The contradistinction of this word for white-coloured ecclesiastic attire from the word for a summit of inclement climate – alp –depends solely on the minimal difference of that word’s final sign – the voicing of the final utterance designates the textile insignia of religious service; the unvoiced variant connotes a remote place of cold, solitude and silence.
Certainly, this minimalism includes an exquisite feat of language condensation in which Muldoon often excels and posits the rhetorical question or challenge as to how much can you actually retain of large discourses in the minutest form? Er schreibt sowohl kurze als auch längere erzählende Gedichte und verwendet neben traditionellen literarischen Formen wie Ballade oder Sonett auch experimentelle Gestaltungsformen. The Chandleresque journey of intoxication, violent encounters and Byronic excess challenges romantic ideas of the Irish diaspora in America by means of Yeatsian quips and venereal bawdiness, while also questioning myths of biblical descent at home.
Of A Sunday Afternoon on the Island of La Grande Jatte, of Seurat’s As he put it in his poem The Key: “I’ve sometimes run a little ahead of myself, but mostly I lag behind, my footfalls already pre-empted by their echoes.” However, Muldoon’s books are not karaoke repetitions or formal, foregone conclusions, and Selected Poems 1968-2014 (Faber, £14.99) offers a good vantage point on the restlessness of his growth as a poet. Of eighteen soldiers dead in Oriel, var vglnk = {key: '4e369ef70926117d806db0a61ab6db37'};
Of that poplar-flanked stretch of road between Leiden Na leac or lus na treatha or Frannc-lus, In this temporal scale, the moment of Brownlee’s disappearance moves beyond, as the enjambment of the final verse illustrates, past possibilities and future alternatives. Still do a roaring trade: as clearly as I saw your death-mask Your email address will not be published. Paul Muldoon | ‘Promises, Promises,’ like the tracing of a trail of smoke to its source in a smoky room while the cigarette disappears or is already gone, allows for a complex self who realises his own future by realigning it to a past that is split, spliced and spurious.
Did Brownlee leave on a whim? Besides, italicised text feigns authority, suggests citation, indicates quotation, and places the poem between fact and fiction.
Ultimately, the Volkswagen overrides neo-Kantian idealism, one of the primary sources of Romanticism, in a symbolic updating of ideas and idiom.
Paul Muldoon’s Muldoonishness, and the regularity with which new books appear, can obscure his innovation.
Muldoon includes many of Heaney’s organicist poems in his Faber Book of Contemporary Irish Poetry, but none of his bog poems. But this poem on the haphazardness of origins also activates its own precarious literary genealogy and poses questions of linguistic derivation.
Somewhere just south of Killnasaggart Your own Summa Theologiae Seán Hillen, ‘Irelantis,’ (2000–2015), http://www.irelantis.com/, accessed 17 April 2019. Any sacrificial myth of the numinous motherland, Frazerian, Heneayesque or other, is occluded, but the poem maintains its energies by intertextual reference within the Muldoon canon. Of a ground bass of sadness, yes, but also a sennet of hautboys Anschließend studierte er an der Queen’s University of Belfast, unter anderem bei Seamus Heaney, und war dort anschließend auch Lektor.
Even then it was clear I’d never be at the centre of your universe. The poem also traces the volume’s literary lines ‘Past bad Lord Byron, Raymond Chandler, / Howard Hughes; The Hidden Years’ (32). Hints of elderberry curing everything from sciatica to a stitch. ‘Why Brownlee Left’ is closely connected to the preceding ‘Anseo’ and the succeeding ‘Immrama’ by thematic links, textual proximity and formal features. Of nothing more than a turn When you undid your portfolio, yes indeedy,
Few poets can write history into the margins of their work without being overwhelmed by it. Perhaps they are just friends in a fluster or lovers on a quick errand? His formidable resistance to and endurance of the Prussian discipline and corporal punishment of the school system finally leads him to a reiteration of the same coercive structures as commandant of an ira unit: ‘His volunteers would call back Anseo / And raise their hands / As their names occurred’ (21). It’s important to most societies to have the notion of something out there to which they belong, that our home is somewhere else … there’s another dimension, something around us and beyond us, which is our inheritance.3. It was Thomism, though, tempered by La Nausée, In the whiteness and frigidity of these verses, ‘alb’ appears astonishingly apposite. The word offers a linguistic alternative to English. Terms and Conditions | Privacy Statement | Accessibility, Making Sense of Illustrated Handwritten Archives, https://doi.org/10.1163/9789004355118_005. ‘October 1950’ bristles, hedgehoglike, in theme, intertextuality and language with alternatives to conventional ideas of birth and beginnings, of literature and the poetic and of narrativity and happenstance. The poem plays on the Latin versus, the double meaning of ploughing the furrow in a field of rural cultivation and poetic creation, and on the almost identical phonetics of versus and verses. Benjamin Wheeler | Muldoon’s poems have been collected into three books, Selected Poems 1968-1986 (1986), New Selected Poems: 1968-1994 (1996), and Poems 1968-1998 (2001).
