U DP163 Papers of Gavin Ewart 1935-1982
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Barbarian Masquerade a Reading of the Poetry of Tony Harrison And
1 Barbarian Masquerade A Reading of the Poetry of Tony Harrison and Simon Armitage Christian James Taylor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English August 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others This copy has been supplied on the understanding that it is copyright material and that no quotation fro m the thesis may be published without proper acknowledgement The right of Christian James Taylor to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Christian James Taylor 3 Acknowledgements The author hereby acknowledges the support and guidance of Dr Fiona Becket and Professor John Whale, without whose candour, humour and patience this thesis would not have been possible. This thesis is d edicat ed to my wife, Emma Louise, and to my child ren, James Byron and Amy Sophia . Additional thanks for a lifetime of love and encouragement go to my mother, Muriel – ‘ never indifferent ’. 4 Abstract This thesis investigates Simon Armitage ’ s claim that his poetry inherits from Tony Harrison ’ s work an interest in the politics o f form and language, and argues that both poets , although rarely compared, produce work which is conceptually and ideologically interrelated : principally by their adoption of a n ‘ un - poetic ’ , deli berately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade . -
Newsletter 29
The W. H. Auden Society Newsletter Number 29 ● December 2007 Memberships and Subscriptions Annual memberships include a subscription to the Newsletter: Individual members £9 $15 Students £5 $8 Institutions £18 $30 New members of the Society and members wishing to renew should send sterling cheques or checks in US dollars payable to ‘The W. H. Auden Society’ to Katherine Bucknell, 78 Clarendon Road, London W11 2HW. Receipts available on request. Payment may also be made by credit card through the Society’s web site at: http://audensociety.org/membership.html The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. The Newsletter is edited by Farnoosh Fathi. Submissions may be made by post to: The W. H. Auden Society, 78 Clarendon Road, London W11 2HW; or by e-mail to: thenewsletter-at-audensociety.org All writings by W. H. Auden in this issue are copyright 2007 by The Estate of W. H. Auden. Please see the Appeal to Members that appears on the Contents page of this number. 31 Recent and Forthcoming W. H. Auden, by Tony Sharpe, a title in the Routledge Guides to Lite- Contents rature Series, was published in the autumn of 2007.. Tony Sharpe: W. H. Auden: Prose, Volume III, 1949-1955 (The Complete Works of Paysage Moralisé: Auden and Maps 5 W. H. Auden), edited by Edward Mendelson, will be published by Alan Lloyd: Princeton University Press in December 2007. Auden’s Marriage Retraced 13 The Ilkley Literature Festival held several Auden-related events in John Smart: September and October 2007. -
Australian Poetry Journal
Australian Poetry Journal Volume 5 Issue 1 Publishing Information Illustrations & reproductions Australian Poetry Journal Cover: Kampala Girgiba, Jurnu near Kiwirrikurra, 2011, 2015 Volume 5, Number 1 acrylic on linen, 91cm x 91cm. Courtesy of Martumili http://apj.australianpoetry.org Artists. A publication of Australian Poetry Ltd p7: Photograph of Ali Jane Smith by courtesy of Ali Jane Editor: Michael Sharkey Smith. Designer: Stuart Geddes Publications: Bronwyn Lovell p10: Photograph of Samuel Wagan Watson by elena the wise/Bigstock.com. Courtesy of University of Australian Poetry is the peak industry body for poetry Queensland Press. in Australia, with a charter to promote and support Australian poets and poetry locally, regionally, nationally, p30: Photograph of Julie Chevalier by Thomas Gallane, and internationally. Lilyfield, n.d. Courtesy of Julie Chevalier. The Australian Poetry Journal is published biannually. p58: Photograph of Tasos Leivaditis. http://www.lifo.gr/ team/sansimera/37687. Address editorial correspondence to Level 3 The Wheeler Centre, 176 Little Lonsdale Street, Melbourne, Victoria p110: Photograph of Gail Hannah and Kevin Pearson in 3000 or by email to [email protected] the back yard at the home office of Black Pepper Press before leaving for the Prime Minister’s Literary Awards, All submissions must be received during reading periods 2014. Photograph by Ruth Jeffries. via our online submission portal: australianpoetry. submittable.com/submit p138: Lightweight Eight (November 1946), Herald (Melbourne, Vic.). State Library of Victoria – H2009.12/7 Australian Poetry Ltd attains worldwide first publication rights in both printed and digital form for the distribution Erratum and promotion of the Australian Poetry Journal as a whole. -
