‘At Least They Were Not Speaking French’ keeps up the same dialogue as ‘Riddle’ and ‘Chiraqui,’ and takes its point of departure from linguistic idioms and grand conversation. Personal pain is always placed in a wider perspective in poker-faced avoidance of unchecked emotionalism, nostalgia and self-pity.
Paul Muldoon (* 20. Few poets explore the wretchedness of war and violence, disease and death, and the mysteries of verse with greater virtuosity and confidence than Muldoon.
One explanation for the name is that sailors so becalmed would throw horses overboard, to preserve supplies.
See also P.J. B-sounds, B-seriality and B-logic in these sonnets are buttressed by other Muldoonian tricks, turns and themes.
when I came to and called for an end to it.
His inflection of “very gently” nails the poem for me.
The two ornithological poems are also connected by their single-sentence composition and their ornithomorphic qualities.
If the rock reference seems abstruse, it is, however, surely deliberate by the lyric writer and intermittent guitarist for his own garage rock bands (The Rackett, Wayside Shrines and Rogue Oliphant) and the text writer for some of the late album tracks (‘My Ride’s Here’ and ‘Macgillycuddy’s Reeks’) of Warren Zevon, Muldoon’s friend and the subject of this volume’s final elegy.
His mother was a schoolteacher and his father a farm laborer and market gardener. I believe that Muldoon may have chosen the hedgehog due to its spiky exterior which may seem like it is trying harder to keep others away from it and keep to itself. They certainly illustrate horrifically the artistic powers of letters and language, and the battles with language in the poetry of Muldoon.
Additionally, this B-template does not merely reveal a tendency for adlinguistic aestheticism or intratextual intricacies; it evinces a special aptitude towards limitation on the ordering of expansive knowledge, opens out non-temporal accounts of history, imposes arbitrary universality, and points to the many versions and visions that did not acquire priority in the formation of ideologies, civilisations, identity and aesthetics. ‘Those Yankees were touch and go as it was—, Maybe you should make your peace with God.’.
3 (2007), 8.
In all their multiple meanings, the horses also work as beasts of language throughout Muldoon’s oeuvre. Paul Muldoon was born in 1951 in Northern Ireland, to a Catholic family in a mostly Protestant area.
The symbolic significance of syntax that Muldoon established so powerfully in Moy Sand and Gravel adds an insistent dimension of justice to ‘Perdu.’ Eleven end-stopped couplets unite the fate of father and son, and capture the binary deadlock of one culture being brutally extinguished by another. Muldoon’s poem, along the lines of oed definitions and etymology, is metastatic. The ancient reptile also indicates how language can change from sliding smoothly to crawling slowly or ending up hopelessly on its own back in different environments. As the storm rages, the hurricane gets scrambled with the Holocaust, with Prohibition, with the Black Sox scandal of 1919. The French connection, particularly Derrida’s language philosophy, still enables critical resistance towards overriding discourses.
It's set by the side of his New Jersey canal, which was built by thousands of Irish navvies. So while something tells me we’ll never appear in the same season again, in either the UK or the US, I don’t really mind one way or the other. The history of poetry has intimate connections to nonsense, and Muldoon helps keep the alliance alive, especially by his relish of rhyme; but nonsense can become habitual.
Was this touch immodest? New York: Farrar, Straus & Giroux. A hurricane resolves nothing, but it sure mixes things up. The concurrence of private anguish and political agendas in Horse Latitudes continues one powerful aspect of Muldoon’s poetry, but the outspokenness and clear-cut oppositions of parts of this collection, not to mention Muldoon’s own vociferous placing of the volume in respect to the political issues of the day, deflate the complex alliances that have previously engendered so much unsettling power in his poetry, particularly in the political debates of Ireland, north and south.
Parrots exist in both worlds: ‘the cockatoo / who’ll wait as long for a word from me as I’ll wait for a word from you’ (77). Muldoon’s Medley for Morin Kuhr presents a new sonnet-symphony from the master of prosody, pain and irony that displays many of the Irish-American and Princeton professor’s typical poetic strategies and thematic concerns. He's a riddler, enigmatic, distrustful of appearances, generous in allusion, doubtless a dab hand at crossword puzzles. Probably, due to all their connotations of song, other-language, up-lift and flight, birds tend to retain a closer connection with poetry than other creatures creatures. And while the ludic nature of his work – its verve, and charm, and evasiveness – has occasionally irritated less patient readers, Muldoon's fun does not preclude his seriousness; "for 'ludic' read 'lucid'".
