Interview in Acumen Magazine
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Horse Latitudes
Chapter 10 Horse Latitudes ‘Presto: we are in the horse latitudes of language, from which we’ll never get out,’ critic William Pratt writes of Horse Latitudes. His reservations echo clearly Jameson’s treatise, The Prison House of Language, and critique of Derrida’s philosophical project as a vortex of adlinguistic reduction.1 His comment also reveals that Muldoon’s poetry is as language-focused as ever, and that com- mentators have become increasingly sensitised to the language of Paul Mul- doon’s poetry. Muldoon’s tenth volume of poetry from Faber and Faber in the year he added the European Prize for Poetry to his extensive list of awards, 2006, continues the prominent interest in the functions, inconsistencies and complexities of language. The familiar subject matter of sorrow and despair and of Adornian existential crisis is still in evidence; the volume delves into cancer, death and war. The ambiguities of ‘keeping that wound green’ from Moy Sand and Gravel (3), in the sense of cultivating or curing crisis and trauma, with particular connotations of Irish issues, suggest one of the recurrent threads of this volume too. Questions of how to tackle and overcome individu- al crisis and public catastrophe prevail in the volume. From war on the very first page through disease and massacre in the following poems, the volume traverses a full gamut of woes: personal, social, political, historical and medi- cal. This latter medical realm of adversity finds expression in pathological ter- minology, from ‘Hypersarcoma’ (a tumour-related bodily excrescence) to ‘mes- otheliomata’ – Muldoon’s coinage for the stigmata of malignant tumour of tissue, especially lungs and abdomen – on the last page. -
Academic & Professional Publishing
Fall 2017 Academic & Professional Publishing Academic & Professional Publishing Fall 2017 IPG Academic and Professional Publishing is delighted to present our Fall 2017 catalog which includes hundreds of new titles for your examination� In this edition we will also be introducing a new publisher to our readership� We are pleased to present titles from Southeast Missouri State University Press� Founded in 2001, Southeast Missouri State University Press serves both as a first-rate publisher and as a working laboratory for students interested in learning the art and skills of literary publishing. The Press supports a Minor degree program in Small-press Publishing for undergraduate students in any major who wish to acquire the basic skills for independent-press publishing and editing. Recognition won by their books include the John H� Reid Short Fiction Award, the Creative Spirits Platinum Award for General Fiction, the James Jones First Novel Award, the Langum Award for Historical Fiction, the Missouri Governor’s Book Award, the United We Read selection, and the Kniffen Book Award for best U�S�/Canada cultural geography� Table of Contents New Trade Titles ���������������������������������������������������������������������������������1–85 Business & Economics ������������������������������������������������������������86–96 Science................................................................................. 97–105 Philosophy........................................................................106 & 107 Religion............................................................................. -
The Gissing Journal
The Gissing Journal Volume XXXIX, Number 2, April 2003 “More than most men am I dependent on sympathy to bring out the best that is in me.” Commonplace Book “The Grandfather’s New Year’s Story” An Unpublished Story from Gissing’s Juvenilia BARBARA RAWLINSON Nottingham After his well-documented period of exile in America, George Gissing returned to England in the autumn of 1877 and achieved almost immediate success with the publication of his revised “The Artist’s Child” in Tinsleys’ Magazine in January 1878. Little did he think that it would be March 1884 before another short story of his appeared in print. When success in short fiction eluded him, he tried his hand at producing essays, drama, poetry and non-fiction, replicating in some respects his experimental efforts at composition in early adolescence, much of which remains unpublished. Of Gissing’s eclectic range of juvenilia, “The Grandfather’s New Year’s Story,” written when he was sixteen years old, undoubtedly bears the stamp of individuality and innovation, much in evidence in the author’s later work. For instance, at one level the story can be seen as an innovative reversal of Swift’s depressing account of the Struldbrugs in Gulliver’s Travels. Although the Years in Gissing’s story are similar to the Immortals in their ability to live forever, the Struldbrugs physically, the Years in memory, their behaviour towards one another differs dramatically. While the ancients of Luggnagg are “opinionative, peevish […] uncapable of friendship, and dead to all natural affection,”1 the old Years, at the stroke of midnight, joyfully welcome the new into their fold: “All the old years gathered round the throne & began to offer presents to the young King.” For the writer to make such a conceptual leap reveals enormous promise in one so young. -
