My heart is heavy. For I saw Fionnuala,
"The Gem of the Roe," "The Flower of Sweet Strabane,"
when a girl reached down into a freezer bin
to bring up my double scoop of vanilla.
-"White Shoulders"
Seamus Heaney has called his colleague Paul Muldoon "one of the era's true originals." While Muldoon's previous book, The Annals of Chile, was poetry at an extreme of wordplay and formal complexity, Hay is made up of shorter, clearer lyric poems, retaining all of Muldoon's characteristic combination of wit and profundity but appealing to the reader in new and delightful ways. His eighth book, it is also his most inviting-full of joy in language, fascination with popular culture, and enthusiasm for the writing of poetry itself. This is the first of his books to really capture the effect of America on his poetic sensibility, which is like a magnet for impressions and the miscellany of the culture.
Paul Muldoon, born in Northern Ireland in 1951, lives with his wife, Jean Hanff Korelitz, and their daughter in New Jersey, where he chairs the creative writing program at Princeton University.
Though Muldoon's previous book featured verse of wordplay and formal complexity, Hay primarily offers shorter, clearer lyric poems. His eighth book, it is also perhaps his most inviting. Along with the Irish author's trademark blend of wit and profundity, we find in these poems the first clear traces of America's impact on his sensibility.
"His boldest and most engaging poems yet."—Michael Hofmann, The Times (London)
"Every generation has to clear a space to make itself heard, and Muldoon's way to clear a space in a tradition that includes William Butler Yeats, a visionary and urbane poet, and Patrick Kavanagh, an earthy country poet, and Seamus Heaney, who some have said is a perfect fusion of the two impulses, was to write a different poetry altogether, witty, cosmopolitan, playful, and postmodern."—Robert Hass, The Washington Post Book World
"A partial formal inventory of [this book] would include a stealthy chain of sonnets, a wicked ghazal, sinewy couplets, deadpan concrete verse experiments, a kaleidoscopic ninety-part haiku journal, and, of course, all those canting half- and quarter-rhymes. . . . Crafty, ruthless, and beautiful."—Robert Polito, Bookforum
Industry Reviews
"His boldest and most engaging poems yet." --Michael Hofmann, The Times (London)
"Every generation has to clear a space to make itself heard, and Muldoon's way to clear a space in a tradition that includes William Butler Yeats, a visionary and urbane poet, and Patrick Kavanagh, an earthy country poet, and seamus Heaney, who some have said is a perfect fusion of the two impulses, was to write a different poetry altogether, witty, cosmopolitan, playful, and postmodern." --Robert Hass, The Washington Post Book World
"A partial formal inventory of [this book] would include a stealthy chain of sonnets, a wicked ghazal, sinewy couplets, deadpan concrete verse experiments, a kaleidoscopic ninety-part haiku journal, and, of course, all those canting half- and quarter-rhymes. . . . Crafty, ruthless, and beautiful." --Robert Polito, Bookforum His boldest and most engaging poems yet. "Michael Hofmann, The Times (London)"
Every generation has to clear a space to make itself heard, and Muldoon's way to clear a space in a tradition that includes William Butler Yeats, a visionary and urbane poet, and Patrick Kavanagh, an earthy country poet, and seamus Heaney, who some have said is a perfect fusion of the two impulses, was to write a different poetry altogether, witty, cosmopolitan, playful, and postmodern. "Robert Hass, The Washington Post Book World"
A partial formal inventory of [this book] would include a stealthy chain of sonnets, a wicked ghazal, sinewy couplets, deadpan concrete verse experiments, a kaleidoscopic ninety-part haiku journal, and, of course, all those canting half- and quarter-rhymes. . . . Crafty, ruthless, and beautiful. "Robert Polito, Bookforum"" "His boldest and most engaging poems yet."--Michael Hofmann, "The Times (London)"
"Every generation has to clear a space to make itself heard, and Muldoon's way to clear a space in a tradition that includes William Butler Yeats, a visionary and urbane poet, and Patrick Kavanagh, an earthy country poet, and seamus Heaney, who some have said is a perfect fusion of the two impulses, was to write a different poetry altogether, witty, cosmopolitan, playful, and postmodern."--Robert Hass, "The Washington Post Book World"
"A partial formal inventory of [this book] would include a stealthy chain of sonnets, a wicked ghazal, sinewy couplets, deadpan concrete verse experiments, a kaleidoscopic ninety-part haiku journal, and, of course, all those canting half- and quarter-rhymes. . . . Crafty, ruthless, and beautiful."--Robert Polito, " Bookforum"
