Caryl Churchill's latest, "Love and Information," in New York. Churchill's career in brief.
Reviews for Far Away from the Guardian, from the Village Voice, and the New York Times.
Also from the Guardian, a photo essay celebrating Churchill's 70th birthday in 2008.
Stills from productions: at Austin Community College (act II); at Dartmouth College (act I); in Australia, from the Black Swan Theatre Company in Perth (follow internal link for a slideshow).
A series of stills from the production at the Univ. of Iowa. Hat specialists work on a production in Seattle.
Making hats at the Old Vic in Bristol, England. Domestic comfort in act one, at the Royal Court Theatre production. Several stills from the fortyfivedownstairs (Melbourne) production.
Act III: the eye of an enemy. An enemy. Another enemy. A very dangerous enemy.
Sunday, April 20, 2014
Heaney and Muldoon
The Poetry@Harvard site, now live.
Horace, Odes I:34 (the basis for Heaney's "Anything Can Happen") in Latin and in an 1882 English translation.
A map of Northern Ireland.
Heaney's 1995 Nobel Lecture.
Heaney at the London-based Poetry Archive, with audio.
Heaney reading "The Tollund Man," with audio and an image, from PBS.
From the Lannan Foundation, a long interview between Heaney and Dennis O'Driscoll, with Heaney reading his own work.
Photographs of the bog corpses described in P. V. Glob's book.
A mural in Derry remembering Bloody Sunday.
Muldoon's 1980 poem "Cuba."
Muldoon's own site. Muldoon's rock band, Wayside Shrines.
Audio that works: Muldoon reads his own poems. Muldoon reads "Meeting the British."
Muldoon at the Poetry Foundation, with a couple of poems.
All the books by Paul Muldoon (with photo).
A few of Heaney's poems at the Poetry Foundation, including the whole sequence "Glanmore Sonnets."
All the books by Heaney, with recent photo.
Helen Vendler's eulogy for Heaney.
Horace, Odes I:34 (the basis for Heaney's "Anything Can Happen") in Latin and in an 1882 English translation.
A map of Northern Ireland.
Heaney's 1995 Nobel Lecture.
Heaney at the London-based Poetry Archive, with audio.
Heaney reading "The Tollund Man," with audio and an image, from PBS.
From the Lannan Foundation, a long interview between Heaney and Dennis O'Driscoll, with Heaney reading his own work.
Photographs of the bog corpses described in P. V. Glob's book.
A mural in Derry remembering Bloody Sunday.
Muldoon's 1980 poem "Cuba."
Muldoon's own site. Muldoon's rock band, Wayside Shrines.
Audio that works: Muldoon reads his own poems. Muldoon reads "Meeting the British."
Muldoon at the Poetry Foundation, with a couple of poems.
All the books by Paul Muldoon (with photo).
A few of Heaney's poems at the Poetry Foundation, including the whole sequence "Glanmore Sonnets."
All the books by Heaney, with recent photo.
Helen Vendler's eulogy for Heaney.
Wednesday, April 16, 2014
Modern English poets: Auden, Larkin, Hill, Agbabi, Riviere
Visual early Auden: a Pennine valley, and a worked-out mine.
Pieter Brueghel the Elder, Landscape with the Fall of Icarus (1558?).
Auden's "Lullaby" (from the Academy of American Poets).
More of Auden's poems (from the Academy, with some audio). Auden reading his poems in New York City in 1972, from the New York Times. The Auden society.
The Philip Larkin society (weird-looking site design alludes to Larkin's poem "Toads"; some links don't work). Unglamorous Hull city centre, today; a road by Pearson Park, where Larkin lived, and a tiny image of Larkin's own flat. And Byrnmor Jones Library, Univ. of Hull.
Larkin's "High Windows." More Larkin poems in reliable versions online, from the Poetry Foundation.
Also from the Foundation, Geoffrey Hill; some segments from Mercian Hymns.
The Kings of Mercia.
The main page for Sam Riviere.
Riviere's Tweets.
Riviere's selected shorter works. People interview Riviere.
