The squid in ‘The Landing’ metaphorises the amphibian condition of military and civilisatory operations on foreign strands, the double standards of their justification, and the doublespeak of spurious explanation of their conduct in the field. Probably, Muldoon’s explicitness on Bush and the Iraq war was prompted by the limited and most likely new readership of his art edition for Enitharmon Press, Medley for Murin Kuhr, in which ‘Horse Latitudes’ was first published.14 Possibly, Muldoon’s outspokenness is a reflection of his involvement with an American society where direct statements and vociferous declarations hold a position that was almost unthinkable in the guarded and coded exchanges and the mentality of muteness in Northern Ireland at war – the situation articulated so precisely in Heaney’s ‘The Ministry of Fear’ and ‘Whatever You Say Say Nothing.’ Muldoon’s revelatory and informative explication ties his poetry directly to the war in Iraq. Paul Muldoon writes the poem Hedgehog to portray a hedgehog as one that balls up and hide all of its secrets from the world, unlike a snail that will share its secrets. Fran Brearton, The Great War in Irish Poetry (Oxford: Oxford University Press, 2000); ‘Poetry and the Northern Ireland Troubles,’ in The Edinburgh Companion to Twentieth Century English and American War Literature, ed. ), I left “Cuba” in the pocket of a dress at a charity thrift store in Rehobeth Beach, Delaware. The French connection, particularly Derrida’s language philosophy, still enables critical resistance towards overriding discourses. It is an approach plausibly attributed to his growing up during the war-torn, torture-marked Troubles, when certain words – or certain words – could be fatal. On occasion, seamen carried out the dead horse rituals in the same regions, by flogging an effigy of a horse and throwing it overboard, to celebrate the end of their initial period of labour for seamen’s wages and the day they would actually start earning money. Its many deconstructive features also serve to undermine the predominant rhetoric of political oppression and the propaganda of war – a grim global situation that Adorno would easily recognise. it’s…. Many of his poems have, through formal experimentation and linguistic iconoclasm, given new life to dead persons, for example the Irish navvies in ‘The Loaf’ and the stillborn in ‘The Stoic’ (msg, 37, 47), his father Patrick Muldoon in ‘The Coney’ (mtb, 3), his partner Mary Farl Powers and his mother in ‘Incantata’ and ‘Yarrow’ (AC, 13–29, 39–189). But it’s the contrast of two gestures that’s at the heart of the poem: the father pounding the table, the boy brushing against May’s breasts. Verses also thrive on semantic confusion, for example over the beans and instruments of flageolet (69–70). His own secret weapon, the war-crazed horses fed on human flesh, causes his own death and destruction. ‘Perdu’ takes a different tack on the French position. Jason B. Jones, ‘Horse Latitudes and the End of the Poem by Paul Muldoon,’ http://www.bookslut.com/poetry/2007_01_010474.php, accessed 25 April 2019. This independent fine arts press, renowned for high quality collaborations between visual artists and writers, provides another setting and lends a different significance to the contestatory companionship of the two fellow poets. Muldoon's infant son, Asher, is tucked away in Irish lace but sleeps through a hurricane that has disrupted his placid suburban world. 1 Comment », My eldest sister arrived home that morning. The hundred-line sentence running through twenty-five quatrains enforces the theme of aesthetic transcendence of mortality. ‘The Coyote’ and the dog in ‘Now Pitching Himself like a Forlorn Hope’ retain a deep sense of ‘a dog’s life’ and ‘dogs of war.’ They also suggest antagonistic aspects of language and the ferocious struggle for supremacy in the spheres of politics and media, not least in questions of social welfare and international armed conflict. The band in the northern hemisphere is sometimes called "the calms of Cancer". Derrida, one of the most distinct and established critical French voices in America over several decades, defines and advocates for the French position as follows: Right now, the French and German governments are trying, timidly, to slow down or temper the hastiness or overzealousness of the United States, at least with respect to certain forms this ‘war on terrorism’ might take. New Critical Perspectives on Franco-Irish Relations (Oxford: Peter Lang, 2015); Eamon Maher, Grace Neville, and Eugene O’Brien, eds., Modernity and Postmodernity in a Franco-Irish Context (Oxord: Peter Lang, 2008). In their technical virtuosity, and their commitment to a kind of nomadic truthfulness, these two books set the bar admirably