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Thank you to everyone who has sent in poems for the forthcoming issue (XIV.1), due now in August 2010 (a little late). The editors are currently considering all poems that were submitted before the deadline.

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Mick Imlah published only two collections, but when he died last January he was mourned as one of the outstanding poets of his generation. Oxford Poetry XIII.2 celebrates the boy, the man and the poet. There are insights into his life at Dulwich College, Magdalen and the TLS. Essays explore his published work, and poems celebrate his life. We also print seven previously unpublished Imlah poems that will be included in a forthcoming Selected from Faber.

There are contributions from James Campbell, James Fenton, Mark Ford, John Fuller, Alan Hollinghurst, Alan Jenkins, Glyn Maxwell, Andrew McNeillie, Andrew Motion, David Norbrook, Bernard O’Donoghue, Jan Piggott, Peter Porter, Carol Rumens, and Tracey Warr.

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What is Oxford Poetry ?

Oxford Poetry is 100 years old this year. It is the oldest dedicated poetry magazine in the world today.

The magazine was started in 1910 by Oxford undergraduates and published by Basil Blackwell. Previous editors have included Aldous Huxley, Siegfried Sassoon, W.H. Auden, Louis MacNeice, Kingsley Amis, Geoffrey Hill, John Fuller, John Lanchester and Robert Macfarlane. In the 1980s, Mick Imlah, Nicholas Jenkins and Bernard O'Donoghue revived it as a more outward-looking journal - no longer restricted to publishing student poetry but maintaining a connection with the university.

The list of contributors throughout its history is as impressive as it is diverse. In recent years readers would have come across poems by Seamus Heaney, Andrew Motion, Mario Petrucci, Wendy Cope, George Szirtes, Carol Ann Duffy, David Constantine and Glyn Maxwell.

Find out more about the magazine’s history or browse through the selection of online texts.

Read about how to submit work or subscribe.

Poetry Press

"The speaker is confident about his authority to speak; he goes at his subject head-on. Secondly, the speaker is confident about the capacity of language to point with subtlety and discrimination, even when being implicit." Tony Hoagland on Oppen and others • Poetry

"What is it about Emily Dickinson that invites metaphors of war and violence?" Christopher Benfey • New York Times

"The idea is that this is the line of Follain, a loose notion of elective affinity rather than a school or tradition." Peter Sirr on a new anthology of French poetry • Poetry Ireland Review

'“In a poem, what’s real happens!,” he urged a German highschool teacher who’d written asking whether it was enough to skim his poems for the meaning.' John Felstiner on Paul Celan • Free Verse

"[P]oetry’s knowledge is not a stable one, but arises through the community of open questions." Richard Deming on Ann Lauterbach • Boston Review

". . . [I]t feels more like the occupation or inhabitation of a style, an exploration of its capacities as though miraculously from the inside, than it does like a commentary on it." Seamus Perry on parody • TLS

"Another thing I’ve always admired about Heaney’s work is how his book titles so often exert a refined pressure on the language, prompt us to a fresh awareness of what his subjects are, in title phrases that hover between literal and metaphorical meanings: Door into the Dark, Field Work, Seeing Things, The Sprit Level, Electric Light, District and Circle." Eamon Grennan • Irish Times

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