Patience Agbabi's performance of the works on our syllabus. Her source in Chaucer.
Agbabi's Tweets. Her brief prose autobiography. Her sporadic blog.
Pieter Brueghel the Elder, Landscape with the Fall of Icarus (1558?).
Auden's "Lullaby" (from the Academy of American Poets).
More of Auden's poems (from the Academy, with some audio). Auden reading his poems in New York City in 1972, from the New York Times. The Auden society.
The Philip Larkin society (weird-looking site design alludes to Larkin's poem "Toads"; some links don't work). Unglamorous Hull city centre, today; a road by Pearson Park, where Larkin lived, and a tiny image of Larkin's own flat. And Byrnmor Jones Library, Univ. of Hull.
Larkin's "High Windows." More Larkin poems in reliable versions online, from the Poetry Foundation.
Also from the Foundation, Geoffrey Hill; some segments from Mercian Hymns.
The Kings of Mercia.
The main page for Sam Riviere.
Riviere's Tweets.
Riviere's selected shorter works. People interview Riviere.
Patience Agbabi's performance of the works on our syllabus. Her source in Chaucer.
Agbabi's Tweets. Her brief prose autobiography. Her sporadic blog.
Wednesday, April 2, 2014
Yeats
From the National Library of Ireland, an online exhibit for Yeats' manuscripts, with portraits and other materials as well (some navigation required).
Under Ben Bulben in present-day Sligo.
"The Lake Isle of Innisfree," an early "hit."
An accurate (but ugly) text for "Who Goes with Fergus?"
The final (1925) version of "The Sorrow of Love."
Reading more of Yeats's rough drafts.
The original Abbey Theatre in Dublin.
"The Fascination of What's Difficult."
18th-century Dublin houses. The Easter Rising proclamation; the Dublin General Post Office after the Easter Rising.
"Easter 1916."
Another reliable text for "Easter 1916," with links to contemporary American poets reading parts of that poem.
Part of an important letter Yeats wrote about "Easter 1916."
Yeats's Tower. Another view.
Lissadell. At Lissadell, more images of W. B. Yeats, young and old.
John Rickard's photographs of Coole Park and Thoor Ballylee, where Yeats spent part of each year from 1918 to the late 1920s.
Most links to poems here come from the Yeats page at the Poetry Foundation, likely the only online source for reliable texts to many of these poems; Yeats' later poems are still under copyright, though these are in the public domain in the United States.
Ezra Pound's review of Yeats's Responsibilities (1914).
Some audio files: "It gave me a devil of a lot of trouble to get them into verse"; the Lake Isle.
From the Academy of American Poets, a reliable text for Sailing to Byzantium."
From the Academy, "A Prayer for My Daughter."
Byzantine art in Ravenna: mosaic of Justinian; a detail with a head.
The Stone Cottage where Yeats lived with Pound as his assistant for parts of 1913-16.
On the first appearance of "Who Goes with Fergus?" (as quoted by M. L. Rosenthal).
Some diagrams and excerpts from Yeats' A Vision. Neil Mann's elaborate explication of A Vision, with more diagrams.
Under Ben Bulben in present-day Sligo.
"The Lake Isle of Innisfree," an early "hit."
An accurate (but ugly) text for "Who Goes with Fergus?"
The final (1925) version of "The Sorrow of Love."
Reading more of Yeats's rough drafts.
The original Abbey Theatre in Dublin.
"The Fascination of What's Difficult."
18th-century Dublin houses. The Easter Rising proclamation; the Dublin General Post Office after the Easter Rising.
"Easter 1916."
Another reliable text for "Easter 1916," with links to contemporary American poets reading parts of that poem.
Part of an important letter Yeats wrote about "Easter 1916."
Yeats's Tower. Another view.
Lissadell. At Lissadell, more images of W. B. Yeats, young and old.
John Rickard's photographs of Coole Park and Thoor Ballylee, where Yeats spent part of each year from 1918 to the late 1920s.
