In the latest issue:

In Quarantine

Erin Maglaque

Après Brexit

Ferdinand Mount

Short Cuts: Springtime for Donald

David Bromwich

Meetings with their Gods

Claire Hall

‘Generation Left’

William Davies

At the North Miami Museum: Alice Paalen Rahon

Mary Ann Caws

Buchan’s Banter

Christopher Tayler

‘American Dirt’

Christian Lorentzen

Fiction and the Age of Lies

Colin Burrow

In Lahore

Tariq Ali


James Lasdun

Rereading Bowen

Tessa Hadley

At the Corner House

Rosemary Hill

William Gibson

Thomas Jones

Poem: ‘Murph & Me’

August Kleinzahler

The Stud File

Kevin Brazil

John Boorman’s Quiet Ending

David Thomson

In Shanghai: The West Bund Museum

John-Paul Stonard

Diary: The Deborah Orr I Knew

Jenny Turner

The Word from Wuhan

Wang Xiuying

Gypsy MothJon Silkin

A Gypsy Moth holds a castle of bruised rose
in its sights, the engine beating like a moth’s wings,
but the moths beat against or tumble over
the walls, across beams of light, on glass,
and in the windows – their sensors,
their furred heads, winged bodies with a burning sense
of the bulbs naked over the readers.
Lightly they wipe their webbed flesh
on our cheekbones, and we imagine
ourselves winged.

The Gypsy Moth’s self-enchanted drawl,
its music in two notes of self, regarding self,
throbs in the pilot. Satisfaction
secretes over face, mind
and brain, until he is aglow
to do it, to bomb. The readers rejoice
their arrowy targets in the castle tossing spires
through a Gypsy Moth’s night sounds.

I hear the Moth on its tarmac, I rejoice
and dream, but imagine death, my head
huge and burned as a moth’s. In a field
by the glade furring the gorge, a farmer
sprinkles Shell’s nonchalant toxin,
friendless friend, hearing the Esk splash.

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