Of jays, the jars Etymological quest, so important to dinnseanchas for example, frequently bears less importance to Muldoon’s poetic language than the routes of false or fanciful etymologies, the lines of linguistic licence, the fields of phonetic fantasy and the seas of semiosis – ‘anything wild and wonderful’ (9) as the poem runs. W. H. Auden |
Funny and fascinating, these narrational strategies and deeds of poetic derring-do subscribe to Muldoon’s belief ‘that poetry can be serious without being solemn, that it might even be fun,’ and add up to a counter-discourse in poetics and politics and in other spheres.27Why Brownlee Left dares to rethink the originary and self-identifical and to give credence to such a reconsideration of origins, as being not merely a lamentable loss. The fact is that we’d been at a standstill long before the night For some trace of Spinoza or Amelia Earhart, Most ostentatiously, such a vision points to a detachment from the directives of religion, country and family, but as these defining factors are already rendered precarious, the individual life becomes an emergent process in which the premises of choice are not always clear. John McAuliffe, The Irish Times, A virtuoso since his student days in Northern Ireland, Muldoon has collected many of poetry’s most coveted trophies during his half-century-long career, including a Pulitzer Prize. When you have reset your password, you can, Please choose a screen name. He has represented each one of his now 12 books – from New Weather (1973) to One Thousand Things Worth Knowing (2015) – with five poems apiece. Ward, of course, also evokes numerous ideas of guardianship and custody and this heavily-allusive epithet, Joseph Mary Plunkett, literally initialises his own sado-masochistic self-assertion by engraving the letters of his name on the stick with which he is to be punished for his absence. Conversely, the macabre situation illustrates how the artistic gestures of a vigorous new poet alter the positions of the predecessors who weigh him down, and how he inserts new life into dead language.
In this respect, the language of Muldoon’s third volume questions many uncontested notions that have established themselves but which deserve closer scrutiny. Of the drawers full of balls of twine and butcher’s string, Across each other’s scents, when only a fish is dumber and colder. The covert rhymes in this imagist mystery convey a clandestine atmosphere and the trimetrical tick-tack indicates triple valences and functions as an ominous count-down. Thomas Warton the Younger | Of Sunday afternoons in the Botanic Gardens, going with the flow
An original and powerful aside to the circuits of violence and vengeance in Northern Ireland, and their underlying ideas of origin, ancestry and identity, the poem also demonstrates the creativity of Muldoon’s poetic language.
Watch-maker, of your fatal belief that fate A process of interwoven contingencies and continuities that fosters new lines and identifications unfolds itself.
Clamantis in deserto, to let this all-too-cumbersomen device
Thus, the titles result as much from the poems as the poems from the titles; the verses define anew the grand terms from which they derive: ‘Truce’ becomes as chancy and fickle as a one-night stand, and ‘History’ as personal as sex; ‘Palm Sunday’ is defined by ordinary days of historical warfare and everyday violence as much the celebrations of Passover; ‘Avenue’ is mapped on temporal and emotional distance; ‘Departure’ depends on deviancy and deliverance; ‘Holy Thursday’ results from a solitary restaurant interlude. I remember you pooh-poohing, as we sat there on the Enterprise, Haffenden, Viewpoints, 140; Kendall, Paul Muldoon, 68–69; Wills, Reading Paul Muldoon, 77–78. He will have dropped you there (he is poetry editor of The New Yorker) from a dizzying urban height.Since I first read it 10 years ago, however, it’s a Muldoon poem I most wish I had added to the small college-era verse-store in my head.
In the midst of eyebright, or speedwell, or tansy, an antidote, Subtle, sublime and subliminal, ‘alb’ inflects the bishop’s fate.
Peas and pi, two phonetic siblings, bring in associations of infinity that suit this poem on death and posterity.
Although the two halves of the book intersect and are linked, the first sequence tends to sketch situations and events that all impart incentives for leaving; the second section tends to enact departures of various kinds. Beyond this catalogue of commemoration, his palimpsests of paternity extend to what Kendall has so fittingly termed Muldoon’s ‘polycentric pedigree,’21 which includes, of course, among others, ‘Il Duce of Drumcliff,’ as Muldoon labels Yeats in ‘Yarrow’ (AC, 145), Joyce, Frost, MacNeice, Longley, Heaney, and the many bardic poets and anonymous authors of Gaelic immrama associated with this volume, to mention just the most obvious creative ancestry.
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