Read Ebook {PDF EPUB} To Ireland I by Paul Muldoon To Ireland I by Paul Muldoon. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 658987b4e91815f4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Paul Muldoon. He read English at Queen's University, Belfast, where he was taught by Seamus Heaney. His first collection of poems, New Weather , was published in 1973, while he was still at university. He worked for the BBC in Belfast until 1986, before taking up a writer's residency at Cambridge University. He moved to the USA shortly afterwards to teach at Columbia and Princeton universities. He is Howard G.B. Clark Professor of the Humanities and Creative Writing at Princeton University. He became Professor of Poetry at Oxford in 1999, succeeding James Fenton, and is President of the Poetry Society in London.His poetry collections include Why Brownlee Left (1980), Quoof (1983), Madoc: A Mystery (1990), which won the Geoffrey Faber Memorial Prize, The Annals of Chile (1994), which includes an elegy to the artist Mary Farl Powers and won the T. S. Eliot Prize, and Hay (1998). New Selected Poems 1968-1994 (1996) won the Irish Times Irish Literature Prize for Poetry. He is editor of The Faber Book of Contemporary Irish Poetry (1986) and wrote the libretto for Shining Brow (1993), an opera about the life of the architect Frank Lloyd Wright with music by Daron Aric Hagen. He delivered the Oxford Clarendon Lectures in 1988, published as To Ireland, I (2000), and his translation of poems in Irish by Nuala Ní Dhomhnaill was published in The Astrakhan Cloak (1992). The End of the Poem: Oxford Lectures in Poetry (2006), contains the lectures he delivered during his tenure as Oxford Professor of Poetry. Moy Sand and Gravel (2002), was shortlisted for the T. S. Eliot Prize and won the 2003 Pulitzer Prize for Poetry.Paul Muldoon lives with his wife, the novelist Jean Hanff Korelitz, and their two children in the US. His tenth poetry collection, Horse Latitudes , was published in 2006 and in 2007, he became poetry editor of New Yorker magazine. His recent poetry collections include Plan B, illustrated by the photographer Norman McBeath (2009); Maggot (2010); and One Thousand Things Worth Knowing (2015), shortlisted for the Forward Poetry Prize for Best Collection. Critical perspective. Paul Muldoon has for many years been regarded as Northern Ireland’s greatest contemporary poet after Seamus Heaney. However, since Muldoon’s 2003 Pulitzer Prize for Poetry for Moy Sand and Gravel (2002), many now consider him to be on a par with Heaney. Muldoon is both a playful and a serious poet, and his work as a whole incorporates a wide variety of themes and subject matter, both personal and political, historical and present-day. His collections usually consist of both short poems and extended narrative works, and most of his early collections end with a long poem. His work is well-known for its ingenious and mischievous word-play, and he also experiments with the lyric and the sonnet form. He includes Frost, MacNiece and Joyce among his influences. Muldoon’s first major collection was New Weather in 1973, when he was still in his early twenties. This was also the period in which the Northern Irish ‘Troubles’ re-ignited dramatically. New Weather was extremely well-received by critics and highly acclaimed by Seamus Heaney. Muldoon’s linguistic dexterity was immediately apparent, as was his wry humour and his talent for depicting Northern Irish violence in an oblique way, while also exploring personal issues - in fact, Muldoon often shows intimate personal issues as reflective of the wider world. Critics were also keen to link him to Heaney (who taught Muldoon at Queens University, Belfast), for both are Northern Irish poets from rural Catholic backgrounds. Muldoon’s second collection, Mules , was published in 1977. The title indicates his preoccupation in this collection: a mule is the offspring of a horse and a donkey, and these poems explore unlikely unions and juxtapositions. Muldoon’s mother had died in 1974, and Mules features many explorations of his relationship with his parents - this is something that was to become an ongoing theme in subsequent works. In this collection Muldoon continues to interlink personal matters with Northern Irish politics, and again this is something he treats obliquely. He is particularly interested in the role poetry has to play in politics and society, and