Contemporary Irish Poetry and the Canon: Critical Limitations and Textual Liberations PDF
Preview Contemporary Irish Poetry and the Canon: Critical Limitations and Textual Liberations
New Directions in Irish and Irish American Literature Series Editor Claire A. Culleton Department of English, Kent State University Kent, Ohio USA New Directions in Irish and Irish American Literature promotes fresh scholarship that explores models of Irish and Irish American identity and examinesissuesthataddressandshapethecontoursofIrishnessandworks thatinvestigatethefluid,shifting,andsometimesmultivalentdisciplineof IrishStudies.Politics, the academy,gender, andIrishandIrishAmerican culture, among other things, have not only inspired but affected recent scholarship centered on Irish and Irish American literature. The series’ focusonIrishandIrishAmericanliteratureandculturecontributestoour twenty-first century understanding of Ireland, America, Irish Americans, andthe creative,intellectual, andtheoreticalspaces between. More information aboutthisseries at http://www.springer.com/series/14747 KennethKeating Contemporary Irish Poetry and the Canon Critical Limitations and Textual Liberations KennethKeating UniversityCollegeDublin Dublin,Ireland NewDirectionsinIrishandIrishAmericanLiterature ISBN978-3-319-51111-5 ISBN978-3-319-51112-2(eBook) DOI10.1007/978-3-319-51112-2 LibraryofCongressControlNumber:2017933291 ©TheEditor(s)(ifapplicable)andTheAuthor(s)2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,whetherthewholeorpartofthematerialisconcerned,specificallytherightsof translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology nowknownorhereafterdeveloped. Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthis publicationdoesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesare exemptfromtherelevantprotectivelawsandregulationsandthereforefreeforgeneraluse. Thepublisher,theauthorsandtheeditorsaresafetoassumethattheadviceandinformation in this book are believed to be true and accurate at the date of publication. Neither the publishernortheauthorsortheeditorsgiveawarranty,expressorimplied,withrespectto thematerialcontainedhereinorforanyerrorsoromissionsthatmayhavebeenmade.The publisherremainsneutralwithregardtojurisdictionalclaimsinpublishedmapsandinstitu- tionalaffiliations. Coverillustration:PhotocaseAddictsGmbH/AlamyStockPhoto Printedonacid-freepaper ThisPalgraveMacmillanimprintispublishedbySpringerNature TheregisteredcompanyisSpringerInternationalPublishingAG Theregisteredcompanyaddressis:Gewerbestrasse11,6330Cham,Switzerland For Áine A CKNOWLEDGEMENTS A version of “The Death of the Poem: Geoffrey Squires’s ‘Texts for Screen’” was originally published in the Irish University Review 46.1 (2016) and is reproduced here by kind permission of Irish University Review and Edinburgh University Press. Thanks are due to the editors of this journal and to numerous others with whom I have worked and fromwhoseengagement withmycriticism I havelearned much. SpecialthankstoLucyCollins,supervisoroftheoriginaldoctoralthesis on which this study is based, who guided much of the criticism offered herefromitsearliestchaoticformationstosomethingmorecoherentwith great skill and patience. I am also very grateful to Margaret Kelleher, whose invaluable encouragement and mentorship has been sincerely appreciated. Thanks are also due to those who have read earlier versions of these chapters and offered important responses which have only strengthened the work: John Brannigan, Catriona Clutterbuck, Luz Mar González-Arias,Steven MatthewsandNicholas Wolf. AseditorofSmithereensPressIhavebeenveryfortunatetoworkwith and learn from a number of fine poets who have been so generous with their work, their time and their encouragement of my efforts, especially Daragh Breen,Tom French,Jennifer Matthews, Billy Mills, Doireann Ní Ghríofa,ConorO’CallaghanandMauriceScully.Aspecialnoteofthanks is due to David Lloyd who, as both a poet and an academic, has been particularly supportive in innumerable ways and to whom I owe a great deal. My thanks to Richard Ball, who first brought poetry to life for me so manyyearsago,andwhosefriendshipandwisdomItreasuredearly.Ialso vii viii ACKNOWLEDGEMENTS wish to thank friends and peers with whom I have enjoyed so many stimulating discussions on poetry and related matters over the years and who in this and in their friendship have enlightened me and these pages: David Clare, Daniel Conneally, Conor Farnan, Andrew Foley, Hazel Ivers, Joseph Keating, David McKinney, Brian Meagher, Benjamin Miller, David Murphy andGeraldineO’Dea. Finally I would like to express my immeasurable gratitude to my wife. For her constant faith, unwavering support, sustaining friendship, and mostof allforher love,thisandeverything elseisalways forÁine. C ONTENTS 1 SpectresofIrish Poetry 1 2 PaulMuldoon’sHorse Latitudes: Absence, InterdependenceandDeath 55 3 SourceTextsandAuthorialIdentity in Medbh McGuckian’s “The GoodWife Taughther Daughter” 85 4 PaulDurcanand the Deathof the Parentin Daddy, Daddy andTheLaughter ofMothers 113 5 TheUnreality of Timeand theDeath of the Sibling inthe Poetryof TomFrench 145 6 Bilingualismand the Deathof the Dual Tradition inCelia de Fréine’s Imram¦ Odyssey 169 7 TheDeath of the Poem: Geoffrey Squires’s “Texts forScreen” 195 ix x CONTENTS 8 Conclusions 215 Bibliography 231 Index 245
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