Thursday, June 27, 2013

Poetry Magazines: A great site!

Poetry Magazines - About this site

This site contains Poetry Library's free access non-profit-making online archive of English 20th and 21st century poetry magazines which is part of the library's ongoing digitisation project funded by the Arts Council England.

The Poetry Library launched www.poetrymagazines.org.uk in 2003. It aims to reach new audiences and preserve the magazines for the future.

It already holds more than 6,000 poems published in over 50 different magazines, with work by Fleur Adcock, Jen Hadfield, Seamus Heaney, Michael Horovitz, Jackie Kay, Edwin Morgan, Paul Muldoon, Les Murray, Sheenagh Pugh, Owen Sheers, Fiona Sampson, Penelope Shuttle and many more.

The website has been selected by the British Library to be archived by its digital heritage web archiving project, the UK Web Archive.

Why Readers Disagree by Tim Parks | NYRblog | The New York Review of Books

Why Readers Disagree by Tim Parks | NYRblog | The New York Review of Books

Why Readers Disagree

Tim Parks


'In a world comparatively at peace now, Mr. Balfour tackles Benedetto Croce.'

“I love the new DeLillo.”
“And I hate it.”
It’s a familiar conversation: like against dislike with no possible resolution. Or alternatively: “I can’t see why Freedom upsets you so much. I didn’t like it either, but who cares?” Interest against disinterest; as when your wife/brother/friend/colleague raves about some Booker or Pulitzer winner and you feel vaguely guilty. “Sure,” you agree, “great writing, intriguing stuff.” But the truth is you just couldn’t find the energy to finish the book.

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Tuesday, June 25, 2013

Tanis MacDonald on Onion Man at Lemon Hound

Tanis MacDonald on Kathryn Mockler’s Onion Man

Onion Man, Kathryn Mockler. Tightrope Books, 2011.
by Tanis MacDonald

The individual poems of Kathryn Mockler’s Onion Man, which hover between a novel in verse and a long poem sequence, appear on the page in vertical chunks of text, rarely taking up a whole page or even venturing out into a long poetic line. One reviewer has compared the poems’ appearance to the cans of corn produced at the factory at which the protagonist works, and while that is true, the silence around each poem is as intriguing – and as fiercely frustrating – as the poems themselves. This unused space stands out as an eloquent refusal to explain; and it says everything about how young working-class women are trained to think about the future: as full of nothing.
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