All good poets deserve attentive readers, but Muldoon needs you to be skeptical, needs you to forget what you know (but not what he knows) and remember what he wants you to. The hedgehog is also a very timid animal which will ball up into itself due do small amounts of stimuli, and many people associate mistrust with animals or people that may shut themselves off, just as introverts, from the world. Such critical reviewing of the very medium of art maintains the connection between Muldoon’s language and the many contexts with which it interacts.

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. 5 (2007), 71; Jürgen Habermas, ‘Beyond a Temporalized Philosophy of Origins: Jacques Derrida’s Critique of Phonocentrism,’ in The Philosophical Discourse of Modernity (Cambridge: Polity Press, 1987), 161–184. Muldoon’s medley reaches far and wide in intertextuality, strategies, stylistics and geography; Heaney’s translation is tight and singular in scope. Foer, Krauss, and Eggers, The Future Dictionary of America, 30. Dowling, The Hedge Schools of Ireland (Cork: The Mercier Press, [1968] 1997). Winter is the lemon-yellow cardigan Ceci knitted, heavy as a protective x-ray vest. Such directness occurs from time to time in the volume too. He teaches at Princeton University and serves as the poetry editor for the New Yorker. Horses, Shklovsky’s primary source of strangeness and defamiliarisation, are of many different kinds, and they play in many fields. Muldoon is not pleased with the current situation of education: ‘It’s hard to know how to deal with the crisis that faces education in the US. 'The Treaty' combines his tailor grand father with Michael Collins and the Anglo-Irish Treaty of 1921. Why not use every morsel? If the rock reference seems abstruse, it is, however, surely deliberate by the lyric writer and intermittent guitarist for his own garage rock bands (The Rackett, Wayside Shrines and Rogue Oliphant) and the text writer for some of the late album tracks (‘My Ride’s Here’ and ‘Macgillycuddy’s Reeks’) of Warren Zevon, Muldoon’s friend and the subject of this volume’s final elegy. Donaghy, ‘A Conversation with Paul Muldoon,’ 83. Its continuity and length imply the span and completion of a full life, and the aesthetic achievement of art that extends the past life into poetic longevity. Probably, due to all their connotations of song, other-language, up-lift and flight, birds tend to retain a closer connection with poetry than other creatures creatures. The ostranenie of Russian Formalism is one mode among others which makes use of the imaginative powers of horses and the alphabetic constructions of language in order to defamiliarise ourselves from ourselves – in the style of Swift’s Houyhnhnms – for the sake of better acknowledging the widespread folly and inhumanity of humankind. ‘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 two ornithological poems are also connected by their single-sentence composition and their ornithomorphic qualities. In a larger context, this poem is poised in the balance between song and suffering – how the poetic artifice reaches some of its highest moments from the deepest human misery. Muldoon’s tenth volume of poetry from Faber and Faber in the year he added the European Prize for Poetry to his extensive list of awards, 2006, continues the prominent interest in the functions, inconsistencies and complexities of language. Horse Latitudes continues Muldoon’s engagement with language. His mother was a schoolteacher and his father was at various times a shopkeeper and a farmer. His own secret weapon, the war-crazed horses fed on human flesh, causes his own death and destruction. They eat, drink and sing, but they may also be cut down by terminal disease or end up as soldiers or victims of war. (A trebucket is a medieval catapult for hurling huge stones at an enemy. Frost was tricky too, but he preferred dark sayings to private information. Paul Muldoon’s Moy Sand and Gravel,’ 24. Effortless rhyme distribution, smooth line turns, powerful prosody and sanguinary imagery – ‘a heart-wound by a hauberk’ (4), ‘the checkered careers of their guts’ (10), ‘the mark of a hoof (or a horseshoe) in her fontanelle’ (16) – testify to the apotheosis of human misery and artistic longevity. when I came to and called for an end to it. Maybe poetry is a place to start!’32 ‘Hedge School’ was first published in the New York Times in June 2004 as a poetic intervention in the public discourses that seem continuously to reach new heights of euphemism, doublespeak and languistic obfuscation in what appears to be part of a re-schooling of the established understanding of human rights principles, constitutional privileges and international jurisdiction. Survival, safety, salvation. Paul Muldoon was born in 1951 in Portadown, County Armagh, and was raised near The Moy, in Northern Ireland.

Change ), The Downfall of German Shepherds and the Uprising of Belgian Malinois.

‘To those who enjoy having a leg pulled, Muldoon is your man; to those who expect something more substantial from poetry, Muldoon rhymes with buffoon,’ William Pratt concludes in ‘The Annals of Chile by Paul Muldoon,’ 365. 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.


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