The Page
poetry, essays, ideas
"In my view, accusing Place of racism is intellectually irresponsible. The idea behind this accusation seems to be that any writing that uses racist language or imagery is itself racist, and, if the writer is white, white supremacist. By that logic, any representation of racism would be racist. The study of racism would become impossible. At best, the study of racism could proceed only by further inflicting or exploiting the pain of what it studies." Aaron Kunin • Nonsite
"This is a book of many wonders and profound pleasures to which the reader will return and will savour again and again. Perhaps the British, too, have a ‘poets’ poets’ poet’." Ian Pople • Manchester Review
"But the sons and daughters of farmers continue to ward against Yeats's prophecy of ruin." Dan Barry • NYT
"[Stevie] Smith well understood the dangers a collected poems might present for poets who dared to gamble with tone, rhyme and metre. While Smith would blanch at a reviewer comparing her to Thomas Hood, her 1940s radio programme on his collected poetry sounds a telling posthumous caution; ‘certainly not a heavy volume in the intellectual sense, but be careful how you skip, you may miss something good, suddenly, unexpectedly’." Will May • Irish Times
"Analogies between the literary and the social are therefore justified in the hope of broadening form’s “ordinary usage.” Moreover, [Caroline] Levine needs to retain analogical connections between the way textual and political forms “shape what it is possible to think” in accordance with her central notion of affordances. Borrowed from design theory, “affordance” is invoked to “describe the potential uses or actions latent in materials and designs.” Interpretively speaking, the concept facilitates suggestive, if convenient, lateral slides that not only link (seemingly) unrelated phenomena—“What is a walled enclosure or a rhyming couplet capable of doing?” wonders Levine—but also highlight form’s “portability across time and space.” That is, if forms “organize” private, social, and institutional dimensions of experience, then the ways they “afford” those arrangements remain “stable over time,” allowing us to “agree” on how forms politically act “across materials and contexts.” David James • Public Books
"Seidel’s anti-lyricism (he provides gorgeous poetic interludes) is aesthetically and ideologically congruous, ultimately a way of saving poetry from itself. Poetry which doesn’t seem like poetry." Julian Stannard • Poetry Review "Being rich is not a crime, of course, but it’s noteworthy how often references to Seidel’s luxurious lifestyle come up both in his work and in discussions of it. The adoration of wealth seeps into critics’ minds, and then bubbles up as admiration for the poetry." Brooke Clarke • Partisan
"I first met Li Po in a Chinese literature in translation class at Cal State Dominguez Hills." Joe Linker • Berfrois
"Matthew Arnold’s God was a power, not ourselves, which makes for righteousness; that was bad enough; William James’s God was a power, one of ourselves (a regular guy and the Captain of the Team) working with us for our own ends, though neither He nor we know quite what these ends are—anyway, we pull all together. Whitehead’s God is slightly more respectable, as He ought to be; He is the Principle of Order. But like James’s God, he is wholly incapable of starting a Religion. TS Eliot • NYRB
"The brink of extinction, in Friel, is a surprisingly stable place." Fintan O'Toole • Irish Times
"Prosody’s about how objects and voices vibrate, and how they’re packaged, made compact, but not compact, at the same time—how they spread and become small and then dense. My second husband, Douglas Oliver, did these experiments where he put electrodes on people’s throats and got them to read poems, and then he compared graphs he got of what it was like for them to read a certain poem—say, by Alexander Pope. The graphs showed the shape of the poem, because they would always be similar. I was never very interested in the comparisons, but in the idea of the raw shape of the voice." Alice Notley • BOMB
"But all this activity, which created such a magnificent late harvest of literary innovation, was ultimately to no avail. The Humpty Dumpty of chequerboard Europe had fallen and all the modernist king’s horses and all the postmodernist king’s men were never to put it back together again. Modernism, in this account, is Europe’s bonfire of literary vanities; its luminosities the distress flares of a sinking Atlantis." Joe Cleary • DRB
"Citizen includes extracts from documentary film scripts, screengrabs of Zinedine Zidane headbutting Marco Materazzi at the 2006 World Cup, JMW Turner’s painting The Slave Ship and an essay on Venus Williams. Rankine, who was born in Jamaica and now lives in California, teaching at the University of Southern California, wins £10,000." Mark Brown • Guardian
"Someone could write a Ph.D. thesis on the role that inherited wealth has played in the history of American poetry. James Russell Lowell, Amy Lowell, Robert Lowell, Elizabeth Bishop, James Laughlin, Isabella Gardner, Frederick Seidel, and Harry Matthews all, with varying artistic results, benefited from it. As did James Merrill. Not only does money talk, it also sometimes writes poetry." Alfred Corn • The Smart Set
"Une des plus grandes voix de la poésie américaine, C.K. Williams, s'est éteint dimanche 20 septembre à son domicile, dans le New Jersey. Il avait 78 ans." Le Figaro
"I was going for something like Frost’s voice. Frost strikes me as Hesiodic in some ways, with the pastoral surface, the home-spun wisdom, but also the sophisticated erudition." A.E. Stallings • Partisan

