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About KU’s Trollope Prize.
1. Last Kind Words, an anthology of poems after Geeshie Wiley’s song, edited by Peter Riley
2. ‘Ghost’ and eight more poems, by Veroniki Dalakoura, translated by John Taylor
3. The Metaphoric Graveyard, a short essay by Alan Wall
…and much more, below in this column.
Audio archive: Hayden Carruth reads Contra Mortem and Journey to a Known Place | James Laughlin reads Easter in Pittsburgh and five more | Peter Robinson reads Manifestos for a lost cause and Dreamt Affections| Daragh Breen’s Aural Triptych
More below. Scroll down.
4. New to The Fortnightly Review? Our online series is more than ten years old! YOU MAY NEVER CATCH UP, BUT YOU CAN START HERE: Peter Riley: Poetry Notes: Winter reading |Alan Morrison: June Haunting | Kallic Distance, explained by Michial Farmer | Thesis: Stravinsky. Part four of Tronn Overend’s comments on Adorno and music | Two uncollected personal poems by Roy Fisher, with comments by Peter Robinson | Anthony Rudolf reviews The Hölderliniae by Nathaniel Tarn (with an excerpt) | The reascent of Spengler’s Decline by James Gallant | Three new poems by Simon Smith | Tom Lowenstein’s poem To the Muses | Michael Hampton reviews Turner’s Loom | Le meutre: the death of Camus, reviewed by Michelene Wandor | Peter Larkin: Extract from Trees the Seed |Anthony Howell on Julian Stannard’s Freeing Up | Wanton and two more poems, by Michael Egan | Alan Wall on Melancholy’s black sun | Paul Cohen parses Words and Lies | Bruce Kinzer on Leslie Stephen and the Metaphysicals | Richard Johnson: The Present Dystopian Paranoia | Nights In and two more new poems by Anthony Howell Dreamt Affections, a sequence by Peter Robinson | Freedom and justice at the Warburg by Peter McCarey | A Brexit Fudge by Alan Macfarlane | The poem’s not in the word by C. F. Keary | Peter Riley’s Poetry Notes: An Anthology for the Apocalypse | Diderot: The Curious Materialist, by Caroline Warman | Cambridge and two more poems by Ralph Hawkins | Gerard Manley Hopkins: No Worst There Is None, by Alan Wall | Hoyt Rogers: Seeing with Words: Yves Bonnefoy and the Seicento | Dragon Rock, and two more short fictions, by Umiyuri Katsuyama, translated by Toshiya Kamei | Adorno and the Philosophy of Modern Music: Part three of the essay by Tronn Overend | Michael Buckingham Gray: Back to the drawing board, an extremely short story | Customer. Relationship. Management. A downloadable polemic by Sascha Akhtar | Strictly Scrum: Michelene Wandor on the life and work of James Haskell, flanker | Michial Farmer On Elegance | Telling it for ourselves: Simon Collings on the latest cinema news from Africa | Stephen Wade on the Good Soldier and his creator: The Good Writer Hašek | Six prose poems by Scott Thurston | The Seicento and the Cult of Images by Yves Bonnefoy, and ‘Seeing with Words: Yves Bonnefoy and the Seicento,’ by Hoyt Rogers | Jonathan Gorvett, In Djibouti with The Angel of Hulme | An Aural Triptych by Daragh Breen | Immanuel Kant and the origin of the dialectic, the second part of Tronn Overend’s essay on Adorno and music | Three bilinguacultural poems by Changming Yuan | The Optician, short fiction by Cecilia Eudave | (a bean) — fiction by Marzia D’Amico | Stories from The Jazz Age by Aidan Semmens | ‘The London Cage’ and three more poems, by Judith Willson | Manifestos for a lost cause: A sequence of poems by Peter Robinson | Seven new poems by Barry Schwabsky | The poetry of social commitment: Poetry Notes by Peter Riley | The poet as essayist, by Alan Wall | On Gathering and Togethering in Medellin by Richard Berengarten | Two songs by Tristram Fane Saunders | What Heroism Feels Like: Fiction by Benjamin Wolfe | Two poems: ‘Inbound’ and one untitled about Ziggy by Nigel Wheale | Iconoclasm and portraiture in recent fiction by Paul Cohen | The Weimar Republic and critical theory: Adorno on modern music. First in a series by Tronn Overend | From the archive: Art, constantly aspiring: The School of Giorgione by Walter Pater | Seven very, very short fictions by Tom Jenks | The Seicento and the Cult of Images by Yves Bonnefoy | Three poems after reading Heine by Tom Lowenstein | Six new poems by Johanna Higgins | Macanese Concrete by Peter McCarey | ‘Leave-taking’, the end of a left-bank affair. By Ian Seed | Peter Riley probes Laura Riding’s many modes and offers his 2020 list of summer reviews |Bibliographic Archæology in Cairo by Raphael Rubinstein | Steve Xerri: Ezra Pound’s life in verse — with two more new poems, one featuring Keats | New Poems by Carrie Etter and Anna Forbes | ‘So, Dreams’ and three more poems, by Luke Emmett | Simon Collings wanders Buñuel’s labyrinth of artifice | Matt Hanson on the Romaniotes in America | For Once, a short fiction by Susana Martín Gijón | Four prose poems by Jane Monson | Jesse Glass and the poetry of ‘ouch’, explained: Pain… | Three poems, one very prose-like, by Claire Crowther | Two new poems by Sandra Kolankiewicz | Michelene Wandor reviews a metro-anthology from London’s twin cities | Simon Collings interviews Jeremy Noel-Tod, anthologist of prose poetry | Alan Wall: How we see now. A Note on Inscape, Descriptionism and Logical Form | Simon Perril: Poems from ‘the Slip’ | Michael Blackburn reviews Byatt’s Odd Angel | Christopher Landrum looks through Chris Arnade’s candid camera at America | Nigel Wheale reviews Ian Crockatt’s translations of the Skaldic verse of Orkney | Osip Mandelstam’s Tristia, in a new translation by Peter McCarey | Anna de Noailles: Thirteen poems in versions by Anthony Howell | Meandering through the Belle-Époque with Anthony Howell | Peter Riley‘s Poetry Notes for Summer 2020 | Three collections of prose poetry: 1.Nine haibun by Sheila E. Murphy | 2.Hurt Detail and two more prose poems by Lydia Unsworth | 3.Ten prose poems, five about men. By Mark Russell | The Latest Event in the History of the Novel by Paul Cohen | Life after life: Viduities, an essay by Alan Wall | As Grass Will Amend (Intend) Its Surfaces, by landscape poet Peter Larkin | More delicate, if minor, interconnections. Poetry by Tom Lowenstein | What Peter Knobler discovered out Walking While White in New York City | Alan Wall reviews Ian Sansom’s autopsy of Auden’s September 1, 1939 | A few very short fictions by Georgia Wetherall | A Play — for 26 Voices by Alice Notley | Four new poems from Credo, Stephen Wiest‘s new collection | Nigel Wheale on the significance and frailty of Raymond Crump | Ottomania! Matt Hanson reports on three new Turkish titles | Cinema: Simon Collings looks into Andrew Kötting’s Whalebone Box | Gowersby. A new puzzle-fiction by Shukburgh Ashby | The Jinn of Failaka: Reportage byMartin Rosenstock | Five Hung Particles by Iain Britton | Three poems from ‘Sovetica’ by Caroline Clark | It’s about time—Boustrophedon time: Anthony Howell is Against Pound | When words fail: Alan Wall diagnoses Shakespeare’s Dysnarrativia | Olive Custance, Lord Alfred Douglas’s much, much better half. By Ferdi McDermott | Three gardens and a dead man by Khaled Hakim | Poems from The Messenger House by Janet Sutherland | Two new poems by British-Canadian poet Pete Smith | Mob Think: Michael Blackburn reviews Kevin D. Williamson’s Smallest Minority: Independent Thinking in the Age of Mobs | Natalia Ginzburg’s On Women. The first translation in