the difficulties of depicting reality and ‘truth’ while also engaging in a creative and imaginative process: 'Look, son. Just look around you.People are getting themselves killedLeft, right and centreWhile you do what? Write rondeaux?' (Extract from ‘Lunch with Pancho Villa’) Bernard O’Donoghue notes that Muldoon’s early collections already embodied the qualities that pervaded his later works: '[He has] a lively storyteller’s wit combined with a crypticism that fascinates rather than defeats the reader. The subject matters on which these technical powers have borne have been distributed even-handedly between the private and public domains: the privacy of sexuality and family relations, and the public area of Northern Irish violence and tension. [And] common to all his writing is a cool and amused eye, wryly observant.' (Chevalier, Contemporary Poets , 1991) Muldoon is also noted for his sophisticated handling of poetic form and technique. His approach is both formal and informal, traditional and experimental: he makes use of the lyric poem and the traditional sonnet, but he plays with these forms and combines them with a style of language that is often quite colloquial and familiar. Most of his collections incorporate a diverse array of different forms and styles, along with an equally diverse collection of subject-matter. He is noted for his whimsical, tongue-in-cheek tone (he has described his own work as ‘whimful’), and for his innovative rhyming patterns. Muldoon’s work also abounds with obscure and archaic references and this, combined with his linguistic artfulness, has led some critics to regard his poetry as demanding and inaccessible. Others defend him against such claims: ‘The difficulty of locating the “feeling” in Muldoon’s poetry, of figuring out where he is coming from, is part of the experience of reading his work….’ (Clair Wills, Reading Paul Muldoon , 1998). Why Brownlee Left was published in 1980, and its title poem embodies Muldoon’s love of open-endedness, for he prefers to question and explore (often with irony and mischievous humour), and to suggest things for the reader to contemplate, rather than making explicit statements or attempting ‘answers’. The question of ‘Why Brownlee Left’ is indeed never answered: ‘Why Brownlee left, and where he went, / Is a mystery even now.’ This volume also contains ‘Immram’, the first of many long narrative poems which Muldoon was to write in subsequent years. Though he has always been highly skilled in the technical craft of poetry and linguistic play, he is also a storyteller: ‘I’m very interested in the narrative, the story, and in wanting almost to write novels in the poem. […] And I’m interested in the dramatic persona. I like using different characters, to present different views of the world’ (John Brown, In the Chair: Interviews with Poets from the North of Ireland, 2002). Quoof (1983), which includes one of Muldoon’s most well-known long poems, ‘The More a Man Has the More a Man Wants’, is often regarded as the most sophisticated of his early works. The word ‘quoof’ is the Muldoon family’s name for a hot water bottle, and throughout this volume Muldoon examines words and their subjectivity and unreliability. Though he does this with his usual mischievous humour, Quoof is also darker than his previous volumes, and explores Northern Irish violence and brutality more explicitly: 'Uncle Pat was telling us how the B-Specialshad stopped him one night somewhere near Ballygawleyand smashed his bicycle. and made him sing the Sash and curse the Pope of Rome.They held a pistol so hard against his foreheadthere was still the mark of an O when he got home.' (Extract from ‘The Sightseers’) Clair Wills notes the somewhat disturbing way that Muldoon links the personal and the political in this volume: ‘[It is] about how violence and brutality coexist with a sentimental vision of the family and the home, and may, indeed, be nurtured by it’ (Claire Wills, Reading Paul Muldoon , 1998). Meeting the British (1987) and Madoc: A Mystery (1990) were followed by The Annals of Chile (1994), which won the T.S. Eliot Prize. Clair Wills notes that The Annals of Chile has a strong female presence and also ‘narratives of birth and death’ (ibid). There is a sense of accepting the circular process of life: this volume contains two long elegies, ‘Incantata’, for Muldoon’s ex-lover Mary Farl Powers who died in 1993, and ‘Yarrow’, for his mother. Yet, while Muldoon explores bereavement and loss, he also writes movingly of welcoming new life with the birth of his daughter Dorothy. Hay was published in 1998, and continues to show the influence of fatherhood and family life, as well as the influence of American culture (he has lived in the U.S. since the late 1980s). It was followed by Muldoon’s ninth major collection, Moy Sand and Gravel. The Moy is a village close to where Muldoon grew up, though he comments that he has ‘fictionalised it to a great extent’. This collection in particular demonstrates the way in which Muldoon depicts the local as reflective of the universal, and the personal and private as reflective of the public and the political. He compares his fictionalised depiction of Moy with Hardy’s Wessex, Joyce’s Dublin and Yeats Country: ‘… these are places which are recognisable in their fixtures yet are changed by the creative process. I’m very interested in the way in which a small place, a parish, can come to stand for the world’ (John Brown, ibid). Moy Sand and Gravel , like most of Muldoon’s collections, incorporates a wide range of diverse subject-matter, along with the usual linguistic virtuosity and array of different poetic forms, as it moves from Muldoon’s 1950s Irish childhood through to the present-day with his wife and children in New Jersey. It includes a moving elegy for a miscarried baby and a re-working of Yeats’ ‘A Prayer for My Daughter’. Reviewer Ian Sansom comments that ‘Muldoon may be a poet in love with the possibilities of language; Moy Sand and Gravel demonstrates that he is also a poet in love with the possibilities of life’ (‘Awesome in Armagh’, The Guardian , 2 November, 2002). Moy Sand and Gravel was followed by Horse Latitudes in 2006. Throughout this collection, Muldoon continues to explore fatherhood, but another major theme here is death, particularly the deaths of his sister (who died of ovarian cancer, which had also claimed his mother’s life many years earlier) and his friend, the singer Warren Zevon. Muldoon also confronts his own mortality and muses on the passing of time. For all its playfulness, Muldoon’s poetry is also quite hard-hitting, but, as he comments in an oft-quoted remark, this is part of poetry’s function: 'The point of poetry is to be acutely discomforting, to prod and provoke, to poke us in the eye, to punch us in the nose, to knock us off our feet, to take our breath away.' 2006 also saw the publication of Muldoon’s The End of the Poem: Oxford Lectures in Poetry . In 2007, he was appointed the new poetry editor of The New Yorker . Paul Muldoon. Paul Muldoon in 2013. by summonedbyfells . Licensed under Creative Commons, courtesy Wikimedia Commons . Paul Muldoon (born 20 June 1951) is an Irish poet. Contents. Life [ edit | edit source ] Overview [ edit | edit source ] Muldoon has published over 30 collections, and has won a Pulitzer Prize in Poetry and a T.S. Eliot Prize. He held the post of Oxford Professor of Poetry, 1999 - 2004. At Princeton University he is both the Howard G.B. Clark ’21 Professor in the Humanities and chair of the Lewis Center for the Arts. [1] [2] He is also the president of the Poetry Society (U.K.) [3] and Poetry Editor at The New Yorker . Youth and education [ edit | edit source ] Muldoon was born on a farm outside Moy, County Tyrone, the eldest of 3 children. The family was Catholic in a largely Protestant area of Northern Ireland. His father worked as a farmer (among other jobs) and his mother was a school-mistress. In 2001, Muldoon said of the Moy: It's a beautiful part of the world. It's still the place that's 'burned into the retina', and although I haven't been back there since I left for university 30 years ago, it's the place I consider to be my home. [4] We were a fairly non-political household; my parents were nationalists, of course, but it was not something, as I recall, that was a major area of discussion. But there were patrols; an army presence; movements of troops; a sectarian divide. And that particular area was a nationalist enclave, while next door was the parish where the Orange Order was founded; we'd hear the drums on summer evenings. But I think my mother, in particular, may have tried to shelter us from it all. Besides, we didn't really socialise a great deal. We were 'blow-ins' - arrivistes - new to the area, and didn't have a lot of connections. Talking of his home