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Books : Literature & Fiction : Poetry : Irish
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Never before has there been a single-volume anthology of modern Irish poetry so significant and groundbreaking as An Anthology of Modern Irish Poetry. Collected here is a comprehensive representation of Irish poetic achievement in the twentieth and twenty-first centuries, from poets such as Austin Clarke and Samuel Beckett who were writing while Yeats and Joyce were still living; to those who came of age in the turbulent '60s as sectarian violence escalated, including Seamus Heaney and Michael Longley; to a new generation of Irish writers, represented by such diverse, interesting voices as David Wheatley (born 1970) and Sinéad Morrissey (born 1972).
Scholar and editor Wes Davis has chosen work by more than fifty leading modern and contemporary Irish poets. Each poet is represented by a generous number of poems (there are nearly 800 poems in the anthology). The editor's selection includes work by world-renowned poets, including a couple of Nobel Prize winners, as well as work by poets whose careers may be less well known to the general public; by poets writing in English; and by several working in the Irish language (Gaelic selections appear in translation). Accompanying the selections are a general introduction that provides a historical overview, informative short essays on each poet, and helpful notes—all prepared by the editor.
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An expansive, celebratory collection from “one of the finest and boldest poets of the last half century” (Poetry Review). An Origin Like Water: Poems 1967–1987 confirmed Eavan Boland’s place at the forefront of modern Irish poetry. New Collected Poems now brings the record of her achievement up to date, adding material from her subsequent volumes and filling out key poems from the early years. Following the chronology of publication, the reader experiences the exhilarating sense of development, now incremental, now momentous. Boland’s work traces a measured process of emancipation from conventions and stereotypes, writing now in a space she has cleared not by violent rejection, but by dialogue, critical engagement, and patient experimentation with form, theme, and language. .
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Seamus Heaney's new collection starts "In an age of bare hands and cast iron" and ends as "The automatic lock / clunks shut" in the eerie new conditions of a menaced twenty-first century. In their haunted, almost visionary clarity, the poems assay the weight and worth of what has been held in the hand and in the memory. Images out of a childhood spent safe from the horrors of World War II – railway sleepers, a sledgehammer, the "heavyweight / Silence" of "Cattle out in rain" – are colored by a strongly contemporary sense that "Anything can happen," and other images from the dangerous present – a journey on the Underground, a melting glacier – are fraught with this same anxiety.
But District and Circle, which includes a number of prose poems and translations, offers resistance as the poet gathers his staying powers and stands his ground in the hiding places of love and excited language. In a sequence like "The Tollund Man in Springtime" and in several poems which "do the rounds of the district" – its known roads and rivers and trees, its familiar and unfamiliar ghosts – the gravity of memorial is transformed into the grace of recollection. With more relish and conviction than ever, Seamus Heaney maintains his trust in the obduracy of workaday realities and the mystery of everyday renewals.
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Presenting a wide-ranging selection of vital twentieth-century work, Anthology of Twentieth-Century British and Irish Poetry contains more than 450 poems by 126 poets, beginning with Thomas Hardy and Gerard Manley Hopkins and ending with Catherine Walsh and Helen Macdonald. It features ample selections from canonical poets including W.H. Auden, Basil Bunting, T.S. Eliot, Seamus Heaney, Ted Hughes, Philip Larkin, D.H. Lawrence, Charlotte Mew, Hugh MacDiarmid, Wilfred Owen, Edith Sitwell, Stevie Smith, Dylan Thomas, Edward Thomas, and W.B. Yeats. At the same time, this volume challenges received accounts of modern and contemporary British and Irish poetry by presenting work from many poets--including Mary Butts, Brian Coffey, Nancy Cunard, Elizabeth Daryush, Ivor Gurney, F.R. Higgins, Mina Loy, Thomas MacGreevy, Joseph Gordon Macleod, Charles Madge, Clere Parsons, Lynette Roberts, John Rodker, and Sylvia Townsend Warner--who have never before been represented in this type of collection.
