A poem (translation) by Paul Muldoon
Anonymous: Myself and Pangur
Myself and Pangur, my white cat,
have much the same calling, in that
much as Pangur goes after mice
I go hunting for the precise
word. He and I are much the same
in that I'm gladly "lost to fame"
when on the Georgics, say, I'm bent
while he seems perfectly content
with his lot. Life in the cloister
can't possibly lose it's luster
so long as there's some crucial point
with which he might by leaps and bounds
yet grapple, into which yet sink
our teeth. The bold Pangur will think
through mouse snagging much as I muse
on something naggingly abstruse,
then fix his clear, unflinching eye
on our lime-white cell wall, while I
focus, insofar as I can,
on the limits of what a man
may know. Something of his rapture
at his most recent mouse capture
I share when I, too, get to grips
with what has given me the slip.
And so we while away our whiles,
never cramping each other's styles
but practicing the noble arts
that so lift and lighten our hearts,
Pangur going in for the kill,
with all his customary skill
while I sharp-witted, swift, and sure
shed light on what had seemed obscure.
Paul Muldoon
The poem on which this translation is based was written in Old Irish and was probably composed by an Irish monk who was studying at a continental European monastery.
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Hedgehog
Paul Muldoon
The snail moves like a
Hovercraft, held up by a
Rubber cushion of itself,
Sharing its secret
With the hedgehog. The hedgehog
Shares its secret with no one.
We say, Hedgehog, come out
Of yourself and we will love you.
We mean no harm. We want
Only to listen to what
You have to say. We want
Your answers to our questions.
The hedgehog gives nothing
Away, keeping itself to itself.
We wonder what a hedgehog
Has to hide, why it so distrusts.
We forget the god
Under this crown of thorns.
We forget that never again
Will a god trust in the world.
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Book Review: Paul McCartney - “The Lyrics: 1956 to the Present” (Paperback edition)
Dear sir or madam, you might read Paul’s book. It took decades to write, you should take a look. It’s based on an oeuvre by a man named Mac. He was a Fab and now he is a paperback writer.
That’s great news for the Quarrymen, Beatles, Wings and Paul McCartney fans who were intimidated by the heft - both in weight and price - of 2021’s “The Lyrics: 1956 to the Present.” The two-volume, $100 coffee-table book is now an affordable ($30), portable read with seven additional songs, including “Day Tripper,” “Magical Mystery Tour” and “Bluebird,” bringing the total number of numbers examined to 161.
And a book like this - a bathroom reader ideal for picking up and thumbing through - works better in this format. Sure, the photos are smaller and their quality is diminished, but these “Lyrics” are accessible anytime and anyplace reading without deep concentration is desired.
And while the music is at least as important to McCartney’s fans as are his words, McCartney himself seems to place more value on the lyrics and the infinite possibilities represented on every blank page.
“Musicians get only 12 notes to work with and in a song, you often use only about half of them,” he says. “But with words, the options are limitless.”
Across nearly 600 pages, McCartney discuses the inspiration for his many songs and the process of composing them with co-writer Paul Muldoon, who puts McCartney’s thoughts into cogent story form and penned a fresh introduction for this reissue.
In that way, “The Lyrics” serves as the autobiography McCartney will never write. For while the former Fab never kept diaries, “What I do have are my songs, hundreds of them, which I’ve learned serve much the same purpose,” McCartney writes in the Forward.
“And these songs span my entire life.”
Which leads to the one big issue with “The Lyrics.” Rather than chronicling McCartney’s artistry by presenting the songs in chronological order - thereby allowing readers to easily see and assess his evolution - the compositions appear alphabetically; from “All My Loving to “Your Mother Should Know,” when 1956’s “I Lost My Little Girl” through to McCartney III’s “Women and Wives” would’ve been vastly more illustrative of the composer’s long and winding road from young Liverpudlian upstart to elder song stylist of the world.
But readers just have to let it be - again, easier to do in this compact presentation - and jet to the bookstore for the latest from McCartney and his temporary secretary Muldoon.
Grade card: Paul McCartney - “The Lyrics: 1956 to the Present” (Paperback edition) - B+
3/4/24
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Comhghairdeas ó chroí le Paul Muldoon as a cheapadh mar Ollamh Filíochta nua na hÉireann <3
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Read this issue
By the time you read this I’ll be gone
for a newspaper and quart of milk
never to return, a half-mowed lawn
leading to me as a scroll of silk
once led to the mulberry silkworm.