life, he continues "I'm astonished to think that, apart from some Catholic Truth Society pamphlets, some books on saints, there were, essentially, no books in the house, except one set, the Junior World Encyclopaedia, which I certainly read again and again. People would say, I suppose, that it might account for my interest in a wide range of arcane bits of information. At some level, I was self-educated." He was a '"Troubles poet" from the beginning. [4] In 1969, Muldoon read English at Queen's University Belfast, where he met Seamus Heaney and became close to the Belfast Group of poets which involved writers such as Michael Longley, Ciarán Carson, Medbh McGuckian and Frank Ormsby. Muldoon said of the experience, "I think it was fairly significant, certainly to me. It was exciting. But then I was 19, 20 years old, and at university, so everything was exciting, really." Muldoon was not a strong student at Queens. He recalls "I had stopped. Really, I should have dropped out. I'd basically lost interest halfway through. Not because there weren't great people teaching me, but I'd stopped going to lectures, and rather than doing the decent thing, I just hung around". [4] During his time at Queens, his debut collection New Weather was published by Faber and Faber. He met his 1st wife, fellow student Anne-Marie Conway, and they were married after their graduation in 1973. Their marriage broke up in 1977. Career [ edit | edit source ] From 1973 to 1986, Muldoon worked as an arts producer for BBC arts in Belfast, (including the most bitter period of the Troubles). During this time he published the collections Why Brownlee Left (1980) and Quoof (1983). After leaving the BBC he taught English and creative writing at Caius College, Cambridge, [4] and the University of East Anglia where he taught such writers as Lee Hall ( Billy Elliot ) and Giles Foden ( Last King of Scotland ). In 1987, he emigrated to the United States, and teaches in the creative writing program at Princeton. He held the chair of Professor of Poetry at Oxford University for the 5-year term 1999–2004, and is an Honorary Fellow of Hertford College, Oxford. [4] In September 2007 he was hired as poetry editor of The New Yorker . He is also president of the British Poetry Society. 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). Muldoon has contributed the librettos for four operas by Daron Hagen: Shining Brow (1992), Vera of Las Vegas (1996), Bandanna (1998), and The Antient Concert (2005). His interests have not only included libretto, but the rock lyric as well, penning lines for the band The Handsome Family as well as the late Warren Zevon, whose titular track "My Ride's Here" belongs to a Muldoon collaboration. Muldoon also writes lyrics for (and plays "rudimentary rhythm" guitar in) his own Princeton-based rock bands. Rackett (2004–2010) [5] was disbanded in 2010. Muldoon's current band, the Wayside Shrines, [6] has recorded and released thirteen of the lyrics included in Muldoon's collection of rock lyrics, Word on the Street . Muldoon has also edited a number of anthologies, written two children's books, translated the work of other authors, and published critical prose. He also took part in the Bush Theatre's 2011 project Sixty Six Books where he wrote a piece based upon a book of the King James Bible. [7] Muldoon is married to novelist Jean Hanff Korelitz, whom he met at an Arvon Foundation writing course. He has two children, Dorothy and Asher, and lives in Griggstown, New Jersey. [4] [8] Writing [ edit | edit source ] His poetry is known for his difficult, sly, allusive style, casual use of obscure or archaic words, understated wit, punning, and deft technique in meter and slant rhyme. [9] As Peter Davidson says in the New York Times review of books "Muldoon takes some honest-to-God reading. He's a riddler, enigmatic, distrustful of appearances, generous in allusion, doubtless a dab hand at crossword puzzles". [10] The Guardian cites him as "among the few significant poets of our half-century"; "the most significant English-language poet born since the second world war" - a talent off the map. [4] (Notably, Seamus Heaney was born in 1939). Muldoon's work is often compared with Heaney, a fellow Northern Irish poet, friend and mentor to Muldoon. Heaney, who won the 1995 Nobel Prize in Literature, is better known, sells widely and has enjoyed more popular success. Muldoon is more of 'the