Anthology of Twentieth-Century British and Irish Poetry covers many groups and movements--from the Georgians to the poets of the New Apocalypse and the Auden group and from the Movement to the New Generation--paying special attention to neglected modernist traditions. It presents a range of post-World War II exploratory poetry by writers including Tom Leonard, Tom Raworth, John Riley, and Maggie O'Sullivan alongside the work of more established figures like Thom Gunn, Tony Harrison, Paul Muldoon, and Craig Raine. It includes poetry by "Black British" writers including James Berry, Jean "Binta" Breeze, David Dabydeen, Linton Kwesi Johnson, Jackie Kay, E.A. Markham, and Grace Nichols, and feminist poetry by Fleur Adcock, Caroline Bergvall, Eavan Boland, Carol Ann Duffy, Denise Riley, Anna Wickham, and others. It also provides the complete texts or substantial excerpts of several important long poems. All of the poems are newly and thoroughly annotated, many for the first time. Each poet's selection begins with a critical introduction providing biographical and bibliographical information along with critical commentary. Ideal for general readers and for courses in modern and contemporary British and Irish poetry and literature, this anthology provides an unprecedented, inclusive portrait of the century's poetry in Britain and Ireland.
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The Poems, Short Fiction, and Criticism of Samuel Beckett: Volume IV of The Grove Centenary Editions
Edited by Paul Auster, this four–volume hardcover set of Beckett's canon has been designed by award-winner Laura Lindgren. Available individually, as well as in a boxed set, these books are specially bound with covers featuring images central to Beckett's works. Typographical errors that remained uncorrected in the various prior editions have now been corrected in consultation with Beckett scholars C. J. Ackerley and S. E. Gontarski.
"[Beckett] settled on philosophical comedy as the medium for his uniquely anguished, arrogant, self-doubting, scrupulous temperament. In the popular mind his name is associated with the mysterious Godot who may or may not come but for whom we wait anyhow. In this he seemed to define the mood of an age. But his range is wider than that, and his achievement far greater. Beckett was an artist possessed by a vision of life without consolation or dignity or promise of grace, in the face of which our only duty is not to lie to ourselves. It was a vision to which he gave expression in language of a virile strength and intellectual subtlety that marks him as one of the great prose stylists of the twentieth century." — J. M. Coetzee, from his Introduction
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Synge was one of the key dramatists in the flourishing world of Irish literature at the turn of the century. This volume offers every one of his plays, which range from racy comedy to stark tragedy, all sharing a memorable lyricism. The introduction to this new, definitive edition sets the plays in the context of the Irish literary movement, with special attention to Synge's role as one of the founders of the Abbey Theatre and his work alongside W.B. Yeats and Lady Gregory.
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A major collection of 20th century Irish poetry representing 47 poets since Yeats.
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One of a series of titles first published by Faber between 1930 and 1990, and in a style and format planned with a view to the appearance of the volumes on the bookshelf. This is a collection of poetry, by the winner of the 1995 Nobel Prize for Literature, which articulates a vision of Ireland.
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The title of Horse Latitudes, Paul Muldoon’s tenth collection of poetry, refers to those areas thirty degrees north and south of the equator where sailing ships tend to be becalmed, where stasis (if not stagnation) is the order of the day. From Bosworth Field to Beijing, the Boyne to Bull Run, from a series of text messages to the nineteenth-century Irish poet Tom Moore to an elegy for Warren Zevon, and from post-Agreement Ireland to George W. Bush’s America, this book presents us with fields of battle and fields of debate, in which we often seem to have come to a standstill, but in which language that has been debased may yet be restruck and made current to our predicament. Horse Latitudes is a triumphant new collection by one of the most esteemed poets of our time.Paul Muldoon is the author of nine books of poetry, including the Pulitzer Prize–winning Moy Sand and Gravel. He teaches at Princeton University and, between 1999 and 2004, was professor of poetry at Oxford University.The title of Horse Latitudes, Paul Muldoon's tenth collection of poetry, refers to those areas thirty degrees north and south of the equator where sailing ships tend to stand becalmed in mid-ocean, where stasis (if not stagnation) is the order of the day, and where sailors, in the days when Spanish vessels transported horses to the West Indies, would throw their live cargo