Most links to poems here come from the Yeats page at the Poetry Foundation, likely the only online source for reliable texts to many of these poems; Yeats' later poems are still under copyright, though these are in the public domain in the United States.
Ezra Pound's review of Yeats's Responsibilities (1914).
Some audio files: "It gave me a devil of a lot of trouble to get them into verse"; the Lake Isle.
From the Academy of American Poets, a reliable text for Sailing to Byzantium."
From the Academy, "A Prayer for My Daughter."
Byzantine art in Ravenna: mosaic of Justinian; a detail with a head.
The Stone Cottage where Yeats lived with Pound as his assistant for parts of 1913-16.
On the first appearance of "Who Goes with Fergus?" (as quoted by M. L. Rosenthal).
Some diagrams and excerpts from Yeats' A Vision. Neil Mann's elaborate explication of A Vision, with more diagrams.
Monday, March 31, 2014
Thomas Hardy, Rudyard Kipling, poets of the Great War (World War I)
From, of course, Toronto: Kipling's "Recessional," written for the Diamond Jubilee, and before the Boer War.
Toronto's selection of poems from Thomas Hardy.
The Boer War: Magersfontein, and soldiers in the field at Rosmead (Daskoppies).
From the Victorian Web, a reliable text (you'd be surprised how many bad ones are out there) of Hardy's "Drummer Hodge."
From Toronto, Hardy's "The Convergence of the Twain." The subject of that poem, in harbor. The other subject of the "consummation" in Hardy's poem.
Many, many more images and photographs relevant to the life and works of Thomas Hardy.
The current American poet Philip Levine praises "During Wind and Rain"; scroll down a bit for an accurate version of the poem.
The Great War starts.
The Toronto selection from Edward Thomas. An articulate if limited resource center for Thomas and the other Dymock Poets.
From Toronto, Owen's "Dulce et Decorum Est."
A First World War internet archive, and a related archive devoted to poetry. Another multimedia First World War archive. From that archive, a primer on poison gas.
Soldiers putting on gas masks.Soldiers digging a trench.
The considerable English critic, scholar and poet Tim Kendall has a war poetry blog, with its own useful links
Toronto's selection of poems from Thomas Hardy.
The Boer War: Magersfontein, and soldiers in the field at Rosmead (Daskoppies).
From the Victorian Web, a reliable text (you'd be surprised how many bad ones are out there) of Hardy's "Drummer Hodge."
From Toronto, Hardy's "The Convergence of the Twain." The subject of that poem, in harbor. The other subject of the "consummation" in Hardy's poem.
Many, many more images and photographs relevant to the life and works of Thomas Hardy.
The current American poet Philip Levine praises "During Wind and Rain"; scroll down a bit for an accurate version of the poem.
The Great War starts.
The Toronto selection from Edward Thomas. An articulate if limited resource center for Thomas and the other Dymock Poets.
From Toronto, Owen's "Dulce et Decorum Est."
A First World War internet archive, and a related archive devoted to poetry. Another multimedia First World War archive. From that archive, a primer on poison gas.
Soldiers putting on gas masks.Soldiers digging a trench.
The considerable English critic, scholar and poet Tim Kendall has a war poetry blog, with its own useful links
Thursday, March 27, 2014
Earnest
Oscar Wilde, photogenic aesthete, and an 1881 parody of his early public image. Max Beerbohm's caricature of Wilde on his successful American tour.
The full text of Wilde's essay in dialogue form, "The Decay of Lying."
More full text of Wilde's works online, inelegantly, from the Victorian Web, and very elegantly at a nonacademic site.
One of Beardsley's famous illustrations for Wilde's Salome (English tr. by Douglas pub. 1894); another one of Beardsley's illustrations, and another.
More Beardsley and Decadence: A Suggested Reform for... Ballet" (1895); another title page; a collection of Beardsley's art for the Yellow Book, which contrary to reputation never published Wilde.
Wilde's image and identity sell things.
Some of the most important things in life.
Stills from a few recent productions of Earnest: Seattle's Village Theatre (what is Lady Bracknell wearing?). Algernon and Jack, from the Village Theatre again.
