PN Review Print and Online Poetry Magazine
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Mark FordLetters And So It Goes
Letters from Young Mr Grace
(aka John Ashbery)

(PN Review 239)
Henry Kingon Toby Martinez de las Rivas
(PN Review 244)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Tim Parksin conversation with Natalia Ginzburg
(PN Review 49)
Next Issue Colm Toibin on Thom Gunn's Letters Allice Hiller and Sasha Dugdale in conversation David Herman on the life of Edward W. Said Jena Schmitt on Hope Mirrlees Brian Morton: Now the Trees
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Welcome to PN Review, 'probably the most informative and entertaining poetry journal in the English-speaking world' (John Ashbery)

'If one of the defining characteristics of most magazines is that, like most bands, they have a short shelf life, then PN Review is immediately uncharacteristic. It's been going so long that many of us have all but forgotten what the P and the N stand for. I think of them as opening and closing the word Provocation. And that's why I so love the magazine.' - Paul Muldoon

Keep up with the many worlds of poetry in this independent and always stimulating journal. For over four decades PN Review has been a place to discover new poems in English and in translation as well as interviews, news, essays, reviews and reports from around the world. Subscribers can access the complete, uniquely rich digital archive. Poet-subscribers can submit their work by e-mail.

'The most engaged, challenging and serious-minded of all the UK’s poetry magazines.' - Simon Armitage

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The latest copy of PN Review Issue 260 is now available to view on this website.

Anticipated publication dates for 2021:

Issue 257 January/February - published
Issue 258 March/April - published
Issue 259 May/June - published
Issue 260 July/August - published
Issue 261 September/October
Issue 262 November/December
PN Review 260
Featured Report
Chimes at Midnight Peter Scupham For Ann and Anthony Thwaite

Mr Gudgeon, the elderly bookshop assistant in Brian Aldiss’s first novel, The Brightfount Diaries, is given to sardonic aphorisms: ‘A miscellaneous collection of objects is man’s only defence against time,’ is one I particularly like. Navigating the steps and curlicues of The Mill House at Low Tharston, the Thwaites’ home for some fifty years, moving into the long low living room lit with a chequered light from the riverside windows, is to move into a room which is a metaphor for lives lived as travellers in space and time. A Roman bust shares its gaze with the staring eyes and flowing beards of Bellarmines, those stoneware drinking jugs of the sixteenth and seventeenth centuries. (We only wish we could have introduced him to his admired Robin Hildyard, of the Victoria and Albert, whose Exhibition Catalogue of stoneware was delightfully called Browne Muggs. Robin had also mentioned Anthony in an academic article, which delighted him.) Books, of course, are everywhere, shelved and nid-nodding to each other, heaped in piles; drawers open to reveal fragments of pottery: ‘Sherds, Peter, sherds, not shards.’ This a world of suggestions, shadows of lost knowledge; it exemplifies Anthony’s favourite book of Geoffrey Grigson’s, Looking and Finding, ostensibly for young collectors. We came from a collecting generation of schoolboys: mine were seashells, military badges, wildflowers... Ever since, as a boy, Anthony was given a silver denarius, he had been a looker and finder, alert for the secret signs which lie buried all around us. Both of us shared the National Service experience, jesting that Anthony’s acting rank as an Educational Corps ... read more
A Week in Gdańsk
Sinéad Morrissey Inside St Mary’s Church in Gdańsk stands a Clock of Everything. At fourteen metres, it was the tallest clock ever built when Hans Düringer completed it in 1470, and it remains the largest wooden astronomical clock in the world. So beautiful its creator was allegedly blinded upon finishing it, the clock is the first thing that greets you as you enter the basilica by the north transept, its dark medieval wood highlighted by the white walls. Composed of three discreet but interlocking sections, like the Trinity, it functions as an at-a-glance answer machine, the Google of the fifteenth century. Of course it tells you the minute and the hour. But if you want to know the phase of the moon, or the relation of the moon to Taurus, or the relation of the sun to Capricorn, or the relation of the sun ... read more
On Charlotte Mew: interview with Julia Copus
Rebecca Watts & Julia Copus
Rebecca Watts
Rebecca Watts talks to Julia Copus, whose biography This Rare Spirit:
A Life of Charlotte Mew
was released by Faber in April. Copus is also the editor of Charlotte Mew: Selected Poetry and Prose (Faber, 2019).


WATTS: I’d like to start with first encounters, because one of the things that perplexes me about Mew is how limited her reception has been over the past century. It was only a few years ago that I found her poem ‘The Trees Are Down’, somewhere near the beginning of an anthology of ‘modern verse’ I’d borrowed from the library, and was blown away by its freshness – that unique quality Mew has of channelling emotion and complex moral convictions into rhythms that are both speech-like and intensely musical. And I remember thinking: why haven’t I heard of this poet before? But then ... read more
Selected from the Archive...
An Interview with Thom Gunn Jim Powell
Do you have a sense of an English audience for your work, or a sense of two audiences, English and American?

Audience has always been a difficult question for me. It's the last thing I think about. People used to ask did I feel I was an English poet or an American poet and I would always be wishy-washy about it. Then a few years ago I came across a reference to myself as an Anglo-American poet and I thought, "Yes, that's what I am. I'm an Anglo-American poet." So that resolves that question! I don't think of the audiences as being that different. What people say about me, and it's probably true, is that in many of my poems I write about an American subject matter in an English way, by which they mean metrical ... read more
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