Love and Death https://www.lrb.co.uk en Mark Ford and Seamus Perry explore the oscillating power of outrage and grief, bitterness and consolation, in poetry in English from the Renaissance to the present day. Their series will consider the elegies of Milton, Hardy, Bishop, Plath and others at their most intimate and expressive. Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford. Poets discussed in this series include: Milton, Tennyson, Thomas Gray, Robert Lowell, Sylvia Plath, Denise Riley, Anne Bradstreet, John Berryman, William Wordsworth, Wilfred Owen, W.B. Yeats, Ben Jonson, Geoffrey Hill, Elizabeth Bishop, Anne Carson, Walt Whitman, Philip Larkin and more. https://megaphone.imgix.net/podcasts/329fad88-7464-11f0-bfe5-8f31b87285a5/image/8ba8dfbc0ded9111f4b9df9b85df240f.png?ixlib=rails-4.3.1&max-w=3000&max-h=3000&fit=crop&auto=format,compress Love and Death https://www.lrb.co.uk serial London Review of Books Mark Ford and Seamus Perry explore the oscillating power of outrage and grief, bitterness and consolation, in poetry in English from the Renaissance to the present day. Their series will consider the elegies of Milton, Hardy, Bishop, Plath and others at their most intimate and expressive. Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford. Poets discussed in this series include: Milton, Tennyson, Thomas Gray, Robert Lowell, Sylvia Plath, Denise Riley, Anne Bradstreet, John Berryman, William Wordsworth, Wilfred Owen, W.B. Yeats, Ben Jonson, Geoffrey Hill, Elizabeth Bishop, Anne Carson, Walt Whitman, Philip Larkin and more. Mark Ford and Seamus Perry explore the oscillating power of outrage and grief, bitterness and consolation, in poetry in English from the Renaissance to the present day. Their series will consider the elegies of Milton, Hardy, Bishop, Plath and others at their most intimate and expressive.

Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford.

Poets discussed in this series include: Milton, Tennyson, Thomas Gray, Robert Lowell, Sylvia Plath, Denise Riley, Anne Bradstreet, John Berryman, William Wordsworth, Wilfred Owen, W.B. Yeats, Ben Jonson, Geoffrey Hill, Elizabeth Bishop, Anne Carson, Walt Whitman, Philip Larkin and more.

]]> London Review of Books podcasts@lrb.co.uk Samuel Johnson, Gerard Manley Hopkins and Mick Imlah Samuel Johnson’s doctor, Robert Levet, had piecemeal medical knowledge at best, was described as an ‘an obscure practiser in physick’ by James Boswell and was only paid for his work with gin. Yet for Johnson this eccentric man deserved a poetic tribute for demonstrating ‘the power of the art without show’, a phrase that could as much describe the poem itself. In this episode, Seamus and Mark close their series by looking at the ways in which Johnson’s elegy, 'On the Death of Dr Robert Levet', rejects the pastoral heroism of the poem they started with, Milton’s ‘Lycidas’, and compare it to two poems that offer their own kinds of unsentimental, eccentric portrait: 'Felix Randal' by Gerard Manley Hopkins and 'Stephen Boyd, 1957-99' by Mick Imlah. Seamus and Mark will be back in January to start their new series, 'Narrative Poems'. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠⁠ Find tickets to Seamus's LRB Winter Lecture in London here: ⁠https://lrb.me/perrywlpod⁠ Further reading in the LRB: Freya Johnston on Samuel Johnson: ⁠https://www.lrb.co.uk/the-paper/v41/n09/freya-johnston/i-m-coming-my-tetsie!⁠ Patricia Beer on Hopkins: ⁠https://www.lrb.co.uk/the-paper/v14/n11/patricia-beer/what-he-meant-by-happiness⁠ Mon, 22 Dec 2025 14:07:00 -0000 full 14 London Review of Books Samuel Johnson’s doctor, Robert Levet, had piecemeal medical knowledge at best, was described as an ‘an obscure practiser in physick’ by James Boswell and was only paid for his work with gin. Yet for Johnson this eccentric man deserved a poetic tribute for demonstrating ‘the power of the art without show’, a phrase that could as much describe the poem itself. In this episode, Seamus and Mark close their series by looking at the ways in which Johnson’s elegy, 'On the Death of Dr Robert Levet', rejects the pastoral heroism of the poem they started with, Milton’s ‘Lycidas’, and compare it to two poems that offer their own kinds of unsentimental, eccentric portrait: 'Felix Randal' by Gerard Manley Hopkins and 'Stephen Boyd, 1957-99' by Mick Imlah. Seamus and Mark will be back in January to start their new series, 'Narrative Poems'. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠⁠ Find tickets to Seamus's LRB Winter Lecture in London here: ⁠https://lrb.me/perrywlpod⁠ Further reading in the LRB: Freya Johnston on Samuel Johnson: ⁠https://www.lrb.co.uk/the-paper/v41/n09/freya-johnston/i-m-coming-my-tetsie!⁠ Patricia Beer on Hopkins: ⁠https://www.lrb.co.uk/the-paper/v14/n11/patricia-beer/what-he-meant-by-happiness⁠ Samuel Johnson’s doctor, Robert Levet, had piecemeal medical knowledge at best, was described as an ‘an obscure practiser in physick’ by James Boswell and was only paid for his work with gin. Yet for Johnson this eccentric man deserved a poetic tribute for demonstrating ‘the power of the art without show’, a phrase that could as much describe the poem itself. In this episode, Seamus and Mark close their series by looking at the ways in which Johnson’s elegy, 'On the Death of Dr Robert Levet', rejects the pastoral heroism of the poem they started with, Milton’s ‘Lycidas’, and compare it to two poems that offer their own kinds of unsentimental, eccentric portrait: 'Felix Randal' by Gerard Manley Hopkins and 'Stephen Boyd, 1957-99' by Mick Imlah.

Seamus and Mark will be back in January to start their new series, 'Narrative Poems'.

Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠⁠

Find tickets to Seamus's LRB Winter Lecture in London here: ⁠https://lrb.me/perrywlpod⁠

Further reading in the LRB:

Freya Johnston on Samuel Johnson:

⁠https://www.lrb.co.uk/the-paper/v41/n09/freya-johnston/i-m-coming-my-tetsie!⁠

Patricia Beer on Hopkins:

⁠https://www.lrb.co.uk/the-paper/v14/n11/patricia-beer/what-he-meant-by-happiness⁠

