PN Review Print and Online Poetry Magazine - Home

Time 2020-11-15 11:04:08

Web Name: PN Review Print and Online Poetry Magazine - Home

WebSite: http://www.pnreview.co.uk

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Beverley Bie Brahic, after Leopardi's 'Broom'Michael Freeman Benefytes and ConsolacyonsMiles Burrows At Madame Zaza’s and other poemsVictoria Kenefick Hunger StrikeHilary Davies Haunted by ChristWelcome to PN Review, 'probably the most informative and entertaining poetry journal in the English-speaking world' (John Ashbery)'If one of the defining characteristics of most magazines is that, like most bands, they have a short shelf life, then PN Review is immediately uncharacteristic. It's been going so long that many of us have all but forgotten what the P and the N stand for. I think of them as opening and closing the word Provocation. And that's why I so love the magazine.' - Paul Muldoon Keep up with the many worlds of poetry in this independent and always stimulating journal. For over four decades PN Review has been a place to discover new poems in English and in translation as well as interviews, news, essays, reviews and reports from around the world. Subscribers can access the complete, uniquely rich digital archive. Poet-subscribers can submit their work by e-mail.'The most engaged, challenging and serious-minded of all the UK’s poetry magazines.' - Simon ArmitageA PN Review subscription makes an excellent gift, with six issues a year and full access to the archive. Reduced rates are available for students.To purchase the latest issue of PN Review, follow this link.A friend first pointed out Rilke’s Letters to aYoung Painter at abookshop in Toronto. Months later – after seeing astatue of St. Catherine of Alexandria stepping on the head of Emperor Maxentius – atable with birds’ feet by Meret Oppenheim – Rachel Krobone’s 399 Days, with its orgiastic tangle of limbs that references Ovid, Dante, Michelangelo and Bernini – aclever floral bouquet made of glinting petal-like profusions of silverware (Ann Carrington, 2016) – and the vast expanse of the Ardabil Carpet – on aFriday evening at the V&A, Ihappened upon South Kensington Books, where, along with the Rilke, there was Marcel Proust’s Chardin and Rembrant, Vernon Lee’s The Psychology of an Art Writer, and John Ruskin’s Giotto and His Works in Padua. (You must bear with me, Ilive in asmall town where the only bookshop is in astrip mall with every second or third store boarded up and for lease. To occasionally find myself in aplace where Imight walk freely into ashop with an abundance of books or aspace brimming with art still fills me with excitement.) Rilke and Proust, Lee and Ruskin are part of the David Zwirner Books ekphrasis series, which includes unpublished, out-of-print and new writing about art, both serious and playful (from Degas and his Model and On Contemporary Art to Pissing Figures: 1280–2014 and Thrust: ASpasmodic Pictorial History of the Codpiece in Art), an assortment of slim volumes designed to slip easily into atote or pocket and carry along anywhere, with covers as mesmerizing as the rocks and minerals section of anatural history museumread moreIntertextuality, according to Wikipedia, is ‘the shaping of atext’s meaning by another text. It is the interconnection between similar or related works of literature that reflect or influence an audience’s interpretation of the text….’. I often tell my students that intertextuality is acumbersome and abstract word (Bernard O’Donoghue, in his Poetry: AVery Short Introduction, politely calls the term ‘rather elaborate’) for avery simple principle: that texts refer to other texts, because that’s the nature of texts – and it’s our human nature too, to connect. Admittedly, the term has its utility; it refers to something real. Nouns, however clumsy, have afunction when what they’re naming exists. But Ican’t think of agood name for another principle related to reading that also certainly exists – the way texts can suddenly, urgently refer to our lives at the moment we’reread moreAfter a hopeless night in a couchette the train was two hours late arriving. I had to rush across a Rome I don t know to get to my appointment on time. My tape recorder had already decided not to work and I was relieved. My motive, anyway, in arranging this interview had been more to have an excuse to meet a writer whose work I admire than to achieve a journalistic scoop, and tape recorders are embarrassing. Thus the interview was noted down immediately afterwards between showers of spring rain on the steps of Piazza di Spagna. Ginzburg was not disappointing. Small, white haired, bright eyed and modestly dressed, she met me in her office at the publishers Einaudi. Forthright in general and self effacing as far as her own work was concerned, she was quick to say she didn t know asread moreContributorsThis website 1999-2020 PN ReviewWe thank the Arts Council England for their support and assistance in this interactive Project.

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