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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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