Winter – Spring 2024
The Fortnightly Review in 1869.
Welcome to this Winter–Spring issue of The Fortnightly Review. As many of our readers know, Denis Boyles, the founding editor of Fortnightly’s online series, passed away last November after a short illness. Much shock and sadness followed Denis’s death, but alongside this new realisation of his loss was the firm desire among Denis’s family and the review’s editors to pick up where Denis left off, as we all believed he would want Fortnightly to continue. This undertaking was daunting since most of the new work acquired by Denis existed only on his computer or in emails. We all quickly came to realise that Denis was Fortnightly. Denis was a gracious editor and had become a trusted friend to many poets and writers who had the good fortune of meeting him through The Fortnightly Review. The work that Denis acquired but had not yet published has taken on extra meaning now. This issue represents that work and the authors Denis so dearly cared about. Denis Boyles was indeed an editor of excellence. Rest in Peace, Denis. We offer this issue in your memory and will continue in your lead.
—Katie Lehman, Associate Editor
Denis Boyles (1946–2023)
—in memoriam—
(for Richard Berengarten’s tribute see here)
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The Fortnightly Review was built in part on the publication of works in serial form, including Anthony Trollope’s three novels, The Belton Estate (1865–66), The Eustace Diamonds (1871–73), and Lady Anna (1871). We include in this issue two new serials, Anthony Howell’s epic-in-progress The Runiad and Alan Wall’s novel White Ivory.
from The Runiad
Anthony Howell
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from White Ivory
Alan Wall
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Poetry
Melita Schaum, Still Life
Linda Black, ‘Three Postcards’ and a Prose Poem
Will Stone, Immortal Wreckage
Peter Blair, Snapshot, Sachsenhausen
Lucian Staiano-Daniels, Seven Short Poems
Olivia Tuck, Four Prose Poems
Tony Kitt, The Back of Beyond
Moriana Delgado, Two Poems
Lucy Hamilton, from Reverse | Inverse
Sheila E. Murphy, Six Haibun
Steven Matthews, Thirties Street Photo
Kitty Hawkins, Kingfishers and Cobblestones
Mark Scroggins, Zion Offramp 76–78
Marc Vincenz, Come Dancing with Me
Chloe Phillips, Please Swipe Right
Christopher Merrill, from ‘On the Road to Lviv’
David Greenspan, On Learning the Poet I Admire Often Carries a Pocket Knife
Kymberly Taylor, Alice B. and Gertrude in Their Photographs
Peter Larkin, A Stubble Like Stars
John Taylor, with drawings by Sam Forder, In Memory Of
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Fiction
Simon Collings, with collages by John Goodby, Some Guts
Peter Robinson, The Campus Novel
Meg Pokrass, Three Short Fictions
Ian Seed, Mariangela
Rupert M Loydell, Three Texts
Melita Schaum, Vessel
Alan Wall, Charlie Boy and Captain Fitz: A One-Act Play
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In Translation
Franca Mancinelli, A Sowing of the Sky, translated by John Taylor
Marina Tsvetaeva, Snowdrifts, translated by Belinda Cooke
Pierre Jean Jouve, Poems from Prière (1924), translated by Will Stone
Pietro di Marchi, Six Prose Poems, translated by Peter Robinson
Jean Frémon, The Goddess of Emptiness, translated by John Taylor
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Reviews
Garin Cycholl, Review of John Matthias’s Some Words on Those Wars
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Commentary
G. Kim Blank, Civilizing, Selling, and T. S. Eliot Curled Up behind the Encyclopædia Britannica
Peter Middleton, On the Difficulty of Reading Susan Howe’s Articulation of Sound Forms in Time
Tronn Overend, Samuel Alexander on Beauty
Conor Robin Madigan, Master Singer
Igor Webb, Never Again
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Fortnightly Film Commentary
by Simon Collings
Carrying the Past: The Afterlight by Charlie Shackleton
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Will Stone Essays
Missing in Mechelen: The Search for Estera Pesa Nasielski
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Alan Wall Essays
Stanley Kubrick: Sex in the Cinema
‘King of Infinite Space’: The Virtue of Uncertainty
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