Search results for ""carcanet press""

Few novelists have taken films as seriously, or been closely involved in so many aspects of the film business all their lives, as Graham Greene. Even at University he was touching on it. His long-term experience of the evolving art included producing, performing, script-writing and adaptation. Not to mention the libel case against him brought by Miss Shirley Temple for some disobliging words. Mornings in the Dark gathers some of Greene's best film criticism with a mass of related material: his film articles, interviews, lectures and radio talks, stories for film, letters and film proposals. With appendices on Greene's own films and unfulfilled film projects, and David Parkinson's introduction, this is an essential collection for readers of fiction and film enthusiasts alike.

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This is the third Selected Poems by Edwin Morgan from Carcanet, but the first since 2000 and the first to cover the full range of his poetry from his first collection in 1952 to his last in 2010, the year of his death at the age of ninety. All his different voices speak here - animals, inanimate objects, dramatic monologues by people, (famous people, unknown people and imaginary people) - in a multitude of forms and styles - sonnets, science fiction, concrete, sound, his own invented stanzas - together with his evocations of place, especially his home city of Glasgow, and a wide selection of his deservedly famous love poems. They all illustrate his incurable curiosity and a kind of relentless optimism for humanity.

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A Times Literary Supplement Book of the Year 2020. A Telegraph Book of the Year 2020. In Squid Squad: A Novel we join Natalie Chatterley, Angus Mingus, Nerys Harris and friends as they make recordings of the doorbell, uncrumple their cash and fling their walnuts from the window. They contemplate the spaces between the spaces between things and compare the rhythm of rhetoric to the rhetoric of rhythm, while around them chickens feed on chestnuts, nuthatches nest in bicycle baskets, and budgerigars sulk themselves to sleep. The second half features shorter stand-alone poems. Here, poetic form is given a playful reworking: a poem to be spoken in a single breath, a poem made entirely of questions, a series of three poems in the form of university mark schemes, and poems that explore the possibilities of the list as a verse form.

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Finalist for the 2021 Glenna Luschei Prize for African Poetry. This is the very first anthology of Ethiopian poetry in English, packed with all the energy, wit and heartache of a beautiful country and language. From folk and religious poems, warrior boasts, praises of women and kings and modern plumbing; through a flowering of literary poets in the twentieth century; right up to thirty of the most exciting contemporary Amharic poets working both inside and outside the country. These poems ask what it means to be Ethiopian today, part of a young fast-growing economy, heirs to the one African state which was never colonised, but beset by deep political, ethnic and moral problems.

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Chosen as a TLS Book of the Year 2019. This vital collection restores to print and prominence the work of Douglas Crase, a poet of revisionist invocations of the American landscape and transcendentalist tradition. Douglas Crase is best known for a single book of poems, The Revisionist (1981). In the year of its publication John Ashbery urged Carcanet to consider it for British publication and now, thirty-eight years later, the book appears together with the chapbook entitled The Astropastorals (2017), which together constitute the core of Crase's poetic work. He is among the crucial poets of his generation, but until now his work has not been widely available. An heir to Whitman, to Crane, to Ashbery, Crase deploys what he calls an American 'civil meter', throwing down a wry distinctively American prosodic gauntlet to readers and writers that is likely to be as discussed as Williams's 'variable foot'.

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A Poetry Book Society Autumn 2019 Wild Card Selection At the heart of In Her Feminine Sign, Dunya Mikhail’s luminous new collection of poems, is the Arabic suffix taamarbuta, `the tied circle’ – a circle with two dots above it that indicates a feminine word, or sign. This tied circle transforms into the moon, a stone that binds friendship, birdsong over ruins, and a hymn to Nisaba, the goddess of writing. With a deceptive simplicity and disquieting humour reminiscent of Wisława Szymborska, and a lyricism wholly her own, Mikhail slips between her childhood in Baghdad and her present life in Detroit, between Ground Zero and a mass grave, tracing new circles of light.

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Shortlisted for the Scottish Poetry Book of the Year 2021. This first anthology of 'Apocalyptic' or neo-romantic poetry since the nineteen-forties includes over 150 poets, many well known (Dylan Thomas, W.S. Graham), and others quite forgotten (Ernest Frost, Paul Potts). Over forty of the poets are women, of whom Edith Sitwell is among the most exuberant. Much of the contents has never previously been anthologised; many poems are reprinted for the first time since the 1940s. The poetry of the Second World War appears in a new context, as do early Tomlisnon and Hill. Here readers can enjoy an overview of the visionary-modernist British and Irish poetry of the mid-century, its antecedents and its aftermath. As a period style and as a body of work, Apocalyptic poetry will come as a revelation to most readers.

