Posts Tagged ‘Paul Muldoon’
January 21, 2016 | by Dan Piepenbring
There’s an abysmal simile making the rounds online right now, drawn from a certain splashy literary debut: “Breasts like bronzed mangoes.” Yes, it comes courtesy of a male writer, of course; and yes, Google suggests it’s the only use of the phrase “bronzed mangoes” in recorded history. Even so: as an object of ridicule, this is what you’d have to call low-hanging fruit. Read More »
March 31, 2015 | by Dan Piepenbring
- In which Tom McCarthy, Rachel Kushner, Paul Muldoon, and other writers are photographed in their offices: “Helicopters, the L.A.P.D.’s crazy hobby, thunder overhead, chasing some guy who stole a Honda Element,” Kushner writes of her home office in LA. “The whoop-whoop of sirens comes next. I sit at my desk, less than a mile from the criminal courts and the jail, structures of human sacrifice, where people’s lives get wrecked.”
- “I talked about the times he had slapped me and the times he had locked me in the cellar, and the point of these stories was always the same: his fury was always triggered by some petty detail, some utter triviality, and as such was actually comical. At any rate we laughed when we told the stories. Once I had left a pair of gloves on the bus and he slapped me in the face when he found out. I had leaned against the wobbly table in the hall and sent it flying and he came over and hit me. It was absolutely absurd!” A new excerpt from the long-awaited fourth volume of Knausgaard’s My Struggle.
- A strain of occultism runs through Yeats’s poetry—“do-it-yourself religion,” as Seamus Heaney called it—and sure enough, “as a young man, according to the scholar Kathleen Raine, Yeats had a pack of Tarot cards among his ‘few and treasured possessions.’ In London, in 1887, he was initiated into the Hermetic Society of the Golden Dawn, one of those secret societies that tend, as Raine remarks, ‘to relate everything with everything—letters with numbers, with cycles of months, years, and the signs of the zodiac, with parts of the body, celestial and infernal hierarchies of angels, with minerals, metals, plants, and animals.’ ”
- On Obadiah Slope, the “calculating curate” at the center of Trollope’s Barchester Towers: “Isn’t Slope just a man seeking a better job and, into the bargain, a wife with a comfortable income? What exactly does he do, and why is he so disturbing? Ruthlessly fawning, constantly trying to wriggle his way into favor with the rich and powerful, and in the process tread on the heads of others, Slope is a particularly poisonous example of the kind of creep that haunts almost any organization or social group.”
- Reports by the World Bank are torturing the English language like never before—these “grammatico-political monstrosities” amount to a new form of expression, “Bankspeak.” “In the world of ‘management’, people have goals and agendas; faced with opportunities, challenges and critical situations, they elaborate strategies. To appreciate the novelty, let’s recall that, in the 1950s–60s, issues were studied by experts who surveyed and conducted missions, published reports, assisted, advised and suggested programs.”
December 15, 2014 | by Dan Piepenbring
- Paul Muldoon on Beckett’s collected letters: “The letters collected here come in the wake of the success, in 1955, of the English version of Waiting for Godot, the play in which, according to the critic Vivian Mercier, ‘nothing happens, twice.’ One of the few things that do happen is that the tree that’s barren in Act I develops some foliage in Act II. But, as the high priest of lessness writes to the director Jerzy Kreczmar of the 1957 Warsaw production—‘The tree is perfect (perhaps a few leaves too many in the second act!)’—even that mustn’t be overstated.”
- Merriam-Webster’s word of the year is … culture. “When you put it next to another word it means something very different,” their editor at large said.
- The science of mondegreens: Why do we mishear lyrics? (“You’re much more likely to mishear ‘Cry Me a River’ as ‘Crimean River’ if you’ve recently been discussing the situation in Ukraine.”)
- “How can a writer make goodness interesting? George Eliot tried to do so by examining redemption in Silas Marner. The only problem is that the narrative jumps ahead, giving us the miserly misanthrope before and the radiant saint after he adopts a lost child … But where are the unheroic, sane, consistent, quiet goodnesses? As literature thrives on conflict, the idea of a sequestered, sanguine goodness might seem impossible.”