"Capitalism has nothing to fear from an identity-driven struggle of any kind. As long as resentful white male poets feel entitled to assume the identities of the marginalised in a quixotic battle against political correctness, and as long as the marginalised wage their own equally quixotic battles in defence of cultural authenticity and identity fetishism, nothing will change." Ali Alizadeh • Sydney Review of Books

"Two orders of magnitude, you might say: Enzensberger, born in 1929, who has bestrode German poetry since the late 1950s, who was associated with Boll and Grass in Group 47, who grew up in the west, but were fiercely critical of it. And Jan Wagner , born in Hamburg in 1971, who has won more prizes in Germany than you can shake a stick at, though not the same ones as HME, apparently." Ian Pople • Manchester Review
"Experimental work always forces us to imagine analogous genres around it: Citizen: An American Lyric , Rankine’s new book, has the same subtitle as her previous book, Don’t Let Me Be Lonely (2004)." Lauren Berlant • BOMB
""It was on those long solo flights," [Scott Griffin] tells his audience at the TEDx Talk, "that I rediscovered the joy of reciting poetry." Around the same time, he discovered the money to be made in manufacturing arms components." Michael Lista • Canadaland

"I have not found a definition of the lyric essay which compels me, though I have spent much time contemplating the matter of the “essay,” and just as much the “lyric.”" Carissa Pobre • High Chair
"No poet has more closely woven poetry into her daily life, a poetry that is personal but never confessional; she guarded her privacy and that of her three children and husband of nearly 70 years with the clear knowledge that though there was nothing to hide, there was plenty to protect. What her art, as affectionate as it was astringent, required—first and last—was form: for her, formal prosody was essential; it was enabling." Eleanor Wilner on Maxine Kumin
"Wieners’s poetic legacy since his death has remained somewhat marginal. His work has been positioned in social proximity to the beats, despite considerable aesthetic differences; and it remains adjunct in the legacy of The New American Poetry, perhaps due to his deviances and lack of work in print." Nat Raha • Critical Flame
"There’s no one like a poet for pure jealousy of another’s advantage." David Mason • Hudson Review
"Compulsory reverence, on the one hand, open contempt on the other: these two extremes combined to leave Mayakovsky’s legacy, as poet and man, radically underexplored." Clare Cavanagh • TLS
"Poetry provides a place to dwell. It is not a literary "selfie." It formalizes, and actually creates a certain kind of experience." J Todd Billings • Huffington Post
"The possibilities of space, whether in Gloucestershire or Somerset, in Tuscany or New Mexico, the perceiving eye’s (as against the “I”’s) relation to it, and that relationship as recorded by other arts and artists, continued to preoccupy Tomlinson in a way that placed him outside the Anglo-American mainstream, whether that was embodied by Lowell or Larkin. He became a standing (or moving) reproach to the insularity of the Movement, and Larkin in particular." Alan Jenkins • TLS
"Elsewhere, though, and often, Tóibín nails it. He demonstrates the possibility of coming to life in someone else’s poem, in the long labor of sorting through and returning to it like any important event in one’s life. (Here, too, he reminds me of Bishop.)" Jonathan Farmer • Slate
"Likewise the power of so many literary evocations of night which rely upon our understanding that after dark the familiar daytime landscape and objects are still there, ready to use in stories, paintings, songs, and poems; still there, ready to be seen in the mind’s eye; still there, yet transformed by moonlight, shadow, chill air, diminished sense of depth; still there, “arranging, deepening, enchanting night.”" Daniel Bosch • Fortnightly Review
"We drank and talked and read poems – this was new to me - and I read a translation of an old anonymous Irish one that was wild and like a prayer, and I read it well. ‘Anonymous, he’s the best,’ said Dermot. ‘Because he doesn’t give a fuck.’" Philip O Ceallaigh remembers Dermot Healy • Stinging Fly
