By Tim Kendall
The essays during this e-book testify to the fascination of Paul Muldoon’s poems, and in addition to their underlying contentiousness. The participants see Muldoon from many various angles – biographical, formal, literary-historical, commonly used – but additionally direct consciousness to complicated moments of creativity within which a unprecedented volume of originality is targeted, and at the readability of which much relies. of their other ways, the entire essays go back to the query of what a poem can "tell" us, even if approximately its writer, approximately itself, or in regards to the international within which it comes into being. The participants, even within the measure to which they create to mild components of war of words approximately Muldoon’s strengths and weaknesses, proceed a talk approximately what poems (and poets) can let us know.
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Additional resources for Paul Muldoon: Critical Essays (Liverpool University Press - Liverpool English Texts & Studies)
Example text
Christopher Ricks, The Force of Poetry (Oxford: Clarendon Press, 1984), pp. 51–55. Paul Muldoon, p. 76. John Masefield, Poems (New York: Macmillan, 1951), pp. 43–44. Paul Muldoon, p. 147. As a boy, Muldoon tried to purchase a bow from Richard Greene (ITV’s Robin Hood) ‘when [Greene/Robin Hood was] done with it’ (‘Getting Round’, p. 113). James Joyce, Ulysses, ed. Hans Walter Gabler (New York: Vintage, 1986), p. 40. ‘Getting Round’, p. 119. Donaghy, ‘A Conversation with Paul Muldoon’, pp. 79–80.
159. 39 Graham Allen, Intertextuality (London: Routledge, 2000), p. 6. 40 See, for example, Paul Muldoon, To Ireland, I (Oxford: Oxford University Press, 2000), pp. 56, 58; ‘End of the Poem’, pp. 2, 24. 41 Quinn, letter to Paul Muldoon, 9 November 1983. 1 (January–February 2001), pp. 41–46, at p. 42; citing Frost, Collected Poems, p. 252. 3 (Spring 1998), pp. 559–80, at pp. 1 (Spring 1994), pp. 1–29, at p. 16. 44 Wolfgang Iser, ‘The Reading Process: A Phenomenological Approach’, in Modern Criticism and Theory: A Reader, ed.
It […] reveals in pictorial imagery the hidden terrors and aspirations of the […] mind’; ‘it is all done with mirrors […]. The intricate pattern [is made by] interlinked images of several round mirrors set at different angles to one another […]. ’2 Such comments are irresistibly evocative of Muldoon’s own poetic practice, with its lexicographical obsessions, dabbling in symbolic and actual (sometimes magic) mushrooms, fascination with circular patterning – to the extent that it seems as if Muldoon is trying to draw his entire oeuvre, though concentric circles, into one Great Wheel3 – and habitual modus operandi in which he leaps, seemingly arbitrarily, from ‘something else’ to ‘something else again’.