English, by Nicoletta Asciuto | Alan Wall: Considering I, alone, An interrogation of the isolated first person | Anthony Howell reviews Christopher Reid’s ‘Love, Loss and Chianti’ | Jeremy Hilton: An excerpt from Fulmar’s Wing | Peter Riley: Hakim and Byrne and a spring storm of ‘Poetry Notes’ | Simon Collings with news of African films, including a review of Mati Diop’s Atlantics |Alan Price reviews Anthony Howell’s mind-body reflections | Franca Mancinelli: Pages from the Croatian Notebook, in a translation by John Taylor |Anne Stevenson: A tribute to Eugene Dubnov | David Hay: Two poems, one in prose | Four poems from ‘Lectio Volant’ by Steve Ely | Seven very short stories by Ian Seed | Advice from all over: Peter Riley on How to Write Poetry | Geoffrey Hill and the Perturbation of Baruch by Anthony O’Hear | Bird of four tongues by Manash Firaq Bhattacharjee | Deirdre Mikolajcik: Abstract Wealth and Community in The Way We Live Now (Trollope Prize) | Nyssa Ruth Fahy on A Less-Beaten Path: Trollope’s West Indian fiction (Trollope Prize) | Blame it on the rain: flash fiction on two wheels, by Michael Buckingham Gray | True love—at 103: Breakfast with Mrs Greystone by S.D. Brown | The last Mantegna: fiction by Michelene Wandor | My first thirty years: A serial by Alan Macfarlane | Quotidian verse: She went to the hospital for an infection. By T. Smith-Daly | Tradition, by Enzo Kohara Franca. ‘My mother’s parents didn’t make it easy for her. In 1938 they immigrated from Sendai, where all men are Japanese, to São Paulo, where all men are Brazilian.’ | Peter Riley: Autumn reviews of new poetry | George Maciunas and Fluxus, reviewed by Simon Collings | The Political Agent in Kuwait, by Piers Michael Smith | Mother child: fiction by Conor Robin Madigan | The marital subtext of The State of the Union, reviewed by Michelene Wandor | Swincum-le-Beau, a puzzle-fiction in the spirit of Pevsner. By Shukburgh Ashby | Gibraltar Point and three more poems by Iain Twiddy | Six quite brief fictions by Simon Collings | James Gallant: Puttering with E.M. Cioran | Blind man’s fog and other poems by Patrick Williamson | None of us: a poem by Luke Emmett | Rankine’s uncomfortable citizenship by Michelene Wandor | Languages: A Ghazal by Manash Firaq Bhattacharjee | Seven more poems by Tom Lowenstein | Five poems from ‘Mattered by Tangents’ by Tim Allen | Anthony Howell: Freewheeling through some post-summer reading | ‘Noise’ and three more new poems by Maria de Araújo | A shelf of new poetry books for summer reviewed by Peter Riley in ‘Poetry Notes’ | Film: Simon Collings on Peter Strickland’s In Fabric | Michelene Wandor reviews Helen Dunmore’s Counting Backwards | Mauritius in three voices, by Emma Park | The hidden virtues of T-units and n-grams, by Davina Allison | Peter McCarey reviews W.D. Jackson’s latest Opus | Seven new poems by poet-ethnographer Tom Lowenstein | Anthony Howell: Empyrean Suite, an afterlife collaboration with Fawzi Karim | Christine Gallant reviews Herb Childress’s book on the life of the Adjunct Prof | The talk of The Dolphin, King’s Cross, as reported by Michael Mahony | Franca Mancinelli: Eight poems from Mala Kruna, in translations by John Taylor | A short question: Who will read short stories? David McVey answers | Eavesdropping on Olmecs: New poems by Jesse Glass | Two new poems by Laura Potts | Simon Collings on existence and its discontents in Capernaum | Peter Riley: Reviews yet more new prose-poetry | Anthony Rudolf remembers Turkish poet, novelist and essayist Moris Farhi | James Gallant sheds new light on the Duchess of Richmond’s ball in Brussels | Theatre: Third Person Theatre Co., and ‘The Noises’ reviewed