"I still wonder what my father might have written had he more time to contemplate his fate." Mick Heaney • Irish Times
"The best gift that a poet can give his or her I is to allow it to be its own cool animal. An I that is a wild thing, a mercurial trickster that resists all definition." Dorothea Lasky • Wave Composition
"Hence [PJ] Kavanagh’s admiration for the different yet complementary work of fellow poets such as that of his American friend Peter Kane Dufault, who wrote what he called “nature poems for grownups,” and, despite their occasional, fierce disagreements, that of Peter Redgrove (with whom he once undertook a drunken road trip together in a borrowed car around the west of Ireland)." Michael Caines Guardian "In a sad coincidence recently, an email announcing this year’s Patrick Kavanagh weekend arrived at around the same time I learned about the death of the other Patrick Kavanagh, the English one better known as “P.J.”" Frank McNally Irish Times
"[A]s I began to consider the women whose poems I have most admired in the last half-century it seemed to me that concern with the intimate rather than the social made for a peculiar integrity; that if poetry these days was less windblown by the excitements of the public world it was possibly no bad thing. In lyric poetry, certainly – which has been the great strength of poetry in the last half-century – an exploration of the personal has the authority of lived experience." Elaine Feinstein • PN Review
"No, he could not and would not “cut down” his manuscript. As he says in “With the Approach of the Oak the Axeman Quakes,” “You know there is no other poet on earth like me.” He may have been bragging, but he was speaking an undeniable truth." John Bradley on Frank Stanford • Rain Taxi
"Gregerson’s syntax acts as a strong forward current, carving a jagged path through the stony resistance of her lines and stanzas. Her best-known poems are written in the form of “Salt”: a three-line helix-like stanza with a corseted middle line, a shape that she invented and which Gregerson, not given to hyperbole, says “saved my life.”" Dan Chiasson • New Yorker

"Connecting with nature, Wordsworth suggested in Lyrical Ballads, sometimes means being prepared to up and “quit your books”, romping through forest foliage rather than the “barren leaves” of the academy." Sam Solnick TLS
"It’s occurred to me that since William Carlos Williams was a doctor, he, of all people, would have known about any negative molecular consequences of plum refrigeration." Sadie Stein • Paris Review

"The dynamic noise of a poetry workshop, its communal imperative, does compel young poets to be clear rather than complex, to be social rather than desolate. But the best education in the poetic art must oscillate between the two — between the need to dream fiercely and the need to communicate." Thomas McCarthy Poetry
"The party slogan, “Great Humanity,” comes from a poem by Nâzım Hikmet, whom many consider the greatest twentieth-century Turkish poet, though he spent most of his career in prison or in exile because of his Marxist views." Elif Batuman • New Yorker

"John Betjeman said: “I hold Charles Tomlinson’s poetry in high regard. His is closely wrought work, not a word wasted … ” For the American objectivist poet George Oppen, “it is [Tomlinson] and Basil Bunting who have spoken most vividly to American poets”. Tomlinson bridged the vast gulf between old and new world poetry, and was an heir equally of Dryden and Williams, Coleridge and Pound." Michael Schmidt • Guardian

"Gerry Adams (pictured), as Sinn Féin MP for West Belfast, led a delegation of language activists to the Arts Council on April 22nd, 1986. They met the council’s director, Ken Jamison, and the then traditional arts officer, Ciaran Carson. Mr Carson is now professor of poetry at Queen’s University Belfast." Irish Times
"I quickly began to recognise that Octavio [Paz] was a master with a vision of and for humanity and poetry that was as passionate as it was intelligent." Richard Berengarten Fortnightly Review
"A difficulty of poetic translation in our time has been the tendency to translate the poem, but to make little comparable effort to translate the poet." Eavan Boland Irish Times