high. The poem’s setting of buccaneers and trading suits the collection’s title, as well as its many shifts of context and meaning. Moy Sand and Gravel by Paul Muldoon,’ 21. As the storm rages, the hurricane gets scrambled with the Holocaust, with Prohibition, with the Black Sox scandal of 1919. Horse Latitudes, a rather rare nautical term, emphasises Muldoon’s focus on language and trans-Atlantic exchange. Although Muldoon’s poetic and political idioms sometimes overlap in Horse Latitudes, his dictionarial wit and creative lambency also differ considerably. Annie, going out to places unimaginably glamorous in her magenta wide-legged jumpsuit that plunged at the neck, tied under the breasts and exposed strip of stomach. And he is still very much Irish. Paul Muldoon was born in 1951 in Northern Ireland, to a Catholic family in a mostly  Protestant area. Its title, situation and incumbent questions of justice interact directly with Heaney’s ‘Mycenae Lookout,’ but also relates to his ‘Punishment,’ ‘The Strand at Lough Beg,’ ‘Casualty,’ and ‘Station Island.’ In Muldoon’s poem ‘a Salish man’ and his son face the grim fate of war, torture and death as the lookouts of their besieged community: and I came to as they were breaking my legs. They might be the best popular examples of the creative and critical arsenal of Muldoon’s neologisms and they illustrate vividly the constructive functions of his generative vocabulary to manifest in new words political phenomena and questionable morals that existent registers do not fully comprehend. Helen Vendler, Heaney’s champion in America who once stated of Muldoon ‘that his lyrics were impressively constructed but too often had a hole in the middle where the feeling should be,’ now writes that he ‘seems to me a more convincing poet now than he was 10 or 15 years ago,’ and that ‘he has been able, in his finely maintained tightrope act, to bear aloft both grief and playfulness.’8 Fran Brearton notes the volume’s trans-Atlantic outlook, comments on its resourceful use of language, and draws attention to a much–ignored component: ‘Horse Latitudes, for all its “play,” is therefore also a deeply political book.’9 Muldoon himself offers some explanations of the political dimension of the book in didactic terms that also elucidate some of the technique of the title poem: I started the sonnet sequence ‘Horse Latitudes’ as the U.S. embarked on its foray into Iraq. Both books challenge the tendency to label uncritically Muldoon an ahistorical and apolitical aesthete, and Heaney a community-committed artist burdened by history. Horses, Shklovsky’s primary source of strangeness and defamiliarisation, are of many different kinds, and they play in many fields. A further Muldoonian strategy along these Gallic lines is seen in all the words in French and of French origin that he incorporates into his English, often with a sense of the chic and the modern, but always with mixed connotations of popularity and ridicule, and of the multidiscursive, the autrui and the elsewhere: ‘Gauloise’ (7), ‘fanfaron’ (9), ‘chevaux-de-friese’ (10), ‘fontanelle’ (16), ‘traduction’ (17), ‘Blanche’ (22), ‘banquette’ (28), ‘mont-de-piété,’ ‘pig in a poke’ and ‘boucherie’ (30), ‘Nostalgie de la / boue la boue la boue la boue / an all-Ireland fleadh’ (69), ‘flageolet’ (69), ‘(“les ans, mon ange, les anges manqués”)’ (93), ‘cordon sanitaire’ (103). Furthermore, the term is metastatic itself, as ‘tracing the root’ in the Oxford English Dictionary makes clear. His mother was a schoolteacher and his father a farm laborer and market gardener. To be the carrier of such fancy equipment and complicated experience must create quandaries in the writer. The result was “My Ride’s Here” and “Macgillycuddy’s Reeks” both on Zevon’s final album. Some of his long poems strike me as artificially enriched, overinformed doggerel. Muldoon writes in an earlier poem: ‘Triad,’ The Times Literary Supplement, 19 May 1995, 13. Survival, safety, salvation. While the political frequently outweighed the individual in Heaney’s poetry and prose up to the nineties, The Testament of Cresseid favours the personal over the public. The poem is built on contrasts:  two leaders, “Old Blood and Guts” General Patton and the untested Kennedy, “not much better than ourselves”; May’s confession of a lie and a truth; two overheard conversations, one loud and accusing, the other quiet and inquiring; and two fathers, both worried over May’s budding sexuality. Linguistic latitudes in the opening poem range from B to B, not A to Z, from Beijing and Bannockburn to Bazentin and Burma, all beginning with the letter B, with the conspicuous omission of Belfast as much as Baghdad. New York: Farrar, Straus & Giroux.

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