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Author Archives: The Editors

India Objectified.

Tom Lowenstein: ‘This, in sum, is a book that could not have been written or presented differently. It is bewildering in both its wealth and diversity, and no single “native” devotee could know about or understand so many other traditions.’

Two short poems.

Alan Wall: ‘You promised me
your imprimatur
But I knew in your heart you were
always a traitor’

Observing the suffering self.

Anthony Rudolf: ‘His philosophy was practical and his practice, developed during years of work when his resilience and courage were tested, had affinities with aspects of, on the one hand, the existential psychotherapy of Viktor Frankl and Hans Cohn (like Heimler, Cohn was also a poet) and, on the other hand, cognitive behavioural therapy, later to become so popular.’

Surfaces the Deeper the Oak.

Peter Larkin: ‘elementary credentials not posing this clearance as landscape,
oak chokings its non-sedimentary counter-host’
nest-racks weren’t purged for new instruments, merely
a tree’s vertical layers can be so exposed, parodied’

Disinterest and Aesthetics II.

Tronn Overend: ‘With the collapse of the Modernist project, nearly one hundred years ago, “art has only a slender chance of survival”. Certainly, in Scruton’s view, the art of a Biennale or a Triennial would be dismissed as “sterile”, “kitsch”, a “cliché”.’

On the Spirit of Poetry in a Time of Plague.

Berengarten: ‘Curiously, far from separating us, COVID emphasises our community and, perhaps, even creates our communality, which is inevitably universal, since nobody (human), even if inoculated, can be entirely excluded from the risk of catching this plague.’

More trouble with genre.

Simon Collings: ‘The texts in “Why are you here?” comprise a spectrum of short prose forms, many of them deliberately pushing against accepted rules about genre.’

Plum Pudding Books.

Anthony Howell: ‘…ponder the garden of forking paths that a library may conjure up in the mind of a writer such as Borges.’

Four short texts.

Jeff Friedman:’They cut off his skin and draped it from the window, so the sun would dry it. They collected his teeth and bones in a metal box and later donated it to the museum of kings.’

‘oracle’ and ‘Mary Does Laugh’.

Kate Ashton: ‘they did not choose virginity
once understood the hunger
for despoilment they knew’

Of Peace and Strife.

W.D. Jackson: ‘He ran so hard he lost his breath:
With one last desperate bound
He briefly soared to a hero’s death
And smashed into the ground.’

The Hills and the Desert.

Anthony Rudolf: ‘Jabès left Egypt for Paris after Suez. Vigée, after almost a year in the Jewish Resistance based in Toulouse (he was the last survivor), left for the USA where, as a French poet, he was an exile.’

Passion framed by silence.

Michelene Wandor: ‘The Great Passion is clearly what we would call a ‘literary’ novel (a tautology! How could imaginative writing be anything but literary?). Useful definitions claim the literary as a novel which doesn’t race along on a plot axis, may be considered ‘serious’, perhaps belonging to ‘high’, as opposed to mass or popular, culture. It may garner prizes, possibly move at a slower pace than, say, a spy novel or a thriller.’

Why I am not a philosopher.

Alan Wall: ‘I do have a fondness for the philosophical miscreants, the delinquents of the humanities block. Kierkegaard is at his best when he is destroying the philosophical pretensions of Hegel.’

J’accuse…injustement.

Anthony Howell: ‘It is a stressful read, an account of one man’s very real suffering, given the uncertainty as to the outcome, the steep expenses incurred in hiring a legal team for defence (over a hundred thousand pounds, only fractionally remunerated), as well as the shredding of a personal and professional reputation’