Yorkshire Poetry, 1954-2019: Language, Identity, Crisis
YORKSHIRE POETRY, 1954-2019: LANGUAGE, IDENTITY, CRISIS Kyra Leigh Piperides Jaques, BA (Hons) and MA, (Hull) PhD University of York English & Related Literature October 2019 ABSTRACT This thesis explores the writing of a large selection of twentieth- and twenty-first- century East and West Yorkshire poets, making a case for Yorkshire as a poetic place. The study begins with Philip Larkin and Ted Hughes, and concludes with Simon Armitage, Sean O’Brien and Matt Abbott’s contemporary responses to the EU Referendum. Aside from arguing the significance of Yorkshire poetry within the British literary landscape, it presents poetry as a central form for the region’s writers to represent their place, with a particular focus on Yorkshire’s languages, its identities and its crises. Among its original points of analysis, this thesis redefines the narrative position of Larkin and scrutinizes the linguistic choices of Hughes; at the same time, it identifies and explains the roots and parameters of a fascinating new subgenre that is emerging in contemporary West Yorkshire poetry. This study situates its poems in place whilst identifying the distinct physical and social geographies that exist, in different ways, throughout East and West Yorkshire poetry. Of course, it interrogates the overarching themes that unite the two regions too, with emphasis on the political and historic events that affected the region and its poets, alongside the recurring insistence of social class throughout many of the poems studied here. Moreover, this study reflects on contemporary Yorkshire poetry alongside the rhetoric surrounding Britain’s decision to Leave the European Union in June 2016. -
2010 18 Annual Poets House Showcase Exhibit Catalog
2010 18th Annual Poets House Showcase Exhibit Catalog The Poets House Showcase is made possible through the generosity of hundreds of publishers and authors who have graciously contributed their books. We are also deeply grateful to Deborah Pease for her ongoing support. Thanks to the National Endowment for the Arts, the New York State Council on the Arts, the NYC Department of Cultural Affairs, The Concordia Foundation, the Leon Levy Foundation, The Lila Acheson Wallace Theatre Fund of the New York Community Trust, and our many Poets House Members for their support of this project. Poets House 10 River Terrace New York NY 10282 poetshouse.org Celebrating the 18th annual Poets House Showcase, we welcome you to our new home beside the Hudson! The Showcase is Poets House’s annual, all-inclusive exhibition of more than 2,000 poetry books, chapbooks, broadsides, and multimedia works published in the United States. We began the Showcase as a combination collection-development approach to building our library and a celebration of poetry publishing. We invited publishers to participate by donating copies of their new poetry titles, and in this way we continually add to our library all of the latest books, building one of the most comprehensive collections of poetry available to the public. Our mission has always been to be all-inclusive, to offer a democratic home for the range of poetry books published nationally. And we searched for it all: big presses, micropublishers, and artists’ collectives participate annually. To ensure that we reach as many presses as possible, our collection-development approach includes contacting publishers but also searching for artists’ books by micropublishers and artists’ collectives on such sites as Etsy (a place to buy and sell handmade objects). -
Graham and Plastic Arts
Poetry as Plastic Art: The Example of W.S. Graham Throughout the twentieth century, major advances in modernist poetics regularly occured through contact with experiments in the visual and plastic arts. The most canonical examples include the ‘cubist’ poetics of Guillaume Apollinaire, Max Jacob, and Piere Reverdy, or for that matter Gertrude Stein; the New York School’s links to Abstract Expressionism; and, most recently, conceptual writing’s regular citation of Brion Gysin’s claim that “writing is fifty years behind painting.”1 Poets would find their community amongst visual/plastic artists; but also, the poetics itself would emerge out of a critical engagement with the work of the poets’ artist peers: adapting compositional practises and techniques; adopting conceptual vocabularies. The shape this relation might take varies, just as do the artists’ own aesthetics: some poets blur the boundaries between the visual/plastic arts and poetry’s own verbal medium; for others, the engagement with visual/plastic media subtends a renewed focus on the medium-specificity of poetry as verbal art.2 It is this latter tendency that I will trace in the current essay. The visual/plastic arts both constitute a threat and rival to poetry, and an example to follow and live up to: reacting to their threat, poetry retrenches into the peculiar possibilities of language as a material and resource for art-making. Rosalind Krauss notes the duality immanent in “the idea of a medium as such” when she describes medium as “a set of conventions derived from (but not identical with) the material conditions of a given technical support.”3 The case of W.S. -
