Learning to read with Mallarmé, the most obscure of all poets
Bertrand Marchal discusses why Mallarmé wanted to make poetry so difficult for readers to understand
Features
What are poets really after?
Helena Nelson considers the pros and cons of the ‘after’ epigraph, poetry’s exclusive codes, and the necessary art of bluffing
There’s space for all of us
We talk to Di Slaney of Candlestick Press about about publishing poetry that appeals to non-poets, whether poetry should be able to pay for itself, and the joy of wonky animals
A lesson for all
Rowan Bell on Ukrainian-American graphic artist Paul Peter Piech and his bold illustrations of poetry
We are always saying goodbye
Castaway Martyn Crucefix chooses poems by Samuel Taylor Coleridge, Edward Thomas and Rainer Maria Rilke to take to his desert island
The Censored Women of Les Fleurs du Mal
Pedro Baños Gallego on the 'forbidden' poems in Baudelaire's Les Fleurs du Mal
Untitled
The Frip looks at how to find the right title for your poem (or at least not the wrong one)
The Joy of Cycling
Our Spoken Word Editor Bruno Cooke is off round the world on two wheels. He considers the joy of cycling, in poetry.
Unicorn flavour
We talk to Aaron Kent, poet, editor, and publisher of Broken Sleep Books
What do our new regular reviewers say?
Our new reviewers to tell us what they think about poetry and reviewing
How Edgar Allan Poe became the darling of the maligned and misunderstood
Scott Peeples on the weary-but-wise image of Edgar Allan Poe
This barter of enthusiasm 7
Stephen Payne, Clare Best ands Jeremy Wikeley choose poems by Geoffrey Brock, Mark Doty and W.H. Auden