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Seven short poems.

Lucian Staiano-Daniels: ‘and went down to the sea in ships the lightcreating air
untarnished’

Alan Jenkins at sea.

Anthony Howell: ‘Jenkins is a poet liberated (or sozzled) enough to allow the poem to follow its own music and conjure together phrases which project their melancholy magic.’

5 x 7.

John Matthias: ‘Feel the
Fetters Oh man of letters.
Yield to the testy awkwardness
You care not to confess.’

Eric Mottram’s Radical Poetics Seminars.

Hilson & McGarty: ‘The ‘nineties were seen by many mainstream commentators as a kind of Golden Age following the end of the Cold War and the supposed victory of liberal Capitalism. Eric, of course, saw through this as shallow.’

Five previously unpublished poems by Eric Mottram.

Simon Collings: Selected from a group of unpublished poems in the Eric Mottram archive at King’s College London.

Dark Times and Utopias in the Work of Eric Mottram.

Clive Bush: ‘Mottram’s abiding love of the poetry of the French poet, René Char, also gave him a sense of how the Second World War had transformed the world, a sense close to Orwell’s 1984.’

A Notebook of Materials Made under Stress.

Simon Collings: ‘Mottram’s life and work have been celebrated in recent years in a series of conferences held at King’s College London, where he taught.’

Kent Journal.

Eric Mottram: Between January 3 and April 1 1974 I went to America for the sixth time. On my way to holding classes at Kent State University…’

You Haven’t Understood.

Amy Glynn: ‘They say
nature is not schizophrenic, meaning the sigh
of the surf, and the ice-gleam and what you’re exhaling, it’s

the same thing.’

Long Live the King.

Eliot Cardinaux: ‘At the end of my biography
the goats were yelling

up a wholesome pitch’

Breaks Broken: Some Recent Poetry.

John Wilkinson: ‘Here I consider line-breaks or what might pass for line-breaks in recent work by two prominent contemporary poets, one American and one British, revealing a strange affinity in their different kinds of line-breaks.’ diminution into insignificance.

Four Poems on Affairs of State.

Peter Robinson: ‘That Haunted House across the park
with name in red graffiti letters
on tromp-l’oeil weatherboarding is
so very much the worse for wear…’

Each lexicon a labyrinth.

Alan Wall: ‘We have steamrolled our modern orthography and conventions on to the Shakespeare text. We should always try to get back to the original language of Shakespeare: it can be a revelation.’

Models.

Anthony Rudolf: ‘Posing for months on end for one statuette, with great pride and high hopes that it would be completed and cast and displayed in a glass case, Pauline watched the artist desperately try to improve and complete it. No such luck.’

Volume Five.

Rev. Andrew Louth: ‘The completion of the project of translating the Philokalia is an end that is also a beginning. Now we have in English a complete translation of the Philokalia.’