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We shall not be moved

John Bayley, 2 February 1984

Come aboard and sail away 
by John Fuller.
Salamander, 48 pp., £6, October 1983, 0 907540 37 6
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Children in Exile 
by James Fenton.
Salamander, 24 pp., £5, October 1983, 0 907540 39 2
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‘The Memory of War’ and ‘Children in Exile’: Poems 1968-1983 
by James Fenton.
Penguin, 110 pp., £1.95, October 1983, 0 14 006812 0
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Some Contemporary Poets of Britain and Ireland: An Anthology 
edited by Michael Schmidt.
Carcanet, 184 pp., £9.95, November 1983, 0 85635 469 4
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Nights in the Iron Hotel 
by Michael Hofmann.
Faber, 48 pp., £4, November 1983, 0 571 13116 6
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The Irish Lights 
by Charles Johnston and Kyril Fitzlyon.
Bodley Head, 77 pp., £4.50, September 1983, 0 370 30557 4
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Fifteen to Infinity 
by Ruth Fainlight.
Hutchinson, 62 pp., £5.95, September 1983, 0 09 152471 7
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Donald Davie and the Responsibilities of Literature 
edited by George Dekker.
Carcanet, 153 pp., £9.95, November 1983, 9780856354663
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... activities used to concentrate an audience by figuring in a non-literary context, and Blake or Emily Dickinson used religion, as they used the context of childhood responses, to appeal directly to an audience over the head, as it were, of literature. Their communication seems to short-circuit it. The tactic was understood and developed by the ...

On Roy Fisher

August Kleinzahler, 29 June 2017

... via such places as Ithaca, Ovid, Geneva, Skaneateles, Schenectady. Then, deviously, another in Emily Dickinson country and a bus ride to Boston,’ where he fell ill, as one often does on these junkets, but not so ill as to be unable to fly back to Chicago ‘stuffed with analgesics from Denise Levertov’s ample medicine cupboard. They didn’t help ...

At the Barbican

T.J. Clark: Jean Dubuffet, 29 July 2021

... French art he inherited. Think of Corot or Monet or Bonnard.) There are some phrases in a poem by Emily Dickinson that strike me as helpful, particularly with Paris-Montparnasse in mind:Anguish – and the Tomb –Hum by – in Muffled Coaches –Lest they – wonder Why –Any – for the Press of Smiling –Interrupt – to die –This could almost be ...

Extracts from Notebooks 1996-2006

Charles Simic, 10 May 2007

... plain view and I found them out. The Golden Age of American Literature. When cowboys used to read Emily Dickinson in the saddle, and the cops walking the beat carried a volume of Wallace Stevens in the pocket of their overcoats. The occupiers everywhere, I note, are outraged by the bad manners of the occupied that do nothing but complain about being ...

Manila Manifesto

James Fenton, 18 May 1989

... rose o’er the fray And you would tremble had you heard The things I heard you say.’ *** I saw Emily Dickinson in a vision, and asked if it was merely by coincidence that so much of her poetry could be sung to the tune of ‘The Yellow Rose of Texas’. She said: ‘In poetry there is no coincidence. I had feet once. I had knees. I would not have you ...

Jon Elster’s Brisk Meditations

Bernard Williams, 1 May 1980

Logic and Society 
by Jon Elster.
Wiley, 244 pp., £12.65, March 1978, 0 471 99549 5
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Ulysses and the Sirens 
by Jon Elster.
Cambridge/Editions de la Maison des Sciences de l’Homme, 240 pp., £9.75, May 1979, 0 521 22388 1
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... and formal decision theory. He quotes in an unforced and relevant way from Donne, Stendhal, Emily Dickinson and Groucho Marx, to name a few; about the last he remarks that his famous dictum, ‘I would not dream of belonging to a club which would have me as a member,’ is a reversal of the Master-Slave paradox, and that it was indeed he who stood ...

Like Dolls with Their Heads Cut Off

Laura Quinney: Louise Glück, 21 July 2005

October 
by Louise Glück.
Sarabande, 32 pp., $8.95, April 2004, 1 932511 00 8
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... the line of American poets who value fierce lyric compression. This tradition was established by Emily Dickinson and her followers: H.D., Louise Bogan and Elizabeth Bishop. It is a tradition predominantly, though not exclusively, of women poets; the opposing tradition of ornate or discursive amplitude has been predominantly male ...

