Writing of Paul, Muldoon's last collection, The Annals of Chile, for which he won the T. S. Eliot Prize, Seamus Heaney described him as one of the era's true originals. A. S. Byatt has spoken of Muldoon as an original genius, using words in a new way, witty and profound.That combination of wit and profundity is everywhere apparent in Hay, an ...Read MoreWriting of Paul, Muldoon's last collection, The Annals of Chile, for which he won the T. S. Eliot Prize, Seamus Heaney described him as one of the era's true originals. A. S. Byatt has spoken of Muldoon as an original genius, using words in a new way, witty and profound.That combination of wit and profundity is everywhere apparent in Hay, an extraordinarily vital, and various new collection that contains the most open and inviting as well as some of the most satisfying poems Muldoon has ever written. They range from a dream-vision in a New Jersey mudroom to a poem based on English and American proverbs to another taking the form of an errata slip to a sequence of thirty sonnets set in a Paris restaurant where it seems a waiter finds a muldoon -- a stolen credit card -- belonging to Mr. Muldoon.By turns glorious and gritty, elegant and edgy, this new book is sure to bring even wider acclaim for the much-laurelled Irish wonder-poet (The Independent on Sunday, London) who began as a prodigy and has gone on to become a virtuoso (Michael Hofmann, The Times, London).Read Less
Like New. FREE TRACKING NUMBER EMAILED TO YOU! exact ISBN match, hardcover in dust jacket exactly as shown, small remainder mark on bottom edge, otherwise new and unread---Alaska, Hawaii and APO addresses PLEASE NOTE: The post office gives a 3-5 week window for Standard Media (surface) mail to reach your regions. If time is of the essence, click Priority service!
Excellent in Very Good jacket. Poetry. US: Farrar Straus Giroux. Hardcover. Excellent. Editorial Reviews Review T hough Paul Muldoon's voice is thoroughly his own, a taste for turbulent rh ythms and fantastical journeys firmly links him with some of our finest poe ts, most notably Coleridge. In "The Mud Room, " the start of this stunning c ollection, the speaker juxtaposes wildly dissimilar images--Pharaohs and Kikkoman soy sauce, Virgil's Georgics and "cardboard boxes from K-Mart, " zi gg urats and six-packs. Why? Because in piecing together the whole of our c oll ective human past--the past of Jackson Browne's "The Pretender" on the same page as the past of Epicurus--Muldoon casts a vote for inclusion, a v ote a gainst exclusivity and relegation. He travels far to show such close relati ons. Rather than focus on differences, we're forced to consider a re semblan ce between rock stars and Pharaohs, and in turn a grander likeness that joi ns us all. But in drawing together common connective strands of h istory, culture, and emotion, Muldoon is anything but general. His languag e is highly original a nd searching. He doesn't merely sniff dispassionatel y at the "otherness" of words; like an excited hound that has discovered t he scent of another animal, he rolls vigorously in it--and makes it his own: So a harum-scarum bushman, hey, would slash one forearm with a flint, ho, or a sliver of steel till it flashed, hey ho, like a hel-iograph. These p oems resonate with an easy coexistence of the ordinary and the exotic. Whet her he's penning rhymed haiku (rhymed haiku? ) about placid farm life ("None more dishevelled / than those who seemed most demure. / Our rag-weed revel.
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.