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The Poet's Hymn

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The Poet's Hymn Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 10-1-2005 The oP et's Hymn Tyler Farrell Marquette University, [email protected] Published version. Irish Literary Supplement, Vol. 25, No. 1 (Fall 2005): 29-30. Publisher link. © 2005 Trustees of Boston College. Used with permission. FALL 2005 IRISH LITERARY SUPPLEMENT PAGE 29 Muldooon who himself keeps circling the Frost's own work with those in Muldoon, work in that role, alert to themes that recur the indicative statement, "sucb memorial nest and nesting within poetic ouevres other hintii:^ even that the "moose or eland" on a across Shining Brow, Vera of Las Vegas, and verse is at one and the same time literal and poetic ouevres—^would either seek or believe cliff in "Yarrow" might hearken to the "great Bandanna, delineates artd clarifies the several figurative, the referent and the referred" it to be possible for a poet to achieve an buck" of "The Most of It." Redmond themes that operate on multiple levels in (176). The dismembered parts that are the "independent" or "fledged" selfhood. continues, however, that such "literary game- these works, from border crossing to cross- misremembered errata or slips of everyday life, lead, in fact, to a "multitude of bodily An elegantly writtsi investigation of a playing," such concession to wtmtever dressing. As is typically the case in renmins" vAose very multiplicity "postpone less obviom father figure for Muldooti is counters rigidity, can itself yield to Wheatley's erudite, inviting critical essays, the inevitability" of the elegist's resolution of oifered hy John Redmond, a scholar whose "pragmatic urgency" in such poems as Frost's the wide familiarity with cultures high and grief (lSl). Attentive to Muldoon's own modest manner has consistently belied the "Out, Out" where work requires absolute low in E\ffopean and American as well as circlings, gettings round, and other forms of cumulative power of the insights offered in focus if a home is to be wrested from a Irish sources provides a helpful, contrapuntal embracing the elusiw refea-ent, Campbell his -work. In his reading of how Frosl landscape where "the most intimate bass, as in his references here to Lorca imd concludes that "the resolutely lapsed mediated for Muldoon the pragmatism of relationship one can have to objects" such as Mayor Daley, Stravinsky and fhircell, Blind Muldoon's version of this is immortality as a WiiHam James, Redmond concludes that a machine tool, or for that matter a coulter, Lemon Je:^rson and Joyi^. recycling, a coming round again" (180), a pragmatism offras to the Irish poet a "foim "is to be possessed by them" (105). In Wisely, the editors chose to end this fine trope that is of course particularly inviting for of thinking about philosophy and poetry" that "Cows," Redmond concludes, Muldoon collection with Matthew Campbell's "Mul- scholars who hope there reinams more to say "steers clear of formulaic procedures and shows us ttiat we must work but, as Frost also doon's Remains," an extended musing on on a poet given, as he writes in a r«;ent and solutions, it evades rigid thinking" (99). admonishes in "Out, Out", we must also rest how nothing is ever quite buried in Muldoon, if we are to understand how work, and others' punning essay on Marianne Moore, to Observing how Muldoon "saturates his how grief never really gets worked through work, works on us. "more." • poetry with an impressive-sounding into a proper elegy. As Campbell cogently indecisiveness, constantiy pointing out the Rarely must poets work as cooperati\'ely defines the uncomfortable state between loss —Washington University danger of frtaning concepts too rigidly," with others as they do as librettists. David and surrender, between the conditional and Redmond keenly connects such moments in Wheatley's brisk introduction to Muldoon's Tke Poet's Hymn voice. Liddy tackles hts less formal even more wonder and excitement than the JAMES LIDDY helped to shape him. He is like a child again running through an encyclopedia of education by Kavanagh at McDaid's with a auUior even knew. The Doctor's House: An Autobiography memories. We glimpse his passionate icfve smattering of significant events and per- Part four of A Doctor's House is Salmon Press, 2004, €15 for his mother (a New York bom socialite soiKil recoUections. Here we see Bohemian enthralling and addicting. Liddy's tales of I^one to stories and drink) and res|Kct for Dublin told to us differently than John Ryan respect for fellow teachers like Janet Renewed by his father (a Dispensary docfor filled wifli or Anthony Cronin. Liddy's sense of Dublin Dunleavy, Nic Kubly, and Mel Friedman TYLER FARRELL constant work and opinion). We see Irish is respectfiil, but not as serious or ego- are balanced by his poems, memories and festivals, travels to Spain, readings, tistical. He tells tales of the opening of the tijnes in an America with a new pulse, a T THE MILWAUKEE BOOK, LAUNCH for adventures and American connections to Martello Tower, meeting Austin Clarke and time never to be duplicated. The !