PN Review Print and Online Poetry Magazine
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Mark FordLetters And So It Goes
Letters from Young Mr Grace
(aka John Ashbery)

(PN Review 239)
Henry Kingon Toby Martinez de las Rivas
(PN Review 244)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Jamie OsbornIn conversation with Sasha Dugdale
(PN Review 240)
Poems Articles Interviews Reports Reviews Contributors
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Next Issue Jena Schmitt on Joan Murray Andre Naffis-Sahely Exile (II) Angela Leighton Vanilla Ice Geoffrey Brock's Pascoli Sheri Benning Dollhouse on Fire
Welcome to PN Review, one of the outstanding literary magazines of our time.

'...probably the most informative and entertaining poetry journal in the English-speaking world.'
John Ashbery

Keep up with the many worlds of poetry in this independent and always stimulating journal. For 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 explore the complete, uniquely rich digital archive.

PN Review subscription makes an excellent gift, with a new magazine every two months and full access to the archive. Reduced rates are available for students; gift subscriptions to students are available at student rate.

‘The most engaged, challenging and serious-minded of all the UK’s poetry magazines.’
Simon Armitage

Submissions to PN Review: Current subscribers may submit work by e-mail (word attachment). All other submissions should be made by post to: The Editors, PN Review, 4th Floor, Alliance House, 30 Cross Street, Manchester M2 7AQ, UK. Submissions should be accompanied by a self-addressed return envelope and should generally not exceed four poems/five pages.

PN Review 245
Featured Article
On Vision An Attempt at Reparative Reading Sasha Dugdale I THINK ALL THE TIME and I always thought that everyone else did, too. I still assume this is true, because otherwise what would that look like: an absence of thought? A nothing in the mind, perhaps a cognitive vacuum? Wouldn’t a vacuum like that crush the skull from inside? Is that why the ears are placed on either side of the head, two small valves to prevent a vacuum in the event of an absence of thought?

I think all the time, and sometimes I have such great thoughts, they are so intricate and magnificent that they resemble Breughel’s Tower of Babel. But I can’t ever get them out of me intact. The act of birthing them on paper or in speech reduces them to vague shadows of their former glory. The birthing canal snaps the rudimentary structural props. Like a ship in a bottle, they cannot be pulled back out of the bottle’s mouth without splintering and splitting. The rings of Breughel’s tower collapse into a nest of sinister sphincters.

If you can’t communicate your thoughts then there is no point in having them. That was said to me at university and it is quite true, I suppose. This was my coming-of-age: I slowly got used to having humbler thoughts that were expressible, the apprentice thoughts of a beginner draughtsman, thoughts that were the same reasonable size on the outside and on the inside. I began to understand that the other grander thoughts were follies: unrealisable mental architectures with proportions that couldn’t sustain them in the cold world. Slow thoughts! Practical thoughts that proceed in logical order! (My logical thinking ... read more
Send Me an Angel (translated by Anne Gutt) 'Send Me an Angel' and other poems
translated from the Russian by Anne Gutt
Nina Iskrenko Thirst

Since morning there’s been a shake-up in Ur of Chaldea
They change the sheets  They clean the silver
The camels weren’t given a drink for the second week in a row
In the water-carrying jug a spider reminds you of the map of the Babylon metro

It’s hot   The Matriarch brims with milk and honey on the outpost
Now and then the bride is sent with a milking bucket to the roof
The setting sun seeing her thinks   I’ll beautify the roof too
It’s a lot of work to milk the clouds though

She is white-stone   Multifunctional   Gentle
... read more
Ireland Chair of Poetry Lectures ‘Place-paint’
Hal Coase John Montague, The Bag Apron (UCD); Paul Durcan, Three European Poets (UCD);
Nuala Ní Dhomhnaill, Cead Isteach (UCD); Paula Meehan, Imaginary Bonnets with Real Bees In Them (UCD)

IN THE HEANEY memorial issue of the Irish Pages, Murdo Macdonald recalls giving a lecture on a landscape by William Johnstone at the 1994 St Magnus Festival in Orkney. Seamus Heaney was in the audience to hear it. Having listened from the back of the room to Macdonald’s description of the painting’s dual concern with the nature of place and the nature of painting itself, Heaney remarked to Macdonald afterwards that he’d liked what he was saying about ‘that artist’s place-paint’. There in one go was what Macdonald had been trying to say: ‘“place-paint” – whether the meaning one takes from this phrase is the painting of place or the placing of ... read more
Selected from the Archive...
Adrian Stokes Revisited Donald Davie
FIFTY years ago, when Pound in The Criterion applauded Adrian Stokes's The Quattro Cento, he exclaimed: 'It is almost incomprehensible that any man can have as great a concern for the shapes and meanings of stone beauty as Stokes has, without its forcing him to take the tools in his hands. In fact one can only suppose that he in some way regards himself as the forerunner of some sort of sculptural amelioration, or at any rate is trying to clear up incomprehensions and to distinguish between pure and mixed sculptural values.' The comment is endearingly characteristic of Pound, who could never make a distinction, nor endorse one made by someone else, without at once doing something about it, taking the tools in his hands. But the reflection is a natural one, all the same: if Stokes wasn't himself ... read more
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