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Shortlisted for the Derek Walcott Prize 2020. Longlisted for the 2020 Polari Prize. A Telegraph Book of the Year 2019. The highly anticipated new collection from Forward Prize-winner Kei Miller explores his strangest landscape yet - the placeless place. Here is a world in which it is both possible to hide and to heal, a landscape as much marked by magic as it is by murder.

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A Poetry Book Society Spring 2019 Recommendation. In Discipline, her third collection, Jane Yeh depicts a haunting and hilarious variety of lives, from an endangered young rhinoceros to the denizens of the 1980s New York club scene. These multifaceted poems explore what identity isn’t and is, as performance, as struggle, as change, as art, with penetrating wit, channeling the voices of outsiders, artists, misfits, and others. Discipline inhabits the space between the real and the surreal, a mash-up of deadpan humour and heartbreaking imagery where novelty T-shirts and lady astronaut centaurs can coexist. The poems are triggered by videos, paintings and installations by contemporary artists, animals and city life. They bristle with striking details and observations. Imaginary landscapes converge with episodes from recent history: power, resistance and the structures of oppression are seen inexorably in operation. These miniature dramas perform their own autopsies: `Sweet, then sour. My lips the colour of Doubt’.

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Longlisted for the 2019 Michael Murphy Memorial Prize Shortlisted for the 2019 Seamus Heaney First Collection Prize Shortlisted for the 2019 Somerset Maugham Award from the Society of Authors Shortlisted for the 2018 T. S. Eliot Prize. Winner of the 2018 Forward (Felix Dennis) Prize for Best First Collection. A Poetry Book Society Spring 2018 Recommendation. Wandering in central Europe, a traveller observes and records a landscape of lakes, folk culture and uneasy histories. Phoebe Power's Shrines of Upper Austria gathers numerous stories and perspectives, such as the fragmented narrative of an Austrian woman who married a British soldier after the Second World War, and the voices of schoolchildren and immigrants. Strange discoveries are made: a grave for two dead goats; a lantern procession on the night of Epiphany; a baby abandoned by a river; a homemade frog-puppet. The poems are a collage of stories and histories, set in a variety of forms and registers. They are attentive to local detail, rich in the names of people and places - Marija, Omegepta, Eck 4 and the Loser Mountain. Mixing poetry and prose, image and narrative, German and English, Power's poems are a celebration of creativity in unlikely places. Against a disquieting backdrop of mild winters and memories of snow, they invite us to question what it means to feel at once a stranger and at home.

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`I was born in Belgium, I’m Belgian. / But Belgium was never born in me.’ So writes Leonard Nolens in `Place and Date’, which captures a mood of political and social disillusionment amid a generation of Dutch-speaking Belgians. And throughout this selection we encounter a poet engaged with the question of national identity. Frequently the poet moves into that risky terrain, the firstperson plural, in which he speaks as and for a generation of Flemings, embodying an attitude towards artistic and political commitment that he considers its defining mark. `We curled up dejectedly in the spare wheel of May sixtyeight’, he writes in the selection’s central sequence `Breach’. Nolens’ poetry is haunted by giants of twentieth-century European lyricism, by Rilke, Valéry, Neruda, Mandelstam and Celan, with whom he has arguably more affinity than with much poetry from the Dutch-language canon.

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Wales Book of the Year 2018. Winner of the 2018 Roland Mathias Poetry Award. Shortlisted for the 2017 T.S. Eliot Prize. The opening poem sequence, 'Diary of the Last Man', sets the tone for Robert Minhinnick's book, a celebration of the dwindling Earth, an elegy, a caution. His Wales is a touchstone; other landscapes and cityscapes are tried against it, with its erratic weather, its sudden changes of mood, 'a black tonic'. The sequence remembers all the geographies of his earlier work, old and new world, but now unpeopled and the lonely spirit free to go anywhere, do anything, but meaning with mankind has drained away. Yet still alive, and still with language, registering. The rest of the book is filled with voices: of children, of rivers, terrorists, magicians; and voices translated from the Welsh, and from Turkish and Arabic, shared, enriching with their difference, their other worlds. History washes over and washes up on the strand of this Welsh book. It is seen and recognised, it begins to be transformed. In the long concluding poem, 'The Sand Orchestra', the poet returns to his own voice, and to the voice of a Bechstein piano abandoned in the open air, played now by nature, its winds and sand. The last man, who has been looking for Ulysses, is the very man he has been looking for.