poet's poet', whose work is frequently too involved and opaque for a more casual readership. Most of Muldoon's collections contain shorter poems with a long concluding poem. As Muldoon produced more collections the long poems gradually took up more space in the volume, until in 1990 the poem Madoc: A Mystery took over the volume of that name, leaving only seven short poems to appear before it. Muldoon has not since published a poem of comparable length, but a new trend is emerging whereby more than one long poem appears in a volume. Madoc: A Mystery , exploring themes of colonisation, is among Muldoon's most difficult works. It includes, as 'poetry', such non-literary constructions as maps and geometric diagrams. In the book Irish Poetry since 1950 , John Goodby states it is "by common consent, the most complex poem in modern Irish literature [. ] - a massively ambitious, a historiographical metafiction". [11] The post-modern poem narrates, in 233 sections (the same number as the number of native American tribes), an alternative history in which Samuel Taylor Coleridge and Robert Southey come to America in order to found a utopian community. The two poets had, in reality, discussed but never undertaken this journey. Muldoon's poem is inspired by Southey's work Madoc , about a legendary Welsh prince of that name. Critics are divided over the poem's success. Some are stunned by its scope [4] [12] and many others, such as John Banville, have professed themselves utterly baffled by it - feeling it to be wilfully obscure. [13] Muldoon says of it: "I quite enjoy having fun. It's part of how it is, and who we are." [4] Muldoon has contributed the librettos for four operas by Daron Hagen: Shining Brow (1992), Vera of Las Vegas (1996), Bandanna (1998), and The Antient Concert (2005). His interests have not only included libretto, but the rock lyric as well, penning lines for the band The Handsome Family as well as the late Warren Zevon whose titular track "My Ride's Here" belongs to a Muldoon collaboration. Muldoon also writes lyrics for (and plays "rudimentary rhythm" guitar in) his own Princeton-based rock band, Rackett. [14] Recognition [ edit | edit source ] Muldoon's reputation as a serious poet was confirmed in 2003 with his winning of the Pulitzer Prize in Poetry. He has been awarded fellowships in the Royal Society of Literature and the American Academy of Arts and Sciences; the 1994 T.S. Eliot Prize; the 1997 Irish Times Poetry Prize, and the 2003 Griffin International Prize for Excellence in Poetry. He was also shortlisted for the 2007 Poetry Now Award. Awards [ edit | edit source ] Muldoon has won the following major poetry awards: [15] 1990: Guggenheim Fellowship 1992: Geoffrey Faber Memorial Prize for Madoc: A Mystery 1994: T. S. Eliot Prize for The Annals of Chile 1997: Irish Times Irish Literature Prize for Poetry for New Selected Poems 1968–1994 2002: T. S. Eliot Prize (shortlist) for Moy Sand and Gravel 2003: Griffin Poetry Prize (Canada) for Moy Sand and Gravel 2003: Pulitzer Prize for Poetry for Moy Sand and Gravel 2004: American Ireland Fund Literary Award 2004: Aspen Prize for Poetry 2004: Shakespeare Prize 2009: John William Corrington Award for Literary Excellence. Selected Honors [ edit | edit source ] Honorary Professor in the School of English at the University of St Andrews (Scotland) University 1999–2004 (England) Honorary Fellow of Hertford College, Oxford University (England) Fellowship with the Royal Society of Literature (England) Fellowship with the American Academy of Arts and Sciences (U.S.) Publications [ edit | edit source ] Poetry [ edit | edit source ] Knowing My Place . Ulsterman, 1971. New Weather . London: Faber, 1973. Spirit of Dawn . Ulsterman, 1975. Mules . London: Faber , 1977. Names and Addresses . Ulsterman, 1978. Why Brownlee Left (includes "Immram"). London: Faber, 1980; Winston-Salem, NC: Wake Forest University Press, 1981. Immram (illustrated by Robert Ballagh). Dublin: Gallery Press, 1980. Out of Siberia (illustrated by Timothy Engelland). Dublin: Gallery Press, 1982. Quoof . Winston-Salem, NC: Wake Forest University Press, 1983. The Wishbone . Dublin: Gallery Press, 1984. Mules, and early poems . Winston-Salem, NC: Wake Forest University Press, 1985. Selected Poems: 1968-86 .London: Faber, 1986; New York: Ecco Press, 1987. Meeting the British . London: Faber, 1987. Madoc: A Mystery . New York: Farrar, Straus and Giroux, 