All photographs reproduced by kind permission of the Syndics of Cambridge University Library
Modern Poetry in Translation
Modern Poetry in Translation (MPT, 1965) was originally founded by poets Ted Hughes and Daniel Weissbort in an open attempt to bring to light first-hand literary reflections on the political status quo in both Western and Eastern society.
Gaining popularity initially through the fame of Weissbort and Hughes (subsequently made Poet Laureate from 1984 until his death), the aims of the magazine have always been to compile and promote the best and freshest poetry, reviews and prose from around the world, to give voice to those repressed by politic or convention and to expose the realities of life in their times.
Images from Modern Poetry in Translations, 5 (1969), the ‘Czech issue’. Classmark L727.b.62
Second Aeon
Second Aeon, produced and compiled between 1966 and 1975 by Peter Finch, is described by Peter Barry (Poetry Wars, Salt, 2006) as being: “the most prominent and best established avant-garde poetry magazine of the period” and featured arguably the best-received alternative poetry published by primarily British (with some European and North American) writers.
Much of the content was sought directly by the editor although subscriptions to the magazine were received from prospective contributors worldwide, seeking to have their poetry, prose, reviews, images and commentary associated with an organisation dedicated to inspiring change and innovation.
The life-cycle of the magazine coincided with this period of protest and upheaval and its experimental and eclectic nature reflected the atmosphere and events around the world.
Images from Second Aeon (edited by Peter Finch). Classmark: L727.c.456
Permission by Chris Calhoun Agency © Estate of Amiri Baraka
Evergreen Review
Evergreen Review (Evergreen Review, 1957, 1998, 2017) was first released in 1957 by Barney Rosset, Fred Jordan et al. as a consciously reactionary compilation of works by innovative thinkers of the time, alongside aspirational writers from around the world.
Creating reader shock was a central goal of this publication, which included regular submissions from a global panoply of writers and commentators who would go on to achieve great renown for their openness of style and disregard for convention.
Front covers of the collection were consistently controversial and yet impossible to ignore and contents correlated with the cultural undertow of the period.