By the time you read this I’ll be gone
AWOL in spite of the fact, in terms
of domesticity, I’ve outshone
even the heedful trumpeter swan
that spends five weeks constructing a nest.
By the time you read this I’ll be gone
less because of some profound unrest
than my fascination with the Cree
and the sandhills of Saskatchewan
into which windswept immensity,
by the time you read this, I’ll be long gone.
Paul Muldoon’s most recent collection of poems is Howdie-Skelp, 2021
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I’ve just listened to the introductory episode of the podcast A Life in Lyrics. It’s going to be an edited version of the tapes that went into making Paul’s Lyrics book. Which is the best thing it could be I think.
Muldoon is doing that awful “poet reading his poetry dramatically” voice in the intro episode, but I’m hopeful that he’ll be talking normally in the conversations.
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Anseo // Paul Muldoon
When the Master was calling the roll
At the primary school in Collegelands,
You were meant to call back Anseo
And raise your hand
As your name occurred.
Anseo, meaning here, here and now,
All present and correct,
Was the first word of Irish I spoke.
The last name on the ledger
Belonged to Joseph Mary Plunkett Ward
And was followed, as often as not,
By silence, knowing looks,
A nod and a wink, the Master's droll
'And where's our little Ward-of-court?'
I remember the first time he came back
The Master had sent him out
Along the hedges
To weigh up for himself and cut
A stick with which he would be beaten.
After a while, nothing was spoken;
He would arrive as a matter of course
With an ash-plant, a salley-rod.
Or, finally, the hazel-wand
He had whittled down to a whip-lash,
Its twist of red and yellow lacquers
Sanded and polished,
And altogether so delicately wrought
That he had engraved his initials on it.
I last met Joseph Mary Plunkett Ward
In a pub just over the Irish border.
He was living in the open,
In a secret camp
On the other side of the mountain.
He was fighting for Ireland,
Making things happen.
And he told me, Joe Ward,
Of how he had risen through the ranks
To Quartermaster, Commandant:
How every morning at parade
His volunteers would call back Anseo
And raise their hands
As their names occurred.
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Zoological Positivism Blues by Paul Muldoon (read by Gabriel Byrne)
Come with me to the petting zoo
Its waist high turnstile gate
Come with me to the petting zoo
We’ll prove it’s not too late
For them to corner something new
They can humiliate
You know the zoo in Phoenix Park
Began with one wild boar
It’s in the zoo in Phoenix Park
We heard the lion roar
And disappointment made its mark
On the thorn forest floor
I guess we’ll hire two folding bikes
They rent them by the day
I guess we’ll hire two folding bikes
And you’ll meet me halfway
Why do orangutans look like
They’re wearing bad toupees?
The mealworm and the cricket snacks
The tender foliage
The mealworm and the cricket snacks
They’re still stored in a fridge
For when the polar bears start back
Across the old land bridge
You snuggled up to me at dawn
For fear I’d oversleep
You snuggled up to me at dawn
The tickets are dirt cheap
For outings in the carriage drawn
By two Merino sheep
So come with me to the petting zoo
And we’ll see how things stand
Come with me to the petting zoo
I’ll learn to take commands
I’m sure we’ll find something to do
If we’ve time on our hands
Source: Guardian Visuals, 2015
In 2015 actors including James Franco, Ruth Wilson, Gabriel Byrne, Maxine Peake, Jeremy Irons, Kelly Macdonald and Michael Sheen read a series of 20 original poems on the theme of climate change, curated by UK poet laureate Carol Ann Duffy.
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21st January
A Colossal Glossary by Paul Muldoon
Paul Muldoon’s career as a poet has included a stint as the prestigious Oxford Professor of Poetry. Normally his work is serious, but he has indulged himself with A Colossal Glossary, in which he finds an entertaining word for each letter of the alphabet and poetically describes it. Out of necessity a long poem, excerpts only follow below but it is well worth checking out in full.
Source: Shutterstock
A Colossal Glossary
The aardvark’s a kind of ant-eater, an “earth-pig” in Dutch,
while abracadabra is a charm much
favoured by alchemists.
…
Yellow or green, chartreuse is a liqueur
distilled, as always, by monks.
…
A jennet might be a jade, in the horse sense.
Soldiers in khaki uniforms tense
when they hear the siren-song of a klaxon,
since it almost always represents a call to action.
…
The oryx, like all gazelles, is thought by lions to wallow
in self-pity. An osier is a type of willow.
