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Debra Allbery | |
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"The Third Image": Constellations of Correspondence in Emily Dickinson, Joseph Cornell, and Charles Simic, an essay on ekphrastic poetry and the notion of poetry and painting as "the sister arts." | |
| Debra Allbery | ||
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Three ekphrastic poems: "Courbet," "No Tutor but the North," and "How to Explain a Dead Hare." |
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POETRY |
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Betty Adcock Charles Coté Martyn Crucefix  Burt Kimmelman Eric Pankey Michael Salcman Nicholas Samaras Jim Tilley Gloria Vando Eleanor Wilner |
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Interview |
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A Note on Fictional Truth, a Conversation with Ed Pavlić, by Andrew John McFadyen-Ketchum.
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| Book Review | ||
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"A Change of Maps" by Carolyne Wright—Book Review, by David Rigsbee.
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Martyn Crucefix |
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Martyn Crucefix’s most recent collection is An English Nazareth (Enitharmon, 2004). His new translation of Rainer Maria Rilke’s Duino Elegies (Enitharmon 2006) was shortlisted for the 2007 Popescu Prize for European Poetry Translation.
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This must be the filthy sink. A beige-brown door leads off to a brown-beige place. Here a dirt-grey floor promises at first glance only dull support. A table and chair of wood: something like deal and words such as scrubbed and plain will prove quite good enough. Yet the boy is a bright one. You have to look in his eye. At the table's grain-marked end, muscular, whole cooking-apples, a soup bowl, a glass bottle shows blinding white of milk. A fork lies at the ready— yet there is nothing to spear. A colander set to do service. Those few shell-like objects scattered under the boy's gaze might be oysters. Or perhaps nuts. A word like beechmast would report them well enough. And the splash of red that seizes the eye of the on-looker, can only be considered last. It's a flayed death's head. Laid out on old newspapers, it looks like ketchup and chips. It is the head of a sheep. These items take the table-top. But the boy does not climb to it— does not clamber down and away. Despite everything, the boy seems prepared to stand there counting.
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| © 2008 The Cortland Review |
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