"At the time, few women in Japan wrote poetry, and those who did typically used traditional forms to address domestic concerns. Sagawa sounded different: she wrote in free verse, not tanka or haiku, and her images were shockingly new." Adrienne Raphael • New Yorker

"'It’s a bit of a shock to find, all of a sudden, that I am driving Yeats!’" Avies Platt LRB
"One trouble with that old dispute in Australian poetry between the country and the city is that it misses this conscious largeness in [Philip] Hodgins’ work. As Roy Fisher put it in his poem ‘Six Texts for a Film 1. Talking to Cameras’: 'There’s no shame / in letting the world pivot / on your own patch. That’s all a centre’s for. / Anything else is politics …'" Lisa Gorton Sydney Review of Books
"[O]ne of the most demoralizing aspects of these changes is how [Ken] Babstock’s poetry has crossed into that area of initiates, best understood by those who claim to understand it. And as astonishing as it is to willingly transform oneself, in the span of five books, from an addictive substance into an acquired taste, On Malice may present even Babstock’s most ardent decoders with the chore of acquiring that taste anew." Carmine Starnino Maisonneuve "Rather than having liberated his work from its early rootedness in persona, Babstock has simply shifted the frieght of persona to the paratext. Whereas the most striking line in the Acknowledgments section of Mean offers “Deep thanks to everyone at The Banff Centre for the Arts—not least of all, the bartender with the Uncle Tupelo and Wilco albums,” its relative equivalent in On Malice tells us that “Fredric Jameson’s Valences of the Dialectic broke a silence, or opened on to one.” In the conceptual and rhetorical space between these two sentences of acknowledgement can be charted Babstock’s aesthetic journey thus far in all its dazzling ambition. In less than two decades he has not only irrevocably altered our poetic climate but briskly evolved multiple new ecosystems in which his fellow songsters can work and flourish. In the wake of On Malice, I think we should prepare ourselves for a raft of source-text experiments and procedural treatises. Because as Canadian poets, it’s Babstock’s planet we’re walking on." Stewart Cole Partisan "The effect of reading the book is akin to perusing mined data and trying to assemble sense from it." Jason Wiens Quill & Quire
"“The Third Hour of the Night” remains the apex of the series and indeed possibly of Bidart’s career." Christopher Adamson Boston Review
"The technical accomplishment is almost the least significant point of the collection. When it is done so well, it, like the ghosts that haunt many of the poems, is literally invisible." Stuart Kelly The Scotsman
"The acronyms make it clear that the AWP lives in a world of categories and abstractions. No mention of talent or imagination, development and growth. The political objective is – not to give offence." Michael Schmidt PN Review
"Part of the tradition of patriotism that I respect is one that I find in all the American writers that I admire." Robert Pinsky Irish Times

"With a confessional poet, it is the honesty that counts. With Cole, it seems, the confession is a seed that can and must be buried before it can bear fruit." Sean Hewitt on Henri Cole Prac Crit
"Where the poem isn’t a statement, it’s a questioning. The thing with the Beats was that it was a confessional thing. And the same with Lowell. But the thing about Ashbery was that he was completely outside of it, creating this world which the reader is invited to enter, and play with, and think about. So the emphasis isn’t on the personality of the writer – even though, no matter what John says, it is personal. There is personal stuff there, but it’s well wrapped-up. With a poem like ‘How Much Longer Will I Be Able to Inhabit the Divine Sepulchre…’, what he’s talking about is how much you dare expose yourself, your real feelings, to other people." Lee Harwood PN Review
"The institutions meant to uphold NZ literature are drooping on their piles. In some cases they have collapsed altogether. In a brave recent commentary piece called ‘Abandon Normal Instruments: A Call for Change in New Zealand Literary Arts’, Kirsten McDougall calls our ‘stagnating’ literary culture ‘a worn discarded toy that many people have forgotten how to play with.’ Here are some of the casualties: the New Zealand Book Awards and the BNZ Literary Awards have both recently lost their sponsorship. The Book Awards scheduled for 2015 did not take place at all. The prestigious Katherine Mansfield Menton Fellowship is fighting to secure funding, and its stipend has been cut. The future of the Berlin Writers’ Residency is under review. The National Schools Writing Festival, for promising high-school age writers, is on hiatus. Creative New Zealand writing grants have declined from what they were ten years ago by almost half." Joan Fleming Cordite
"Where on one’s naked body is there room for art, for artifice? And hadn’t poets been taking their clothes off, in some sense, for centuries before confessionalism? Like the Whitmans and the Wheatleys, and others so radical in their nakedness, we don’t remember their names? Not to mention religious poets like Herbert, Donne, Bradstreet—who were literally using the space of their poems to “confess” in the full glory of the word." Jake Orbison • Paris Review

