PN Review Print and Online Poetry Magazine
News and Notes
Digital Access to PN Review
Access the latest issues, plus back issues of PN Review with Exact Editions For PN Review subscribers: access the PN Review digital archive via the Exact Editions app Exactly or the Exact Editions website, you will first need to know your PN Review ID number. read more
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Drew MilneTom Raworth’s Writing ‘present past improved’: Tom Raworth’s Writing
(PN Review 236)
Alejandro Fernandez-OsorioPomace (trans. James Womack)
(PN Review 236)
Jamie OsbornIn conversation with Sasha Dugdale
(PN Review 240)
Poems Articles Interviews Reports Reviews Contributors
Oxford University Press
Gratis Ad 1
Next Issue Kei Miller on poetry and volume control Parwana Fayyaz's Afghan poems Gabriel Josipovici bids farewell to Aharon Appelfeld Craig Raine plants a flag A.R. Ammons from two angles

This review is taken from PN Review 60, Volume 14 Number 4, March - April 1988.

A SPELL AND AN APOCALYPSE William Cookson, Spell, A Sequence (Agenda Editions) £1.50 pb.
Peter Russell, Quintilii Apocalypseos Fragmenta (Agenda Editions) £1.50 pb.

From Agenda Editions, two books of poetry inhabiting contrasting worlds: an intimate sequence of love poems and a hard-hitting satire. Two strategies against sterility. Both poets are noted Poundians, and would wish their work to be judged on his poetic principles: making it new; direct treatment of the object; economy of means. Few attempt such a programme, and even fewer succeed in it; so it is good to read two collections that achieve these ends, and with such differing results.

Cookson's Spell is a sequence of twelve short poems and a coda - hardly enough, one would think, to conjure up its own world. Yet it does just that, calling out of darkness a briefly experienced love. Images of light and shade animate the whole sequence, from the Dante / Pound epigraph, through the hillside forest where 'moss in tangled light / flickers / in dark regions of the mind', to embers from the past, or the shining tower, facing the darkness of time ('Coda'). The metaphor evokes a golden summer followed by grief, earthly joy endangered by oblivion. Yet here are the moments of splendour, preserved in a clear light: the tulip tree, the oak, guardians of loving encounters, exchanges of gifts. Poetry keeps the joys alive. At the same time, it seems, it reawakens the pain of those joys lost. A deep melancholy pervades these pieces, the sense of a lost or floating world, emphasized in conscious reminiscences of Japan, of courtliness and restraint, a ...

Searching, please wait... animated waiting image