W. H. Auden and Opera: Studies of the Libretto As Literary Form
W. H. AUDEN AND OPERA: STUDIES OF THE LIBRETTO AS LITERARY FORM Matthew Paul Carlson A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2012 Approved by: George S. Lensing Erin G. Carlston Tim Carter Allan R. Life Eliza Richards !2012 Matthew Paul Carlson ALL RIGHTS RESERVED ii ABSTRACT MATTHEW PAUL CARLSON: W. H. Auden and Opera: Studies of the Libretto as Literary Form (Under the direction of George S. Lensing) From 1939 to 1973, the poet W. H. Auden devoted significant energy to writing for the musical stage, partnering with co-librettist Chester Kallman and collaborating with some of the most successful opera composers of the twentieth century, including Benjamin Britten, Igor Stravinsky, and Hans Werner Henze. This dissertation examines Auden’s librettos in the context of his larger career, relating them to his other poetry and to the aesthetic, philosophical, and theological positions set forth in his prose. I argue that opera offered Auden a formal alternative to his own early attempts at spoken verse drama as well as those of his contemporaries. Furthermore, I contend that he was drawn to the role of librettist as a means of counteracting romantic notions of the inspired solitary genius and the sanctity of the written word. Through a series of chronologically ordered analyses, the dissertation shows how Auden’s developing views on the unique capacities of opera as a medium are manifested in the librettos’ plots. -
EMERGENCY KIT Poems for Strange Times Edited by Jo Shapcottand MATTHEW SWEENEY
EMERGENCY KIT Poems for Strange Times edited by jo SHAPCOTTand MATTHEW SWEENEY S faberandfaber Contents Introduction, xv Hamnavoe Market GEORGE MACKAY BROWN, 3 A Constable Calls SEAM us HEANEY, 4 No MARK DOTY, 5 Red Roses ANNE SEXTON, 6 Harold's Walk GEOFFREY LEHMANN, 7 Owl GEORGE MACBETH, IO A Bee PETER DIDSBURY, II The Heaven of Animals JAMES DICKEY, 12 Rat, O Rat.. CHRISTOPHER LOGUE, 13 My Rival's House Liz LOCHHEAD, 14 A Doll's House KIT WRIGHT, 16 The Condom Tree CHASE TWICHELL, 17 Smoke SUSAN MITCHELL, 18 Listen Carefully PHILIP LEVINE, 20 'More Light! More Light!' ANTHONY HECHT, 21 I Am a Cameraman DOUGLAS DUNN, 22 Time Out MAURICE RIORDAN, 23 Mr and Mrs Scotland Are Dead KATHLEEN JAMIE, 26 Brief Lives OLIVE SENIOR, 27 Apple Island ROBERT GRAVES, 28 All Except Hannibal ROBERT GRAVES, 28 Palm Tree King JOHN AGARD, 29 Emergency Kit TANURE OJAIDE, 31 The Transposition of Clermont LES MURRAY, 32 Mercian Hymns IX, XII GEOFFREY HILL, 33 The Making of the Drum EDWARD KAMAU BRATHWAITE, 34 The Silent Piano LOUIS SIMPSON, 38 Bedtime Story GEORGE MACBETH, 38 The Horses EDWIN MUIR, 40 Johann Joachim Quantz's Five Lessons w. s. GRAHAM, 42 Variations for Two Pianos DONALD JUSTICE, 45 An American Roadside Elegy DAVE SMITH, 46 The Dream of Wearing Shorts Forever LES MURRAY, 47 [vii] Swineherd EILEAN NI CHUILLEANAIN, 50 Studying the Language EILEAN NI CHUILLEANAIN, 51 Diving into the Wreck ADRIENNE RICH, 51 Punishment SEAMUS HEANEY, 54 A Disused Shed in County Wexford DEREK MAHON, 56 The Bright Lights of Sarajevo TONY HARRISON, 58 Lightenings: viii -
Durham Research Online
Durham Research Online Deposited in DRO: 02 February 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Garrington, Abbie (2016) 'Early Auden.', in Oxford handbooks online : scholarly research reviews. Oxford: Oxford University Press. Further information on publisher's website: https://doi.org/10.1093/oxfordhb/9780199935338.013.91 Publisher's copyright statement: This is a draft of a chapter that was accepted for publication by Oxford University Press in Oxford handbooks online : scholarly research reviews. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Early Auden Abstract W. H. Auden’s early work is marked by a preoccupation with the hero figure, both in terms of the literary greats with whom Auden establishes poetic conversations, and in terms of the inter-war Truly Strong Man, whom the poet both explores for his power, and exposes as a figure half-dreamt by a nation in search of itself. -
