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Vanishing Points
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Table of Contents

  • Preface
  • Introduction
  • 1 John Ashbery
  • All Messages Have Been Played
  • Because the Night
  • Franchises in Flux
  • Immoral Streams
  • Interesting People of Newfoundland
  • Meaningful Love
  • Wolf Ridge
  • The Template
  • 2 Caroline Bergvall
  • Hungry Form
  • 3 Lee Ann Brown
  • My epithalamion
  • You Are Not Gorgeous and I Am Coming Anyway
  • My Uncruel April, My Totally Equal Unforetold April Unfolded
  • The Impulse to Call & Spring Upon
  • Respond to me
  • shiny jewel eye
  • A Call for Vertical Integration in the Eye of the Storm
  • Encyclopedia Botanica
  • 4 Brian Catling
  • The Pittancer
  • 5 David Chaloner
  • Waste
  • Unnamed
  • Emblem
  • Spring and Other Places
  • Thicket of Time
  • Vista Vert
  • 6 Andrew Crozier
  • Humiliation in its Disguises
  • Blank Misgivings
  • 7 Andrew Duncan
  • Andy-the-German Servant of Two Masters
  • The Ghost of Fusion
  • The Shield of Perseus
  • Martyrdom and Triumph of Sergei Korolev
  • 8 Roy Fisher
  • from The Cut Pages
  • 9 Lionel G. Fogarty
  • By Accident, Blinked
  • Am I
  • Memo to Us (story)
  • Kath Walker
  • Fuck All Departments
  • Biral Biral
  • 10 Ulli Freer
  • fragmento
  • 11 Peter Gizzi
  • Lonely Tylenol
  • Another Day on the Pilgrimage
  • Fables of Critique
  • Last Cigar
  • Tous les Matins du Monde
  • Ding Repair
  • 12 Lyn Hejinian
  • The Beginner
  • 13 Susan Howe
  • from Bed Hangings
  • 14 Lisa Jarnot
  • Brooklyn Anchorage
  • What In Fire Did I, Firelover, Starter of Fires, Love?
  • The Specific Incendiaries of Springtime
  • Still Life
  • Valley of the Shadow of the Dogs
  • Poem Beginning with a Line by Frank Lima
  • 15 John Kinsella
  • Bluff Knoll Sublimity
  • Akbar
  • The Rust Eclogues: Radnoti, Poetry, and the Strains of Appropriation
  • Radnoti Quarantine: Razglednicas
  • 16 Michelle Leggott
  • thoroughfares await them
  • dark torch
  • the songs of good hope
  • omphalos
  • 17 Tony Lopez
  • In Memory
  • Studies in Classic American Literature
  • Dint
  • 18 Barry MacSweeney
  • Wreckage is the only Answer
  • Seared to the echo
  • Totem Banking
  • I Looked Down on a Child Today
  • Cute Petite
  • 19 Anna Mendelssohn
  • The wrong room
  • Strictly personal
  • Britain 1967
  • On being reproached by saintly mediators for bad budgeting
  • Franked
  • Photrum
  • footsteps climb whereas they descend
  • 20 Rod Mengham
  • Names in the Bark
  • To the Soviet Embalmers
  • Smitten
  • Another Name for the Cassiterides
  • Allegory of Good Government
  • Concession to Perpetuity No. 166
  • 21 Drew Milne
  • from Bench Marks
  • from As It Were
  • 22 Jennifer Moxley
  • Stem of the Tree of Orestes
  • A Transom Over Death's Door
  • Soleil Cou Coupe
  • The Easter Lesson
  • 23 Ian Patterson
  • from Hardihood
  • 24 J. H. Prynne
  • from Red D Gypsum
  • 25 Peter Riley
  • from Excavations
  • 26 Lisa Robertson
  • from The Weather
  • 27 Stephen Rodefer
  • Brief To Butterick
  • Stewed and Fraught with Birds
  • 28 Gig Ryan
  • Pure and Applied
  • Achilleus to Odysseus
  • The Global Rewards Redemption Centre
  • Epilogue
  • La Penserosa
  • 29 John Tranter
  • from Blackout
  • 30 Geoff Ward
  • Trapped Wind
  • What's Wrong
  • Distance Learning
  • Horace Belisha
  • 31 Marjorie Welish
  • Detained By Rest
  • Macbeth in Battle
  • Textile 9
  • Textile 11
  • Textile 12
  • Textile 13
  • 32 John Wilkinson
  • Sideshow
  • Oiled Sweater
  • Grace
  • The Torn Ones
  • The Rest of It
  • The Impatient Man Kills with his Piano-playing
  • Funk Qualms
  • Notes on the Contributors

Promotional Information

A unique introduction to the wide range of modernist experiment in contemporary poetry, Vanishing Points contains more than thirty poets from the UK, USA, Canada, Australia and New Zealand. Ideal study aid for students of poetry and poetics. Includes selections from John Ashbery, Lyn Hejinian, Susan Howe, Barry MacSweeney and J.H. Prynne. Substantial contributions offer important insights into the range of each poet's work.

About the Author

Rod Mengham lives and works in Cambridge. He has written books on Henry Green, Emily Bronte, Charles Dickens, Thomas Hardy and on language and cultural history; he has also edited books on violence and the artistic imagination, and on modernist and contemporary fiction. He is the editor of the Equipage series of poetry pamphlets and co-editor and co-translator of the anthology of contemporary Polish poetry, Altered State (Arc, 2003). His own poems have been published in Unsung: New and Selected Poems (Salt, 2001) and with photographs by Marc Atkins in Parleys and Skirmishes (Ars Cameralis, 2007). John Kinsella is the author of over twenty books, including The Silo (FACP, 1995), The Undertow: New & Selected Poems (Arc, 1996), The Hunt (Bloodaxe, 1998), Visitants (Bloodaxe, 1999), and Wheatlands (with Dorothy Hewett, FACP, 2000), The Hierarchy of Sheep (Bloodaxe/FACP, 2000/2001), and Auto (Salt, 2000). He is editor of the international literary journal Salt, a consultant editor of Westerly (CSAL, University of Western Australia), Cambridge correspondent for Overland (Melbourne, Australia), and international editor of the American journal The Kenyon Review. He is a Fellow of Churchill College, Cambridge University, Adjunct Professor to Edith Cowan University, Western Australia, and Professor of English at Kenyon College. Peripheral Light: Selected and New Poems is due out with W.W. Norton in 2003.

Reviews

Amidst the plethora of anthologies which flood the British market there are two which stand out, distinguished, alone, separate: the first Conductors of Chaos (Picador 1996) is now out of print and the second is this recently published delight from Salt Publishing, Vanishing Points. Buy it! Keep it with you. Dip into it time and time again.

-- Ian Brinton * The Use of English *

Vanishing Points [...] achieves an informative line, which looks both ways as it crosses and spans an international reach. The poems work best when self-conscious and projected imports coincide in order to build, not merely deconstruct, sense. Andrew Crozier's poetry represents a persuasive recombination of old and new lyric tones, as words embody falling back through endnotes to stand for the uptake of fresh insight: `Divisions interposed ... rise to the surface.'

-- Sarah Wardle * The Guardian *

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