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 236, Volume 43 Number 6, July - August 2017.

‘time * cache * time * ache’
(‘Ulysses: or Trotsky’s Death’)
Geoff Ward
1


the place was empty the stairs
had marks of old carpet the
aircraft’s trail dispersed into cloud
he entered the car at the lights and gave me an apple


THERE IS A BEAUTIFUL and exquisitely functional monotony here – here being The Relation Ship (1966) – intent on gently drawing our attention to his drawing no distinction between the supposedly near at hand and the allegedly far away, the defined and rounded (but about to be consumed) and the empty (but big as clouds). Everything is connected/ disconnected, as real as anything and yet the mere phantom of a contrail, remembered yet empty, and that is a foundational paradox of memory. Proust/ Moncrieff writes, ‘One would like to remember a thing accurately, but at the time one’s vision is always clouded’, with great precision letting the time of its occurrence leach into the time of a thing’s remembrance. Scale is as crucial an issue for Tom’s work. How big is a memory? The car and the lights and the apple here are all the same size, somewhat as in René Magritte’s painting Personal Values (1952) the comb and the wineglass and wardrobe are all the same size. Somewhat as, somewhat like:


like a routine murder
like job training
like the ultimate in bowling
a consistent strike        

               (‘Finance Available’)

All things are like and not like other things, especially their own others. All politics are secretly more conservative than is ...


Searching, please wait... animated waiting image