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Longlisted for the 2020 Laurel Prize for Ecopoetry. Zoology is Gillian Clarke's ninth Carcanet collection, following her T. S. Eliot Prize-shortlisted Ice. The collection opens with a glimpse of hare, whose `heartbeat halts at the edge of the lawn', holding us `in the planet of its stare'. Within this millisecond of mutual arrest, a well of memories draws us into the Welsh landscape of the poet's childhood: her parents, the threat of war, the richness of nature as experienced by a child. In the second of the collection's six parts we find ourselves in the Zoology Museum, whose specimens stare back from their cases: the Snowdon rainbow beetle, the marsh fritillary, the golden lion tamarin. `Will we be this beautiful when we pass into the silence, behind glass?' In later sections the poet invites us to Hafod Y Llan, the Snowdonian nature reserve rich in Alpine flowers and abandoned mineshafts, `where darkness laps at the brink of a void deep as cathedrals'. Clarke captures a complete cycle of seasons on the land, its bounty and hardship, from the spring lamb `birthed like a fish / steaming in moonlight' to the ewe bearing her baby `in the funeral boat of her body'. The poems tap into a powerful, feminist empathy that sees beyond differentiations of species to an understanding deeper than knowledge, something subterranean, running through the land. Zoology closes with a series of elegies to friends, poets and peers, and poems remembering victims of war and tyrannical regimes. `Like a bird picking over / the September lawn, / I gather their leaves. / This is what silence is.' Then our hare, that `flight of sinew and gold', is spotted one last time: `a silvering wind crossing a field, / two ears alert in a gap / then gone'.

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Ian McMillan is among Britain's most treasured living poets. His books of poems, stories and non-fiction have delighted audiences for almost forty years. To Fold the Evening Star gathers work from eight key collections, distilling an essence of McMillan's diversiform poetry and short prose. Hilarity and tenderness, gravity and light, are interwoven into a bountiful poetic fibre. Brought up to date by a series of new and previously unpublished work, To Fold the Evening Star will satisy both the curious newcomer and the familiar reader alike, providing an ample, lively assortment of the work.

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Shuntaro Tanikawa has been the most inventive modern Japanese poet, ever since he published Alone in Two Billion Light Years (1952), his first book, aged twentyone. Undamaged by Japan's post-War trauma, he took up the language and ran with it. He has continued running. When in 1968 his first Collected Poems appeared the critics noted at once his popularity and his refusal to compromise with the negative tones that dominated the poetic palette of contemporary Japan. He has published more than sixty books of poetry, lyrics, prose poems, narratives, epics and satires. He has experimented in form and theme, combining clarity with subtlety. This new selection supplements his original Selected Poems published by Carcanet in 1998.

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A lively and inventive anthology of new poetry.

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Nigel Forde's poems explore those feelings, memories and landscapes, glimpsed and momentary, that haunt us with an insistent need to be questioned or commemorated. In monologues and elegies, reflections on art, intimate domestic lyrics, love poems and jokes, "The Choir Outing" meditates on surfaces and depths with technical assurance and a delight in the moment's gift.

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A collection that travels among places strange and familiar: from the shaping memories of an upbringing in rural County Fermanagh, to a Belfast reinventing itself in a new century and the exhilarating novelty of America. It also engages with the poet's experience of his native Northern Ireland.

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Sasha Dugdale's poems explore the mysterious solitudes of individual lives with tender, unsparing lucidity. The book opens with a sequence written at the Pushkin family estate. The great Russian poet, setting out to St Petersburg, turns back when a hare runs in front of his horse: the superstitious act saves his life. Such chance or fated moments where paths cross are at the heart of the collection. A boy on a train, passing a gold chain through his fingers, sparks a buried childhood memory in a watching passenger; lovers reach out to touch in the dark, while, a dying soldier holds to the sight of house martins swooping over a pool. In fragmentary meetings, Dugdale finds a source of hope and art.

