* This issue of London Grip features new poems by: *Mukul Dahal *Frances Smith *Jan Hutchison *Murray Bodo *Geoffrey Heptonstall *Anthony Wilson *Maggie Butt *Ian C Smith *Hugh Underhill *Emma Neale *Michael Lee Johnson *Shadwell Smith *Phil Wood *John Forth *Neil Curry *Malcolm Carson *Angela Kirby *June Hall *Emma Lee *Jo Roach *Laura McKee *Michael […]
Paul McLoughlin admires the substance as well as the style of Adrian Caesar’s poetry
What exactly is the essence of Belgium? Far harder to pin down than French chic or English sang-froid, the nation’s uneasy mix of Walloon and Flemish, surreal and down-to-earth, all miraculously held together, is perfectly encapsulated by the Atomium – a giant, futuristic structure on the northern edge of Brussels.
* This issue of London Grip features new poems by: *Wendy French *Peter Kennedy *Teoti Jardine *Rob Yates *Jan Hutchison *Mohammed Kamran *Antony Johae *Nancy Mattson *Ian C Smith *Mary Franklin *Colin Bancroft *David Flynn *Christopher Mulrooney *F M Brown *Sarah Doyle *Allen Ashley *Robert Nisbet *Michael Thomas *Kerrin P Sharpe
First & second opinions: John Harvey’s latest poetry collection is reviewed by Rosie Johnston AND by Norbert Hirschhorn
Norbert Hirschhorn takes a long cool look at a new poetry & art volume from Australia
Romeo Castellucci at Brussels’ La Monnaie (De Munt in Dutch) opera house takes a real-life sufferer of locked-in syndrome and turns her into the protagonist of Ophee et Eurydice (adapted by Hector Berlioz from Gluck).
Leah Fritz enjoys contrasting – but equally life-embracing – collections from two Amsterdam-based poets
* This issue of London Grip features new poems by: *Richard Loranger *Stephen Bone *Phil Kirby *Wendy French *Danielle Hope *Harvey O’Leary *Bruce Christianson *Elizabeth Smither *Jayne Stanton *Matthew Gavin Frank *Ann Douglas *Martin Malone *Emily Strauss *Allison McVety *Ann Vaughan-Williams *Richie McCaffery
Matisse’s Startling Late Works: The Cut-Outs. Tate Modern, 17 April – 7 September 2014 No wonder Henri Matisse is well loved. His works are sensuous, jubilant, gorgeous: they envelop and immerse the viewer in voluptuousness, in light that finds itself materialised as coloured form, coloured space.
A fascination with ruins has not always been with us. It presumes, for one, a linear notion of time, in other words the idea that the past is irrevocably lost. It is also born of a forensic – or archaeological – interest in history, one that sees in broken remains the traces of past acts and endeavours.
London Grip Poetry Review – Pope
Thomas Ovans explores the complexities of Bethany Pope’s intense & tightly-wrought poetry