…
The rouble and rupee are Russian and Indian coins.
To be scrupulous is to have qualms of conscience,
from ‘scrupulous’, a stone with a cutting edge;
the reed with a razor-sharp blade is a sedge.
…
… The chief
sense of winnow is to fan, to separate the wheat from the chaff,
the sheep from the goats, good from evil.
..
…zilch;
just as a worm may contain an armada, little much,
all the meanings of all the rest
of the words in this book are buried in one, a treasurechest .
This poem may be light hearted, but it is bravura piece of epic wordplay.
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Sir James Paul McCartney:
»So you know the holes became… instead of holes in the road, it became a synonym for people.«
Paul Muldoon:
»Right… absence, kind of…«
Sir James Paul McCartney:
»No, just assholes.«
McCartney: A Life in Lyrics, ep. A Day in the Life
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A poem by Paul Muldoon
Meeting the British
We met the British in the dead of winter.
The sky was lavender
and the snow lavender-blue.
I could hear, far below,
the sound of two streams coming together
(both were frozen over)
and, no less strange,
myself calling out in French
across that forest-
clearing. Neither General Jeffrey Amherst
nor Colonel Henry Bouquet
could stomach our willow-tobacco.
As for the unusual
scent when the Colonel shook out his hand-
kerchief: C’est la lavande,
une fleur mauve comme le ciel.
They gave us six fishhooks
and two blankets embroidered with smallpox.
Paul Muldoon
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Oscar Wilde in Sharon Springs
Oscar Wilde in Sharon Springs
Oscar Wilde in Sharon Springs, 1882—2022
One could be forgiven for thinking that an article entitled Oscar Wilde in Sharon Springs is about Oscar Wilde in Sharon Springs, meaning his lecture there on August 11, 1882—not an unreasonable assumption.
But latterly such an conclusion would be only half right, because earlier this year the spirit of Oscar Wilde materialized once more in the small…
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“A Ruin” - Paul Muldoon
It might have been a gristmill, a dilapidated granary, or grange
I first drove by some sixty years ago
and, with my little eye, espied
through a doorframe the tousled ferns
and red-haired dockens
of kids my own age sent out to play in the snow,
their snowballs
so specific in the sprawl.
Windowless now, roofless, tucked
under the first, sheltering hill of a range
that ran all the way to Mexico—
a country into which we still hoped to ride
hell-for-leather, still hoped to adjourn
after the stickup—this ruin betokens
not only the slo-mo-
mowing of a meadow for a shopping mall
but the fate that would befall
the many tagged and retagged
over those sixty years. The landscape is so marked by change,
the bungled peace process, the shoddy bungalows,
the wind farms taking us in their stride,
so marked by all the turns
things have indeed taken
for kids now summoned back from playing in the snow,
the nettles almost as tall
as its dividing wall,
a ruin seems the only thing intact.
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basically a big vibe check
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McCartney: A Life in Lyrics
Excerpts from an Interview with Justin Richmond, the executive producer of the podcast
[…] My read on it is that after the stress of getting the book together was relieved, they were sort of realizing that they have hours of Paul McCartney being candid in a really special way. It’s not like this was expertly recorded in the studio. It’s not as if he was sitting down to be Paul McCartney of The Beatles to give an official interview about the band. These [recordings] really have the tenor of someone sitting down with a friend and having a leisurely chat about times past. And McCartney’s “times past” happens to be, for him, The Beatles and Wings and a litany of incredible solo work. [...]
The sort of nice thing about this, remember, is that these were conversations that McCartney and Muldoon knew were going to end up in a book. So they were focused, but just like anything else, after a while, they get into the routine and flow of it, and it almost becomes like the mics aren’t recording. They reach a level of familiarity and comfort. […]
What’s one thing that surprised you the most while going through the tapes?
This is kind of a goofy one, but at one point in the series, you discover that Paul is a dog person and John Lennon is a cat person. And I don’t think there’s anything else that best describes the difference between these two people and the way they relate to each other in life and in art.
Cats kind of keep you at an arm’s length, right? Like they’re not completely trusting of you. Dogs are a lot more vulnerable emotionally. I think when you sort of look at how these two people lived their lives, it appears to be reified in their music.
[…] On its face, I think this is a way for him to set the record straight on some things. There’s just certain things about the lyrics that have been misinterpreted over the years. And not just even maliciously, you know. Kind of innocently, even.
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