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 article is taken from PN Review 233, Volume 43 Number 3, January - February 2017.

Poetry for the Future: Thom Gunn & the Legacy of Poetry Andrew Latimer
HOW CAN A POEM be like a novel? Or perhaps a better question would be, why should a poem be like a novel? These were questions that Thom Gunn posited whilst writing his seventeen-part mini-epic, Misanthropos. The poem, in Gunn’s own words, is:

the account of a man on his own. It is divided into four parts. In the first, he has escaped out of battle into a distant part of the world; on his journey he sees nobody, and concludes that he is the only human being left alive on earth.1

You would be forgiven for thinking this the blurb for a sci-fi novel, in the manner of Arthur C. Clarke’s Against the Fall of Night. Misanthropos’s pre-publication names (‘The Last Man’, ‘The Book for the Last Survivor’, ‘For the Survivor’) would only support this preconception. Yet, with its highly formal style and its measured appearance – fourteen out of seventeen sections fit perfectly onto one page – there is no mistaking it for anything but a poem. In fact, Gunn’s poem seems obsessively concerned with poetry’s formality. In the second part of Misanthropos, Gunn plays a clever trick of verse, utilising the highly artificial Renaissance echo-poem to depict his protagonist’s first encounter with a post-apocalyptic human:

At last my shout is answered! Are you near,
Man whom I cannot see but can hear?

Here.


(Misanthropos II)

Creeping in from the right-hand margin, a space not often occupied by poetry, comes the soft sound of another voice. Or, ...


Searching, please wait... animated waiting image