Summer 2014

Editorial by Martha Kapos
The quick and the dead

Poems

Denise Riley
Sorrow alone reveals its constant pulse | ‘They saw you coming’ | Another lyric | Shore-in | Orphic | ‘L’eclisse’

Colette Bryce
A Simple Modern Hand | A little girl I knew when she was my mother | Asylum

Simon Carnell
The Theatre of Insects

Angie Estes
Deep Field

GC Waldrep
The Animals That Love You, At Dusk

Shmuel Halkin
Lev Ozerov

Kathleen Winter
Advent | Animal Companion

David Kirby
The Minotaur

Ángel González
First Evocation

Katrina Naomi
Anti-ambient

Niall Campbell
The Water-Carrier | An Island Vigil

Anita Pati
Mal

Pascale Petit
Portrait of My Father as a Bird Fancier

Yousef al-Mahmoud
Enemy | Above the Carnations | Abu Hayyan in his own Hand-writing

Lesley Saunders
Olfactory | No-Name

Eoghan Walls
The Beast of the Galapagos | On Chelmno | On the Scaffolding of Babel

Mary Jo Bang
The Elastic Moment | The Last Two Seconds

Katherine Horrex
Time Trap: The Perpetual Moment | Pareidolia | Worn

Samantha Wynne-Rhydderch
By Means of a Frieze a Garden is Always with You | Losing It

Yi Lu
A Pipeline Will Soon Replace These Stones | Solo Dance | Carnation

Oliver Dixon
Permutations of a View

Reviews
& Features

Returning an Echo
Peter Robinson on the aspirations of Derek Mahon’s ‘adaptations’

Sardonic Vacancy
Michael Hulse on the troubling talent of Gottfried Benn

A Heart’s so Hard to See
Claire Trévien on translations of two individual sensibilities

Crossed Wires, Surges and Glitches
Paul Farley talks to Helen Mort

Faithful Poets
Declan Ryan on a poetry of contemplation and reflection

Sounds Out of Reach
Katy Evans-Bush on poets at the edges of experience

Episodes of Colour
Vidyan Ravinthiran on the perplexed music of three North American poets

Chuang-Tzu and Prospero
Caleb Klaces on the improbable range of Christopher Middleton’s work

Starter’s Orders
Julia Bird on first collections

Beyond the Front Page
Aidan Semmens on two poets’ use of empathy

Personal Projects
Sue Hubbard on Pamphlets and Chapbooks