overboard to lighten the load and conserve food and water. From Bosworth Field to Beijing, from the Battle of the Boyne to Bull Run, from a series of text messages written to the nineteenth-century Irish poet Tom Moore to an elegy for Warren Zevon, and from post-Agreement Ireland to George W. Bush's America, this book presents us with fields of battle and fields of debate in which we often seem to have come to a standstill, but in which language that has been debased may yet be restruck and made current to our predicament. Weaving between popular song and riddle, between haiku and densely compressed narrative, Horse Latitudes is a new collection by an esteemed poet."Muldoon's far-fetched, elaborate metaphors in many ways resemble Metaphysical conceits in their yoking together of imagery through a virtuoso display of his wit . . . Ben Jonson once declared that Donne, 'for not keeping of an accent, deserved hanging': What kind of death, one wonders, would he have asked the executioner to devise for Muldoon's serial crimes against the conventions of poetry?"—Mark Ford, The New York Review of Books"'Horse latitudes' is a nautical term referring to area thirty degrees north and south of the equator. Ships sailing these waters often find themselves becalmed, or thrown off course by baffling, unpredictable winds . . . His wordplay enacts a fundamental or existential embeddedness, revealing over and again the impossibility of untangling individual words or actions from the dizzying webs of language and history. Like the baffling breezes that confuse sailors in the horse latitudes, Muldoon's verbal sleights of hand insistently push the poem in unforeseen directions, making it drift into weird patterns and peculiar symmetries. Like his previous nine volumes, Horse Latitudes presents a fiendishly complex weather system that only be negotiated with patience, open-mindedness, an enormous dictionary, and frequent recourse to Wikipedia . . . Muldoon's far-fetched, elaborate metaphors in many ways resemble Metaphysical conceits in their yoking together of imagery through a virtuoso display of his wit . . . Ben Jonson once declared that Donne, 'for not keeping of an accent, deserved hanging': What kind of death, one wonders, would he have asked the executioner to devise for Muldoon's serial crimes against the conventions of poetry?"—Mark Ford, The New York Review of Books"Age has deepened Muldoon's poetry, and in Horse Latitudes he has been able, in his finely maintained tightrope act, to bear aloft both grief and playfulness."—Helen Vendler, The New Republic"Horse Latitudes affirms anew that the poet is capable of sustaining an ethereal loftiness of discourse in a poetic language of exquisite grace . . . It rewards many readings with rare intellectual pleasure; the title sequence which unifies emotion and language in a perfectly tuned harmony, may be the finest sonnet cycle published since Rainer Maria Rilke's 'Orpheus' sonnets in 1922 ."—Jamie James, Los Angeles Times Book Review
"Muldoon, now 55, is still the wonderboy of contemporary Irish (and English, and British) poetry, because of what he took from—and left with—Heaney . . . Muldoon has not just built on Heaney's example (itself derived from Frost), but exploded it, creating not a voiceprint of the known Irish landscape, but a steady-state universe of expanding and collapsing localities and times strung together via a vertiginous lexicon . . . [The] deliciously hefty opening poem hurtles us into a volume of mostly short lyrics, anecdotes built by echolocation, ballads, and prodigious exercises in death-defying poetic forms, some self-invented, some received."—Joyelle McSweeney, Rain Taxi"Playful language, political subtleties, and proclamations of grief gallop through Muldoon's melee of mythological and contemporary battles—disputes where turtles cover corpses, Bob Dylan returns to Princeton, and violins made from horse heads sing plaintively of destruction . . . Beginning with a sequence of sonnets whose titles start with the letter B, to a series of instant messages formatted as haiku, to an ending that tributes rocker Warren Zevon, readers are in for a lively ride . . . Recommended."—Library Journal"Muldoon is undisputedly a master poet. Many of his poems distinctly take up the poetic tradition yet skew it with half-rhymes and unlikely subjects for classical forms, and also engage deeply with the troubled politics of his native Northern Ireland yet intertwine them with Muldoon's own personal history, mythology and esoteric symbolism . . . [The poems] seduce the reader into repeated readings in which they only grow more interesting, a sure sign of their capacity to last. In his 11th collection, the Pulitzer Prize–winner and former professor of poetry at Oxford (his Oxford lectures are being released concurrently) is as good as ever. Amid the usual parade of poetic forms (a riddle, haiku and pantoum, among others), he treats post-9/11 America ('those were my Twin Towers, right?'); aging, fatherhood and mortality ('a country toward which I've been rowing/ for fifty years'); the notion of 'the old country' in a tour-de-force crown of sonnets ('Every escape was a narrow escape/ where every stroke was a broad stroke/ of an ax on a pig nape./ Every pig was a pig in a poke'); and the deaths of his sister and rocker Warren Zevon. With signature wit, Muldoon is preoccupied with the passage of time, the ways things change and stay the same, the distance between one culture and another, as well as the narrowing gap between high and popular culture."—Publishers Weekly (starred review)