An all-male, perhaps too modern Earnest.
Another recent Earnest from the National Theater School of Canada.
The full text of Wilde's essay in dialogue form, "The Decay of Lying."
More full text of Wilde's works online, inelegantly, from the Victorian Web, and very elegantly at a nonacademic site.
One of Beardsley's famous illustrations for Wilde's Salome (English tr. by Douglas pub. 1894); another one of Beardsley's illustrations, and another.
More Beardsley and Decadence: A Suggested Reform for... Ballet" (1895); another title page; a collection of Beardsley's art for the Yellow Book, which contrary to reputation never published Wilde.
Wilde's image and identity sell things.
Some of the most important things in life.
Stills from a few recent productions of Earnest: Seattle's Village Theatre (what is Lady Bracknell wearing?). Algernon and Jack, from the Village Theatre again.
An all-male, perhaps too modern Earnest.
Another recent Earnest from the National Theater School of Canada.
Monday, March 24, 2014
Hopkins and Pater, and a few more Pre-Raphaelites
More Pre-Raphaelites: Holman Hunt's "The Hireling Shepherd" (1851) and J. W. Waterhouse's Lady of Shalott (1888) and another image of Waterhouse's Lady (illustrating Tennyson's poem).
Journalism: a header from an 1844 Illustrated London News, and a front page.
Your excerpt from Pater's Renaissance has, as visual example, only the Mona Lisa (La Gioconda); Pater's book also devotes chapters to Giorgione, Michelangelo (as poet), Della Robbia, and Botticelli. Here's Giorgone's Tempest (1508), Luca Della Robbia's Virgin and Child, and Botticelli's Madonna of the Pomegranate (1490s).
From Toronto again, Walter Pater on Coleridge, and on Wordsworth, and on style: "Such is the matter of imaginative or artistic literature -- this transcript, not of mere fact, but of fact in its infinite variety, as modified by human preference in all its infinitely varied forms."
The Victorian Web people go to work on Hopkins and on Pater.
Hopkins at Toronto: "The Wreck of the Deutschland." "The Windhover." Also "As kingfishers..." and two of the so-called "terrible sonnets," "No worst, there is none" and "Thou art indeed just, Lord."
Hopkins's source for "Thou art indeed just": Jeremiah 12, in the King James version, and (if you read Latin) in a nonacademic online edition of the Vulgate, what Hopkins himself would have read and reread.
Some pages from Hopkins' journals (note the interpenetration of words and sketches).
A British kingfisher. Another British kingfisher: see how the feathers across the bird's back "catch fire."
A windhover, or British kestrel, in characteristic "hovering" form.
Journalism: a header from an 1844 Illustrated London News, and a front page.
Your excerpt from Pater's Renaissance has, as visual example, only the Mona Lisa (La Gioconda); Pater's book also devotes chapters to Giorgione, Michelangelo (as poet), Della Robbia, and Botticelli. Here's Giorgone's Tempest (1508), Luca Della Robbia's Virgin and Child, and Botticelli's Madonna of the Pomegranate (1490s).
From Toronto again, Walter Pater on Coleridge, and on Wordsworth, and on style: "Such is the matter of imaginative or artistic literature -- this transcript, not of mere fact, but of fact in its infinite variety, as modified by human preference in all its infinitely varied forms."
The Victorian Web people go to work on Hopkins and on Pater.
Hopkins at Toronto: "The Wreck of the Deutschland." "The Windhover." Also "As kingfishers..." and two of the so-called "terrible sonnets," "No worst, there is none" and "Thou art indeed just, Lord."
Hopkins's source for "Thou art indeed just": Jeremiah 12, in the King James version, and (if you read Latin) in a nonacademic online edition of the Vulgate, what Hopkins himself would have read and reread.
Some pages from Hopkins' journals (note the interpenetration of words and sketches).
A British kingfisher. Another British kingfisher: see how the feathers across the bird's back "catch fire."
A windhover, or British kestrel, in characteristic "hovering" form.
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