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A selection from the poems Grey Gowrie has written since 1958. This work draws on the best part of a year spent in hospital when the author, dying of a virus on the heart, was jolted back to life and writing by the surgical gift of a heart from a living donor.

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Includes poems which inhabit the invented, rootless places that modern society creates: supermarkets, airports and parking garages; the illusory communities of celebrity and the digital universe.

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Edwin Morgan's verse play translation of the Sumerian epic of Gilgamesh brings an ancient story to life in a supple, vigorous idiom that moves easily between ritual, comedy and moments of intense beauty. Here a god-king, a great city builder, learns the timeless truth that the only immortality lies in what will be remembered and recorded of his actions. Gilgamesh's quest takes him, and the audience, on a journey through a world that is both mythic and familiar, inhabited by terrifying demons and 'disappeared' political prisoners, by gods and singing transvestites and a Glaswegian jester--and by Enkidu, the beloved child of nature who dies of a virus in the blood, through whom Gilgamesh learns to understand the meaning of loss. Received a Poetry Book Society Special Commendation.

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"The House of Clay" is Peter McDonald's fourth book of poems, containing lyrics which combine intense resonance of narrative and imagery with powerful formal concentration. Autobiographical material, founded on a childhood in Belfast during the troubled 1970s, is developed and transformed by the book's other strands: poems on the contemporary Middle East, and poems drawing on Greek and Latin sources (including translations of Pindar and Virgil) build together into a moving and complex meditation on personal and historical loss. McDonald is one of the most widely-known (and most controversial) critics of modern British and Irish poetry; his poetry builds into itself the critical intelligence and anger of that context, along with the visionary intensity of an original, and impassioned imagination. "The House of Clay" creates a new and uncompromising kind of Irish poetry, in which the ancient and the modern, the pagan and the Northern Irish Protestant, find a piercingly clear register.

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Petronius lived during the reign of the notorious emperor Nero, a writer in a decadent empire, and in Frederic Raphael he finds a translator who brings his words vividly alive. Petronius' Rome is not the noble civilisation of classical ideals; his Romans are lascivious, amoral and stylish, inhabiting a louche world of ostentatious, nouveau riche extravagance and flirtation with the seductive menace of the Roman underclass. In Raphael's hands, the "Satyrica" becomes a modern novel, Petronius a contemporary. Freed of the weight of classical decorum, the "Satyrica" is racily subversive, scandalously entertaining. This work, writes Raphael, has always been excluded from the curriculum: it offers no improving pieties. Petronius' - and Raphael's - ancient Rome is recognisably the city of Pasolini and Fellini as much as of Virgil.

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The Instruments of Art uses poetry to explore the lives and works of Edvard Munch, Vincent Van Gogh and others, the personal sacrifice involved, the singular vision and inspiration that set them in motion. God's creation, some argue, is a work of art, and Christ's life and death an expression of it. Deane follows this thread in a series of sonnets based on the Stations of the Cross. Another series of poems takes John the Evangelist, 'the one whom Christ loved', as the voice of a poet expressing the hard love and personal commitment demanded by Christ; Deane conducts this exploration experimentally, contrasting and complimenting it with his personal experience of faith through suffering and love. The Old Testament story of Jacob's search for meaning is retold through the poet's own memories of family and becomes an emblem of the universal search for truth and peace. This is a collection written by the light of faith yet shadowed by doubt; it develops an instinctive approach to art that offers an understanding in terms of the highest reaches of suffering humanity.

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A collection of poems exploring the interdependence of earthly things and heavenly mystery.

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Approach places, times and states of mind in a mosaic of knowledge, invention, memory and entertainment with this collection of poems. The personal and the public interact in many poems and others address personal histories and their creative consequences, alongside mythological motifs.

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Written under the sign of Eros, builder and destroyer of cities, and prefaced by an epigraph from Keats, the poems in A Place in the World are about home and antipodes, identity as a shibboleth and institutions as leviathans, Pacific islands and raised beaches, Edens and new Jerusalems, the critical spirit and the need for continuity. Cradling Scotland's stony myths in his palm, the poet sets off for Europe, an old civilisation that can barely reconcile itself to having become a colony of its own Utopia. In his pocket is a battered copy of the civil philosophy, also out of Scotland, that lends the book its punning title. Somewhere in the looming shadow of the cities is the poet, still looking - like the Greek philosopher - for human beings. A Place in the World, Iain Bamforth's fourth collection, is his most lyrical, challenging and considered work to date.

