A Companion to Contemporary British and Irish Poetry, 1960 - 2015

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Table of Contents

Guide

Pages

Blackwell Companions to Literature and Culture

A COMPANION TO CONTEMPORARY BRITISH AND IRISH POETRY, 1960–2015

Notes on Contributors

Preface

1.1 Introduction—1960–2015: A Brief Overview of the Verse

Introduction

1

2

Philip Larkin, “An Arundel Tomb” (1964) (Larkin 1964, 45–46)

Lee Harwood, “The Sinking Colony” (1968–1969) (Harwood 2004, 153–155)

Seamus Heaney, “Requiem for the Croppies” (1966) (Heaney 1990, 12)

Ted Hughes, “Crow Tyrannosaurus” (1974) (Hughes 1974, 13–14)

Geoffrey Hill, “Mercian Hymns XXV” (1971) (Hill 2006, 85)

John Montague, “The Rough Field” (1972) (Montague 1989, 12–13)

Jenny Joseph, “Warning” (1974) (Joseph 1992, 42)

Anne Stevenson, “A Love Letter: Ruth Arbeiter to Major Paul Maxwell” (from Correspondences [1974]) (Stevenson 2005, 237–238)

Tony Harrison, “Turns” (1978) (Harrison 1984, 149)

Fleur Adcock, “The Ex‐Queen Among the Astronomers” (1979) (Adcock 1996, 1742–1743)

Linton Kwesi Johnson, “Inglan Is a Bitch” (1980) (Johnson 1991, 13–14)

Hilary Davies, “The Ophthalmologist” (1987/1991) (Davies 1991, 14)

Robert Sheppard, “Fucking Time: Six Songs for the Earl of Rochester” (Dated 1992) (Sheppard 2004, 24–27)

Val Warner, “England, Our England” (From Tooting Idyll [1998]) (Warner 1998, 37)

David Constantine, “Visiting” (2002) (Constantine 2004, 305)

Paul Muldoon, “Moy Sand and Gravel” (2002) (Muldoon 2002, 8)

Jackie Kay, From The Adoption Papers (1991) (Chapter 3 “The Waiting Lists”—“I Thought I'd Hid Everything”) (Kay 2007, 20–21)

Carol Ann Duffy, “Adultery” (1993) (Duffy 2004, 116–117)

Mimi Khalvati, “Ghazal: The Servant” (2007) (Khalvati 2011, 21)

D. S. Marriott, “The Wreck of the Mendi” (2008) (Marriott 2008, 98–101)

3

References

Notes

2a.1 Some Institutions of the British and Irish (Sub)Fields of Poetry: Little Magazines, Publishers, Prizes, and Poetry in Translation

Introduction

The Little Magazines

Poetry Translation

The Poetry Presses

British and Irish Poetry Prizes

References

Notes

2a.2 Anthologies: Distortions and Corrections, Poetries, and Voices

References

2a.3 Minding the Trench: The Reception of British and Irish Poetry in America, 1960–2015

Acknowledgment

References

Note

2a.4 Readers: Who Reads Modern Poetry?

References

Notes

2b.1 Manifestos and Poetics/Poets on Writing

References

2b.2 The Genres of Contemporary British and Irish Poetry

Introduction

Genre

Urtext‐Species of Contemporary British and Irish Poetry

Species of Orthodox and Innovative Contemporary British and Irish Poetry

References

2b.3 The Elegy

The Elegy

References

2b.4 The Sonnet

References

2b.5 Free Verse and Open Form

Introduction

Preliminary Questions

Patterns of (Dis)alignment

Rhythmicity, Metricality, Meter

References

Notes

2b.6 Satire

References

2b.7 The Traditional Short Lyric Poem in Britain and Ireland, 1960–2015

References

2b.8 (Post)Modern Lyric Poetry

References

Notes

2b.9 The Long Poem After Pound

Introduction

Pound's Impasse? Bunting, Jones, Hill

News to Me: Harrison, Armitage, Tempest

References

2c.1 Generations

References

2c.2 The Movement

Introduction

Doubt

Thematic Limitation

Technical Impoverishment

2

3

The Parochial Genteel. Abroad

Death

Vatic Madness and the Dark

Language

Matters of Substance

The Technically Timid

References

Note

2c.3 The Liverpool Poets

The Liverpool Poets: Spacing The Mersey Sound, 3rd Edition

The Liverpool Scene

Penguin Modern Poets 10—The Mersey Sound

Introducing The Mersey Sound, 3rd Edition

The Mersey Sound : Adrian Henri

The Mersey Sound : Roger McGough

The Mersey Sound : Brian Patten

Conclusion

References

2c.4 The British Poetry Revival 1960–1978

References

2c.5 Poets of Ulster

Introduction

Ulster Poetry in the Early 1960s

Heaney, Montague, and Longley

Mahon and McGuckian

Paulin, Carson, and Muldoon

The Future

References

2c.6 The Martian School: Toward a Poetics of Wonder

References

Notes

2c.7 Linguistically Innovative Poetry in the 1980s and 1990s

References

2c.8 Concrete and Performance Poetry

References

2c.9 Performances of Technology as Compositional Practice in British and Irish Contemporary Poetry