"‘S’il vous plait,’ I said meekly, ‘parlez-vous anglais?’" August Kleinzahler • LRB

"While being an example of it, Underwood is a valuable observer of this phenomenon. It often manifests itself as a performance of selfhood; for example, in its fearful, guilty anticipation." Sean O'Brien Guardian
"Claudine Toutoungi’s ‘Cats Breakfasting’ is a beautifully lucid and subtle response to this inner structure of Craxton’s work, a poem that both sends the reader to the painting with opened eyes, and is totally of itself, needing no supporting illustration – ‘held with an internal and external pressure’." Judith Willson • New Poetries

"We at Enitharmon are all deeply saddened to hear of the death of Lee Harwood on Sunday 26th July. Not only a highly gifted and skilled poet, but a man of immense kindness and thoughtfulness." Enitharmon

"To learn to enjoy a poet, and to think we understand what a poet is doing, is to learn to understand that poet's conventions: to see what's new, and what's changed, in poets who seem (at first) to repeat themselves, and to recognize patterns, repetitions, inheritance in work that seems alien, chaotic, or all too new." Stephen Burt • Yale Review

"In sum, anyone can be a poet, and poetry appears indeed to be popular. But what is meant here, or should be meant, by poetry? What is its value?" Catharine Savage Bronson • Chronicles

"It’s time to write the obituary for New Formalism." Quincy R. Lehr • Raintown Review

"Apologies for making this personal, but this in miniature is the precise problem that has always bedevilled literary critics: the problem of how to balance feeling and fact, and how to translate subjective response (I love this poem) into informed judgment (this is a great poem)." Daniel Swift • The Spectator