- The language of food: a new book crunches the data on the descriptions of 650,000 dishes from 6,500 menus. “Satisfied customers can be remarkably price-sensitive, if unconsciously so. The pleasures of expensive food are equated with sex; foie gras is seared ‘seductively’ and apple tart is ‘orgasmic.’ Cheap food, by contrast, is compared to drugs. Reviewers demand a ‘fix’ of fried chicken and liken cupcakes to crack.”
November 30, 2014 | by Dan Piepenbring
“I am writing from a place you have never been, / Where the trains don’t run, and planes / Don’t land … ” Remembering Mark Strand.
Justin Taylor talks to Shelly Oria about her new book, New York 1 Tel Aviv 0. “What I’m trying to do, not only as a writer but as a human—is challenge this idea of either-or, hang out a bit in the in-between space.”
Paul Muldoon rereads his first book of poetry, 1971’s Knowing My Place …
… And Alec Soth annotates his monograph Niagara, including new photographs.
“You can look at a piece of mine and think that it’s a benign exploration, but I like to think there’s an edge underneath it all in terms of certain commentaries on relationships.” An interview with Gladys Nilsson.
November 24, 2014 | by Dan Piepenbring
On December 2, PEN American Center presents “First Editions, Second Thoughts,” an auction of seventy-five annotated first editions at Christie’s New York, including work by Philip Roth, Don DeLillo, and Jane Smiley, among others. The proceeds will benefit PEN, a writers’ association dedicated to protecting free expression.
Paul Muldoon’s first chapbook, Knowing My Place, is one of the books up for auction, and PEN has shared some of Muldoon’s annotations with us. Knowing My Place is so hard to come by that The Paris Review’s Art of Poetry interview with him makes no mention of it; his first full collection, 1973’s New Weather, is usually considered his first book. He does hint at the circumstances of Knowing My Place’s publication, though:
While you were at Queen’s you joined a very famous writing group, and while still an undergraduate you published your first book, New Weather. How did all of this come about? Who had you been showing your work to?
Ciaran Carson. Frank Ormsby. There were people associated with a particular magazine, The Honest Ulsterman. I’d started publishing there when I was a teenager. When I went to Queen’s I was welcomed by Seamus Heaney and Michael Longley into a critical society called the Group, or the Belfast Group, which was the offshoot of the London Group. And our poems were critiqued there by Heaney, Longley, Stewart Parker, and various other luminaries lurking around. So I suppose the stakes were quite high.
One of the things about being eighteen or nineteen or twenty is that one’s daunted by nothing. So on some level I thought to myself, Well, you know, I can do this. That’s why people do almost everything, whatever it might be. Not only, I can do this, but, I can also do it better than this. I have a sense, which I try to give my own students, that it’s possible to write poems that are of a high quality.
Knowing My Place was published by Ulsterman Publications, which I can only assume is affiliated with the group mentioned here. It appeared when Muldoon was only nineteen, an undergraduate, in 1971; “the year decimalisation came in the UK,” his annotation to the title page says. (The pound sterling was subdivided in one hundred pennies where previously it had comprised 240 pence.)
Here are some more of the annotated pages in Knowing My Place: Read More »
March 17, 2014 | by Dan Piepenbring
On St. Patrick’s Day, nineteenth-century illustrations of the Irish countryside.
These remarkable illustrations are from Ireland: Picturesque and Romantic, an 1838 travelogue by Leitch Ritchie, Esq. But don’t be fooled: despite his book’s encouraging title and the meticulousness of these drawings, Ritchie was pretty hard on Ireland. His account, stuffy and imperial, presents a portrait of the Irish psyche scarcely more enlightened than a box of Lucky Charms, shot through with a kind of paternalistic shame:
The Irish are not lazy because they are Irish, but because, in the first place, they are only half civilized … their spirit is broken by ages of tyranny. They have crouched so long under the lash that they can hardly stand upright. They are brave from instinct, but cowards from habit; and the peasantry every day of their lives are guilty of as despicable acts of poltroonery, in their intercourse with the quality, as the serfs of the middle ages exhibited in their encounters with the knights.
Not, as you can see, ideal reading for St. Paddy’s Day—better to take the pictures and put someone else’s words with them. Here, then, is a more fittingly romantic tribute to Ireland: Patrick Kavanagh’s “Canal Bank Walk,” a sonnet written in 1958. Read More »