CLR Online

Extracts from the first two Cambridge Literary Reviews are available to view and listen to online. via Timothy Thornton

Cambridge Literary Review Issue 2

Out now. Featuring:

Poetry:

• Andrea Brady
• Sara Crangle
• Ray Crump
• David Grundy
• Geoffrey Hartman
• Ian Heames
• Peter Hughes
• Laura Kilbride
• Angela Leighton
• Francesca Lisette
• Rod Mengham
• Drew Milne
• Marianne Morris
• Alexander Nemser
• Alice Notley
• Nick Potamitis
• Posie Rider
• Stephen Rodefer

Fiction and Prose:

• Lorqi Blinx
• Ray Crump
• Chris Hardy
• Helen Macdonald
• Rosie Šnajdr
• Keith Wells

Essays:

• Gerald L. Bruns, 'Obscurum Per Obscurius'
• Marina Frasca-Spada, ‘David Hume, the Caliph Omar and the burning issue of metaphysics'
• Emma Gilby, 'Commentary and Impact: Longinus on the Sublime'
• Simon Jarvis, 'Spirit Medium: On Hegel’s Phenomenology'
• Justin Katko, 'On "Song of the Wanking Iraqi"'
• George Reynolds, 'Pound’s Letters: Towards a Poetics Including the 'EZpistolary'
• Keston Sutherland, 'Song of the Wanking Iraqi'

Letters:

• Robert Archambeau
• Andrea Brady
• Daniel Elstein

Website

£8 / £20/€30/$50 subscription (3 issues)

via Boris Jardine

Its Chief Weapon Is Excess

Robert Archambeau on Chris Hamilton-Emery on 'Cambridge Poetry':

The British experimental crowd for whom Cambridge serves as a center of gravity has been one of the most vital and interesting things going on in the U.K. for some time, and it hasn't really had much of an assessment. Even the degree to which it is correct to call it Cambridge Poetry hasn't been determined, although I've got a feeling the name will stick, despite how unhappy everyone is going to be with it. I mean, that's what happened with Language Poetry, and with New Criticism, and with Dada, and with just about everything

....

With regard to Chris' second point above, that the poetry has been left outside of the wider history of British poetry against its will, I'm ambivalent. There sure are editors, scholars, and academics who want nothing to do with the stuff, don't like it, and suspect that it's all a matter of the emperor's new clothes (as some small percentage of it surely is). But I think there's been a reciprocal rejection: just as the many have decided to ignore this kind of writing, there has been a rejection of mainstream publication and even critical attention by some people inside the movement.

Read the rest here.