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e-Book Moy Sand and Gravel download

e-Book Moy Sand and Gravel download

by Paul Muldoon

ISBN: 0571215351
ISBN13: 978-0571215355
Language: English
Publisher: Faber & Faber Ltd; 1st Edition edition (2002)
Category: Poetry
Subategory: Literature

ePub size: 1530 kb
Fb2 size: 1927 kb
DJVU size: 1360 kb
Rating: 4.1
Votes: 913
Other Formats: doc rtf txt lit

Paul Muldoon's ninth collection of poems, his first since Hay (1998), finds him working a rich vein that . Paul Muldoon is the author of more than thirty-five books of poetry, including the Pulitzer Prize-winning Moy Sand and Gravel and the T. S. Eliot Prize-winning The Annals of Chile

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. Eliot Prize-winning The Annals of Chile. He is the Howard G. B. Clark University Professor at Princeton. Библиографические данные. Moy Sand and Gravel: Poems. Farrar, Straus and Giroux, 2014.

Paul Muldoon was born in 1951 in Portadown, County Armagh, and was raised near The Moy, in Northern .

Paul Muldoon was born in 1951 in Portadown, County Armagh, and was raised near The Moy, in Northern Ireland. His book Moy Sand and Gravel won both the Pulitzer Prize for Poetry and the International Griffin Poetry Prize, and his collection Horse Latitudes was shortlisted for the TS Eliot Prize. His recent collections of poetry include Maggot (2010), One Thousand Things Worth Knowing (2015), and Frolic and Detour (2019). Muldoon has also published critical works, including The End of the Poem: Oxford Lectures in Poetry (2006).

Moy Sand and Gravel: Poem. has been added to your Cart . authentically touched or delighted. One of the English-Speaking world's most acclaimed poets still at the top of his slippery, virtuosic game.

Moy Sand and Gravel is Muldoon's ninth volume of poetry, depending on how you count. His first full volume, New Weather, was published in 1973. The book is full of the usual small juicy magnificences, and the vast farings of a literary mind, the clearly excellent but obscure intentions, the abundance, the precision, the witty superiority that readers of Muldoon have come to expect. It's all utterly bonzer, and ever so slightly bonkers.

бесплатно, без регистрации и без смс. WINNER OF THE PULITZER PRIZE FOR POETRY 2003 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 th. . WINNER OF THE PULITZER PRIZE FOR POETRY 2003 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, where he was brought up, to suburban New Jersey, on the banks of a canal dug by Irish navvies, where he now lives

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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 . Moy Sand and Gravel is the winner of the 2003 Pulitzer Prize for Poetry.

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. Ver más. The Word on the Street: Rock Lyrics. A vibrant new collection of poems-that also double as rock songs-from the Pulitzer Prize–winning poet.

Moy Sand and Gravel (2002) (Pulitzer Prize for Poetry and the Griffin Poetry Prize). Medley for Morin Khur (2005)

Muldoon's poems have been collected into four books, Selected Poems 1968–1986 (1986), New Selected Poems: 1968–1994 (1996), Poems 1968–1998 (2001) and Selected Poems 1968-2014 (2016). Most of Muldoon's collections contain shorter poems with an inclusion of a long concluding poem. Moy Sand and Gravel (2002) (Pulitzer Prize for Poetry and the Griffin Poetry Prize). Medley for Morin Khur (2005).

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.
Comments:
Whitemaster
This is a powerful collection in which the subtle and profound mixed in with the day to day.

Ytli
My rating does not mean this is average poetic work, only that by comparison to his last three collections, it less frequently reaches their daunting and rarified heights. It's actually a better place to start reading the "later" Muldoon, in fact. Domesticity has tamed a bit of the bravura evident in the arcane lore dazzling the other collections perhaps too much. Poems here like "Unapproved Road," mixing Taureg with IRA in its 1950s failed "border campaign," wittily contrast in a way that Muldoon warms to more and more as his work confronts his own hyphenating midlife identity into an American as much as an Irish poet. "Guns & Butter," "Whitethorns," "A Brief Course on Decommissioning" address the post-1998 events in the North of Ireland intelligently and without pandering. His children and wife now enter his work to round it out more vividly, and at least some of the shorter poems here continue the clarity sought in "Hay"'s briefer verses.

The reason this collection loses a star is the last poem, as usual in his work a longer one: "At the Sign of the Black Horse." The Irish navvy-Jewish mogul undercurrent never convinces, but seems layered over the parental concerns. Where Muldoon often swerves to avoid obstacles, here he seems to plow ahead, but ends up floundering a bit when taking more time to expand and concentrate his direction would've made for a better poetic quest into a very deserving subject of culture clash.

Cordann
Here's a Muldoon pastiche:
Basement
Then to spy
in an unused cellar spot
Under a bulb fixture
long since jury-rigged
in deal cast-off
And between oil tank
and salt-scalloped stone wall
--Between a ruck
and a carapace--
A tiny skeleton--mouse.
My instinct:
to trip-tipsy the dark
--As even the Dean
and Cuchulain might--
fantastic.
[My opinion is that Muldoon peaked in 1990 with his tour de force, MADOC--A Mystery, the book-length poem and astounding work of the imagination. MADOC was large, confounding, mysterious, lyrical, and sui generis (really). Yet many readers/reviewers did not appreciate it. Since that work, Muldoon seemingly has tried to obtain such appreciation by offering more manageable fare--featuring topical themes, easy wit, sentiment, form, and rhyme (not to mention all those pretty names of Irish places). He has served up plates of warm apercus. If that is your thing--fine. He is terribly accomplished--his more recent poems, including those of Moy Sand and Gravel, sparkle with polish and panache. But I will take the polar edge of the creative MADOC thankyouverymuch.]

Timberahue
Poetry is an art form that succeeds only if the reader can share with the poet a vision communicated by the poem. How this work won a pulitzer prize escapes me. The only way for an "outsider" the read this book is with an interpreter and a dictionary so the obscure, at least from my point of view, references can be appreciated. As a reader I get no sense of the images the writer wants to conjure and the poems fail to take me anywhere but to the cliff of reason where I am just left without a bridge for crossing. I do not wonder I was able to purchase this book for such a low price.

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