"Encountering Wilson’s latest poems is akin to coming upon an orchid in the wild. Just as the carnal beauty of the plant stuns, a sonic richness, exotic (because precise) word-choice, and sculptural beauty in The Great Medieval Yellows encourage me to remain on the surface of the work." Karla Kelsey Constant Critic
"Because I am best acquainted with Armantrout’s relatively recent work, I was eager, for this series pairing a second book of poetry written over 20 years ago with a recently published second poetry collection, to locate Armantrout’s first two books, and to take a special look into the second to see something of the roots of this remarkable writer, who is associated with the L-A-N-G-U-A-G-E poets, but who also, like any original artist allied with any school or group, is very much her own stylist." Lisa Russ Spaar LARB
"When first published, The Shoshoneans offered concise and relevant insights into Dorn’s poetic ambitions. Nonetheless, these insights have had to wait for the retrospective and analytic framing of the current republication in order to come fully to view." Gerónimo Sarmiento Cruz Chicago Review
"Truth be told, even in the best of times, I’ve never been especially sweet on slice-of-life poems, particularly ones with a smarty pants edge." Wendy Willis LARB
"As a first collection Beauty/Beauty reveals an emerging voice with a distinctive feel about it." Mike Barlow on Rebecca Perry and others The Compass
"The point is not that the poem is cooked or raw, made or found, but that when we look at it we believe we see its wings move and its bright body shifting." David Orr NYT
"Here was major style. As if the world had been made as guilty pleasure. And what a relief from the more autobiographically-sourced, formally constricted, and directly ethical poets that I had admired and was trying to be and love still." Rodney Jones Partisan
"At a certain point, I realised that researching the historical record was inhibiting me. The poem went cold and progress slowed. In the end it took five years to complete, and only when I knew I was nearly finished did I begin a second wave of research, in which I tried to check that the things I’d invented weren’t too far off the mark. In the mean time, what helped me to bring my characters back to life (to me anyway) was thinking of three less obviously relevant figures: Tony Blair, Nick Leeson, and Myra Hindley." Paul Batchelor Poetry
"Who’s afraid of Frederick Seidel?" Eric Powell • Chicago Review
"I go to poetry for engagement with language and for revelations that are momentary rather than longer-term." Paul Muldoon • PN Review
"Read as a kind of kin or precursor to the movement’s evolution of protest and artistic testimony, Rich’s choices as she navigated her own American times help illuminate how the broader Black Lives Matter moment relates to the arts of past liberation efforts." Joshua Jacobs • The Critical Flame
"Having found modern philosophy to be a “logomachy,” as he called it some years later in a letter to his mother, he decided to reject the fellowship Harvard offered him; instead he put English roots down by marrying Vivien Haigh-Wood in June of 1915. He did some teaching at London’s Highgate School where, among the usual academic subjects, he also “taught” baseball." William H Pritchard on TS Eliot • Hudson Review
"I used to ignore where Rich’s poem was going. I was young enough that I just loved meeting the fox in the night and thinking of myself as all that female potential, "a vixen’s courage in vixen terms"." Ailbhe Darcy • The Critical Flame
"One poem I miss was about Mr. Drummond’s identification with Charlie Chaplin. Another was a morosely comic depth charge titled “Motionless Faces.” It read in part: “Acquaintances dead, teacher dead. Enemy dead. Fiancée dead, girl friends dead. Engineer dead, passenger dead. Unrecognizable body dead: a man’s? an animal’s? Dog dead, bird dead. Rosebush dead, orange trees dead. Air dead, bay dead. Hope, patience, eyes, sleep, movement of hands: dead.” Its absence is a bit of petit larceny." Dwight Garner • NYT
"Frost’s inaugural words weren’t the last ones, though. “The Gift Outright” endures in the version reproduced here. And other poets have capitalized on its problems, on what it says not only about American politics but also about political poeticizing. They use the uncertain occasion Frost keeps offering; they pay tribute in further questions." Siobhan Phillips • Poetry
"Many things about fairies, indeed, are most uncertain. We do not even know whether they die." WB Yeats • Irish Times (1890)
"Not eating replaced poetry, for Glück. But it also prevented it. Glück sought treatment when she worried that her disease would impede the work she needed to do." Siobhan Phillips • Massachusetts Review
"There are poets who’ve been responsible for helping open up the readership of American poetry in Britain, including Elaine Feinstein, who allied herself with America’s Black Mountain poets during the ’60s and ’70s (Charles Olson sent her his famous letter defining breath “prosody”), and more recently, Roddy Lumsden (who has apparently clocked up the most appearances by any British poet in Poetry) and Ahren Warner (current poetry editor of Poetry London). Lumsden is also series editor and instigator of the Best British Poetry annual anthology series modeled on Best American Poetry, published since 2011 by Salt (regrettably that former poetry press’s only surviving excursion into poetry), which along with the annual Forward Prize anthologies, and the journals Poetry Ireland, Poetry London, PN Review, and Poetry Review, showcase the latest work by the best-known figures in British and Irish poetry, with American poets also featured regularly in Poetry London, PN Review, Poetry Review, and The Dark Horse." Neil Astley Ploughshares
"The book is packed with terrific close readings, which often feel as if Hofmann is humming along with the poems he discovers for us, dwelling on each word until its particular resonances for the poem under discussion become apparent to all. (Is Hofmann’s workshop the place where New Criticism went?)." John McAuliffe • Poetry Review
"[Jon] Silkin’s poems have a didactic, even rabbinical, quality at times. His sermons can be knotty and difficult to follow, and sometimes sound a little portentous. But this poem, written when he was around thirty, and first published in The Re-Ordering of the Stones, has the manner of a restrained cri de coeur. Its argument is incontrovertible, like a newly delivered prophecy." Carol Rumens • Guardian
"Yet sometimes truly fresh ideas are promulgated through poems too; they may seem weird, unpoetic, ghastly, even illiterate." Bruce Whiteman • Hudson Review
"Atlantic, Harper's, they're all diminished. All magazines lose from the Internet. Eventually, they'll all be on the wire. Donald Hall • Union Leader

