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 2
... called him 'our bravest and most stylish wielder of the singing line'. The novelist John Banville calls 'A Disused Shed in Co Wexford' 'the best single poem written in Ireland since the death of Yeats' and his work has had a visible ...
... called him 'our bravest and most stylish wielder of the singing line'. The novelist John Banville calls 'A Disused Shed in Co Wexford' 'the best single poem written in Ireland since the death of Yeats' and his work has had a visible ...
Side 3
... called him (begging many questions) 'one of the finest British poets' of his time, and Grey Gowrie said he is 'required reading for anyone interested in contemporary poetry'. Responding to Harbour Lights, Sean O'Brien wrote: 'Political ...
... called him (begging many questions) 'one of the finest British poets' of his time, and Grey Gowrie said he is 'required reading for anyone interested in contemporary poetry'. Responding to Harbour Lights, Sean O'Brien wrote: 'Political ...
Side 5
... called 'After the Titanic', for example, was originally 'Bruce Ismay's Solilloquy' and then 'As God is My Judge', while 'Van Gogh in the Borinage' became 'Portrait of the Artist' and 'Death and the Sun' 'Camus in Ulster'. Texts change ...
... called 'After the Titanic', for example, was originally 'Bruce Ismay's Solilloquy' and then 'As God is My Judge', while 'Van Gogh in the Borinage' became 'Portrait of the Artist' and 'Death and the Sun' 'Camus in Ulster'. Texts change ...
Side 10
... called 'Rage for Order' (CP 47), and the relationship between rage and order, conformity and rebellion, would be crucial for him. He wrote later that 'Home is where the heart breaks' (CP 135), and the resistance of that strained only ...
... called 'Rage for Order' (CP 47), and the relationship between rage and order, conformity and rebellion, would be crucial for him. He wrote later that 'Home is where the heart breaks' (CP 135), and the resistance of that strained only ...
Side 12
... called the Ulster of his childhood 'one of the most closed societies in Europe', and compared it to South Africa or the Southern USA. He recalled 'the old clichés' of parks closed on Sundays, pub signs saying 'closed' at ten o'clock at ...
... called the Ulster of his childhood 'one of the most closed societies in Europe', and compared it to South Africa or the Southern USA. He recalled 'the old clichés' of parks closed on Sundays, pub signs saying 'closed' at ten o'clock at ...
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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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