arduity: recent negotiations

Why Sir Geoffrey Hill is Right about the Poem. In which we produce Nuggets of Truth from the Critical Essays and highlight the ones that we are in vehement and enthusiastic agreement with.

Geoffrey Hill's Soul, an entirely opportunistic and subjective view of Hill's anxieties as to the posthumous fate of his soul and his various angles on the workings of grace.

Infusing with J H Prynne In which we use many words to attend to a poem from the remarkable al dente collection. By paying some wishful attention we come to the provisional conclusion that this may well be a 'Grexit' poem.

David Jones, In Parenthesis as Documentary... On July 1st, 2016 we try very hard to make a case for the documentary aspect heartbreakingly beautiful work.

Paul Celan's wordwords from Timestead. In which we pay some more than sympathetic attention to the use of language in general and compound words in particular in a forlorn attempt to illustrate the all-round brilliance of this allegedly difficult work.

Kenneth Goldsmith's Theory. In which we examine a collation of maxims, anecdotes and self-promotions, ttrying very hard to disentangle those things that have value from those that Get in the Way, Let the Side Down and Generally Distract.

David Jones, In Parenthesis, the Grimly Voice and the Place of Enchantment.. In which we think at some length about these two qualities and set out to locate and attend upon them.

The Heartbreaking Brilliance that is Vanessa Place's Last Words. In which we attempt a coherent demonstration of why Place's work is So Important for the future of the Poem and also pay attention to multi-dimensional work, the Texas crminal justice system and the need to display the bodies. We also insert a personal note as to the ways in which Last Words dismantles our emotions.

Mind-altering verse, the case of Prynne's Streak~Willing~Entourage~Artesian. In which we make use of an adjective from our Mispent Youth to ineptly consider the effects of one of Prynne's denser sequences on the hapless reader's mental state.

The Poem's Bad Other(s), Sir Geoffrey Hill and Simon Jarvis amongst others. From our bebrowed blog where we consider the Poem's need for Other Badness and make use of Hill and Jarvis to explore whether either are Bad Enough.

Simon Jarvis and Obscurity, the case of Jerusalem Deleted. In which we confess to our recentish tolerance of and enthusiam for poetic obscurity, comparing and contrasting four culprits but with a special focus on the magnificence that is Jerusalem Deleted. We take particular delight in all things Monophysite and some of the trickier words. A device is also devised for the ranking of the obscure with which we are rather pleased.

J H Prynne on Truth, an Initial Recce.. In which we rummage about in the first four lines of the fairly recent Truth and come up with a couple of ologies. Then we tentatively and provisionally think about mining and ground truthing and exploitation. There is also a feeble attempt to link all of this back to some idea of the 'wealth economy'.

Paul Celan's sewing. In which we delve into and generally fret about the many possibilities, potentials and gesturing going on in one of the later, longer poems. With a little bit of Kiefer and Scholem as well

Simon Jarvis' Jerusalem Deleted: a Partial Reconnoitre. In which we pay some provisional and entriely tentative readerly attention to this lengthy brilliance.

Paul Celan's Meetings in the Later Work. In which we think about possible examples of the 'encounter' and whether or not these open up the possibility of a two-way relationship with the reader.

J H Prynne and Money- the case of Biting the Air.. In which we try to follow a tentative 'sense corridor' and do quite well whilst also discovering the kakaketoba device.

Al Tempo de' Tremuoti. Whereby we do some readerly thinking about mysticism, mortality and The Day Books and regretfully feel a bit disappointed.

Simon Jarvis, Night Office and God; a Brief Survey. In which we pay readerly attention to one example of the many religious elements and the secular rewards that this can bring.

Simon Jarvis, Strong Poets and Hell. In which we tussle with a passage from the stunningly digressive and reasonably unique The Unconditional.

Chapter IV of John Peck's M, a staggeringly beautiful piece of work which takes us via the hum of humpback whales through Karnak and Samothrace to the highway at the end of day.

Pierre Joris on Paul Celan's 'new' language.. In which we make use of 'Flowing' from the Atemwende collection to consider the newness of Celan's language in the later work.

David Jones and the voyage as a structure of thought and faith. In which we give more than a little attention to the wonderful 'Keel, Ram, Stauros' section of The Anathemata.

J H Prynne and Beginnings. In which we try to think about and follow an origins-related line from The English Intelligencer to Kazoo Dreamboats.

Emily Dickinson, a Tentative Investigation. In which we try very hard to grapple with the readerly difficulties presented by Dickinson's work and make some progress.

Sir Geoffrey Hill, Simon Jarvis and Rhyme. In which we fail to justify Oraclau's mystifying but deliberate use of bad verse and contrast this with the 'speaking twins' of Night Office.

Paul Celan's WITH DREAMPROPULSION and FOR THE LARKSHADOW... In which we become slightly less baffled and discover a couple of possible intentions and/or meanings.

Being Surprised by J H Prynne's "Morning".. In which we tilt at more than a few windmills but appear to make a little progress too.

arduity: poets b-t

John Bloomberg-Rissman's latest work, In the House of the Hangman is a monstrous account of how we are now by means of a daily 'mash' from many different sources

Paul Celan is recognised as one of the 20th century's greatest poets yet his later poems are mistakenly considered by many to be virtually inaccessible and 'not poetry'. Most of his work relates to the Holocaust.

Emily Dickinson produced some of the most extraordinary work of the 19th century. Her legacy continues to provoke and challenge our modern sensibilities.

Geoffrey Hill has published magnificently obdurate work throughout his long career. He continues to produce poetry that is both complex and inspiring..

Simon Jarvis produces work that has a readiness to follow its own furrow, there cannot be a wider spectrum than from a radical adventure in free verse, to a poem of 220 pages in metrical, rhyming verse.

David Jones is one of the best (and most overlooked) poets in any language in the 20th century. His work must be considered as equal to Eliot and Auden, they thought so too.

Purdey Lord Kreiden. I've been following Purdey's remarkable work on the Claudius app and have grown increasingly impressed by the development of a singular and oddly disturbing ' voice'.

John Matthias thrives on making the complex look and sound easy. He has that rare gift of being able to say profound things in a straightforward and refreshingly relaxed manner.

Charles Olson was an American poet whose Maximus Poems represent a grounbreaking shift in the possibilities of poetry as a working through of the relational nature of time and place.

John Peck's M is a sequence in ten parts that is full of invention. Concentrated attention brings the reader to a sense of participation in a world of subtle cadence and great technique.

I have in the past referred to Vanessa Place as the scariest poet on the planet and I'm still of this view as some of her work is implacably brutal in the light it sheds on our world.

J H Prynne In attending to Prynne's incredible work, readers will find that giving very close attention to words and phrases needs to go hand in hand with keeping a close eye on the apparent contexts.

Keston Sutherland In 2010, I wrote abrief introduction to Keston's work but now I've tried to produce something more considered which includes his newer work, especially the brilliant Odes to TL61P which is simply stunning


Michael Thomas Taren is producing an increasingly accomplished and important body of work which covers a broad range of forms and subject matter with an unusually high degree of technical nous.

Jonty Tipladyis making work that has now gone into a radically innovative and important (crucial) orbit that holds out hope for the future of the Poem.