1991. The Prince of the Quotidian . Winston-Salem, NC: Wake Forest University Press, 1994. The Annals of Chile . New York: Farrar, Straus, and Giroux, 1995. Kerry Slides (photographs by Bill Doyle). Dublin: Gallery Press, 1996. New Selected Poems: 1968-94 . London: Faber, 1996. Hopewell Haiku . Warwick Press, 1997. The Bangle (Slight Return) . Princeton, NJ: The Typography Studio, 1998. Hay . New York: Farrar, Straus, and Giroux, 1998. Poems 1968-1998 . London: Faber, 2001. Moy Sand and Gravel . New York: Farrar, Straus & Giroux, 2002. Medley for Morin Khur . London: Enitharmon Press, 2005. Sixty Instant Messages to Tom Moore . Modern Haiku Press, 2005. Horse Latitudes . New York: Farrar, Straus and Giroux, 2006. When the Pie was Opened . American University of Paris/Sylph Editions, 2008. Plan B . London: Enitharmon Press, 2009. Wayside Shrines . Dublin: Gallery Press, 2009. Songs [ edit | edit source ] Shining Brow (libretto), 1992. Vera of Las Vegas (libretto), 1996. (With Daron Hagen) The Waking Father: A Song Cycle in Twelve Movements (printed music; lyrics by Muldoon, music by Hagen). Dayton, OH: Roger Dean Publishing, 1996. Bandanna (libretto). London: Faber and Faber, 1999. The Antient Concert (libretto), 2005. Non-fiction [ edit | edit source ] To Ireland, I . Oxford University Press, 2000. The End of the Poem: Oxford Lectures in Poetry . Oxford University Press, 2006. Translated [ edit | edit source ] (Translator) Nuala Ni Dhomhnaill, The Astrakhan Cloak . Dublin: Gallery Press, 1992; Winston-Salem, NC: Wake Forest University Press, 1993. (Translator with Richard Martin) Aristophanes, The Birds . Dublin: Gallery Press, 1999. Edited [ edit | edit source ] The Scrake of Dawn: Poems by young people from Northern Ireland . Belfast: Blackstaff, 1979. The Faber Book of Contemporary Irish Poetry . London: Faber, 1986. The Essential Byron . New York: Ecco Press, 1988. The Faber Book of Beasts . London: Faber, 1997. The Oxford and Cambridge May Anthologies 2000: Poetry . 2000. The Best American Poetry 2005 (edited with David Lehman). New York: Scribner, 2005. Except where noted, bibliographical information courtesy the Poetry Foundation . [16] Audio / video [ edit | edit source ] A Porcupine by Paul Muldoon. Czeslaw Milosz and Paul Muldoon Reading Their Poems (sound recording). Archive of Recorded Poetry and Literature, 1991. [16] Paul Muldoon (CD). New York: Academy of American Poets, 1996. Unplugged (cassette). [Harmondsworth?], UK: Penguin, 1996. Moy Sand and Gravel (CD). Princeton, NJ: Recording for the Blind & Dyslexic, 2004. Except where noted, discographical information courtesy WorldCat . [17] To Ireland, I. The world’s #1 eTextbook reader for students. VitalSource is the leading provider of online textbooks and course materials. More than 15 million users have used our Bookshelf platform over the past year to improve their learning experience and outcomes. With anytime, anywhere access and built-in tools like highlighters, flashcards, and study groups, it’s easy to see why so many students are going digital with Bookshelf. titles available from more than 1,000 publishers. customer reviews with an average rating of 9.5. digital pages viewed over the past 12 months. institutions using Bookshelf across 241 countries. To Ireland, I by Paul Muldoon and Publisher Faber & Faber. Save up to 80% by choosing the eTextbook option for ISBN: 9780571263776, 0571263771. The print version of this textbook is ISBN: 9780571238699, 0571238696. To Ireland, I by Paul Muldoon and Publisher Faber & Faber. Save up to 80% by choosing the eTextbook option for ISBN: 9780571263776, 0571263771. The print version of this textbook is ISBN: 9780571238699, 0571238696. To Ireland I by Paul Muldoon. - Return to top of the page - See our review for fuller assessment. Review Summaries Source Rating Date Reviewer Daily Telegraph A 18/8/2000 Andrew Biswell The Independent B+ 30/8/2000 Michael Glover Irish Times . 25/8/2000 Gerald Dawe London Rev. of Books . 18/5/2000 David Wheatley TLS . 2/6/2000 Clair Wills. "Above all, Muldoon�s history speaks of the pleasures of reading, and of making connections between different poets and languages and historical periods. The book�s alphabetical arrangement means that we are forced to hop promiscuously between centuries, giving the impression that the concerns of contemporary Ireland are inseparable from the past." - Andrew Biswell, Daily Telegraph.