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Widely regarded as the finest poet of his generation, Seamus Heaney is the subject of numerous critical studies, but no book-length portrait has appeared before now. Through his own lively and eloquent reminiscences, Stepping Stones retraces the poet’s steps from his first exploratory testing of the ground as an infant to what he called his “moon-walk” to the podium to receive the 1995 Nobel Prize in Literature. It also fascinatingly charts his post-Nobel life and is supplemented with a number of photographs, many from the Heaney family album and published here for the first time. In response to firm but subtle questioning from Dennis O’Driscoll, Heaney sheds a personal light on his work (poems, essays, translations, plays) and on the artistic and ethical challenges he faced during the dark years of the Ulster Troubles. Combining the spontaneity of animated conversation with the considered qualities of the best autobiographical writing, Stepping Stones provides an original, diverting, and absorbing store of reflections and recollections. Scholars and general readers alike are brought closer to the work, life, and creative development of a charismatic and lavishly gifted poet whose latest collection, District and Circle, was awarded the T. S. Eliot Prize in 2007.Dennis O'Driscoll’s previous publications include New and Selected Poems and Reality Check. He is the author of a collection of essays and reviews, Troubled Thoughts, Majestic Dreams, and works as a civil servant in Dublin.Widely regarded as the finest poet of his generation, Seamus Heaney is the subject of numerous critical studies, but no book-length portrait has appeared before now. Through his own lively and eloquent reminiscences, Stepping Stones retraces the poet’s steps from his first exploratory testing of the ground as an infant to what he called his “moon-walk” to the podium to receive the 1995 Nobel Prize in Literature. It also fascinatingly charts his post-Nobel life and is supplemented with a number of photographs, many from the Heaney family album and published here for the first time. In response to firm but subtle questioning from Dennis O’Driscoll, Heaney sheds a personal light on his work (poems, essays, translations, plays) and on the artistic and ethical challenges he faced during the dark years of the Ulster Troubles. Combining the spontaneity of animated conversation with the considered qualities of the best autobiographical writing, Stepping Stones provides an original, diverting, and absorbing store of reflections and recollections. Scholars and general readers alike are brought closer to the work, life, and creative development of a charismatic and lavishly gifted poet whose latest collection, District and Circle, was awarded the T. S. Eliot Prize in 2007."This big book is a unique and useful addition to the Heaney canon: beginning in 2001, the Dublin-based poet, essayist and anthologist O'Driscoll entered into an extended correspondence with Heaney for the purpose of collaboratively constructing a kind of autobiography-in-interviews. The result is a collection of 16 discreet interviews, the first two of which discuss Heaney's childhood and poetic growth. Then there is one interview-chapter for each of Heaney's celebrated books (except the last two, which are grouped together), followed by a summing up. In conversation, Heaney comes across as extremely friendly, expansively intelligent and in possession of the groundedness in the details of his environment that readers of his poems will be familiar with. Here are boyhood recollections ('Our travelling grocery van . . . was run first by a man called McCarney, but 'the egg man' was our name for him'), memories of the famous Belfast Group and accounts of coming-of-age, and then coming to international prominence, against the backdrop of Ireland's troubled 20th-century politics. And, of course, Heaney traces the events—both political and personal—that led to many of his poems. For fans of Heaney, of 20th-century Irish literature or anyone eager to get deep into the mind of a major artist, this is an essential book."—Publishers Weekly"Stepping Stones—a conversation-style response to questions submitted over the years by Dennis O'Driscoll—is an outspoken oral work of art."—Karl Miller, The Times Literary Supplement