Provincialism

Denis Donoghue: Karlin’s collection of Victorian verse, 4 June 1998

The Penguin Book of Victorian Verse 
edited by Danny Karlin.
Allen Lane, 851 pp., £25, October 1997, 9780713990492
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... achievement to bring, as she did, a speaking voice and manner into poetry. There is, too, Emily Brontë, who has hardly yet had full justice as a poet; I will record, without offering it as a checked and deliberated critical judgment, the remembered impression that her ‘Cold in the Earth’ is the finest poem in the 19th-century part of The Oxford ...

Real Absences

Barbara Johnson, 19 October 1995

Post Scripts: The Writer’s Workshop 
by Vincent Kaufmann, translated by Deborah Treisman.
Harvard, 199 pp., £31.95, June 1994, 0 674 69330 2
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The Oxford Book of Letters 
edited by Frank Kermode and Anita Kermode.
Oxford, 559 pp., £20, July 1995, 0 19 214188 0
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... perverse and self-centred? Why are the life choices of even as canonical a woman writer as Emily Dickinson so often pathologised while Flaubert’s identical strategies of withdrawal are taken as evidence of his devotion to his art? Kaufmann seems quite blind to the gender dynamics of some of what he analyses, but there might be something to be ...

Paulin’s People

Edward Said, 9 April 1992

Minotaur: Poetry and the Nation State 
by Tom Paulin.
Faber, 298 pp., £15.99, January 1992, 0 571 16308 4
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... taste accordingly celebrates ecstatic primitives like Clare, obstinate linguistic feminists like Emily Dickinson, First World writers like Elizabeth Bishop with Third World imaginations, Eastern European activists and ‘wakers-up’ like Holub and Herbert, deconstructive poets of soccer-violence Britain like Peter Reading. Opposed to them are a number ...

Call it magnificence

Michael Hofmann: Antonio Muñoz Molina, 20 December 2018

Like a Fading Shadow 
by Antonio Muñoz Molina, translated by Camilo A. Ramirez.
Serpent’s Tail, 310 pp., £9.99, May 2018, 978 1 78125 894 1
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... picked up at Heathrow Airport on 8 June 1968 (beginning with the Liberty Chief), or a line from Emily Dickinson or Jorge Guillén or García Lorca, or the moody flotsam that he watches bobbing up on the tideline of the estuarial Tagus (‘sand,/Atlantic Ocean, condoms, sand’ – all right, that’s Lowell), it barely matters. The absence of ...

Hugging the cats

John Bayley, 14 June 1990

Poems 
by Gay Clifford.
188 pp., £14.99, May 1990, 0 241 12976 1
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Selected Poems 1940 – 1989 
by Allen Curnow.
Viking, 209 pp., £15.99, May 1990, 0 670 83007 0
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Collected Poems and Selected Translations 
by Norman Cameron, edited by Warren Hope and Jonathan Barker.
Anvil, 160 pp., £14.95, May 1990, 0 85646 202 0
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Collected Poems 
by Enoch Powell.
Bellew, 198 pp., £9.95, April 1990, 0 947792 36 8
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... produces (as Germaine Greer implies) a new version of the crucified Andromeda, of Mrs Browning, Emily Dickinson, Christina Rossetti, struggling ‘to obey the peremptory demands of their own creativity within the limits imposed by our culture’. This in the true and involuntary perspective behind poems that are often irritatingly with-it, sidestepping ...

Diary

Christopher Hitchens: The Almanach de Gotha, 2 July 1998

... that’s quite funny.) In one temple in Provo, Utah, it has also laid claim to Jane Austen and Emily Dickinson. Most wondrous of all, though, it has obviously now baptised Franz Joseph Maximilian Maria Antonius Ignatius Lamoral, ninth Prince von Thurn & Taxis. As Elias Canetti has it in ‘The King-Proclaimer’, the first part of his Earwitness: It ...

Not What Anybody Says

Michael Wood: James Fenton, 13 September 2012

Yellow Tulips: Poems 1968-2011 
by James Fenton.
Faber, 164 pp., £14.99, May 2012, 978 0 571 27382 9
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... those by the same author, and yet mysteriously still sounds as if James Fenton wrote it: ‘I saw Emily Dickinson in a vision and asked if it was merely by coincidence that so much of her poetry could be sung to the tune of “The Yellow Rose of Texas”. She said: “In poetry there is no coincidence. I had feet once. I had knees. I would not have you ...

On Charles Wright

Matthew Bevis, 1 April 2021

... semi-absent presences (‘a kind of half-free verse, I suppose’).Wright’s aim is to create ‘Emily Dickinson on Walt Whitman’s open road, kinetic compression within a more open-ended space’, and this led him to experiment with a split-level line (‘the low rider’, he has sometimes called it): ‘In the world of dirt, each tactile ...

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