions about the dangers of homiletic afflatus and “revolutionary idiocy”. I think that this preference relates only superficially to categories of experimental, traditional, lyrical, narrative, realist or fictive writing, and is a quite well established matter of principal in some quarters, but not of much interest to the priests of the Big Prize / Top Poetry rituals, most of whose criteria are, I find, preconditional and in many cases programmatically reductive. I’ve listed these recent contributions here so that readers can, if they wish, follow them up in relation to my thoughts here, or not. — PR
Lydia Unsworth, Three prose poems. One of the best prose-poem textures I’ve seen, allowing strong narrative impulsion to drive the poetical dance into unsolved allegory.
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Simon Perril, Poems from “The Slip”. Latest section of a long sequence founded on a nominally (but not effectively) anti-lyrical position in reference to ancient Greek satire and pathos.
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Sandra Kolankiewicz, Two poems. Straight declarations of ecological concern in which the language is permitted to spill over the edges of the rational discourse.
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Carrie Etter, Six poems from ‘The Shooting Gallery”. Short, clear prose poems contemplating the latest batch of American school killings by focussing on neutral images of the contexts and experiences.
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Jesse Glass, Pain. Quite bouncy long poem on exactly the given subject, transgressing studious relevance in favour of imaginative leaps.
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Claire Crowther, Three poems — thoughtful, modern, precise, ironical…
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Luke Emmett, “So, dreams” and three more poems. Venturing out towards a no-man’s land of avant-garde secrecy, he here holds back enough to retain traces of a public scenario, crumbling at the edges.
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Steve Xerri, “EP: from the life” and two more poems. A thoughtful sequence addressed to Pound’s ghost.
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Tom Lowenstein, “Some delicate, if minor, interconnections”. Serious to flippant musings and bitings of the armchaired poet with unleashed brain.
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And finally, Nigel Wheale’s essay-review of Crimsoning the Eagle’s Claw: The Viking Poems of Rognvaldr Kali Kolsson Earl of Orkney, translated by Ian Crockatt.
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Peter Riley, the poetry editor of The Fortnightly Review‘s New Series, is a former editor of Collection, and the author of fifteen books of poetry (including The Glacial Stairway [Carcanet, 2011]) – and some of prose. He lives in Yorkshire and is the recipient of a 2012 Cholmondeley Award for poetry.
Peter Riley’s Collected Poems, containing work from 1962 to 2017, was published in two volumes by Shearsman in 2018, followed by Truth, Justice, and the Companionship of Owls from Longbarrow Press in 2019. An earlier book, Due North, was shortlisted for the Forward Prize in 2015. A collection of his ‘Poetry Notes’ columns has been collected in The Fortnightly Reviews: Poetry Notes 2012-2014, and published in 2015 by Odd Volumes, our imprint. An archive of his Fortnightly columns is here.
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Publication: Sunday, 11 October 2020, at 18:16.
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