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)
M. Wynn ThomasThe Other Side of the Hedge
(PN Review 239)
Next Issue Beverley Bie Brahic, after Leopardi's 'Broom' Michael Freeman Benefytes and Consolacyons Miles Burrows At Madame Zaza’s and other poems Victoria Kenefick Hunger Strike Hilary Davies Haunted by Christ
Poems Articles Interviews Reports Reviews Contributors
PNR 250 Poetry Archive Banner
Monthly Carcanet Books
PN Review Blog

This article is taken from PN Review 146, Volume 28 Number 6, July - August 2002.

Revisiting a Collaboration Patrick McGuinness and Charles Mundye

Mistrust me not, then, if I have begun
Unwontedly and if I seem to shun
Unstrange and much-told ground:
For in peculiar earth alone can I
Construe the word and let the meaning lie
That rarely may be found.
                 Laura Riding, from 'As Well as Any Other'


He continues quick and dull in his clear images;
I continue slow and sharp in my broken images.

He in a new confusion of his understanding:
I in a new understanding of my confusion.
                 Robert Graves, from 'In Broken Images'

A Survey of Modernist Poetry and A Pamphlet Against Anthologies confront the difficult literature of early twentieth- century poetic modernism. They are not just works of literary criticism, however insightful their to-the-minute reflections on such writers as T.S Eliot, W.B. Yeats, e.e. cummings, Gertrude Stein, Marianne Moore or Hart Crane, and however they might serve to document the production and reception of experimental writing in the early twentieth century. In the 1920s, both Laura Riding and Robert Graves were committed wholeheartedly to the cause of poetry, and these books eschew the analytical focus of 'objective' criticism. Partial, subjective and polemical, these are deeply serious works: not criticism or literary history in the conventional sense, but rather written with the passion and force of poetic manifestos.

Both books provide reflections by practising poets not only on the technical language of poetry, but on the ...


Searching, please wait... animated waiting image