Volume VI Issue 2
The Ted Hughes Society Journal Volume VI Issue 2 The Ted Hughes Society Journal Editor Dr Mark Wormald Pembroke College Cambridge Reviews Editor Prof. Terry Gifford Bath Spa University Editorial Board Prof. Terry Gifford Bath Spa University Dr Yvonne Reddick University of Preston Prof. Neil Roberts University of Sheffield Dr James Robinson Durham University Dr Carrie Smith Cardiff University Published by the Ted Hughes Society. All matters pertaining to the Ted Hughes Society Journal should be sent to: [email protected] You can contact the Ted Hughes Society via email at: [email protected] Questions about joining the Society should be sent to: [email protected] thetedhughessociety.org This Journal is copyright of the Ted Hughes Society but copyright of the articles is the property of their authors. Written consent should be requested from the copyright holder before reproducing content for personal and/or educational use; requests for permission should be addressed to the Editor. Commercial copying is prohibited without written consent. Contents Editorial ......................................................................................................................4 List of abbreviations of works by Ted Hughes ......................................................... 6 Hughes’s Notion of Shamanic Healing ...................................................................... 7 Terry Gifford Hughes and Lawrence ............................................................................................ -
Two Contemporary Poets and the Ted Hughes Bestiary Who Was the First
Two contemporary poets and the Ted Hughes bestiary Who was the first poet to write about birds having observed them with the aid of binoculars? The question is posed by naturalist Tim Dee in his foreword to The Poetry of Birds (2009), the anthology he co-edited with Simon Armitage. His tentative offering in response is that Edward Thomas ‘may have slung a rudimentary pair around his neck’, but with some more certainty, ‘it is possible to detect binocular- assisted poetry in some of Ted Hughes’s work’1. This speculation, verified or not, is useful because it is based on noticing the observational qualities that can be discerned clearly in Hughes’s animal poems. It is this same documentary closeness to the animals observed that Dee and Armitage value most highly in the contemporary poems they select for inclusion in their trans-historical anthology. The best bird poems written recently, Dee notes in praise of work by Michael Longley, Kathleen Jamie, and Peter Reading, are ‘open-eyed meetings that are crammed with ornithological acuity and capture the direct experience of looking at birds today, giving us a comparable quickening to that which leaps up around any encounter we have with the real things.’2 In this alignment of what both Hughes and contemporary poets bring to the fore, we can begin to see one of the chief ways in which Hughes’s legacy is felt in poetry today. Of contemporary A-list poets, Armitage is perhaps the most obviously influenced by Ted Hughes’s legacy. As long ago as 2000, he made a selection of Hughes’s poems for Faber’s ‘Poet to Poet’ series (in which ‘a contemporary poet selects and introduces another poet of a different generation whom they have particularly admired’).3 Since then, he has spoken numerous times about the older poet’s impact on his own work. -
62 Peter Neville Frederick Porter (1929–2010)
Peter Neville Frederick Porter (1929–2010) 62 Australian Academy of the Humanities, Proceedings 35, 2010 Peter Neville Frederick Porter (1929–2010) 2 Peter Porter, who was elected an Honorary Fellow of the Australian Academy of the Humanities in 2002, died in London on 23 April 2010. Memorial services and celebrations of his life and work in Britain and Australia testify to the great affection, honour and respect felt in both countries for this eminent Australian‑born poet, broadcaster and cultural commentator. Peter Neville Frederick Porter was born in Brisbane on 16 February 1929 after his mother had suffered some five miscarriages. He was an only child. In a number of semi‑autobiographical poems of his