Used book
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Paul Muldoon was born in County Armagh in 1951. He read English at Queen's University, Belfast, and published his first collection of poems, New Weather, in 1973. He is the author of ten books of poetry, including Moy Sand and Gravel (2002), for which he received the Pulitzer Prize for Poetry, and Horse Latitudes (2006). Since 1987 he has lived in the United States, where he is the Howard G. B. Clark Professor in the Humanities at Princeton University. From 1999 to 2004 he was Professor of Poetry at Oxford University. A Fellow of the Royal Society of Literature, Paul Muldoon was given an American Academy of Arts and Letters award in 1996. Other recent awards include the 1994 T. S. Eliot Prize, the 1997 Irish Times Poetry Prize, and the 2003 Griffin Prize.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : Anybook.com, Lincoln, Royaume-Uni
Etat : Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,150grams, ISBN:0571115926. N° de réf. du vendeur 9361888
Quantité disponible : 1 disponible(s)
Vendeur : The Castle Bookshop, Castlebar, MAYO, Irlande
Soft cover. Etat : Very Good. 1st Edition. Paperback in good condition. N° de réf. du vendeur ABE-1649086440360
Quantité disponible : 1 disponible(s)
Vendeur : Crappy Old Books, Barry, Royaume-Uni
Paperback. Etat : Good. Why Brownlee Left (1980) by Paul Muldoon. Faber and Faber. ISBN: 0571115926. Condition: Good. Some poetry collections ask enormous questions about life. Others ask much smaller questions that somehow turn out to contain the enormous ones all along. For example: Why did Brownlee leave? Paul Muldoon, in his wonderfully enigmatic second collection, offers a title that sounds almost disappointingly practical, as though one is about to read the minutes of a parish council meeting or the findings of an internal disciplinary inquiry. One half expects Brownlee to have accepted a better offer in accounting. Instead, one enters the dazzling, playful and endlessly surprising world of one of the finest poets ever to emerge from Northern Ireland. Published by Faber and Faber in 1980 , Why Brownlee Left marked Muldoon out as a poet who had absolutely no intention of writing predictable verse. His poems slip effortlessly between history and myth, humour and melancholy, everyday conversation and linguistic fireworks. They possess the unnerving quality of seeming perfectly straightforward until, halfway through, they quietly shift sideways and reveal an entirely different landscape. It is rather like following someone down an ordinary country lane only to discover that it has somehow become an ancient fable. Muldoon has always delighted in language itself. Words are not merely tools in his hands; they are toys, puzzles, historical artefacts and occasionally practical jokes. Rhymes appear where you least expect them. Narratives begin confidently before wandering off into glorious ambiguity. Images arrive from unexpected directions and somehow fit together with impossible precision. Reading him can be gloriously disorientating. In the best possible way. This was also a significant moment in Muldoon?s career. While later collections would earn him international acclaim?including, eventually, the Pulitzer Prize? Why Brownlee Left already displays the qualities that made him such an extraordinary poet: intellectual playfulness, emotional subtlety, dazzling technical control and an abiding fascination with the strange ways stories are told. Or perhaps misremembered. Or invented altogether. One of the pleasures of Muldoon is that he never seems remotely interested in offering neat conclusions. His poems trust the reader to live quite happily with uncertainty, contradiction and mystery. Brownlee?s departure, after all, matters less than the questions it provokes. The title becomes almost philosophical. Why does anyone leave? A house, a country, a relationship, a version of themselves? Before long you have forgotten you were ever asking about Brownlee. You are asking about everyone. The collection is also quietly funny. This sometimes surprises newcomers, who approach contemporary poetry expecting solemn pronouncements delivered in hushed tones. Muldoon understands that wit and seriousness are perfectly compatible companions. A clever turn of phrase may raise a smile one moment before exposing something unexpectedly profound the next. It keeps the reader delightfully alert. Published by Faber and Faber , whose poetry list has long resembled a roll call of literary greatness, this edition preserves an important early work by a poet whose reputation has only continued to grow. It remains one of those collections that rewards repeated reading. The first visit introduces the landscape. The second begins to reveal the hidden paths. By the third, you start noticing that Muldoon quietly rearranged the furniture while you weren?t looking. This copy remains in good condition , making it an ideal addition for collectors of modern poetry, admirers of Irish literature, or readers who enjoy books that are considerably cleverer than they initially pretend to be. From Crappy Old Books ?because poetry collections often suffer the indignity of being described as "challenging," a word publishers employ with the same enthusiasm estate agents reserve for "compact." Why Br. N° de réf. du vendeur 6928
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Vendeur : Black Gull Books (P.B.F.A.), St Leonard's on Sea, Royaume-Uni
Paperback. Etat : Good. First p/b Edition. N° de réf. du vendeur 18246
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Vendeur : Chaucer Bookshop ABA ILAB, Canterbury, Royaume-Uni
FIRST EDITION Softback. 48pp. With loose Publisher's Review Copy slip. A clean copy with no markings or inscriptions. Slight rubbing and tiny chips to cover edges. Faint scratch to front cover. A VERY GOOD COPY. (Shelf 101) ISBN: 0571115926 PLEASE NOTE: Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.** Pictures available upon request.** Visit our homepage for our shop opening hours. Over 20,000 books in stock - come and browse. PayPal, credit and most debit cards welcome. Books posted worldwide. For any queries please contact us direct. N° de réf. du vendeur 60665
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Vendeur : In Other Words Books, Plymouth, Royaume-Uni
Paperback. Etat : Very Good +. First Edition. 48pp. Contents pages clean and unmarked, in excellent condition, slight browning around the edges. Card cover has some marks and chippings from age. The third collection from this N. Ireland writer who has become one of the UK's leading poets. A Poetry Book Society choice on its publication. N° de réf. du vendeur 001571
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Vendeur : timkcbooks, Penzance, Royaume-Uni
First edition, first printing of author's third collection of poetry. Fine paperback original. N° de réf. du vendeur 31485
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Vendeur : Lorne Bair Rare Books, ABAA, Winchester, VA, Etats-Unis
First edition. Card covers with an illustrated paper jacket; small 8vo. 48 pp. Inscribed by the poet in 1983 at Swathmore, and signed "Paul". An attractive copy of the Irish poet's third regularly published book, published in the US and the UK in paperback only. Spine toned, else a fine copy, likely unread. N° de réf. du vendeur 66492
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Vendeur : timkcbooks, Penzance, Royaume-Uni
First edition, first printing of author's third collection of poetry. Signed by the author. Very good paperback original, creased to the front cover and slightly faded to the spine. N° de réf. du vendeur 45070
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Vendeur : Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irlande
Etat : Very Good. Num Pages: 44 pages. BIC Classification: DC. Category: (G) General (US: Trade). Dimension: 190 x 130. . First edition.Clean copy .Signed by the Author. 1980. Paperback. . . Signed Copy. . N° de réf. du vendeur KEX0223446
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