]]> 970 Thom Gunn and Paul Muldoon Thom Gunn’s career as an elegist was tied closely to the onset of the Aids epidemic in the 1980s, during which he saw many of his friends die. Despite loosening his early formalism after absorbing the work of the New American Poets, Gunn’s vision of the poet was not as a confessional diarist but rather a careful stylist of well-wrought verse drawing on the traditions of Fulke Greville and Ben Jonson. In this episode, Seamus and Mark look at elegies including ‘Talbot Road’, ‘The Gas-poker’ and others from his celebrated collection The Man with Night Sweats, where Gunn combined this allusive, rhetorical style with a poignant realism to recreate his subjects. They then turn to the more self-reflexive, oblique elegies of Paul Muldoon, who has reinvented the form in richly-patterned, playful poems such as ‘The Soap Pig’ and ‘Incantata’. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠ More in the LRB: Thom Gunn's 'Lament': ⁠⁠https://lrb.me/ldep12gunn1⁠ Colm Tóibín on Gunn: ⁠https://lrb.me/ldep12gunn2⁠ Michael Nott: Thom Gunn in New York: ⁠https://lrb.me/ldep12gunn3⁠ Markl Ford on Muldoon: ⁠https://lrb.me/ldep12muldoon1 Mon, 24 Nov 2025 11:00:00 -0000 full 13 London Review of Books Thom Gunn’s career as an elegist was tied closely to the onset of the Aids epidemic in the 1980s, during which he saw many of his friends die. Despite loosening his early formalism after absorbing the work of the New American Poets, Gunn’s vision of the poet was not as a confessional diarist but rather a careful stylist of well-wrought verse drawing on the traditions of Fulke Greville and Ben Jonson. In this episode, Seamus and Mark look at elegies including ‘Talbot Road’, ‘The Gas-poker’ and others from his celebrated collection The Man with Night Sweats, where Gunn combined this allusive, rhetorical style with a poignant realism to recreate his subjects. They then turn to the more self-reflexive, oblique elegies of Paul Muldoon, who has reinvented the form in richly-patterned, playful poems such as ‘The Soap Pig’ and ‘Incantata’. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠ More in the LRB: Thom Gunn's 'Lament': ⁠⁠https://lrb.me/ldep12gunn1⁠ Colm Tóibín on Gunn: ⁠https://lrb.me/ldep12gunn2⁠ Michael Nott: Thom Gunn in New York: ⁠https://lrb.me/ldep12gunn3⁠ Markl Ford on Muldoon: ⁠https://lrb.me/ldep12muldoon1 Thom Gunn’s career as an elegist was tied closely to the onset of the Aids epidemic in the 1980s, during which he saw many of his friends die. Despite loosening his early formalism after absorbing the work of the New American Poets, Gunn’s vision of the poet was not as a confessional diarist but rather a careful stylist of well-wrought verse drawing on the traditions of Fulke Greville and Ben Jonson. In this episode, Seamus and Mark look at elegies including ‘Talbot Road’, ‘The Gas-poker’ and others from his celebrated collection The Man with Night Sweats, where Gunn combined this allusive, rhetorical style with a poignant realism to recreate his subjects. They then turn to the more self-reflexive, oblique elegies of Paul Muldoon, who has reinvented the form in richly-patterned, playful poems such as ‘The Soap Pig’ and ‘Incantata’.

Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠⁠⁠⁠

In other podcast apps: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld⁠⁠⁠

More in the LRB:

Thom Gunn's 'Lament': ⁠⁠https://lrb.me/ldep12gunn1⁠

Colm Tóibín on Gunn: ⁠https://lrb.me/ldep12gunn2⁠

Michael Nott: Thom Gunn in New York: ⁠https://lrb.me/ldep12gunn3⁠

Markl Ford on Muldoon: ⁠https://lrb.me/ldep12muldoon1

]]> 1011 Elegies for Poets by Auden, Arnold and Schuyler When poets elegise other poets, the results are often more about self-scrutiny and analysis of the nature of poetry than about grief. Matthew Arnold commented on his elegy for Arthur Hugh Clough, ‘Thyrsis’ (1865), that ‘one has the feeling that not enough is said about Clough in it.’ In his elegy for W.B. Yeats (1939), Auden insists that ‘poetry makes nothing happen’. Both poems resist idealisation of their subject and use the elegy’s pastoral tradition as a way of distancing themselves from the poetic sensibility of their subject. In this episode, Seamus and Mark discuss the ways in which Arnold and Auden’s visions of what a poet should be aren’t so far apart, and finish with a look at James Schuyler’s similarly unromantic elegy for Auden, in which he finds ‘so little to say’. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld Arnold's 'Thyrsis': ⁠⁠https://lrb.me/ldep11thyrsis⁠⁠ Auden's 'In Memory of W.B. Yeats': ⁠⁠https://lrb.me/ldep11yeats⁠⁠ More in the LRB: Seamus Perry on Auden: ⁠⁠https://lrb.me/ldep11auden⁠⁠ Stefan Collini on Arnold: ⁠⁠https://lrb.me/ldep11arnold⁠ Mon, 27 Oct 2025 06:00:00 -0000 full 12 London Review of Books When poets elegise other poets, the results are often more about self-scrutiny and analysis of the nature of poetry than about grief. Matthew Arnold commented on his elegy for Arthur Hugh Clough, ‘Thyrsis’ (1865), that ‘one has the feeling that not enough is said about Clough in it.’ In his elegy for W.B. Yeats (1939), Auden insists that ‘poetry makes nothing happen’. Both poems resist idealisation of their subject and use the elegy’s pastoral tradition as a way of distancing themselves from the poetic sensibility of their subject. In this episode, Seamus and Mark discuss the ways in which Arnold and Auden’s visions of what a poet should be aren’t so far apart, and finish with a look at James Schuyler’s similarly unromantic elegy for Auden, in which he finds ‘so little to say’. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld Arnold's 'Thyrsis': ⁠⁠https://lrb.me/ldep11thyrsis⁠⁠ Auden's 'In Memory of W.B. Yeats': ⁠⁠https://lrb.me/ldep11yeats⁠⁠ More in the LRB: Seamus Perry on Auden: ⁠⁠https://lrb.me/ldep11auden⁠⁠ Stefan Collini on Arnold: ⁠⁠https://lrb.me/ldep11arnold⁠ When poets elegise other poets, the results are often more about self-scrutiny and analysis of the nature of poetry than about grief. Matthew Arnold commented on his elegy for Arthur Hugh Clough, ‘Thyrsis’ (1865), that ‘one has the feeling that not enough is said about Clough in it.’ In his elegy for W.B. Yeats (1939), Auden insists that ‘poetry makes nothing happen’. Both poems resist idealisation of their subject and use the elegy’s pastoral tradition as a way of distancing themselves from the poetic sensibility of their subject. In this episode, Seamus and Mark discuss the ways in which Arnold and Auden’s visions of what a poet should be aren’t so far apart, and finish with a look at James Schuyler’s similarly unromantic elegy for Auden, in which he finds ‘so little to say’.

Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠⁠

In other podcast apps: ⁠⁠⁠⁠⁠⁠https://lrb.me/closereadingsld


Arnold's 'Thyrsis': ⁠⁠https://lrb.me/ldep11thyrsis⁠⁠

Auden's 'In Memory of W.B. Yeats': ⁠⁠https://lrb.me/ldep11yeats⁠⁠

More in the LRB:

Seamus Perry on Auden: ⁠⁠https://lrb.me/ldep11auden⁠⁠

Stefan Collini on Arnold: ⁠⁠https://lrb.me/ldep11arnold⁠

]]> 856 'Surge' by Jay Bernard and 'In Nearby Bushes' by Kei Miller Jay Bernard’s 'Surge' and Kei Miller’s 'In Nearby Bushes', both published in 2019, address acts of violence whose victims were not directly known to the writers: in Surge, the deaths of thirteen Black teenagers in the New Cross Fire of 1981; in Miller’s poem, a series of rapes and murders in Jamaica. Both can be seen as collective elegies, interleaving newspaper and medical reports, and other archival documents, with more lyrical passages, and both can be read as comments on the state of the nation as well as personal expressions of desolation. While Bernard’s poem opens out into an investigation of radical Black history and the marginalisation of Black communities in London, Miller uses blanked-out newspaper items, among other techniques, to search for the ‘understory’, an experience beyond language, which is in turn connected to colonial, and pre-colonial, Jamaica. In this episode, Mark and Seamus consider the different ways these poets respond to the shocking events they depict, while also incorporating them into a broader poetic landscape. Watch Jay Bernard reading from 'Surge' at the London Review Bookshop: ⁠https://youtu.be/XTZKYEimq2Y⁠ Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingsld Mon, 29 Sep 2025 10:00:00 -0000 full 11 London Review of Books Jay Bernard’s 'Surge' and Kei Miller’s 'In Nearby Bushes', both published in 2019, address acts of violence whose victims were not directly known to the writers: in Surge, the deaths of thirteen Black teenagers in the New Cross Fire of 1981; in Miller’s poem, a series of rapes and murders in Jamaica. Both can be seen as collective elegies, interleaving newspaper and medical reports, and other archival documents, with more lyrical passages, and both can be read as comments on the state of the nation as well as personal expressions of desolation. While Bernard’s poem opens out into an investigation of radical Black history and the marginalisation of Black communities in London, Miller uses blanked-out newspaper items, among other techniques, to search for the ‘understory’, an experience beyond language, which is in turn connected to colonial, and pre-colonial, Jamaica. In this episode, Mark and Seamus consider the different ways these poets respond to the shocking events they depict, while also incorporating them into a broader poetic landscape. Watch Jay Bernard reading from 'Surge' at the London Review Bookshop: ⁠https://youtu.be/XTZKYEimq2Y⁠ Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingsld Jay Bernard’s 'Surge' and Kei Miller’s 'In Nearby Bushes', both published in 2019, address acts of violence whose victims were not directly known to the writers: in Surge, the deaths of thirteen Black teenagers in the New Cross Fire of 1981; in Miller’s poem, a series of rapes and murders in Jamaica. Both can be seen as collective elegies, interleaving newspaper and medical reports, and other archival documents, with more lyrical passages, and both can be read as comments on the state of the nation as well as personal expressions of desolation. While Bernard’s poem opens out into an investigation of radical Black history and the marginalisation of Black communities in London, Miller uses blanked-out newspaper items, among other techniques, to search for the ‘understory’, an experience beyond language, which is in turn connected to colonial, and pre-colonial, Jamaica. In this episode, Mark and Seamus consider the different ways these poets respond to the shocking events they depict, while also incorporating them into a broader poetic landscape.

Watch Jay Bernard reading from 'Surge' at the London Review Bookshop: ⁠https://youtu.be/XTZKYEimq2Y⁠

Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠⁠

In other podcast apps: ⁠⁠⁠⁠⁠https://lrb.me/closereadingsld

]]> 922 ‘Poems of 1912-13’ by Thomas Hardy Without Emma Gifford, we might never have heard of Thomas Hardy. Hardy’s first wife was instrumental in his decision to abandon architecture for a writing career, and a direct influence – possibly collaborator – on his early novels. Their marriage, initially passionate, defied family expectations and class barriers, but by the time of Emma’s death, it had deteriorated into hostility and bitterness. Out of grief, regret and ambivalence, Hardy produced the work Mark Ford considers to be among ‘the greatest poems in any language’: Poems of 1912-13. Mark and Seamus discuss the collection in the light of what Hardy called ‘strange necromancy’: the reconfiguring of Emma as ghost, critic, corpse and mythic lover. They pay close attention to the tight structure and novelistic detail in these poems, which exemplify Hardy’s gift for mixing the lyrical with realism. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠https://lrb.me/closereadingsld⁠ Read the poems: ⁠https://www.gutenberg.org/files/2863/2863-h/2863-h.htm⁠ Further reading and listening from the LRB: On Mark’s book, Woman Much Missed: ⁠⁠https://www.lrb.co.uk/the-paper/v46/n19/matthew-bevis/i-prefer-my-mare⁠⁠ Hugh Haughton on Hardy’s ghosts and Emma’s diary: ⁠⁠https://www.lrb.co.uk/the-paper/v07/n21/hugh-haughton/ghosts⁠⁠ Dinah Birch on the letters of the two Mrs Hardies: ⁠⁠https://www.lrb.co.uk/the-paper/v18/n22/dinah-birch/defence-of-the-housefly⁠⁠ Mark and Seamus on Hardy for Modern-ish Poets: ⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/close-readings/modern-ish-poets-thomas-hardy⁠⁠ Mark and Mary Wellesley discuss A Pair of Blue Eyes: ⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/the-lrb-podcast/thomas-hardy-s-medieval-mind⁠⁠ Sun, 31 Aug 2025 23:00:00 -0000 full 10 London Review of Books Without Emma Gifford, we might never have heard of Thomas Hardy. Hardy’s first wife was instrumental in his decision to abandon architecture for a writing career, and a direct influence – possibly collaborator – on his early novels. Their marriage, initially passionate, defied family expectations and class barriers, but by the time of Emma’s death, it had deteriorated into hostility and bitterness. Out of grief, regret and ambivalence, Hardy produced the work Mark Ford considers to be among ‘the greatest poems in any language’: Poems of 1912-13. Mark and Seamus discuss the collection in the light of what Hardy called ‘strange necromancy’: the reconfiguring of Emma as ghost, critic, corpse and mythic lover. They pay close attention to the tight structure and novelistic detail in these poems, which exemplify Hardy’s gift for mixing the lyrical with realism. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠ In other podcast apps: ⁠⁠⁠⁠https://lrb.me/closereadingsld⁠ Read the poems: ⁠https://www.gutenberg.org/files/2863/2863-h/2863-h.htm⁠ Further reading and listening from the LRB: On Mark’s book, Woman Much Missed: ⁠⁠https://www.lrb.co.uk/the-paper/v46/n19/matthew-bevis/i-prefer-my-mare⁠⁠ Hugh Haughton on Hardy’s ghosts and Emma’s diary: ⁠⁠https://www.lrb.co.uk/the-paper/v07/n21/hugh-haughton/ghosts⁠⁠ Dinah Birch on the letters of the two Mrs Hardies: ⁠⁠https://www.lrb.co.uk/the-paper/v18/n22/dinah-birch/defence-of-the-housefly⁠⁠ Mark and Seamus on Hardy for Modern-ish Poets: ⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/close-readings/modern-ish-poets-thomas-hardy⁠⁠ Mark and Mary Wellesley discuss A Pair of Blue Eyes: ⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/the-lrb-podcast/thomas-hardy-s-medieval-mind⁠⁠ Without Emma Gifford, we might never have heard of Thomas Hardy. Hardy’s first wife was instrumental in his decision to abandon architecture for a writing career, and a direct influence – possibly collaborator – on his early novels. Their marriage, initially passionate, defied family expectations and class barriers, but by the time of Emma’s death, it had deteriorated into hostility and bitterness. Out of grief, regret and ambivalence, Hardy produced the work Mark Ford considers to be among ‘the greatest poems in any language’: Poems of 1912-13.