"This encounter is not the sole focus of the section. He includes poems by other authors and discusses how they make daring statements. But [Carl] Phillips's account of this sexual encounter dominates the section. In fact, it dominates the book. Has a book dedicated to the craft of writing ever included such explicit, autobiographical material from an esteemed educator and writer? Clearly, Phillips is not only interested in describing daring, he wants to wholeheartedly participate in it." Mike Puican • The Collagist
" I like doing close readings with my students, taking a hard, close look inside poems, hearing them notice things I might not. I like how, between us, we help each other pay sustained attention to the ways in which poems work. I think I’m able to give my students help and insight when it comes to improving individual poems and thinking about poetry as a discipline and as an art, and maybe some of that’s acquired from my practice as a poet, though maybe more from what I read. You always learn from good poems, though, whether by students of the craft or by poets of a lifetime’s experience. But I also know that if I had to teach every day of the calendar year, I’d never write poetry. For that, I need privacy, silence and time to let my thought process unravel so words can, if I’m lucky, occur to me in some kind of unforeseen, unaccountable way." Vona Groarke • Irish Times
"I have never made money from selling rare poetry volumes." Richie McCaffery • The Dark Horse
"Poetry has saved my life, made my life. Reading and writing it have taught me bravery and discipline." Victoria Kennefick • Irish Times
"The poem, which is called 'Gatwick', is a fantasy about a young official at passport control." Guardian Books Blog " If I worried about bad readers, I’d have given up writing poetry long ago." Craig Raine • New Statesman
"[John] Lucas confirmed that impression, saying of [BS] Johnson’s stint as poetry editor of the Transatlantic Review that “he behaved with great generosity as well as I think scrupulousness towards a lot of younger persons including myself who were sending him poems”. Lucas met Johnson in 1966, when, as a young lecturer at Nottingham University, he went to hear him give a talk there. On this occasion another aspect of Johnson’s personality was in evidence: “Johnson spent more or less the entire hour attacking the world of academe, and pointing out that people who were in the world of academe could be expected to understand nothing about literature at all”." Catharine Morris • TLS
"Yet no Jew walking through the door of American literary life at this time would have dreamed of writing in any terms other than the ones that the Allen Tates had established. The literature of the period that engages the issue of anti-Semitism—from Laura Hobson’s Gentleman’s Agreement to Arthur Miller’s Focus to Saul Bellow’s The Victim—says it all. The boldness of these books lay in writing about Jews; it did not lie in sounding like Jews." Vivian Gornick The Nation
"But the more closely we examine [Claudia] Rankine’s second-person subject, the more complex these questions become. “To everyone who generously shared their stories, thank you,” Rankine writes in the book’s acknowledgments. We discover, only at the end of this grievous testament, that we may have been reading the story of a composite you from the beginning. Perhaps the most brilliant innovation of Citizen lies in Rankine’s construction of this composite “you” which—as the dark double of Whitman’s first-person polity—allows us to register a plurality of unanswerable injustices through the felt urgency of an individual subject." Srikanth Reddy • Lana Turner
"Much of the poem is closed off to the reader — the situation is rendered in only the broadest of strokes, filtered through a speaker who isn’t forthcoming on the details. It makes for a strange sort of intimacy — on the one hand, the poem makes us privy to a private moment between two people. On the other hand, why that moment is particularly important is a mystery." Rebecca Hazelton • Poetry
"Yeats is 150." Eavan Boland, Denis Donoghue, Roy Foster, Terry Wogan et al Irish Times
"Even now I routinely misquote the second sentence, but who could forget the first? I, too, dislike it has been on repeat in my head since 1993; when I open a laptop to write or a book to read: I, too, dislike it echoes in my inner ear. When a poet (including me) is being introduced at a reading, whatever else I hear, I hear: I, too, dislike it. When I teach I basically hum it." Ben Lerner • LRB
"Delmore Schwartz was born in Brooklyn in 1913 into a household where more Yiddish than English was spoken, and the family relation to the world was characterized by a mix of crude and shrewd that is common to those profoundly not at home in the culture they inhabit." Vivian Gornick • The Nation
"Betrayal, murder, madness, maiming—Lear’s hard to beat. Just run through some of its mounting negatives in your head: “Nothing will come of Nothing”; “Never. Never. Never. Never. Never”; “They could not, would not do ’t”; “No, no, no, no! Come, let’s away to prison”; and “No, no; no life?” The articulation of “what is not” is breathtaking. " David Yezzi • Partisan
"Former winner Ciaran Carson makes the cut for the £10,000 prize for From Elsewhere, in which the Irish poet sets translations from the French poet Jean Follain against “original” poems inspired by those translations. Another award-winning Irish poet, Eiléan Ní Chuilleanáin, is picked by judges for The Boys of Bluehill, a look at memory and time." Alison Flood Guardian
"Over the phone in the fall of 1990, Miłosz described where to catch the bus to his house and cautioned me about the many “lacunae” in the bus schedule. I knew then I’d caught the golden ring of part-time jobs." Molly Wesling • Brick
"Readers uncertain whether they will enjoy 500 pages of [Craig] Raine’s inventive, frequently charming, but unapologetically opinionated company should turn to the piece inspired by the time Mary Whitehouse threatened to prosecute him for a sonnet titled “Arsehole”." Jeremy Noel-Tod • The Telegraph
"For admirers of [Ciaran] Carson’s poetry, From Elsewhere is a vital new part of his remarkable oeuvre. " Farisa Khalid • Asymptote
"It has been apparent for some time that Cole is the most important American poet under sixty. His late work has made the bland, generic poems of so many in his generation an embarrassment." William Logan • New Criterion
"Poetry: it’s more entertaining than anything Simon Cowell ever produced, and far more vicious." Sophie Heawood • Guardian