early childhood, Porter recalls a ‘bright locked world’ centred on a suburban Brisbane backyard where his father tended the garden and his more ebullient mother placed bets over the back fence with a neighbour who would transmit them to the local SP bookmaker. This version of an Australian Eden was cut short by his mother’s sudden and unexpected death when Peter was nine years old. Thereafter, in the roman fleuve of Porter’s recreated life, he was an emotional outcast. Porter attended State School and then was a boarder at Church of England Grammar School (‘Churchie’) in Brisbane and Toowoomba Grammar School. In retrospect, his school years were a time of misery presided over by bastions of muscular Christianity and summed up in his satiric poem ‘Mr Roberts’: ‘This pedagogue pushed: he owned them for four years. / A Rugby field was the Republic’s mould’. -
Tower Poetry Reviews 2004–2014 Tower Poetry Reviews 2004–2014
tower poetry reviews 2004–2014 tower poetry reviews 2004–2014 Selected and introduced by Peter McDonald 2015 CONTENTS The views expressed by each reviewer Peter McDonald Introduction 1 are not those of Tower Poetry, or of Christ Church, Oxford, Matthew Sperling John Fuller, Ghosts 7 and are solely those of the reviewers. Olivia Cole Alan Jenkins, A Shorter Life 11 Alan Gillis David Herd, Mandelson! Mandelson! A Memoir 14 Frances Leviston Lucy Newlyn, Ginnel 19 Fiona Sampson U.A. Fanthorpe, Collected Poems 1978–2003 22 Mishtooni Bose Helen Farish, Intimates 26 Frances Leviston Carol Ann Duffy, Rapture 29 April Warman Geoffrey Hill, Without Title 32 Stephen Burt Seamus Heaney, District and Circle 36 Peter McDonald Simon Armitage, Tyrannosaurus Rex versus The Corduroy Kid 40 Jeremy Noel-Tod Paul Farley, Tramp in Flames 46 Matthew Sperling Charles Tomlinson, Cracks in the Universe 50 John Redmond Marilyn Hacker, Essays on Departure 54 Fran Brearton Paul Muldoon, Horse Latitudes 58 Stephen Burt Louise Glück, Averno 65 Tim Kendall David Wheatley, Mocker 69 April Warman John Burnside, Gift Songs 73 Mishtooni Bose Ian Duhig, The Speed of Dark 77 Matthew Sperling Fiona Sampson, Common Prayer 81 Alan Gillis Nick Laird, On Purpose 86 Peter McDonald Alan Gillis, Hawks and Doves 91 Jane Griffiths Frances Leviston, Public Dream 96 C.E.J. Simons Simon Armitage (trs), The Death of King Arthur 223 Anna Lewis Ciaran Carson, For All We Know 100 Peter McDonald Geoffrey Hill, Clavics and Odi Barbare 232 Simon Pomery Michael Hofmann, Selected Poems 104 David -
The Guilty Influence: Philip Larkin Among the Poets Mark Patrick
The Guilty Influence: Philip Larkin among the poets Mark Patrick Davidson Roberts Submitted for the degree of PhD (English) Goldsmiths, University of London 2014 Signed Declaration I hereby declare that the work presented in this thesis is my own. Where other sources of information have been used, they have been acknowledged. This thesis has not been submitted to any other institution. Mark Patrick Davidson Roberts Acknowledgements In the research and writing of this thesis there have been several invaluable individuals without whom it is unlikely that I would have completed it. First and foremost are my parents, sister, and two grandmothers, whose support in every way has been absurdly accommodating and without compare. My thanks also to my late Grandfather, Sidney Roberts, whom I suspect is the root of my interest in this subject, and as such I am irrecoverably in his debt. My supervisor, Chris Baldick, from taking on the project in the first place, through many anti-tangential editorial suggestions and discussions, has been immensely helpful, kind and wise. The staff of Senate House Library, of the University of London, helped enormously with my reading, writing, and archival research, so many thanks to them. For their advice, support, empathy and tolerance, I must thank Jo Robinson, Niall Sreenan, Michael Flexer, Rebecca Saunders, Declan Ryan and Guy Stevenson. Abstract The Guilty Influence: Philip Larkin among the poets Scholarship on Philip Larkin tends to limit him as a poet, through accusations of narrowness both of subject-matter, and of received influence. The paradox between Larkin’s undoubted place as an important, beloved poet, and the supposedly limited nature of his verse, has served to isolate him – unlike other poets (e.g Ted Hughes) – Larkin’s recognised influences are few.