Mark and Seamus discuss the collection in the light of what Hardy called ‘strange necromancy’: the reconfiguring of Emma as ghost, critic, corpse and mythic lover. They pay close attention to the tight structure and novelistic detail in these poems, which exemplify Hardy’s gift for mixing the lyrical with realism.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠⁠⁠https://lrb.me/applecrld⁠⁠⁠⁠

In other podcast apps: ⁠⁠⁠⁠https://lrb.me/closereadingsld⁠


Read the poems:

⁠https://www.gutenberg.org/files/2863/2863-h/2863-h.htm⁠


Further reading and listening from the LRB:


On Mark’s book, Woman Much Missed:

⁠⁠https://www.lrb.co.uk/the-paper/v46/n19/matthew-bevis/i-prefer-my-mare⁠⁠


Hugh Haughton on Hardy’s ghosts and Emma’s diary:

⁠⁠https://www.lrb.co.uk/the-paper/v07/n21/hugh-haughton/ghosts⁠⁠


Dinah Birch on the letters of the two Mrs Hardies:

⁠⁠https://www.lrb.co.uk/the-paper/v18/n22/dinah-birch/defence-of-the-housefly⁠⁠


Mark and Seamus on Hardy for Modern-ish Poets:

⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/close-readings/modern-ish-poets-thomas-hardy⁠⁠


Mark and Mary Wellesley discuss A Pair of Blue Eyes:

⁠⁠https://www.lrb.co.uk/podcasts-and-videos/podcasts/the-lrb-podcast/thomas-hardy-s-medieval-mind⁠⁠

]]> 808 no Family Elegies by Wordsworth, Lowell, Riley and Carson Seamus and Mark look at four elegies written for family members, ranging from the romantic period to the 2010s, each of which avoids, deliberately or not, what Freud described as the work of mourning. William Wordsworth’s ‘Elegiac Stanzas Suggested by a View of Peele Castle’ (1807) is an oblique memorial to a brother that seems scarcely able to mention its subject. Like Wordsworth, Denise Riley’s elegy for her son, ‘A Part Song’ (2012), embraces the atemporal nature of poetry as a protest against the destructive power of time, but also uses dramatic shifts in register to openly question the use of ‘song’ as a method of mourning. Robert Lowell’s elegies for his parents, from Life Studies (1959), offer a startling resistance to the traditional elegiac mode by spurning the urge to grandiloquence with a series of prosaic vignettes. Anne Carson’s ‘Nox’ (2010) goes further by challenging the idea of a coherent account of someone’s life entirely, with a sequence of fragments contained within a single sheet of paper, ranging from poems and translations to telephone conversations, photographs and drawings, as a deliberately disordered memory of her relationship with her brother that nonetheless exposes the purest ingredients of elegy. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Poems discussed in this episode: William Wordsworth, ‘Elegiac Stanzas Suggested by a View of Peele Castle’ https://www.poetryfoundation.org/poems/45516/elegiac-stanzas-suggested-by-a-picture-of-peele-castle-in-a-storm-painted-by-sir-george-beaumont Robert Lowell, selections from ’Life Studies’ https://www.londonreviewbookshop.co.uk/stock/life-studies-robert-lowell Denise Riley, ‘A Part Song’ https://www.lrb.co.uk/the-paper/v34/n03/denise-riley/a-part-song Anne Carson, Nox https://www.londonreviewbookshop.co.uk/stock/nox-anne-carson Next episode: ‘Poems of 1912-1913’ by Thomas Hardy. LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld Sun, 03 Aug 2025 23:00:00 -0000 full 9 London Review of Books Seamus and Mark look at four elegies written for family members, ranging from the romantic period to the 2010s, each of which avoids, deliberately or not, what Freud described as the work of mourning. William Wordsworth’s ‘Elegiac Stanzas Suggested by a View of Peele Castle’ (1807) is an oblique memorial to a brother that seems scarcely able to mention its subject. Like Wordsworth, Denise Riley’s elegy for her son, ‘A Part Song’ (2012), embraces the atemporal nature of poetry as a protest against the destructive power of time, but also uses dramatic shifts in register to openly question the use of ‘song’ as a method of mourning. Robert Lowell’s elegies for his parents, from Life Studies (1959), offer a startling resistance to the traditional elegiac mode by spurning the urge to grandiloquence with a series of prosaic vignettes. Anne Carson’s ‘Nox’ (2010) goes further by challenging the idea of a coherent account of someone’s life entirely, with a sequence of fragments contained within a single sheet of paper, ranging from poems and translations to telephone conversations, photographs and drawings, as a deliberately disordered memory of her relationship with her brother that nonetheless exposes the purest ingredients of elegy. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Poems discussed in this episode: William Wordsworth, ‘Elegiac Stanzas Suggested by a View of Peele Castle’ https://www.poetryfoundation.org/poems/45516/elegiac-stanzas-suggested-by-a-picture-of-peele-castle-in-a-storm-painted-by-sir-george-beaumont Robert Lowell, selections from ’Life Studies’ https://www.londonreviewbookshop.co.uk/stock/life-studies-robert-lowell Denise Riley, ‘A Part Song’ https://www.lrb.co.uk/the-paper/v34/n03/denise-riley/a-part-song Anne Carson, Nox https://www.londonreviewbookshop.co.uk/stock/nox-anne-carson Next episode: ‘Poems of 1912-1913’ by Thomas Hardy. LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld Seamus and Mark look at four elegies written for family members, ranging from the romantic period to the 2010s, each of which avoids, deliberately or not, what Freud described as the work of mourning. William Wordsworth’s ‘Elegiac Stanzas Suggested by a View of Peele Castle’ (1807) is an oblique memorial to a brother that seems scarcely able to mention its subject. Like Wordsworth, Denise Riley’s elegy for her son, ‘A Part Song’ (2012), embraces the atemporal nature of poetry as a protest against the destructive power of time, but also uses dramatic shifts in register to openly question the use of ‘song’ as a method of mourning. Robert Lowell’s elegies for his parents, from Life Studies (1959), offer a startling resistance to the traditional elegiac mode by spurning the urge to grandiloquence with a series of prosaic vignettes. Anne Carson’s ‘Nox’ (2010) goes further by challenging the idea of a coherent account of someone’s life entirely, with a sequence of fragments contained within a single sheet of paper, ranging from poems and translations to telephone conversations, photographs and drawings, as a deliberately disordered memory of her relationship with her brother that nonetheless exposes the purest ingredients of elegy.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Poems discussed in this episode:


William Wordsworth, ‘Elegiac Stanzas Suggested by a View of Peele Castle’

https://www.poetryfoundation.org/poems/45516/elegiac-stanzas-suggested-by-a-picture-of-peele-castle-in-a-storm-painted-by-sir-george-beaumont


Robert Lowell, selections from ’Life Studies’

https://www.londonreviewbookshop.co.uk/stock/life-studies-robert-lowell


Denise Riley, ‘A Part Song’

https://www.lrb.co.uk/the-paper/v34/n03/denise-riley/a-part-song


Anne Carson, Nox

https://www.londonreviewbookshop.co.uk/stock/nox-anne-carson


Next episode: ‘Poems of 1912-1913’ by Thomas Hardy.


LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld

]]> 827 no War Elegies by Whitman, Owen, Douglas and more As long as there have been poets, they have been writing war elegies. In this episode, Mark and Seamus discuss responses to the American Civil War (Walt Whitman), both world wars (W.B. Yeats, Wilfred Owen, Rudyard Kipling, Keith Douglas) and the conflict in Northern Ireland (Michael Longley) to explore the way these very different poems share an ancient legacy. Spanning 160 years and energised by competing ideas of art and war, these soldiers, carers and civilians are united by a need that Mark and Seamus suggest is at the root of poetry, to memorialise the dead in words. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld⁠ Poems discussed in this episode: Walt Whitman, ‘Vigil Strange I Kept on the Field One Night’ ⁠⁠https://⁠⁠⁠⁠w⁠⁠⁠⁠ww.poetryfoundation.org/poems/45478/vigil-strange-i-kept-on-the-field-one-night⁠⁠ Wilfred Owen, ‘Futility’ ⁠⁠https://www.poetryfoundation.org/poems/57283/futility-56d23aa2d4b57⁠⁠ Keith Douglas, ‘Vergissmeinnicht’ ⁠⁠https://warpoets.org.uk/worldwar2/poem/vergissmeinnicht/⁠⁠ W.B. Yeats, ‘An Irish Airman foresees his Death’ ⁠⁠https://www.poetryfoundation.org/poems/57311/an-irish-airman-foresees-his-death⁠⁠ Michael Longley, ‘The Ice-Cream Man’ ⁠⁠https://poetryarchive.org/poem/ice-cream-man/⁠⁠ Rudyard Kipling, ‘Epitaphs of the War’ ⁠⁠https://www.poetryfoundation.org/poems/57409/epitaphs-of-the-war⁠⁠ Further reading in the LRB: Ian Hamilton on Keith Douglas’s letters: https://lrb.me/ldwar1 Jonathan Bate on war poetry: https://lrb.me/ldwar2 Poems by Michael Longley published in the LRB: ⁠⁠https://lrb.me/ldwar3 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld Sun, 06 Jul 2025 23:00:00 -0000 full 8 London Review of Books As long as there have been poets, they have been writing war elegies. In this episode, Mark and Seamus discuss responses to the American Civil War (Walt Whitman), both world wars (W.B. Yeats, Wilfred Owen, Rudyard Kipling, Keith Douglas) and the conflict in Northern Ireland (Michael Longley) to explore the way these very different poems share an ancient legacy. Spanning 160 years and energised by competing ideas of art and war, these soldiers, carers and civilians are united by a need that Mark and Seamus suggest is at the root of poetry, to memorialise the dead in words. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld⁠ Poems discussed in this episode: Walt Whitman, ‘Vigil Strange I Kept on the Field One Night’ ⁠⁠https://⁠⁠⁠⁠w⁠⁠⁠⁠ww.poetryfoundation.org/poems/45478/vigil-strange-i-kept-on-the-field-one-night⁠⁠ Wilfred Owen, ‘Futility’ ⁠⁠https://www.poetryfoundation.org/poems/57283/futility-56d23aa2d4b57⁠⁠ Keith Douglas, ‘Vergissmeinnicht’ ⁠⁠https://warpoets.org.uk/worldwar2/poem/vergissmeinnicht/⁠⁠ W.B. Yeats, ‘An Irish Airman foresees his Death’ ⁠⁠https://www.poetryfoundation.org/poems/57311/an-irish-airman-foresees-his-death⁠⁠ Michael Longley, ‘The Ice-Cream Man’ ⁠⁠https://poetryarchive.org/poem/ice-cream-man/⁠⁠ Rudyard Kipling, ‘Epitaphs of the War’ ⁠⁠https://www.poetryfoundation.org/poems/57409/epitaphs-of-the-war⁠⁠ Further reading in the LRB: Ian Hamilton on Keith Douglas’s letters: https://lrb.me/ldwar1 Jonathan Bate on war poetry: https://lrb.me/ldwar2 Poems by Michael Longley published in the LRB: ⁠⁠https://lrb.me/ldwar3 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld As long as there have been poets, they have been writing war elegies. In this episode, Mark and Seamus discuss responses to the American Civil War (Walt Whitman), both world wars (W.B. Yeats, Wilfred Owen, Rudyard Kipling, Keith Douglas) and the conflict in Northern Ireland (Michael Longley) to explore the way these very different poems share an ancient legacy. Spanning 160 years and energised by competing ideas of art and war, these soldiers, carers and civilians are united by a need that Mark and Seamus suggest is at the root of poetry, to memorialise the dead in words.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld⁠


Poems discussed in this episode:

Walt Whitman, ‘Vigil Strange I Kept on the Field One Night’

⁠⁠https://⁠⁠⁠⁠w⁠⁠⁠⁠ww.poetryfoundation.org/poems/45478/vigil-strange-i-kept-on-the-field-one-night⁠⁠


Wilfred Owen, ‘Futility’

⁠⁠https://www.poetryfoundation.org/poems/57283/futility-56d23aa2d4b57⁠⁠


Keith Douglas, ‘Vergissmeinnicht’

⁠⁠https://warpoets.org.uk/worldwar2/poem/vergissmeinnicht/⁠⁠


W.B. Yeats, ‘An Irish Airman foresees his Death’

⁠⁠https://www.poetryfoundation.org/poems/57311/an-irish-airman-foresees-his-death⁠⁠


Michael Longley, ‘The Ice-Cream Man’

⁠⁠https://poetryarchive.org/poem/ice-cream-man/⁠⁠


Rudyard Kipling, ‘Epitaphs of the War’

⁠⁠https://www.poetryfoundation.org/poems/57409/epitaphs-of-the-war⁠⁠


Further reading in the LRB:

Ian Hamilton on Keith Douglas’s letters:

https://lrb.me/ldwar1

Jonathan Bate on war poetry:

https://lrb.me/ldwar2

Poems by Michael Longley published in the LRB:

⁠⁠https://lrb.me/ldwar3

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld

]]> 729 no ‘In Memoriam’ by Tennyson Tennyson described In Memoriam as ‘rather the cry of the whole human race than mine’, and the poem achieved widespread acclaim as soon as it was published in 1850, cited by Queen Victoria as her habitual reading after the death of Prince Albert. Its subject is the death in 1833 of Tennyson’s friend Arthur Hallam at the age of 22, and in its 131 sections it explores the possibilities of elegy more extensively than any English poem before it, not least in its innovative, incantatory rhyme scheme, intended to numb the pain of grief. From its repeated dramatisations of the experience of private loss, In Memoriam opens out to reflect on the intellectual turmoil running through Victorian society amid monumental advances in scientific thought. In this episode, Seamus and Mark discuss the unique emotional power of Tennyson’s style, and why his great elegy came to represent what mourning, and poetry, should be in the public imagination of his time. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read more in the LRB: Frank Kermode: https://lrb.me/ldtenn1 Seamus Perry: https://lrb.me/ldtenn2 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ Sun, 08 Jun 2025 23:00:00 -0000 full 7 London Review of Books Tennyson described In Memoriam as ‘rather the cry of the whole human race than mine’, and the poem achieved widespread acclaim as soon as it was published in 1850, cited by Queen Victoria as her habitual reading after the death of Prince Albert. Its subject is the death in 1833 of Tennyson’s friend Arthur Hallam at the age of 22, and in its 131 sections it explores the possibilities of elegy more extensively than any English poem before it, not least in its innovative, incantatory rhyme scheme, intended to numb the pain of grief. From its repeated dramatisations of the experience of private loss, In Memoriam opens out to reflect on the intellectual turmoil running through Victorian society amid monumental advances in scientific thought. In this episode, Seamus and Mark discuss the unique emotional power of Tennyson’s style, and why his great elegy came to represent what mourning, and poetry, should be in the public imagination of his time. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read more in the LRB: Frank Kermode: https://lrb.me/ldtenn1 Seamus Perry: https://lrb.me/ldtenn2 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ Tennyson described In Memoriam as ‘rather the cry of the whole human race than mine’, and the poem achieved widespread acclaim as soon as it was published in 1850, cited by Queen Victoria as her habitual reading after the death of Prince Albert. Its subject is the death in 1833 of Tennyson’s friend Arthur Hallam at the age of 22, and in its 131 sections it explores the possibilities of elegy more extensively than any English poem before it, not least in its innovative, incantatory rhyme scheme, intended to numb the pain of grief. From its repeated dramatisations of the experience of private loss, In Memoriam opens out to reflect on the intellectual turmoil running through Victorian society amid monumental advances in scientific thought. In this episode, Seamus and Mark discuss the unique emotional power of Tennyson’s style, and why his great elegy came to represent what mourning, and poetry, should be in the public imagination of his time.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Read more in the LRB:

Frank Kermode:

https://lrb.me/ldtenn1

Seamus Perry:

https://lrb.me/ldtenn2

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠

]]> 748 Self-Elegies by Plath, Larkin, Hardy and more Philip Larkin was terrified of death from an early age; Thomas Hardy contemplated what the neighbours would say after he had gone; and Sylvia Plath imagined her own death in vivid and controversial ways. The genre of self-elegy, in which poets have reflected on their own passing, is a small but eloquent one in the history of English poetry. In this episode, Seamus and Mark consider some of its most striking examples, including Chidiock Tichborne’s laconic lament on the night of his execution in 1586, Jonathan Swift’s breezy anticipation of his posthumous reception, and the more comfortless efforts of 20th-century poets confronting godless extinction. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read more in the LRB: Jacqueline Rose on Plath: ⁠⁠https://lrb.me/ldself1 David Runciman on Larkin and his father: https://lrb.me/ldself2 John Bayley on Larkin ⁠⁠https://lrb.me/ldself3 Matthew Bevis on Hardy: ⁠⁠https://lrb.me/ldself4 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠⁠⁠ Sun, 11 May 2025 23:00:00 -0000 full 6 London Review of Books Philip Larkin was terrified of death from an early age; Thomas Hardy contemplated what the neighbours would say after he had gone; and Sylvia Plath imagined her own death in vivid and controversial ways. The genre of self-elegy, in which poets have reflected on their own passing, is a small but eloquent one in the history of English poetry. In this episode, Seamus and Mark consider some of its most striking examples, including Chidiock Tichborne’s laconic lament on the night of his execution in 1586, Jonathan Swift’s breezy anticipation of his posthumous reception, and the more comfortless efforts of 20th-century poets confronting godless extinction. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read more in the LRB: Jacqueline Rose on Plath: ⁠⁠https://lrb.me/ldself1 David Runciman on Larkin and his father: https://lrb.me/ldself2 John Bayley on Larkin ⁠⁠https://lrb.me/ldself3 Matthew Bevis on Hardy: ⁠⁠https://lrb.me/ldself4 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠⁠⁠ Philip Larkin was terrified of death from an early age; Thomas Hardy contemplated what the neighbours would say after he had gone; and Sylvia Plath imagined her own death in vivid and controversial ways. The genre of self-elegy, in which poets have reflected on their own passing, is a small but eloquent one in the history of English poetry.

In this episode, Seamus and Mark consider some of its most striking examples, including Chidiock Tichborne’s laconic lament on the night of his execution in 1586, Jonathan Swift’s breezy anticipation of his posthumous reception, and the more comfortless efforts of 20th-century poets confronting godless extinction.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Read more in the LRB:

Jacqueline Rose on Plath:

⁠⁠https://lrb.me/ldself1

David Runciman on Larkin and his father:

https://lrb.me/ldself2

John Bayley on Larkin

⁠⁠https://lrb.me/ldself3

Matthew Bevis on Hardy:

⁠⁠https://lrb.me/ldself4

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠⁠⁠

]]> 845 no Elegies for Poets by Berryman, Lowell and Bishop The confessional poets of the mid-20th century considered themselves a ‘doomed’ generation, with a cohesive identity and destiny. Their intertwining personal lives were laid bare in their work, and Robert Lowell, John Berryman and Elizabeth Bishop returned repeatedly to the elegy to commemorate old friends and settle old scores.In this episode, Mark and Seamus turn to elegies for poets by poets, tracing the intricate connections between them. Lowell, Berryman and Bishop’s work was offset by a deep commitment to the literary tradition, and Mark and Seamus identify their shared influences and anxieties. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Further reading in the LRB: Mark Ford: No One Else Can Take a Bath for You https://lrb.me/ldpoets1 Karl Miller: Some Names for Robert Lowell https://lrb.me/ldpoets2 Nicholas Everett: Two Americas and a Scotland https://lrb.me/ldpoets3 Helen Vendler: The Numinous Moose https://lrb.me/ldpoets4 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ Sun, 13 Apr 2025 23:00:00 -0000 full 5 London Review of Books The confessional poets of the mid-20th century considered themselves a ‘doomed’ generation, with a cohesive identity and destiny. Their intertwining personal lives were laid bare in their work, and Robert Lowell, John Berryman and Elizabeth Bishop returned repeatedly to the elegy to commemorate old friends and settle old scores.In this episode, Mark and Seamus turn to elegies for poets by poets, tracing the intricate connections between them. Lowell, Berryman and Bishop’s work was offset by a deep commitment to the literary tradition, and Mark and Seamus identify their shared influences and anxieties. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Further reading in the LRB: Mark Ford: No One Else Can Take a Bath for You https://lrb.me/ldpoets1 Karl Miller: Some Names for Robert Lowell https://lrb.me/ldpoets2 Nicholas Everett: Two Americas and a Scotland https://lrb.me/ldpoets3 Helen Vendler: The Numinous Moose https://lrb.me/ldpoets4 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ The confessional poets of the mid-20th century considered themselves a ‘doomed’ generation, with a cohesive identity and destiny. Their intertwining personal lives were laid bare in their work, and Robert Lowell, John Berryman and Elizabeth Bishop returned repeatedly to the elegy to commemorate old friends and settle old scores.In this episode, Mark and Seamus turn to elegies for poets by poets, tracing the intricate connections between them. Lowell, Berryman and Bishop’s work was offset by a deep commitment to the literary tradition, and Mark and Seamus identify their shared influences and anxieties.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Further reading in the LRB:

Mark Ford: No One Else Can Take a Bath for You

https://lrb.me/ldpoets1

Karl Miller: Some Names for Robert Lowell

https://lrb.me/ldpoets2

Nicholas Everett: Two Americas and a Scotland

https://lrb.me/ldpoets3

Helen Vendler: The Numinous Moose

https://lrb.me/ldpoets4

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠

]]> 731 no ‘Elegy Written in a Country Churchyard’ by Thomas Gray Situated on the cusp of the Romantic era, Thomas Gray’s work is a mixture of impersonal Augustan abstraction and intense subjectivity. ‘Elegy Written in a Country Churchyard’ is one of the most famous poems in the English language, and continues to exert its influence on contemporary poetry. Mark and Seamus explore three of Gray’s elegiac poems and their peculiar emotional power. They discuss Gray’s ambiguous sexuality, his procrastination and class anxieties, and where his humour shines through – as in his elegy for Horace Walpole’s cat. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Further reading in the LRB: John Mullan: Unpranked Lyre ⁠⁠https://lrb.me/ldgray1 Tony Harrison: ‘V.’ ⁠⁠https://lrb.me/ldgray2 Read the texts online: ⁠⁠https://www.thomasgray.org/texts/poems/sorw⁠⁠ ⁠⁠https://www.thomasgray.org/texts/poems/elcc⁠⁠ ⁠⁠https://www.thomasgray.org/texts/poems/odfc⁠⁠ LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ Mon, 17 Mar 2025 00:00:00 -0000 full 4 London Review of Books Situated on the cusp of the Romantic era, Thomas Gray’s work is a mixture of impersonal Augustan abstraction and intense subjectivity. ‘Elegy Written in a Country Churchyard’ is one of the most famous poems in the English language, and continues to exert its influence on contemporary poetry. Mark and Seamus explore three of Gray’s elegiac poems and their peculiar emotional power. They discuss Gray’s ambiguous sexuality, his procrastination and class anxieties, and where his humour shines through – as in his elegy for Horace Walpole’s cat. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Further reading in the LRB: John Mullan: Unpranked Lyre ⁠⁠https://lrb.me/ldgray1 Tony Harrison: ‘V.’ ⁠⁠https://lrb.me/ldgray2 Read the texts online: ⁠⁠https://www.thomasgray.org/texts/poems/sorw⁠⁠ ⁠⁠https://www.thomasgray.org/texts/poems/elcc⁠⁠ ⁠⁠https://www.thomasgray.org/texts/poems/odfc⁠⁠ LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠ Situated on the cusp of the Romantic era, Thomas Gray’s work is a mixture of impersonal Augustan abstraction and intense subjectivity. ‘Elegy Written in a Country Churchyard’ is one of the most famous poems in the English language, and continues to exert its influence on contemporary poetry. Mark and Seamus explore three of Gray’s elegiac poems and their peculiar emotional power. They discuss Gray’s ambiguous sexuality, his procrastination and class anxieties, and where his humour shines through – as in his elegy for Horace Walpole’s cat.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Further reading in the LRB:

John Mullan: Unpranked Lyre

⁠⁠https://lrb.me/ldgray1

Tony Harrison: ‘V.’

⁠⁠https://lrb.me/ldgray2

Read the texts online:

⁠⁠https://www.thomasgray.org/texts/poems/sorw⁠⁠

⁠⁠https://www.thomasgray.org/texts/poems/elcc⁠⁠

⁠⁠https://www.thomasgray.org/texts/poems/odfc⁠⁠

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠⁠https://lrb.me/audiobooksld⁠

]]> 921 no Elegies for children by Ben Jonson, Anne Bradstreet, Geoffrey Hill and Elizabeth Bishop This episode looks at four poems whose subject would seem to lie beyond words: the death of a child. A defining feature of elegy is the struggle between poetic eloquence and inarticulate grief, and in these works by Ben Jonson, Anne Bradstreet, Geoffrey Hill and Elizabeth Bishop we find that tension at its most acute. Mark and Seamus consider the way each poem deals with the traditional demand of the elegy for consolation, and what happens when the form and language of love poetry subverts elegiac conventions. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read the poems here: Ben Jonson: On My First Son ⁠⁠https://lrb.me/jonsoncrld⁠⁠ Anne Bradstreet:In Memory of My Dear Grandchild Elizabeth Bradstreet ⁠⁠https://lrb.me/bradstreetcrld⁠⁠ Geoffrey Hill: September Song ⁠⁠https://lrb.me/hillcrld⁠⁠ Elizabeth Bishop: First Death in Nova Scotia ⁠⁠https://lrb.me/bishopcrld⁠⁠ Read more in the LRB: Blair Worden on Ben Jonson https://lrb.me/ldch1 Blair Worden on puritanism https://lrb.me/ldch2 Colin Burrow in Geoffrey Hill: https://lrb.me/ldch3 Helen Vendler on Elizabeth Bishop https://lrb.me/ldch4 Next episode: Elegies by Thomas Gray: ⁠⁠https://www.poetryfoundation.org/poems/44299/elegy-written-in-a-country-churchyard⁠⁠ ⁠https://www.poetryfoundation.org/poems/44305/on-the-death-of-richard-west⁠ ⁠⁠https://www.poetryfoundation.org/poems/44302/ode-on-the-death-of-a-favourite-cat-drowned-in-a-tub-of-goldfishes⁠⁠ LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld Mon, 17 Feb 2025 00:00:00 -0000 full 3 London Review of Books This episode looks at four poems whose subject would seem to lie beyond words: the death of a child. A defining feature of elegy is the struggle between poetic eloquence and inarticulate grief, and in these works by Ben Jonson, Anne Bradstreet, Geoffrey Hill and Elizabeth Bishop we find that tension at its most acute. Mark and Seamus consider the way each poem deals with the traditional demand of the elegy for consolation, and what happens when the form and language of love poetry subverts elegiac conventions. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read the poems here: Ben Jonson: On My First Son ⁠⁠https://lrb.me/jonsoncrld⁠⁠ Anne Bradstreet:In Memory of My Dear Grandchild Elizabeth Bradstreet ⁠⁠https://lrb.me/bradstreetcrld⁠⁠ Geoffrey Hill: September Song ⁠⁠https://lrb.me/hillcrld⁠⁠ Elizabeth Bishop: First Death in Nova Scotia ⁠⁠https://lrb.me/bishopcrld⁠⁠ Read more in the LRB: Blair Worden on Ben Jonson https://lrb.me/ldch1 Blair Worden on puritanism https://lrb.me/ldch2 Colin Burrow in Geoffrey Hill: https://lrb.me/ldch3 Helen Vendler on Elizabeth Bishop https://lrb.me/ldch4 Next episode: Elegies by Thomas Gray: ⁠⁠https://www.poetryfoundation.org/poems/44299/elegy-written-in-a-country-churchyard⁠⁠ ⁠https://www.poetryfoundation.org/poems/44305/on-the-death-of-richard-west⁠ ⁠⁠https://www.poetryfoundation.org/poems/44302/ode-on-the-death-of-a-favourite-cat-drowned-in-a-tub-of-goldfishes⁠⁠ LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld This episode looks at four poems whose subject would seem to lie beyond words: the death of a child. A defining feature of elegy is the struggle between poetic eloquence and inarticulate grief, and in these works by Ben Jonson, Anne Bradstreet, Geoffrey Hill and Elizabeth Bishop we find that tension at its most acute. Mark and Seamus consider the way each poem deals with the traditional demand of the elegy for consolation, and what happens when the form and language of love poetry subverts elegiac conventions.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Read the poems here:

