Whiling away the wait for the megabucks Derek Mahon limited edition Somewhere the Wave (due any day now) with a chapter a day of Hugh Haughton’s Encyclopaedia Mahoniana.
When I finally met him myself and asked him to sign a copy of Night Crossing (still a much cheaper purchase than books two or three, Lives and The Snow Party – look them all up on abebooks and see for yourself) he somewhat theatrically averted his gaze as he signed his name. This would have been in the post-Yaddo Letter period when rumours of a proper comeback volume had the gold-dust quality of Thomas Pynchon sightings. And that book would be The Hudson Letter.For some reason the thoughts on
Why, for all Mahon's fascination with Ezra Pound, his Poundian (or is it Poundian?) weddedness to poetry in translation, does his Pound stop with Mauberley – as very publically signalled by the Mauberley redux of ‘A Kensington Notebook’? What would a
Introducing his translations from Jaccottet he briefly mentions Michaux and the cult of the ‘illisible’ in French poetry from mid-century or so onwards, and not approvingly either. Is this
If an early
How, when Mahon is on record as preferring the amiable enough minor poet and talisman-to-the-Irish-post-avant (no sniggering there) Thomas MacGreevy to all the poets of the Movement – not just some, all – can his reception among very-much-pro- and very-much-anti-critics in the never-ending Irish modernist debate have worked out the way it did? What are they missing? (For an example of anti-Mahon pro-modernist response, take a look at Donal Moriarty’s disparaging of
What was going on in The Yellow Book? Really, what was going on to make critics think that Oscar Wilde and 90s decadence was a useful template for denouncing the ‘fake in contemporary culture’ (that’s from an essay by Gerald Dawe, collected in his recent volume The Proper Word)? Denounce the ‘fake’ (fax machines, I remember, come in for his particular ire) by staging a love-in with Oscar Wilde?!
Connoisseurs of Irish Studies racial consciousness will have long cherished Declan Kiberd’s declaration in the Field Day Anthology that
Which of the following does Derek Mahon have most in common with: Richard Wilbur, Seamus Heaney, Paul Durcan, Thomas Kinsella, Geoffrey Hill? Award each one marks out of ten on a likeness scale. Your answers should tell you a lot about which