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

Saving TimeIan Patterson

for John Berger

It was called a hand as proof, spotless and caught
      like watching a false cuff, kind of. It is a pepper mill
or a path like a vision along to the glass door. Her will
      and the men, hesitating, end up like a house fire.

A tight fit bolts and lands in such a way. The shape of hers
      seems to me to lament mere shade. How to paint more
of a given social role or type had nothing to do nor to believe
      before the turn in time. Nothing can contain itself.

I knew about the grey stone and vegetables carried in his sack.
      Writing, like the habit of meagre eating, taught me about exile.
To be a help he took my arm, white hair, ashes above his destiny,
      he made his own way in his studio, a lesson for the future.

And when I told him, he imagined the dark coming back
      until the sky flashes and the hill remains after death
even as you chart a future edifice of words. Do not explain
      rags of mist and speed: the eyes are closed to hope.

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