by Anthony Howell | A fourth gulp of prose poems from ‘The Dice Cup’ by Max Jacob in a new translation by Ian Seed | Lots more short fiction: A new item by Michael Buckingham Gray and a full half-dozen by Simon Collings | Apollo 17 and the Cartoon Moon: Lunar poetry by James Bullion | Juvenal may be missing his moment: Satire for the millennium by Anthony Howell | Pickle-fingered truffle-snouter: fiction by Robert Fern | April Is the Cruellest Month: London fiction by Georgie Carroll | The Beginning and the End of Art…in Tasmania. By Tronn Overend | Kathy Stevens’s plate of fresh fiction: Everything in This Room is Edible | Boy, a new poem tall and lean by Tim Dooley | Beckett, Joyce, words, pictures — all reviewed by Peter O’Brien | Even more new translations by Ian Seed from Max Jacob’s Dice Cup | Poetry written in Britain’s ‘long moment’: A dialogue and portfolio of work by Peter Robinson and Tim Dooley | ‘Remembering Ovid’, a new poem by Alan Wall | Four new poems by Luke Emmett | Hugo Gibson on Discount entrepreneurship and the start-up accelerator | ‘Half a Black Moon’ and three more new poems by Seth Canner | Martin Stannard’s life-lessons: What I did and how I did it | Anthony Howell on three indelible images left after a season of exhibitions | You good? Anthony O’Hear reviews Christian Miller’s The Character Gap. | Peter Riley on Olson, Prynne, Paterson and ‘extremist’ poetry of the last century. | Three prose poems by Linda Black,with a concluding note on the form | Simon Collings watches Shoplifters, critically | Tim McGrath: In Keen and Quivering Ratio — Isaac Newton and Emily Dickinson together at last | Daragh Breen: A Boat-Shape of Birds: A sequence of poems | Peter Riley reviews First-Person ‘Identity’ Poems: New collections by Zaffar Kunial and Ishion Hutchinson | Marko Jobst’s A Ficto-Historical Theory of the London Underground reviewed by Michael Hampton | José-Flores Tappy: A Poetic Sequence from ‘Trás-os-Montes’ | Nick O’Hear: Brexit and the backstop and The tragedy of Brexit | Ian Seed: back in the building with Elvis | Nigel Wheale’s remembrance of ‘11.11.11.18’| Franca Mancinelli: Maria, towards Cartoceto, a memoir | Tamler Sommers’s Gospel of Honour, a review by Christopher Landrum | Typesetters delight: Simon Collings reviews Jane Monson’s British Prose Poetry | In Memoriam: Nigel Foxell by Anthony Rudolf | David Hackbridge Johnson rambles through Tooting | Auld acquaintances: Peter Riley on Barry MacSweeney and John James | ‘Listening to Country Music’ and more new poems by Kelvin Corcoran | Latest translations by Ian Seed from Max Jacob’s The Dice Cup | Claire Crowther: four poems from her forthcoming ‘Solar Cruise’| Anthony Howell on the lofty guardians of the new palace | War and the memory of war, a reflection by Jerry Palmer | The ‘true surrealist attentiveness’ of Ian Seed’s prose poems, reviewed by Jeremy Over | Antony Rowland: Three place-poems, a response to Elizabeth Gaskell’s Life of Brontë | New fiction by Gabi Reigh | Simon Collings reviews ‘Faces Places’ by Agnès Varda and JR | Ian Seed’s life-long love of short prose-poems | Michael Buckingham Gray’s extremely short story: ‘A woman’s best friend.’ | Simon Collings’s new fiction: Four short prose pieces | Anthony Costello: ‘Coleridge’s Eyes’ were his shaping spirits | Anthony Rudolf remembers poet and broadcaster Keith Bosley | Michael Hampton on Jeremy David Stock’s ‘Posthuman and categorically nebulous art writing’ | Peter O’Brien meets Paulette, Martin Sorrell’s ‘extravagent mystery’ of a mother | Anthony Howell reviews Lady Mary Wroth’s Love’s Victory | :: For much more, please consult our partial archive, below on this page.
