The Poetry of Derek MahonOUP Oxford, 21. okt. 2010 - 416 sider Derek Mahon is one of the leading poets of his time, both in Ireland and beyond, famously offering a perspective that is displaced from as much as grounded in his native country. From prodigious beginnings to prolific maturity, he has been, through thick and thin, through troubled times and other, a writer profoundly committed to the art of poetry and the craft of making verse. He has also been no-less a committed reviser of his work, believing the poem to be more than a record in verse, but a work of art never finished. This virtuoso study by Hugh Haughton provides the most comprehensive account imaginable of Mahon's oeuvre. Haughton's brilliant writing always serves and illuminates the poetry, yielding extraordinary insights on almost every page. The poetry, its revisions and reception, are the subject here, but so thorough is the approach that what is offered also amounts indirectly to an intellectual biography of the poet and with it an account of Northern Irish poetry vital to our understanding of the times. |
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Side 11
... begins to sink, 'with an expression on his face, as if to say, there's no new world—the world is always tragic—and as he's sitting there very slowly everything moves and the glass ashtray slides way down the table and smashes on the ...
... begins to sink, 'with an expression on his face, as if to say, there's no new world—the world is always tragic—and as he's sitting there very slowly everything moves and the glass ashtray slides way down the table and smashes on the ...
Side 25
... begin to think of as being my own voice, with a struggle going on between a surly Belfast working-class thing, and something, to use your term, debonair'. He related that to the clash Boland describes in 'Belfast v Dublin', saying that ...
... begin to think of as being my own voice, with a struggle going on between a surly Belfast working-class thing, and something, to use your term, debonair'. He related that to the clash Boland describes in 'Belfast v Dublin', saying that ...
Side 28
... aware not only of particular fields, but 'the country as a whole', sets its sights high and wide, as indeed Mahon would continue to do. It is at this time that his poetry begins to 28 forging an identity: NIGHT - CROSSING.
... aware not only of particular fields, but 'the country as a whole', sets its sights high and wide, as indeed Mahon would continue to do. It is at this time that his poetry begins to 28 forging an identity: NIGHT - CROSSING.
Side 29
Hugh Haughton. It is at this time that his poetry begins to acquire a local habitation and a name. He writes his first poems about real people ('My Wicked Uncle' and 'Grandfather', CP 15), artists ('Marilyn Monroe' and 'De Quincey in ...
Hugh Haughton. It is at this time that his poetry begins to acquire a local habitation and a name. He writes his first poems about real people ('My Wicked Uncle' and 'Grandfather', CP 15), artists ('Marilyn Monroe' and 'De Quincey in ...
Side 31
... begins in Sisyphean mode, ending with an image of 'An old woman among the primeval shapes', who has seen 'perhaps | Ten thousand dawns like this, and is not impressed.' 'Man and Bird' is as unlike a traditional bird poem (or Longleyan ...
... begins in Sisyphean mode, ending with an image of 'An old woman among the primeval shapes', who has seen 'perhaps | Ten thousand dawns like this, and is not impressed.' 'Man and Bird' is as unlike a traditional bird poem (or Longleyan ...
Innhold
1 | |
21 | |
Lives | 56 |
The Snow Party | 90 |
The Sea in Winter | 125 |
The Hunt by Night and Antarctica | 153 |
The Hudson Letter | 219 |
8 The Yellow Book and the Fin de Siècle | 265 |
Harbour Lights | 316 |
Select Bibliography | 373 |
Inventory of Poems | 383 |
Index | 391 |
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