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The March-April 2024 issue. 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. This issue includes a major statement by Russian poet Maria Stepanova on the repair work poetry must do in the contemporary political world; Rod Mengham on the surviving essence of East Germany; Jena Schmidt on Friederike Mayrö cker's great poems; Andrew McNeillie revisits Dylan Thomas; and Patrick McGuinness on Colm Tó ibí n's poems. 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.

The January-February 2024 issue. 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. This issue includes dark essays on Eastern Europe in 1939, on sentimental ecology, the culture wars, and Byron through selected letters; discovering the radical American poet Steve Malmude with Miles Champion; overhearing the Mexican poet Darí o Jaramillo in conversation with God (Richard Gwyn's translations); and new poems by the Pulitzer laureate Carl Phillips. 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.

Library Lives plots the lifelong love affair between one particular bookworm and the John Rylands Library in Manchester, its collections drawn from every corner and period of the textual and meta-textual world. How do we read - and what can we read from - a potsherd, a locket, a fragment of papyrus, a gorgeously illuminated medieval manuscript, an envelope, a seemingly ordinary book? Stella Halkyard, one of the library's erstwhile archivists, tells the life stories of some of this great library's previously unsung treasures and provides radical new readings for a few of its acclaimed gems. In a sequence of idiosyncratic and often playful short essays she celebrates the resonance of these objects and their ability to tell stories that range across time and place, from the Ancient Egyptian Book of the Dead, to John Donne's shroud, eighteenth-century Chinese papermaking, Elizabeth Bishop's letters, plastic surgery in sixteenth-century Italy, the lining of Walt Whitman's hat, and Delia Derbyshire's wartime gas mask. Selected from Halkyard's popular 'Pictures from a Library' and 'Archive Corner' features published in PN Review over the last two decades, these essays have been brought together for the first time and put into productive dialogue with each other.

A sequel to Philip Terry's Dante's Inferno (2014), where Dante relocates to the University of Essex, here the action shifts from Dante's Island of Purgatory to Mersea Island, in Essex still, where the poet and his guide Ted Berrigan climb a mountain made out of Flexible Rock Substitute (FRS). Dante's artists are replaced with contemporary artists and artists-in-residence on the Essex Alp, including Grayson Perry, Rachel Whiteread and Damien Hirst. Hirst, an example of pride, is encountered not carrying a rock on his back, as in Dante, but carrying a washing-machine, a Siemens Avantgarde, which runs through its spin cycle as he carries it. Other characters encountered include Christopher Marlowe, Boris Johnson, Lady Diana, Jean Paul Getty, Hilary Clinton, Allen Ginsberg, Samuel Beckett, Martin McGuinness, Ciaran Carson and Anoushka S hankar. On the final terrace, the poet, accompanied by Berrigan and poet Tim Atkins, passes through a wall of flames to reach Dante's Paradise, here modelled on the Eden Project, where the poet meets his Beatrice, Marina Warner. The poem comes to a climax with an interview with Marina Warner in the LRB Tent, followed by a gig from the Pogues, for which Shane MacGowan has been brought up from Hell on an Arts Council 'Exceptional Talent' scheme.

'Everything is like life' -- Mr Omer, David Copperfield This epigraph hovers over The Complete Works as it does over all the astonishing experimental work of the New Zealand poet John Gallas. And by 'everything', he means everything. This collection has no Great Purpose, apart from exploring and expanding upon the contradictory Meanings of Life. In a pyrotechnic display of thirty-one-syllable sparkles, set off by accident and protracted by design, it lights up any corner of things done, thought, felt, seen, suffered and enjoyed. It is contagious: readers begin tankaing as soon as they close the book. A walk in the country will never be the same. Here the writer, barely in control, stands back at a safe distance and watches, mostly with a smile. Here, the reader is the quarry. Contradictions abound, ideas morph, preferences and amusements change - no thoughtful guide is available, but none is needed: crazy and merry variety make this collection amenable to all, especially when all have not quite made up their minds about what on earth is going on. Warning: there are love poems lurking here.