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Tarn’s ‘Hölderliniae’.
A Fortnightly Review.
The Hölderliniae
By Nathaniel Tarn
New Directions [April 6, 2021]| 112pp | $16.95 £13.99
By ANTHONY RUDOLF.
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Und wozu Dichter in dürftiger Zeit? What use are poets in perilous times? – Hölderlin
The Hölderliniae is one of Tarn’s most important books…a truly major work in which poet, anthropologist, translator and literary critic come together.
The Hölderliniae is one of Tarn’s most important books, perhaps the most important. It demands and deserves the closest attention. It is a truly major work in which poet, anthropologist, translator and literary critic come together. The intensity and power, the imbrication and musicality, the driving rhythm and complex syntax, in short the poet’s brain work and heart work, generate a singular and beautiful book. A thousand years old, working among his books and memories, in the company of a loved one (unlike the heroic H.), he has dug deep and raised this material to the surface whence we in turn go deep. The “boue” is “gold” as in the cancelled line from Les Fleurs de Mal.
Finally, an admission: the poet is a friend of mine. He and I are the last survivors of those who performed at the inaugural Poetry International in London in 1967. Everyone else has “left the conversation”, to use the phrase of one of the performers, Yves Bonnefoy. I, a boy at the time, owe Nathaniel Tarn a great debt of gratitude for god-fathering my earliest Bonnefoy translations. He did not ask me to write a note on his book, but the book itself did.
An excerpt:
The Hölderliniae 1
It is a question of a murder: a man is murdered wishing
to live a life He’s not allowed to lead over two hundred
years ago. He wished to be a poet. His folks wanted a
clergyman. He fought long, hard and, at the end, He lost
his mind. A question then of being murdered, of being
slowly murdered. By life which turns to death as birds
drop sky to ground, at faint of gnat biting your cheek.
While sky falls into trees, trees fall to ground, ground
falls to lake and lake into the deepest ocean, for which
the gods — those mirrors of our fates decked out in blue
evaporating coral — will never raise themselves to gather
back the sky. And/Und & But/Aber: impossible to see,
to witness gods in high sky shining down on where
one lives because that domicile is being murdered also.
In sleepless nights before dead fires, assassinated fires:
no coming up for air, no pass from worm to fish, from
fish to ape, from ape to —— what! this thing is human?
this thing debased, massacred, gassed and paralyzed,
ghost-like legions of murdered men: when wars decide
never to end, never to terminate, when wars begin again
at cap drop, enter our lungs: we can no longer breathe.
It is a question of being murdered day by day, night after
night with not a single breathing space between a sleep
and sleep, become the one escape, the only right royal
residence left in the universe — and sleep turns into death
without a warning. Which hey! is being murdered, ended
just like He was by loss of sanity, by loss of mind, by
golden girl dying of death: what else — the bitter husband?
Among great Hymns, Odes, Elegies, and Fragments: He
spoke it first, wrote of it first, “Mich reizt der Lorbeer. Ruhe
beglückt mich nicht” / “It is the laurel that I want, not peace
and quiet.” Singer of rivers reversing time: if there’s a single
drop of life left in this man, this man is being slowly murdered:
it is become of him, because he lived and died among the dying
peoples, the deaf, the paralyzed, the gods.
Death has a thousand cards to play. Life only one.
—Nathaniel Tarn, from The Hölderliniae.
♦
Anthony Rudolf is author of Silent Conversations: A Reader’s Life (Seagull Books/University of Chicago Press, 2013), European Hours: Collected Poems (Carcanet Press, 2017) and the translator of Yesterday’s Wilderness Kingdom by Yves Bonnefoy (MPT Books, 2003).
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Publication: Thursday, 11 February 2021, at 00:22.
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