Poetry Salzburg Review No. 17

Poetry Salzburg Review No. 17 was published in Spring 2010.
Table of Contents

Editorial (Wolfgang Görtschacher)

Martin Anderson | Rae Armantrout | E. Louise Beach | Anne Blonstein | Vuyelwa Carlin | Trevor Conway | T. Zachary Cotler | Stephan Delbos | Gail Dendy | Heather Dubrow | Michael Egan | Ana Elsner | Nausheen Eusuf | Andy Fletcher | Edwin Frank | Geoffrey Godbert | John Gosslee | R. G. Gregory | Whit Griffin | Rahila Gupta | Miriam Halahmy | Alan Hardy | Libby Hart | Michael Heller | Keith Holyoak | Dona Jalufka | Philip Jenkins | Joanne Limburg | Christodoulos Makris | Paula Meehan | Stephen C. Middleton | Geraldine Mitchell | Daniel Thomas Moran | Kate Noakes | Tim O'Leary | Michelle O'Sullivan | William Oxley | Pascale Petit | Mario Petrucci | Michael Salcman | Keli Stafford | Will Stone | Nathaniel Tarn | Mark Terrill | Michael W. Thomas | Taï Walker | John Walsh | Charles Wilkinson | Fredrick Zydek

Juana de Ibarbourou (transl. by Maureen Alsop)
Santos López (transl. by Rowena Hill)
Yolanda Pantin (transl. by Rowena Hill)
Pierre Reverdy (transl. by Ian Seed)
Miltos Sachtouris (transl. by Evan Jones)

Wolfgang Görtschacher reviewing Rae Armantrout, Paula Meehan, and Kate Noakes
Evan Jones reviewing Martin Anderson, Andy Croft, Michael Heller, and Kelley Swain
Helena Nelson on Michael Tolkien's new collection
William Oxley on John Rety

Cover artwork by Michael Cheval

Sam Smith on PSR 17 in The Journal 31 (2010):

"Poems throughout PSR are generously given each their own space. R. G. Gregory's sparse "the ward (Kampala)" benefited from this generosity, its layout drwaming me in and back. Likewise T. Zachary Cotler's poems his "History of Artifice" most certainly aimed at the page. [...] While narrative poems such as Gail dendy's self-contradictory poems can work as well on scroll-down screens and being spoken, others such as Anne Blonstein's precise arrangements, are dependeant on their appearance and have to be on the page. Similarly, although not needing the white space, thr dense metatexual blocks of prose such as "City of Flowering Almonds" by Martin Anderson are better for ebing still and studied. With its emphasis on the visual it is no surprise that many of the poems in this issue had as their jumping-off point one painting or another.

If the poems are the highly-flavoured canapés then the main courses have to be the informative articles on poets - William Oxley on John Rety, Ian Seed on Pierre Reverdy - and the substantive reviews. Evan Jones provoked me into considering the worth of reviews. And in so doing probably justified their worth. While Helena Nelson's acute analysis of Michael Tolkien's technique took me back to the basucs of poetry."

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