“Stepping Stones: Interviews With Seamus Heaney, poet Dennis O’Driscoll’s extraordinary book, takes its title from the place in Heaney’s Nobel lecture where he observes that both his writing and his life can be seen as 'a journey where each point of arrival . . . turned out to be a stepping-stone rather than a destination,' and the emphasis on continuing process informs it from beginning to end. The book’s form is that of extended interviews, conducted (largely in writing) over a period of years, in which the interviewer, O’Driscoll, defines his role as that of prompter rather than interrogator. Its purpose—in the continuing absence of any substantial biography—is to present interviews, freed from space limitations, that might come to comprise 'a comprehensive portrait of the man and his times'—and, of course, of the work itself. (Heaney’s only stipulation was that he would not speak in analytic detail of any of the poems, though he does cite particular aspects of many, and to dazzling effect.) O’Driscoll calls the book 'a survey of [Heaney’s] life, often using the poems as reference points,' thus providing 'a biographical context for the poems and a poetry-based account of the life.' For this reason he is right to find the result 'very much a book for readers of [Heaney’s] oeuvre.' But it is much, much more. Many-leveled, it is a book that rearranges itself according to the angle of the reader’s questioning, and while it will surely send many readers to the poems themselves, whether for the first or the dozenth time, it has, as great autobiography must have, stand-alone value as well. Some of this value is documentary, whether detailing the nuances of Irish cultural politics during the Troubles of the late ’60s, or trenchantly evoking the writers and writings that assumed a place in Heaney’s development. Richly deployed, this is the stuff of cultural history, and it is inevitably central to Heaney’s probing account of his formation as man and poet. What I want to stress here, however, is that the book is more than simply an account of experience; it is itself an agency of experience. You come away from it—at least you can: I did—moved, enlarged and deepened. Stepping Stones consists of three sections, the first evoking in magical detail the poet’s childhood on the family farm (Mossbawn) in County Derry—'a small, ordinary, nose-to-the-grindstoney place'—and his subsequent schooling in Belfast. The long central section organizes the intertwinings of life and work through the successive collections of the poems; and the third—the briefest—brings the account up to date, describing the poet’s stroke in 2006, his recovery, and his view of the world on the eve of his 70th birthday . . . This is not only a radically original book; in its own quiet way it is also a great one."—Donald Fanger, Truthdig
"Popular contemporary Irish poet O'Driscoll began work on this book of interviews with Nobel Prize-winning poet Seamus Heaney in September 2001. Interestingly, aside from some transcriptions in Chapters 13 and 15, these interviews were conducted in writing and through the mail. This format allowed Heaney to pick which questions to answer and to rearrange their order as he chose, and O'Driscoll sees his role as 'prompter rather than interrogator,' giving Heaney a good deal of influence on the final book. The result is not a comprehensive biography (nor is it meant to be) but rather 'a survey of his life, using the poems as reference points.' Though Heaney has been interviewed by many others, this collection's unique method of creation makes it a worthy addition to literature collections."—Felicity D. Walsh, Library Journal
"There is no shortage of writing by or about Nobel Prize-winning Irish poet Heaney. Yet this big book is a unique and useful addition to the Heaney canon: beginning in 2001, the Dublin-based poet, essayist and anthologist O'Driscoll entered into an extended correspondence with Heaney for the purpose of collaboratively constructing a kind of autobiography-in-interviews. The result is a collection of 16 discreet interviews, the first two of which discuss Heaney's childhood and poetic growth. Then there is one interview-chapter for each of Heaney's celebrated books (except the last two, which are grouped together), followed by a summing up. In conversation, Heaney comes across as extremely friendly, expansively intelligent and in possession of the groundedness in the details of his environment that readers of his poems will be familiar with. Here are boyhood recollections ('Our travelling grocery van . . . was run first by a man called McCarney, but 'the egg man' was our name for him'), memories of the famous Belfast Group and accounts of coming-of-age, and then coming to international prominence, against the backdrop of Ireland's troubled 20th-century politics. And, of course, Heaney traces the events—both political and personal—that led to many of his poems. For fans of Heaney, of 20th-century Irish literature or anyone eager to get deep into the mind of a major artist, this is an essential book."—Publishers Weekly
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As a young man, William Butler Yeats was deeply affected by the idea of romantic love, or, as he called it, "the old high way of love." Characteristically, much of his early poetry that which was written prior to 1910, is poetry that belongs to courtship.