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"Book Of Stones" is very much made out of the things around the author - living in the new South Africa, being part of a continent and its life and history and processes.

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This famous cross between poetry and philosophy follows Lucretius' enquiring, scientific mind as he investigates the workings of mirror images, thunderstorms and magnetism, and the significance of sleep. The poem's power lies in the tension between the brief, sensuous richness of life and Lucretius' overarching belief in an empty universe of eternally recurring elements.

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Sidney Keyes was killed in action in Tunisia in 1943. He was 20 years old. With Keith Douglas and Alun Lewis he is one of the oustanding poets of World War II. His dramatic monologues, his poems of landscape, of the weird and macabre, his mastery of blank verse, set him apart.

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Edward Lear set out to administer mirth to thousands. Jeremy Over is an heir of the nonsense tradition, genially assaulting everything that "appears" to be fixed and serious. His poems celebrate surprise and synergy, discovering new forms of order in the riotous disorder of the world. Anarchic pleasures: he makes mischief, running words off their expected tracks until they come to rest in new postures, pleasures, meanings. The book opens in Lorca's New York and ends on the road to John Clare's Essex. Nostalgia for home, for a lost time and place shadow the collection, as does an undertone of grief, corrected by slapstick and sharp wit. The poems are restlessly acquisitive, gathering curiosities like old sideboards and closets crammed full of birds, beasts and fruit, and visited by an unlikely cast of walk-on characters, including Walt Whitman, Dante, Mata Hari and the Pope. "A Little Bit of Bread and No Cheese" is a gallivant through an absurd, abundant world, reminding us of the pleasure and happiness to be drawn even from the most makeshift constructions and in the face of negative emotions.

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Edwin Morgan returns to the stage with an examination of the life of Jesus as a man among men. Jesus is portrayed as a human figure in an inhuman time. A declaration of love from his closest disciple, John, described in his own Gospel as the "Disciple who Jesus loved", comes to the fore in Morgan's efforts to explore the character of the real man.

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Number 20 in Thomas Kinsella's series, "The Familiar" is a sequence of poems concerning the solitary but connected passions of lovers. It includes several prints of Celtic engravings.

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This is a volume of celebratory, vivid and witty poems from a poet whose blindness has never severed his links with the sensual world. Fables, fairy tales and fun only heighten the serious concerns which underly his work. He has a rich sense of humour and a wry turn of phrase.

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A collection of John Heath-Stubbs's major literary essays. The earliest essay was written in 1945, and each piece reveals the insights of a practitioner in the poetic genre. In engaging his chosen writers, Heath-Stubbs employs his understanding of the poetic process.

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For nine years, John Dowell and his wife spend the summer season at a German spa town in the company of the respectable Ashburnhams. Behind the placid exteriors lie the destructive passions of men and women. This text includes biographical and critical apparatus.

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The title poem is accompanied by the 24-part sequence "Free Rein," with its broad political and human perspectives. The author has also written "Heart's Desire" (1978) and "Selected Poems" (1985).

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This beautifully illustrated book consists of a series of encounters with writers, artists and musicians living in London, all of whom are exiles or emigres displaced from their cultural and geographical origins.

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"We had been instructed to start promptly at six, since the hall was needed again at eight. We pushed through the curtained doorway, like instrumentalists without instruments, and onto the stepped stage. The audience was still coming in. Uncertain of our running time, and with no one to introduce us, I thought we had better start. I got as far as 'Byr - ' when Alan decided he did indeed need his glasses. He delivered his rehearsed ad lib, claiming that his vanity was second only to Byron's, and put on his specs." It is July 1981, and Alan Bates succumbs to a fit of nerves as he and Frederic Raphael attempt to carry off an underrehearsed performance at the Queen Elizabeth Hall. This wry glimpse behind the scenes of the London literary scene sits, in Raphael's notebooks, amid clear-eyed analysis of the riots and social unrest then erupting in Britain's cities under Margaret Thatcher's government. Compulsively readable, by turns mischievous and coruscating, this latest volume of Raphael's reflections casts light on a period that saw the beginnings of a decisive shift in British and American culture. Along the way, there are finely incised pen-portraits of public figures ranging from Shirley Conran to Peter Sellers and from Robert Redford to Mary Whitehouse.