Ben Jonson: On My First Son

⁠⁠https://lrb.me/jonsoncrld⁠⁠


Anne Bradstreet:In Memory of My Dear Grandchild Elizabeth Bradstreet

⁠⁠https://lrb.me/bradstreetcrld⁠⁠


Geoffrey Hill: September Song

⁠⁠https://lrb.me/hillcrld⁠⁠


Elizabeth Bishop: First Death in Nova Scotia

⁠⁠https://lrb.me/bishopcrld⁠⁠


Read more in the LRB:

Blair Worden on Ben Jonson

https://lrb.me/ldch1

Blair Worden on puritanism

https://lrb.me/ldch2

Colin Burrow in Geoffrey Hill:

https://lrb.me/ldch3

Helen Vendler on Elizabeth Bishop

https://lrb.me/ldch4

Next episode:

Elegies by Thomas Gray:

⁠⁠https://www.poetryfoundation.org/poems/44299/elegy-written-in-a-country-churchyard⁠⁠

⁠https://www.poetryfoundation.org/poems/44305/on-the-death-of-richard-west⁠

⁠⁠https://www.poetryfoundation.org/poems/44302/ode-on-the-death-of-a-favourite-cat-drowned-in-a-tub-of-goldfishes⁠⁠


LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld

]]> 817 no Milton’s ‘Lycidas’ Milton wrote ‘Lycidas’ in 1637, at the age of 29, to commemorate the drowning of the poet Edward King. As well as a great pastoral elegy, it is a denunciation of the ecclesiastical condition of England and a rehearsal for Milton’s later role as a writer of national epic. In the first episode of their new series, Seamus and Mark discuss the political backdrop to the poem, Milton’s virtuosic mix of poetic tradition and innovation, and why such a fervent puritan would choose an unfashionable, pre-Christian form to honour his friend. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read 'Lycidas': ⁠⁠https://www.poetryfoundation.org/poems/44733/lycidas⁠⁠ Read more in the LRB: Colin Burrow (on the 'two-handed engine'): https://lrb.me/ldmilton1 Freya Johnston (on Samuel Johnson's criticism): https://lrb.me/ldmilton2 Maggie Kilgour (on the young Milton): https://lrb.me/ldmilton3 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld Mon, 20 Jan 2025 00:00:00 -0000 full 2 London Review of Books Milton wrote ‘Lycidas’ in 1637, at the age of 29, to commemorate the drowning of the poet Edward King. As well as a great pastoral elegy, it is a denunciation of the ecclesiastical condition of England and a rehearsal for Milton’s later role as a writer of national epic. In the first episode of their new series, Seamus and Mark discuss the political backdrop to the poem, Milton’s virtuosic mix of poetic tradition and innovation, and why such a fervent puritan would choose an unfashionable, pre-Christian form to honour his friend. Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe: Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠ In other podcast apps: ⁠⁠https://lrb.me/closereadingsld Read 'Lycidas': ⁠⁠https://www.poetryfoundation.org/poems/44733/lycidas⁠⁠ Read more in the LRB: Colin Burrow (on the 'two-handed engine'): https://lrb.me/ldmilton1 Freya Johnston (on Samuel Johnson's criticism): https://lrb.me/ldmilton2 Maggie Kilgour (on the young Milton): https://lrb.me/ldmilton3 LRB Audiobooks Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld Milton wrote ‘Lycidas’ in 1637, at the age of 29, to commemorate the drowning of the poet Edward King. As well as a great pastoral elegy, it is a denunciation of the ecclesiastical condition of England and a rehearsal for Milton’s later role as a writer of national epic. In the first episode of their new series, Seamus and Mark discuss the political backdrop to the poem, Milton’s virtuosic mix of poetic tradition and innovation, and why such a fervent puritan would choose an unfashionable, pre-Christian form to honour his friend.


Non-subscribers will only hear an extract from this episode. To listen to the full episode, and to all our other Close Readings series, subscribe:

Directly in Apple Podcasts: ⁠⁠https://lrb.me/applecrld⁠⁠

In other podcast apps: ⁠⁠https://lrb.me/closereadingsld


Read 'Lycidas': ⁠⁠https://www.poetryfoundation.org/poems/44733/lycidas⁠⁠


Read more in the LRB:

Colin Burrow (on the 'two-handed engine'):

https://lrb.me/ldmilton1

Freya Johnston (on Samuel Johnson's criticism):

https://lrb.me/ldmilton2

Maggie Kilgour (on the young Milton):

https://lrb.me/ldmilton3

LRB Audiobooks

Discover audiobooks from the LRB: ⁠⁠⁠⁠https://lrb.me/audiobooksld

]]> 751 no Introducing ‘Love and Death’ Mark Ford and Seamus Perry introduce Love and Death, a new Close Readings series on elegy from the Renaissance to the present day. They discuss why the elegy can be a particularly energising form for poets engaging with their craft and the poetic tradition, and how elegy serves an important role in public grieving, remembering and healing. Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford. Tue, 07 Jan 2025 00:00:00 -0000 full 1 London Review of Books Mark Ford and Seamus Perry introduce Love and Death, a new Close Readings series on elegy from the Renaissance to the present day. They discuss why the elegy can be a particularly energising form for poets engaging with their craft and the poetic tradition, and how elegy serves an important role in public grieving, remembering and healing. Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford. Mark Ford and Seamus Perry introduce Love and Death, a new Close Readings series on elegy from the Renaissance to the present day. They discuss why the elegy can be a particularly energising form for poets engaging with their craft and the poetic tradition, and how elegy serves an important role in public grieving, remembering and healing.

Mark Ford is Professor of English at University College, London, and Seamus Perry is Professor of English Literature at Balliol College, Oxford.

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