Books by Paul Muldoon
The Best American Poetry 2005
This eagerly awaited volume in the celebrated Best American Poetry series reflects the latest developments and represents the state of the art today. Paul Muldoon, the distinguished poet and international literary eminence, has selected -- from a pool of several thousand published candidates -- the top seventy-five poems of the year.
With insightful comments from the poets illuminating their work, and series editor David Lehman's perspicacious foreword, The Best American Poetry 2005 is indispensable for every poetry enthusiast.
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Maggot: Poems
by Paul Muldoon
Of Plan B, which included several of the poems in Maggot, Robert McCrum recently said in the London Observer that "Paul Muldoon, who has done so much to reimagine the poet's task, has surpassed himself with his latest collection." In his eleventh full-length book, Muldoon reminds us that he is a traditional poet who is steadfastly at odds with tradition. If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are "sex and the dead," Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its subject the urge to memorialize the scenes of fatal automobile accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title sequence but also many of the round songs that characterize Maggot, and has led Angela Leighton, writing in The Times Literary Supplement, to see these new poems as giving readers "a thrilling, wild, fairground ride, with few let-ups for the squeamish."
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No copies available.
Maggot: Poems
by Paul Muldoon
Of Plan B, an interim volume that included several of the poems in Maggot, Robert McCrum recently said in the London Observer that "Paul Muldoon, who has done so much to reimagine the poet's task, has surpassed himself with his latest collection." In his eleventh full-length book, Muldoon reminds us that he is a traditional poet who is steadfastly at odds with tradition. If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are "sex and the dead," Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its subject the urge to memorialize the scenes of fatal automobile accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title sequence but also many of the round songs that characterize Maggot, and has led Angela Leighton, writing in The Times Literary Supplement, to see these new poems as giving readers "a thrilling, wild, fairground ride, with few let-ups for the squeamish."
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No copies available.
The End of the Poem (Oxford Lectures)
by Paul Muldoon
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.
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Horse Latitudes: Poems
by Paul Muldoon
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 Thomas 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 collection by one of the most esteemed poets of our time.
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The End of the Poem: Oxford Lectures
by Paul Muldoon
In The End of the Poem, Paul Muldoon dazzlingly explores a diverse group of poems, from Yeats's "All Souls' Night" to Stevie Smith's "I Remember" to Fernando Pessoa's "Autopsychography." 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 free-standing structure, or must it always interface with the whole of its author's bibliography―and biography? Muldoon explores the boundlessness 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."
Finally, 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 and deeply learned, The End of the Poem is a vigorous approach to looking at poetry anew.
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One Thousand Things Worth Knowing: Poems
by Paul Muldoon
Another wild, expansive collection from the eternally surprising Pulitzer Prize–winning poet
Smuggling diesel; Ben-Hur (the movie, yes, but also Lew Wallace's original book, and Seosamh Mac Grianna's Gaelic translation); a real trip to Havana; an imaginary trip to the Château d'If: Paul Muldoon's newest collection of poems, his twelfth, is exceptionally wide-ranging in its subject matter―as we've come to expect from this master of self-reinvention. He can be somber or quick-witted―often within the same poem: The mournful refrain of "Cuthbert and the Otters" is "I cannot thole the thought of Seamus Heaney dead," but that doesn't stop Muldoon from quipping that the ancient Danes "are already dyeing everything beige / In anticipation, perhaps, of the carpet and mustard factories."
If this masterful, multifarious collection does have a theme, it is watchfulness. "War is to wealth as performance is to appraisal," he warns in "Recalculating." And "Source is to leak as Ireland is to debt." Heedful, hard-won, head-turning, heartfelt, these poems attempt to bring scrutiny to bear on everything, including scrutiny itself. One Thousand Things Worth Knowing confirms Nick Laird's assessment, in The New York Review of Books, that Muldoon is "the most formally ambitious and technically innovative of modern poets," an experimenter and craftsman who "writes poems like no one else."
Copies
No copies available.
One Thousand Things Worth Knowing: Poems
by Paul Muldoon
Another wild, expansive collection from the eternally surprising Pulitzer Prize–winning poet
Smuggling diesel; Ben-Hur (the movie, yes, but also Lew Wallace's original book, and Seosamh Mac Grianna's Gaelic translation); a real trip to Havana; an imaginary trip to the Château d'If: Paul Muldoon's newest collection of poems, his twelfth, is exceptionally wide-ranging in its subject matter―as we've come to expect from this master of self-reinvention. He can be somber or quick-witted―often within the same poem: The mournful refrain of "Cuthbert and the Otters" is "I cannot thole the thought of Seamus Heaney dead," but that doesn't stop Muldoon from quipping that the ancient Danes "are already dyeing everything beige / In anticipation, perhaps, of the carpet and mustard factories."
If this masterful, multifarious collection does have a theme, it is watchfulness. "War is to wealth as performance is to appraisal," he warns in "Recalculating." And "Source is to leak as Ireland is to debt." Heedful, hard-won, head-turning, heartfelt, these poems attempt to bring scrutiny to bear on everything, including scrutiny itself. One Thousand Things Worth Knowing confirms Nick Laird's assessment, in The New York Review of Books, that Muldoon is "the most formally ambitious and technically innovative of modern poets," an experimenter and craftsman who "writes poems like no one else."
