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Cluster index: John Taylor

Eight poems from ‘Mala kruna’.

Franca Mancinelli: ‘The morgue is a calm lake: the boats
oval like a woman’s seed,
the flesh where a son ever sleeps.’

Maria, towards Cartoceto.

Franca Mancinelli: ‘Among the hearts on the walls, I search, in jest, the initials of my name. I know they have also come here for me. They have knelt at the wooden pew, lit a candle. I was heading towards death, with the instinct of a migrating animal. But even the tiny divinities of the water and the heavens can be tricked: you find them beached, caught in nets, bewildered by their wounds.’

New poems from ‘The Little Book of Passage’.

da Libretto di transito By FRANCA MANCINELLI. Translated from the Italian by John Taylor. NON È SOLO preparare una valigia. È confezionarsi, vestirsi bene. Entrare nella taglia esatta della pena. Gesti a una destinazione sola. Calzando scarpe che non hanno mai premuto la terra, dormiremo nel centro dello sguardo, come neonati. IT’S NOT JUST packing […]


Pierre Voélin: ‘in the distance the processions move on

and he who is listening
behind the wall of foliage
remembers the promises of your name’

from ‘Blind Distance’.

From the editorial note: Pierre Chappuis is an essential French-language poet in a generation that includes Philippe Jaccottet, Yves Bonnefoy, André du Bouchet, Jacques Dupin, and Jacques Réda. His many published works include collections of critical essays, poetic prose, and poetry. Among his most recent books, all published by the Éditions José Corti, are Dans la foulée (2007), Comme un léger sommeil (2009), and Muettes emergences (2011). Distance aveugle (2000) and À la portée de la voix (2002), also brought out by Corti, are collections of short poetic prose. For his writing, he has won the two most prestigious Swiss literary prizes: the Schiller Prize in 1997 and the Grand Prix C.F. Ramuz in 2005.

Lorenzo Calogero: Six poems.

Lorenzo Calogero: ‘SO ALONE I am looking at poor clouds
and objects in the emptiness
of the high sunray; then hiding away
where no shadow dwells anymore
or no one at all.’

The problems and pleasures of ‘Le Probléme du style’

John Taylor: ‘Needless to say, in our present era, structuralist and post-structuralist readings of literature are hardly Gourmont-ish in flavour. Yet it has just occurred to me: are some of Roland Barthes’s sensitive, sensually attentive readings perhaps rather Gourmont-ish and therefore exceptions to this rule?’