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An Ordinary Dog is a carnival of clashing forms and tones, all deployed with a cool wit and technical precision to bear sceptical witness to - what? As much to the touching ordinariness of human needs as to the vanity of human wishes. Woods writes about desire: sacred and profane, frantic and serene, refined and grubby. Often traduced by cussedness and always complicated by external events, desire is here constructed less in the present than in anticipation and memory; loss is resistant to the balm of forgetting. An Ordinary Dog returns repeatedly to those times of crisis when history is lived and reinvented, when myth degenerates into faith, reason falters. The poems' moods veer between cheerful equanimity and desperation; their focus between detachment and intimate involvement. In the end, as events take their course, it is always chance that prevails.

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Launched in 1979 by Anthony Astbury and Geoffrey Godbert, with the support of Harold Pinter, the Greville Press has quietly established itself as indispensable to those who love poetry. Its pamphlets have built a reputation for discoveries of the new and recoveries of the neglected; for championing translations of great world poets and delighting in the classics of English literature - above all, for their manifest enthusiasm for the enriching pleasures of poetry in all its variety. "A Field of Large Desires" offers a sampler of poems that have been published by the Greville Press: it is both a treasure trove and a celebration of a remarkable venture.

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In the first decade of the new millennium, Jody Allen Randolph interviewed twenty-two leading Irish poets, artists, fiction writers and playwrights to create a record of how the makers of a culture saw their country as it moved into a new era. Her exploration was shadowed by intimations of unease; as economic collapse gathered pace, recurrent concerns gained a new urgency. What are Irish values? How have they changed? How do new cultural realities affect the old arts of language and image which have been so important in Irish tradition? In journeys across political divides and between languages, from Seamus Heaney and Nuala Ni Dhomhnaill, deeply rooted in Irish inheritance, to the African-Irish writer Joyce Akpotor; from Gerry Adams for whom 'when our future is settled, we will agree on our history', to the artist Dorothy Cross who brings an international perspective to her redefinitions of traditional Irish imagery, Close to the Next Moment captures the conversations that are remaking a culture.

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The stories are familiar: family disharmony, mourning the loss of a loved one, vengeance, national tyranny, international war, a desire for justice. This new translation by Jeffrey Scott Bernstein, an independent scholar and novelist, preserves the artistry of the original while deploying a clear speech that directly addresses a twenty-first century temperament. The Oresteia, first performed in Greece in 458 bce, has been celebrated as an example of the highest literary art. The murder of King Agamemnon by his wife Clytemnestra, the bloody vengeance their son Orestes wreaks upon his mother, and the appearance of the goddess Athena to sort matters out, tells a foundation narrative of world drama. The trilogy traces a progression from personal blood feud to institutionalised justice, and in doing so celebrates, by the end, the triumph of democracy among the citizenry.

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The May-June 2020 issue. Tributes to the great Nicaraguan poet Ernesto Cardenal. Phoebe Power’s (Forward Prize winner) National Trust commissioned ‘Once More the Sea’ sequence in full. Walter Bruno’s controversial essay on Value Judgement. Tara Bergin reviews Poetry of the Holocaust: An Anthology. New poetry from Vahni Capildeo, Carol Rumens, Laura Scott, and Zohar Atkins. New to PN Review this issue: Jenny King, Suzannah V. Evans, Leo Boix, and Christina Roseeta Walker. And more...

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The January-February 2020 issue; New poems by Sasha Dugdale, Sinéad Morrissey, Nina Bogin, and Mina Gorji; Two posthumous poems by Brigit Pegeen Kelly; Selections from two unpublished notebooks by R.S. Thomas; Nyla Matuk tackles diversity in poetry; Alex Wylie critiques contemporary takes on poetry in ‘Democratic Rags’; New to PN Review this issue: Eugene Ostashevsky, Heather Treseler, Hugh Thomson, Annie Fan, and Deirdre Hines; and more...

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The September-October 2019 issue; New poem sequence by Kei Miller about names of places; Don Share’s controversial lecture about Whitman and politics; New poems by Tara Bergin; Anthologist of Black-American poetry, Anthony Walton, looks back 20 years and measures the changes for Black-American writers; Kyoo Lee and Marjorie Perloff in discussion about the nature of identity in poetry; New to PN Review this issue: Jason Allen-Paisant, Jo Davis, Andrew Jordan and Petra White; and more...

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