«d,ion AJ^nes Liddy's new memoir. The Ireland, He looks fondly on his links to conversing with John Jordan, Anthony recounts friendships, encounters and Doctor's House, the author stood before Patrick and Katherine Kavanagh, John Kerrigan or Liam Miller, but doesn't dwell observations from an Iri^ bom poet (now a friends and colleagues at a local and Jtffdan, Michael Hartnett, Liam Miller and on therh ad nauseam. The poetic diction is teacher in America) and signals a new frequented Irish pub to proclaim, Richard Riordain. He fills the reader v«th a not verbose. It moves quickly and remains breath in places like San Francisco, New "Autobiography is a way of going home. sense of adventure in midTcentury Dublin, evocative and confident while relaying Orleans and later Wisconsin, it seems in And tonight I am not homeless." With such 196O's SSn f'rancisco. Hew Orleans and its recurrent visiom of middle youth as we see this passage that Liddy hits his stride. He is a sentimrait the writer announ<Ms his French Quarter and finally the surprisingly Liddy emerge as a unique figure in a new imprxjssed by America, interested and entrance info a new world of Irish literaiy poetic Milwaukee, Wisconsin. The book is generatitm of Irish writers. Some of the best curious, and his proud tone reflects his elite by firmly gracing his readers with an revealing and generous to its subjects. Its tales involve Patrick Kavanagh, vacationing inquisitiveness. His influences begin to account of his Irish upbringing, his Dublin with Michael Hartnett in Spain or the show and in San Francisco his love for education, his American journeys, and his stories have a flow and lucidity that send making of The Dolmen Miscellany. The his- writes like the Beat Generation begin to poetic sensibility. Straight from the mouth the leader into an enthralling world torical aspects of the memoir are impec- peak out from behind his language. He lives of the poet we see Liddy's sense of fim, described with a distinctly charming wit and cable and ruthlessly revealing w^ile also like those writers once did, drinking, developmwit, and intellect spill onto the a poetic and proud tone. writing in a small apartment, going out to page through small vignettes and quick The description that begins the book is being careluUy presented in a fluid and meet friends and writers, simply loving life. anecdotes told with an artistic diction of Liddy's childhood home in Coolgreany effortless manner. Liddy's characterization drowned with people and places, pubs and Co. Wexford. It is a youthful tale told with of an age says the most for Dublin at this He meets many people recailing a writers, reflections and recordings. innocence. There are visions of the time and does so in a tender and expressive friendship with Jack Spicer and cronies at surrounding gardeais, flowers, white stones, manner worthy of all previous writing on the White Rabbit Press, talks with Louis The Doctor's House is a poetic trees and a tennis court. It s^ms rather the subject. Zukovsky and George Stanley, has autobiography, (somewhat unconventional) magical, somewhat opulent, in a simple These descriptive memories leave Utfle encounters with Robert Duncan and Richard but not unlike Austin Clarke's or Geoi^e light colored by the author's hand. There doubt that Liddy is praising the Dublin of Brautigan. Then he hears of the dtaUv ot" Moore's autobiographical writings of are blissfiil, small tales of his mother in the his youth, an inspiring city in all its glory, It Patrick Kavanagh back in Ireland and upbringing, formation, and humanizing kitchen, his father and mother at a world's is almost mystical when we read of everything slows. Althou^ Liddy is sad at description. Liddy s historical placement fair, echoes of religion, childhood, up- Kavanagh's jaunts through the alleys or the the passing of his .mentor, he gives his falls in with the new generation of Irish bringing. These are followed with stories ^ost of Oscar Wilde haunting Liddy's respect and remembers where he has been writers, poets of gathering and gossip, poets and thoughts of friends, relatives, psyche and hanging over his shoulders. His placed at this time in his life. "My captain is influenced by previous generations, but poetic style is lucid and joyous, capturing dead though I am among the captains and poets who also wanted their own time and neighbors. It reads as a bygone era of the sights and sounds of a time told the kings" (119).
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