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Index: Poetry & Fiction

‘Hurt Detail’ and two more prose poems.

Lydia Unsworth: ‘I swallow myself to sleep―on trains, in soon-to-be-demolished houses by the sides of rails. I raise my arm at the steamy driver, her eyes and the things we train them to deter. They say a foolish death is a happy one, that she who looks both ways has an excess of empty time.’

Ten prose pieces, five about men.

Mark Russell: ‘It is as common to etch a dying soldier’s last words into the warm black tarmac of the I-95 as it slips quietly past sleeping voters in the Carolinas, as it is to hunt for young boys and old women in the oily swamplands.’

As Grass Will Amend (Intend) Its Surfaces.

Peter Larkin: ‘grassings of an interior desertion    micro-stems where structural roots have been withdrawn      what is the browsing line to trees is hoof-opportunity for meadows, treads it abrasional dell, a measure of seed-craters’

Six small stories.

Georgia Wetherall (from ‘The Smokers Club’): ‘The man brought a pipe to our table and asked me what flavour I liked. I said something fruity. With or without tobacco? With, I tried to say, but my dad interrupted and said without.’

Four poems from ‘Credo’.

Stephen Wiest: ‘…the unknowing is how we live
Keeping us alive by asking or accepting
Until it kills us all’

Hung particles.

Iain Britton: ‘night illuminates a fresh complexion. water spouts up & pierces the sky
skittling groups of stars. a thermal mist dissolves. people stare at geysers
fuming from rocks.’

Three poems from ‘Sovetica’.

Caroline Clark: ‘In the winter
there was Captain Vrungel,
The Life and Adventure of
Four Friends—about dogs,
and Guest From the Future…’

‘Contra Mortem’ and ‘Journey to a Known Place’.

Stephen Wiest: ‘Publishing mostly with small presses, and avoiding academia until he was almost 60, his concerns for the poor, rural life, inequality and loneliness became the central subjects of his work. Well regarded for technical mastery of the many forms and modes of his poetry, and never settling on a particular voice, he called his style “miscellaneous”.’

Three gardens and a dead man.

Khaled Hakim: ‘this singing is a Brooderz whale tracking sardeenes a ded metafor in mysteerius deeps/did yoo tel me – This is dedd – yes its dedd, deed as Anglo Saxon’

‘Easter in Pittsburgh’ and other poems.

This recording is one of several made by poet Stephen Wiest and Denis Boyles in 1967 on a recording tour that also included sessions with Hayden Carruth, Paul Zimmer and Elliott Coleman.

Poems from ‘The Messenger House’.

Janet Sutherland: ‘During the second journey they met Captain Spencer, a travel writer, who had just emerged from Quarantine having inadvertently crossed and re-crossed a border in dense woodland. Captain Spencer writes about meeting Davies and Gutch in one of his travel books. I loved the roundness of reading both their accounts, something I hadn’t expected to find when I first read the family journals.’

As large as a typo: Two poems.

Pete Smith: ‘Been smoking all morning, I have;
scared if I stop the roses will hug me
and gag me with thorns and wet petals…’

From ‘Fulmar’s Wing’.

Jeremy Hilton: ’20 giraffes tall in a truck ferried in groups of
seven across the river Nile two
wheatears rest on a lonely hilltop a crossroads
appears twice in the mythical mind’

Eugene Dubnov, 1949–2019.

Anne Stevenson: ‘I suspect it was this personal, Romantic, very un-English sense of an enduring or eternal existence underlying Dubnov’s intense preoccupation with his own life that rendered his work inaccessible to many of his ‘post-modern’ contemporaries. His poems, however, convinced me that our mutual translations deserved an English publisher.’

One poem and one prose poem.

David Hay: ‘I have lived longer now than I ever knew you. Your voices are lost in the sharp darkness of puberty — those cruel years of useless angst I survived with a well-rehearsed yawn and Kurt Cobain’s broken-glass scream, thinking constantly of death.’