Introduction

Janet Cardiff

cris cheek

Bob Cobbing

Maggie O'Sullivan

References

2c.10 “Here to Stay”: Black British Poetry and the Post‐WWII United Kingdom

Caribbean Voices

The Windrush Generation

The Caribbean Artists' Movement

“Here to Stay”

Stage Meets Page

Internationalization

References

Notes

2c.11 Anglo‐Jewish Poetry

References

Notes

2c.12 Gay and Lesbian Poetry

Introduction

No Smoke Without You My Fire: Cruising Culture and Decriminalization

The Love That Dares to Speak Its Name: The Gay Liberation Front

I Stare at Death in the Mirror: Regressive 1980s and the AIDS Crisis

Giving a Fuck: AIDS Anthologies and Mainstream Success

I've Dignified a House of Ill‐Repute: The Twenty‐First Century and Social Acceptance

Conclusion

References

2c.13 Women Poets in the British Isles

References

Note

2c.14 Irish Women Poets

Introduction

Eavan Boland

Eiléan Ní Chuilleanáin

Nuala Ní Dhomhnaill

Paula Meehan

Medbh McGuckian

Conclusion

References

2c.15 Religious Poetry, 1960–2015

Introduction

Faith and Doubt: Elizabeth Jennings, Geoffrey Hill, and R. S. Thomas

Mysticism and Feminism: Kathleen Raine and Gillian Allnutt

New Voices

References

2c.16 Love Poetry

References

2c.17 Political Poetry

References

2c.18 Radical Landscape Poetry in Scotland

References

2c.19 Coincidentia Oppositorum : Myth in Contemporary Poetry

References

2d.1 History and Poetry

References

2d.2 British and Irish Poets Abroad/in Exile

Introduction

Peter Russell

James Kirkup

Desmond O'Grady

Conclusion

References

3.1 John Agard

References

Note

3.2 Eavan Boland

References

Notes

3.3 Paul Durcan

References

3.4 James Fenton

Introduction

“A German Requiem”

“I Saw a Child”

“Cut‐Throat Christ: or the New Ballad of the Dosi Pares”

“Rain”

Conclusion

References

Note

3.5 Bill Griffiths

References

Notes

3.6 Excluding Visions of Life in Poems by Thom Gunn

1

2

3

4

5

References

Notes

3.7 “Now Put It Together”: Lee Harwood and the Gentle Art of Collage

References

3.8 Listening to Words and Silence: The Poetry of Elizabeth Jennings

References

3.9 “Forever in Excess”: Barry MacSweeney, Consumerism, and Popular Culture

References

Notes

3.10 When Understanding Breaks in Waves: Voices and Messages in Edwin Morgan's Poetry

Introduction

“The First Men on Mercury” (Morgan 1996, 267–268)

“Message Clear” (Morgan 1996, 159)

“Testament” (Morgan 1985, 118–119)

References

3.11 Grace Nichols

Introduction

Reading Grace Nichols

Conclusion

References

3.12 F. T. Prince

Introduction

“Grimness and Uncertainty”

“What may I offer?”

“This or That Well‐known Story”

“Late and yet Late”

References

3.13 Kathleen Raine

References

3.14 “Everything Except Justice Is An Impertinence”: The Poetry of Peter Riley

References

3.15 Anne Stevenson

Introduction

Against Romantics

Beyond the Confessional

The Treachery of Words

References

3.16 Paula Meehan—Vocal Cartographies: Public and Private

References

Notes

Index

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This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post‐canonical texts, orientating the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field.

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Although this text is part of a longer sequence of poems, it is relatively free‐standing, and can be read on its own. It would be a shame not to discuss it, as it is a fine and moving love lyric. The title, in keeping with the convention of Correspondences: A Family History in Letters, presents the piece as a letter (and, in fact, the poem is so laid out), but it is, of course, not a letter, strictly speaking, but a poem. However, the opening, “Dearest,” and the closing, “Ruth,” along with place and date do give it the appearance of a letter. The body of the text is, however, a five‐stanza love poem, from a married woman to her absent lover. The piece is an extraordinary mixture of the quotidian and the ecstatic. When thinking of her lover, the speaker (writer) enters rapturous states of consciousness (a “brighter isolate planet” [line 3], “these incredible perspectives / openings entirely ours” [lines 45 and 46]), which are contrasted with worlds of children, husband, and chores. These dizzying and electric moments and spaces are, indeed, embedded in a context of others and duty. But the speaker seems so entwined in the everyday that there is no escape. She abides in a “damaging anguish” attenuated by memories, visions, intuitions.

The piece is relatively disorderly, as one might expect with such unassuaged and incurable mental pain. The five stanzas are of varying lengths (as paragraphs of a letter might be). Lines, too, vary in length—from 13 or 14 syllables to 4 or 5. Numbers of main stresses per line are also variable, from 2 or 3 through 5 or 6. There are no obvious rhymes. Enjambment is rife—for example, lines 7–9, 16–19, 21–23, 30, 31, 33, 34, 37, and 38. Only the relatively hopeless last stanza is devoid of them.

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