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No copies available.
Selected Poems 1968-2014
by Paul Muldoon
“The most significant English-Language poet born since the second world war.” ―The Times Literary Supplement
Selected Poems 1968–2014 offers forty-six years of work drawn from twelve individual collections by a poet who “began as a prodigy and has gone on to become a virtuoso” (Michael Hofmann). Hailed by Seamus Heaney as “one of the era’s true originals,” Paul Muldoon seems determined to escape definition, yet this volume, compiled by the poet himself, serves as an indispensable introduction to his trademark combination of intellectual hijinks and emotional honesty. Among his many honors are the Pulitzer Prize for Poetry and the Shakespeare Prize “for contributions from English-speaking Europe to the European inheritance.”
“Among contemporaries, Paul Muldoon, one of the great poets of the past hundred years, who can be everything in his poems―word-playful, lyrical, hilarious, melancholy. And angry. Only Yeats before him could write with such measured fury.” ―Roger Rosenblatt, The New York Times
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No copies available.
Selected Poems 1968-2014
by Paul Muldoon
“The most significant English-Language poet born since the second world war.” ―The Times Literary Supplement
Selected Poems 1968–2014 offers forty-six years of work drawn from twelve individual collections by a poet who “began as a prodigy and has gone on to become a virtuoso” (Michael Hofmann). Hailed by Seamus Heaney as “one of the era’s true originals,” Paul Muldoon seems determined to escape definition, yet this volume, compiled by the poet himself, serves as an indispensable introduction to his trademark combination of intellectual hijinks and emotional honesty. Among his many honors are the Pulitzer Prize for Poetry and the Shakespeare Prize “for contributions from English-speaking Europe to the European inheritance.”
“Among contemporaries, Paul Muldoon, one of the great poets of the past hundred years, who can be everything in his poems―word-playful, lyrical, hilarious, melancholy. And angry. Only Yeats before him could write with such measured fury.” ―Roger Rosenblatt, The New York Times
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Frolic and Detour: Poems
by Paul Muldoon
A new collection from the Pulitzer Prize–winning poet
Though Frolic and Detour is Paul Muldoon’s thirteenth collection, it shows all the energy and ambition we might generally associate with a first book. Here, the poet brings his characteristic humor and humanity to the chickadee, the house wren, the deaths of Leonard Cohen and C. K. Williams, the Irish Rising, the Great War, and how “a streak of ragwort / may yet shine / as an off-the-record / remark becomes the party line.” Frolic and Detour reminds us that the sidelong glance is the sweetest, the tangential approach the most telling, and shows us why Paul Muldoon was described by Nick Laird, writing in The New York Review of Books, as “the most formally ambitious and technically innovative of modern poets, [who] writes poems like no one else.”
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Joy in Service on Rue Tagore: Poems
by Paul Muldoon
“Is there any living poet with as skilled . . . an ear?" (McSweeney's). The answer resounds: Muldoon is a true original.
Since his 1973 debut, New Weather, Paul Muldoon has created some of the most original and memorable poetry of the past half century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the highest accolades.
Here, from artichokes to zinc, Muldoon navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet’s skillful hands, ancient maps are unfurled and brought into focus―the aggregation of Imperial Rome and the dismantling of Standard Oil, the pogroms of a Ukrainian ravine and of a Belfast shipyard. Through modern medicine and warfare, disaster and repair, these poems are electric in their energy, while profoundly humane in their line of inquiry.
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$27.00
Poems 1968-1998
by Paul Muldoon
"Ireland"
The Volkswagen parked in the gap,
But gently ticking over.
You wonder if it's lovers
And not men hurrying back
Across two fields and a river.
Sven Birkerts has said, "It is not usual for a poet of Muldoon's years to have . . . an oeuvre disclosing significant shifts and evolutions. But Muldoon, more than most, is an artist in high flight from self-repetition and the deadening business of living up to created expectations." The body of work in Poems 1968-1998 -- a comprehensive gathering of Paul Muldoon's eight volumes -- finds a great poet reinventing himself at every turn. Muldoon's career thus far shows us a fascinatingly mutable climate in which each freshening period brings -- as his first collection was predictively titled -- new weather."
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Howdie-Skelp: Poems
by Paul Muldoon
The Pulitzer Prize–winning poet delivers a sharp wake-up call with his fourteenth collection.
A “howdie-skelp” is the slap in the face a midwife gives a newborn. It’s a wake-up call. A call to action.
The poems in Howdie-Skelp, Paul Muldoon’s new collection, include a nightmarish remake of The Waste Land, an elegy for his fellow Northern Irish poet Ciaran Carson, a heroic crown of sonnets that responds to the early days of the COVID-19 pandemic, a translation from the ninth-century Irish, and a Yeatsian sequence of ekphrastic poems that call into question the very idea of an “affront” to good taste. Muldoon is a poet who continues not only to capture but to command our attention.