New poems

Maurice Scully Golden Handcuffs Review

Rachel Milligan Iowa Review

Mark Waldron Poems in Which

Michael Longley Poetry Review

Kathryn Maris New Statesman

Jana Prikryl The Baffler

Sarah Blake Berfrois

Daisy Fried Partisan

CK Williams Threepenny Review

Paul Muldoon New Yorker

Natalie Eilbert New Yorker

Ted Hughes Spectator

Don Paterson Guardian

Monica Youn Paris Review

April Pierce Wave Composition

John Ashbery PN Review

David Wheatley Tower Poetry

Charles Tomlinson Hudson Review

Ellen Cranitch Poetry Wales

Kim Addonizio Threepenny Review

Vincenz Serrano High Chair

Medbh McGuckian Gallery

Alan Shapiro At Length

Margaret Atwood Poetry Ireland Review / Irish Times

Kay Ryan Threepenny Review

Melissa Lee-Houghton No Falling Ribbons

Alan Gillis Poetry

Kay Ryan VQR

Paul Farley Guardian

Les Murray Guardian

Ken Babstock Coach House

Jacqueline Waters Chicago Review

Edward Doegar Poetry Ireland Review

Henri Cole PracCrit

Luke Kennard Stride

Nausheen Eusuf PN Review

Alice Notley Poetry

JL Williams The Compass

Justin Quinn Gallery

Dave Lucas Threepenny Review

James Tate Poetry

Jacob Polley The Compass

Cate Marvin The Rumpus

Gail McConnell Manchester Review

Marie Naughton Southword

Amy Newman Poetry

Matthew Zapruder Cortland Review

Theodore Worozbyt Manchester Review

Laura Scott Poetry Review

Togara Muzanenhamo Poetry International

Peter Sansom Manchester Review

Chris Andrews Manchester Review

Kay Ryan The Dark Horse

D Nurske Paris Review

Maura Dooley Poetry Review

Kathryn Maris The Nation

Sarah Howe Blackbox Manifold

Josh Bell New Republic

DA Powell Poetry

Fleur Adcock Guardian

Beverley Nadin Moving Poems

Monica Youn Poetry

Monica de la Torre The White Review

Kay Ryan Threepenny Review


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The Page aims to gather links to some of the Web's most interesting writing.

Reader suggestions for links, and other comments, are always welcome; send them to ät hotmail dõt com

The Page is edited by John McAuliffe, Vincenz Serrano and, since September 2013, Evan Jones at the Centre for New Writing at the University of Manchester. It was founded in October 2004 by Andrew Johnston, who edited it until October 2009.
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