The Frip
No one wears Brooches anymore
Hilary Menos reviews Savage Tales by Tara Bergin (Carcanet, 2022
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
To hear their voice bounce off the shape of things
Rory Waterman reviews This Afterlife: Selected Poems by A. E. Stallings (Carcanet, 2022)
How else were you to mend lineage?
Isabelle Thompson reviews Ixora by Prerana Kumar (Guillemot Press, 2023)
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 basic beginning in tegnsprog
Carl Tomlinson reviews The House of the Interpreter by Lisa Kelly (Carcanet, 2023)
Our version of the sea not quite knowing how to touch the land
Mat Riches reviews Landsick by Genevieve Carver (Broken Sleep Books, 2023)
A lesson for all
Rowan Bell on Ukrainian-American graphic artist Paul Peter Piech and his bold illustrations of poetry
The weight of history
Matthew Paul reviews Selected Poems 1983–2023 by Ian Parks (Calder Valley Poetry, 2023)
Unfashionable almost to the point of provocation
Victoria Moul reviews Arctic Elegies by Peter Davidson (Carcanet, 2022)
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
Working off the movement of the earth in space
D.A. Prince reviews Dynamo by Luke Samuel Yates (The Poetry Business, 2023)