'probably the most informative and entertaining poetry journal in the English-speaking world' - John Ashbery
During 2023 PN Review is celebrating its jubilee. Find all our anniversary plans here. Since we started as Poetry Nation, a twice-yearly hardback, in 1973, we've been publishing new poetry, rediscoveries, commentary, literary essays, interviews and reviews from around the globe. Our vast archive now includes over 270 issues, with contributions from some of the most important writers of our times. Key contributors include Octavio Paz, Laura Riding, John Ashbery, Patricia Beer, W.S. Graham, Eavan Boland, Jorie Graham, Donald Davie, C.H. Sisson, Sinead Morrissey, Sasha Dugdale, Anthony Vahni Capildeo, and many others. We'll be celebrating throughout the year, with events and workshops planned for this autumn, find the details here. You can also sign up to our free newsletter to get choice morsels of archive straight to your inbox. Subscribe to the magazine to receive six issues per year and full access to the archive.Buy the current issue without a subscription here.
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Featured Poem
‘Eight Taiwanese Poems: A Collaboration’
Evan Jones
On collaboration, Evan Jones writes:
The notion of translation is suspect, I know. The tongues of the reader – of the language into which the work is translated – and the bilingual expert roll along as if seeking out inconsistencies. And inconsistency is where a good translator of poetry lives, maintaining the impossible balancing of form, music, meaning. What is least obvious is that form travels a straight line pretty much between languages and cultures. Form is often the easy part of translation. Music requires ability and understanding of tradition as well as the workings of a language. But meaning struggles. How do I translate something like ‘Waterloo’, which in European languages takes the reader to a place with historical significance – without saying and explaining Napoleon? And when footnotes are the worst thing that can happen to a poem?
When Lín Zīxiū writes that soldiers are pounding their oars against their boats, he is referring to a historical event, documented in a Tang Dynasty document, the Book of Jin. Soldiers, en route to a battle, beat their oars, vowing to reclaim lost territory. The phrase means ‘unabashed determination’, recognisable to readers of classical Chinese. I have aimed in scenarios like this to stay with the image, and to allow the image to work. Shengchi Hsu sent me incredible documents full of hyperlinks that offered literal translation, homophonic readings, visual and oral explanations, from which I have worked to make poems in English. We talked through the documents and the time difference between Manchester and Taichung, Shengchi responding to my questions with detailed answers. Though these are cast as co-translations, I’d prefer to think of them as collaborations between us. Shengchi has carried the heavier load.
Song of the Tigers in the Taiwan Mountains
by Qiū Féngjiã (1864–1912)
According to official histories,
there never were tigers in the mountains.
Now there are. But how?
Their existence defies imperial edict
and the laws of the Nine Heavens.
They range the mountains like jackals
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Four Poems
Catherine-Esther Cowie
Mimorian
after Carlos Drummond’s ‘Resíduo’
Only a little of me remains, a fixture,
Madwoman locked in a downstairs room,
four-walled gag, muffler. Of my ravings,
the upstairs hear nothing, nothing.
But still a little of me will stay, the stink of me
in the sheets, on the walls, on their tongues,
wagging, wagging all night long about
my bad romances – chupid woman,
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Siracusa and other new poems
Joachim Sartorius
Translated by Richard Dove
from Joachim Sartorius, Wohin mit den Augen. Gedichte, Cologne 2021
Waking in Ortigia (‘Aufwachen in Ortigia’)
Night washes the sea.
The water new by dawn.
On the retina light
paid for with white spume.
I brush salt from the table.
I kiss the lizard’s eyes.
I cut the bread.
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Selected from the Archive...
A Conversation with Louise Glück
Yvonne Green
I interviewed Louise on Tuesday 24 November 2009 and we began by chatting about Hakan Nesser’s latest detective story. I knew he was a writer she enjoys. ‘Reading Woman with Birthmark1 will be two days of escape from life,’ she said. YVONNE GREEN: The boundary you create between your poems and your reader seems to me to have the draw of the magnetic field suggested in the final stanza from ‘Lost Love’,2 in Ararat: …when my sister died, my mother’s heart became very cold, very rigid, like a tiny pendant of iron. Then it seemed to me my sister’s body was a magnet. I could feel it draw my mother’s heart into the earth, so it would grow. LOUISE GLÜCK: I haven’t
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