PN Review Print and Online Poetry Magazine
News and Notes
PN Review Prize winners announced
Carcanet Press and PN Review are delighted to announce the winners of the first ever PN Review Prize. read more
Most Read... Drew MilneTom Raworth’s Writing
‘present past improved’: Tom Raworth’s Writing

(PN Review 236)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Alejandro Fernandez-OsorioPomace (trans. James Womack)
(PN Review 236)
Kei MillerIn the Shadow of Derek Walcott
1930–2017

(PN Review 235)
Kate BinghamPuddle
(PN Review 236)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Poems Articles Interviews Reports Reviews Contributors
Gratis Ad 1
Gratis Ad 2
Next Issue CELEBRATING JOHN ASHBERY Contributors include Mark Ford, Marina Warner, Jeremy Over, Theophilus Kwek, Sam Riviere, Luke Kennard, Philip Terry,Agnes Lehoczky, Emily Critchley, Oli Hazard and others Miles Champion The Gold Standard Rebecca Watts The Cult of the Noble Amateur Marina Tsvetaeva ‘My desire has the features of a woman’: Two Letters translated by Christopher Whyte Iain Bamforth Black and White

This review is taken from PN Review 58, Volume 14 Number 2, November - December 1987.

UNDERSONGS OF ANOTHER LIFE Roy Fuller, Consolations (Secker and Warburg) £5.95

Most reasons for liking most poems are, of course, aesthetic. But there are ethical approaches to a poem as well which are, I feel, often overlooked; and which are, in fact, responsible for the lights it leaves in the memory and affection. It is easier to feel that ethical residue than to define it. But the quirky force of a host of poems - from 'Tyger Tyger' to 'Self-Portrait in a Convex Mirror' - can often seem to come from intangible human choices: moralities which verge on the shape of a line or the turn of a phrase but may not converge.

I have always felt that the ethical approach to Roy Fuller's work yields interesting results. To start with, his own choices as a poet, from the very beginning, were political and societal as well as artistic. For instance, in Professors and Gods: Last Oxford Lectures on Poetry he canvasses the dilemmas which confronted a young poet at the end of the 1920s and in the 1930s: 'One was searching, hopelessly, it seems now,' he asserts, 'for a poetry with impeccable political orientation, yet as rich and free as the great English poetry of the past'.

I mention this because despite the quality of the work in volumes like Brutus's Orchard and, indeed, earlier statements like 'A Lost Season' in 1944, Fuller is so often represented as a sterile and polished craftsman, mindlessly shining his technique on the fringes of the poetic mainstream. He ...


Searching, please wait... animated waiting image