'When There Are So Many We Shall Have to Mourn”
‘When there are so many we shall have to mourn’: Poetry and Memory in the Second World War Sebastian Owen PhD University of York English and Related Literature July 2015 Abstract In this thesis, I consider the representation of memory and mourning in the work of a number of poets, written during, or in the years immediately before and after, the Second World War. I consider the notion of memory in relation to the First World War and the early part of the twentieth century, observing the ways poets use existing literary models of mourning, remembrance and commemoration to write about the Second World War. My introduction presents the theoretical and conceptual foundations of the thesis. In Chapter 2, I examine the influence and impact of the work of Freud on Auden and H.D., arguing that mourning Freud’s death in their work is a way to write about the war. Likewise, Chapter 3 looks at the impact of an influential individual, examining the ‘Rilke craze’ of the late thirties and early forties in relation to the war poetry of Auden, Keith Douglas, Hamish Henderson, Sidney Keyes and Alun Lewis, showing how Rilke’s work opened up new possibilities for writing about death. Chapter 4 is dedicated to a study of Hamish Henderson’s long poem Elegies for the Dead in Cyrenaica and the multitude of voices and fragments which it draws upon. The final chapter considers ekphrastic poetry about war memorials, looking at works by Auden, Henderson, Douglas, Jarmain, Sassoon, and Lewis. I argue throughout that poets seek a precedent for the trauma and upheaval of the Second World War by turning or returning to the literature of other conflicts and ruptures in a multidirectional and palimpsestic attempt to make sense of the present and to represent it in poetry. -
Private Press and Illustrated Poetry Summer 2007
Private Press and Illustrated Poetry Summer 2007 Bertram Rota Ltd 31 LONG ACRE COVENT GARDEN, LONDON WC2E 9LT Telephone: + 44 (0) 20 7836 0723 * Fax: + 44 (0) 20 7497 9058 E-mail: [email protected] www.bertramrota.co.uk _________________________ TERMS OF BUSINESS. The items in this catalogue are offered at net sterling prices, for cash upon receipt. Charges for postage and packing will be added. Dollar equivalents at the current rate of exchange may be shown on accounts for the convenience of customers in the U.S.A. All books are insured in transit. PAYMENT. Payment from abroad may be made by Money Order, Banker‟s Draft, personal dollar cheque or Giro. Our Girobank account number is 58 423 4201. We also accept payment by BARCLAYCARD/VISA and MASTERCARD/EUROCARD/SWITCH. To make use of this facility please quote the number, date of expiry and three digit security number of your card, as well as your name and address. V.A.T. We regret that Value Added Tax must be charged on orders from customers within the European Economic Community for autograph letters and manuscripts (unless they are bound in the form of a book), drawings, prints, photographs, artists‟ proofs of wood-engravings and engraved wood-blocks. WANTS LISTS. We are pleased to receive lists of books especially wanted. They are given careful attention and quotations are submitted without charge. HOURS OF BUSINESS. We are open from 9.30 to 5.30 from Monday to Friday. Appointment recommended. Overleaf: Simon Armitage, Five Eleven Ninety Nine; a poem for the millennium. -
Poetry Translators from Modern Greek Into English
99 Nadia Georgiou* Regarding Symbolic Capital: Poetry Translators from Modern Greek into English Abstract The research object of this study is the symbolic capital of poetry translators and how it shapes and is being shaped by the current practices and self-descriptions of translators of Modern Greek poetry into English. A number of case studies indicate that people who translate poetry come from a variety of backgrounds, including those of a poet and an academic, which often do not include any formal translation training (Hofstadter 1997; Waldinger 2003; Bullock 2011; Isaxanli 2014). It also appears to be common that translators of poetry have a number of complementary roles, with that of ‘poetry translator’ not always central. The study draws on data consisting of Modern Greek into English poetry translators’ responses to a survey, of paratexts created by Modern Greek into English translators and of ten interviews. Cultural and educational capitals are examined in their institutionalized, objectified and embodied form as bearers of symbolic capital. Three overlapping categories are explored: the translators’ connection to poetry and the source culture, translator education and translator self-description. The translators’ “extratextual visibility” (Koskinen 2000 as cited in Chesterman 2018: 446) is also analyzed as it forms part of the translators’ embodied cultural and symbolic capital. This empirical exploration offers insights into the variety of attitudes and approaches to poetry translation; the emerging patterns map out profiles of a group of contemporary poetry translators, investigate the realities of the craft and re-position poetry translation practitioners with respect to other translation professionals. Keywords symbolic capital; poetry translation; Modern Greek; empirical; paratexts 1.