In "The End of the Poem," Paul Muldoon, "the most significant English-language poet born since the Second World War" ("The Times Literary Supplement"), presents engaging, rigorous, and insightful explorations of a diverse group of poems, from Yeats's "All Souls' Night" to Stevie Smith's "I Remember" to Fernando Pessoa's "Autopsychography." Here ...
In "The End of the Poem," Paul Muldoon, "the most significant English-language poet born since the Second World War" ("The Times Literary Supplement"), presents engaging, rigorous, and insightful explorations of a diverse group of poems, from Yeats's "All Souls' Night" to Stevie Smith's "I Remember" to Fernando Pessoa's "Autopsychography." Here Muldoon reminds us that the word "poem" comes, via French, from the Latin and Greek: "a thing made or created." He asks: Can a poem ever be a freestanding, discrete structure, or must it always interface with the whole of its author's bibliography--and biography? Muldoon explores the boundlessness, the illimitability, created by influence, what Robert Frost meant when he insisted that "the way to read a poem in prose or verse is in the light of all the other poems ever written." And he writes of the boundaries or borders between writer and reader and the extent to which one determines the role of the other. At the end, Muldoon returns to the most fruitful, and fraught, aspect of the phrase "the end of the poem": the interpretation that centers on the "aim" or "function" of a poem, and the question of whether or not the end of the poem is the beginning of criticism. Irreverent, deeply learned, often funny, and always stimulating, "The End of the Poem "is a vigorous and accessible approach to looking at poetry anew.
Publishers Weekly, 2006-08-21 In his most substantial prose collection to date, Pulitzer Prize-winning poet Muldoon (Moy Sand and Gravel) offers 15 characteristically idiosyncratic lectures on individual poems by a host of influential world poets, delivered at Oxford University from 1999 to 2004. Rather than explication and clarification, Muldoon favors association and surprise, as he does in his poems. In discussions of often lesser-known poems by major figures, beginning with W.B. Yeats and moving through Emily Dickinson, Ted Hughes, Elizabeth Bishop, Robert Lowell, Fernando Pessoa and Irish-born Muldoon's own mentor, Seamus Heaney, Muldoon focuses on the recurrence and etymology of particular words as they relate to other poems and poets, quoting the OED almost as often as poetry. He also locates the poems' origins in other unlikely texts, such as a little-known 1851 Harper's article, which Muldoon claims influenced Dickinson. While some of Muldoon's conjectures may seem far-fetched, they are always highly compelling and clever, and this book provides an expansive view of the mind of a major poet, and a fresh, if unorthodox, method for reading literary texts. This volume is released concurrently with Horse Latitudes, a new collection of poems (Reviews, July 31). (Oct.) Copyright 2006 Reed Business Information.
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