When Yeats was twenty-three years old, he met and fell in love with the beautiful Irish nationalist, Maud Gonne. Although she repeatedly refused to marry Yeats, Maud would become the object of his passion and his poetry. The emotional power in many of Yeats' early poems is shaped by the one-sidedness of his affair with Maud, but the poems themselves remain hopeful and bitter-sweet, pure in their language and attitudes about love.
The forty-one poems collected in A Poet to his Beloved represent some of Yeats's most evocative and passionate early love poems. These versed are simple, lyrical, and often dreamy, and they speak knowingly of innocence and beauty, passion and desire, devotion and the fear of rejection.
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Works by more than 60 Irish poets, from 18th century to modern times, include "Stella's Birthday" by Swift; Goldsmith's "Stanzas on Woman"; "The Harp that Once Through Tara's Halls" by Moore; Allingham's "The Fairies"; Yeats's "To the Rose upon the Rood of Time"; "Strings in the Earth and Air" by Joyce; plus verses by lesser-known poets.
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Published in order of first publication as far as possible, this selection ranges from initial offerings such as "Tinker's Wife" and "Inniskeen Road: July Evening" to his tragic masterpiece "The Great Hunger" (1942) and his celebratory later verse, "To Hell with Common Sense" and "Come Dance with Kitty Stobling", which show his increasing comic verve and detachment. The first comprehensive selection of Kavanagh's poetry to be published, this volume offers a timely reassessment of a poet unfairly neglected outside Ireland.
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Listen to a short interview with Helen Vendler
Host: Chris Gondek | Producer: Heron & CraneThe fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of one's quarrels with others while poetry is the expression (and sometimes the resolution) of one's quarrel with oneself. This is where Helen Vendler's Our Secret Discipline begins. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poet's mind. This book is a space-clearing gesture, an attempt to write about lyric forms in Yeats in unprecedented and comprehensive ways. The secret discipline of the poet is his vigilant attention to forms--whether generic, structural, or metrical. Yeats explores the potential of such forms to give shape and local habitation to volatile thoughts and feelings.
Helen Vendler remains focused on questions of singular importance: Why did Yeats cast his poems into the widely differing forms they ultimately took? Can we understand Yeats's poetry better if we pay attention to inner and outer lyric form? Chapters of the book take up many Yeatsian ventures, such as the sonnet, the lyric sequence, paired poems, blank verse, and others. With elegance and precision, Vendler offers brilliant insights into the creative process and speculates on Yeats's aims as he writes and rewrites some of the most famous poems in modern literature.
(20070820)
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Maud Gonne and William Butler Yeats met in early 1889, and he first proposed to her--unsuccessfully--two years later. Some of Yeats's greatest poems chronicle his long obsession with her, among them "A Woman Homer Sang," "Reconciliation," and "No Second Troy":
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being what she is?
Was there another Troy for her to burn?We tend to see Maud Gonne through his prism--a firebrand, a great beauty, above all a political fanatic who made him suffer like mad. These letters tell a more complex tale, since the majority are hers, most of Yeats's having been destroyed. What he portrayed as extremism instead becomes deep political involvement: her letters record an endless round of meetings, protests, and good works. In addition, the concern she again and again manifests for Yeats mitigates his cries of indifference; rather, Maud Gonne emerges as steady and heroic. Even as she was preparing to marry John MacBride, she took time out to console her longtime suitor in a characteristic run-on: "Friend of mine au revoir. I shall go over to Ireland in a couple of months, if you care to see me I shall be so glad & you will find I think that I am just the same woman you have always known, marriage won't change me I think at all...." The editors declare the original letter "very crumpled and creased as if carried in Yeats's pocket and taken out and read many times."