Of multiple origins, partly a borrowing from Latin and partly a borrowing from Greek, its meaning has now metastasised almost entirely into the medical sphere. Prospero, ‘The Q & A: Paul Muldoon, Poet,’ http://www.economist.com/blogs/prospero/2010/10/new_poetry, accessed 25 April 2019. By contrast, the Nobel Laureate’s version of Henryson’s poem prolongs his cultivation of the canon and his involvement with translations. This final line sounds uncannily familiar to today’s political world of international diplomacy, duplicity and coded silence. A peccary is a piglike animal with three toes on the hind feet, impure and ineligible to be eaten by Jews.) Similarly, an uncertainty over "tenor" and "vehicle" – "I've never been able to get the terms straight in my mind" – informs his reading of Elizabeth Bishop, and should inform our reading of Muldoon; the apparently ornamental features of his work are as often as not the bearers of essential information.
So many of those former sentries and scouts have now taken up the lyre I can’t be sure of what is and what is not.
Susie emerging from the girls’ room in a swinging blue skirt and belted top, very Bonnie-and-Clyde with a long strand of pearls and a beret.
The polyvalent power of the horses also suggests strongly how the many beasts and birds in this book shiver and soar with artistic power and poetic flight. Spring is Annie in a white eyelet graduation gown with a yellow grosgrain ribbon tied around the empire waist, her blond hair lifting in the wind, as beautiful to us younger girls as I suspect May was to her brother when she came home at dawn.
But little heed is taken here to voices coming from Europe. Heaney, The Place of Writing, 52. Nevertheless, at present, his art appears threatened by his own powers.
If the inline PDF is not rendering correctly, you can download the PDF file here. Such Bush-bashing might bring Muldoon higher on the Nobel shortlist, but this type of unequivocal critique in straightforward language appears anomalous in a poet who used to question critically all forms of established positions, also the oppositional ones, mainly by equivocation, metaphorical ambiguity and imaginative complexity while using a language that always unsettled the event to which it related by questioning its own chosen poetic form and linguistic medium.
Courtesy of Blue Flower Arts Paul Muldoon was born in 1951 in Portadown, County Armagh, and was raised near The Moy, in Northern Ireland. LibGuides: Course Guide for ENGL 495: Advanced Seminar in English Language, Literature, and Writing: Citing Sources
Helen Vendler, Heaney’s champion in America who once stated of Muldoon ‘that his lyrics were impressively constructed but too often had a hole in the middle where the feeling should be,’ now writes that he ‘seems to me a more convincing poet now than he was 10 or 15 years ago,’ and that ‘he has been able, in his finely maintained tightrope act, to bear aloft both grief and playfulness.’8 Fran Brearton notes the volume’s trans-Atlantic outlook, comments on its resourceful use of language, and draws attention to a much–ignored component: ‘Horse Latitudes, for all its “play,” is therefore also a deeply political book.’9 Muldoon himself offers some explanations of the political dimension of the book in didactic terms that also elucidate some of the technique of the title poem: I started the sonnet sequence ‘Horse Latitudes’ as the U.S. embarked on its foray into Iraq.
The breathtaking pleasures of Muldoon's enigmatic verses – his absolute control of pitch and tone, his slinky rhythms and winking jests – are only the alluring surfaces beneath which all sorts of deeper and darker matter slowly becomes apparent. This parable, variously interpreted, relates as much, perhaps even more, to the situation of the humanities within today’s universities as to the position of universities in today’s society.
The poematic inquietude of ‘Hedgehog’ (NW, 27) and the parabolic admonitions and ‘moral for our times’ in ‘The Frog’ (Q, 29), two poems that also record the recalcitrance of language and reference, prepare the ground for many of the poems in this volume.15 ‘Turtles,’ another Muldoonian image for people and processes in Northern Ireland, reveals uncannily the crossings from one condition to another, the changing climate from war to peace in Northern Ireland, and hesitates over the processes of recovering the disappeared. Muldoon writes in an earlier poem: ‘Triad,’ The Times Literary Supplement, 19 May 1995, 13. If ‘sentence’ is defined along the standard lines of words in connected speech and writing that express a single thought between one full stop and the other, then haiku ‘iii’ includes seven sentences that tend to place themselves ambiguously across the ordinary categories of discursive functions from declarative and interrogative to imperative and exclamatory. In his Oxford Lectures on Poetry, collected now in The End of the Poem, Muldoon demonstrates the same half-crazed connection-making familiar from his poetry, but also indicates – by his careful, appreciative reading – some of the values he aims for in his own work. His consciousness of the structure of the sentence that came to prominence in Moy Sand and Gravel still serves a large number of syntactic and metaphorical functions in Horse Latitudes.
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