Copies
No copies available.
Howdie-Skelp
by Paul Muldoon
The Pulitzer Prize–winning poet delivers a sharp wake-up call with his fourteenth collection.
A “howdie-skelp” is the slap in the face a midwife gives a newborn. It’s a wake-up call. A call to action.
The poems in Howdie-Skelp, Paul Muldoon’s astonishing collection, include a nightmarish remake of The Waste Land, an elegy for his fellow Northern Irish poet Ciaran Carson, a crown of sonnets that responds to the early days of the COVID-19 pandemic, a translation from the ninth-century Irish, and a Yeatsian sequence of ekphrastic poems that call into question the very idea of an “affront” to good taste. Muldoon is a poet who continues not only to capture but to hold our attention.
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$19.00
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$22.95
Sadie And The Sadists: Song Lyrics
by Paul Muldoon
Poetry. Music. This particular pamphlet is beautifully designed, printed on high-stock paper, with a proper spine and an ultra-cool cover. It features over 16 punk-rock-style song lyrics—zany, witty, brilliant, sometimes startling —by the master poet of songs played by his band, Rogue Oliphant. An album/LP is to follow (not from Eyewear). At a time when the Nobel is recognising the beauty and value of lyrics as a form of literature, here comes a great contender...
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Shining Brow
Commissioned by Madison Opera as a libretto for American composer Daron Aric Hagen, Shining Brow can be read as a dramatic poem in its own right. Displaying all the structural ingenuity and subtle resonance that have marked Paul Muldoon as the most influential poet of his generation, it tells, with suitable bravura, the story of architectural genius Frank Lloyd Wright and his catastrophic affair with the wife of a wealthy client.
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Moy Sand and Gravel: Poems
by Paul Muldoon
Paul Muldoon's ninth collection of poems, his first since Hay (1998), finds him working a rich vein that extends from the rivery, apple-heavy County Armagh of the 1950s, in which he was brought up, to suburban New Jersey, on the banks of a canal dug by Irish navvies, where he now lives. Grounded, glistening, as gritty as they are graceful, these poems seem capable of taking in almost anything, and anybody, be it a Tuareg glimpsed on the Irish border, Bessie Smith, Marilyn Monroe, Queen Elizabeth I, a hunted hare, William Tell, William Butler Yeats, Sitting Bull, Ted Hughes, an otter, a fox, Mr. and Mrs. Stanley Joscelyne, un unearthed pit pony, a loaf of bread, an outhouse, a killdeer, Oscar Wilde, or a flock of redknots. At the heart of the book is an elegy for a miscarried child, and that elegiac tone predominates, particularly in the elegant remaking of Yeats's "A Prayer for My Daughter" with which the book concludes, where a welter of traffic signs and slogans, along with the spirits of admen, hardware storekeepers, flimflammers, fixers, and other forebears, are borne along by a hurricane-swollen canal, and private grief coincides with some of the gravest matter of our age.
Moy Sand and Gravel is the winner of the 2003 Pulitzer Prize for Poetry.
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The Word on the Street: Rock Lyrics
by Paul Muldoon
A vibrant new collection of poems―that also double as rock songs―from the Pulitzer Prize–winning poet
In his new book of rock lyrics, Paul Muldoon goes back to the essential meaning of the term "lyric"―a short poem sung to the accompaniment of a musical instrument. These words are written for music most assuredly, with half an ear to Yeats's ballad-singing porter drinkers and half to Cole Porter―and indeed, many of them double as rock songs, performed by Wayside Shrines, the Princeton-based music collective of which Muldoon is a member. Their themes are the classic themes of song: lost love, lost wars, Charlton Heston, barbed wire, pole dancers, cellulite, Hegel, elephants, Oedipus, more barbed wire, Buddy Holly, Jersey peaches, Julius Caesar, Trenton, cockatoos, and the Youngers (Bob and John and Jim and Cole). The Word on the Street is a lively addition to this Pulitzer Prize–winning poet's masterful body of work. It demonstrates, once again, that, as Richard Eder has written in the pages of The New York Times Book Review, "Paul Muldoon is a shape-shifting Proteus to readers who try to pin him down . . . Those who interrogate Muldoon's poems find themselves changing shapes each time he does."
Copies
No copies available.
Joy in Service on Rue Tagore Poems
by Paul Muldoon
“Is there any living poet with as skilled . . . an ear?" (McSweeney's). The answer resounds: Muldoon is a true original.
Since his 1973 debut, New Weather, Paul Muldoon has created some of the most original and memorable poetry of the past half century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the highest accolades.
Here, from artichokes to zinc, Muldoon navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet’s skillful hands, ancient maps are unfurled and brought into focus—the aggregation of Imperial Rome and the dismantling of Standard Oil, the pogroms of a Ukrainian ravine and of a Belfast shipyard. Through modern medicine and warfare, disaster and repair, these poems are electric in their energy, while profoundly humane in their line of inquiry.
Copies
No copies available.