Search results for ""author paul muldoon""

Why Brownlee Left, a Poetry Book Society Choice and winner of the Geoffrey Faber Memorial Prize, confirmed Paul Muldoon's reputation as the most inventive voice of his generation when it was first published in 1980. The key figure in the poet's third collection is the enigmatic Brownlee; strong-willed and wayward, past shaky, future hazy, present whereabouts uncertain. There are many new departures here, but Why Brownlee Left also explores with increasing authority themes already apparent in New Weather (1973) and Mules (1977). It culminates in a retelling of 'Immram Mael Duin', a strange voyage of self-discovery by the poet's legendary ancestor.

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SHORTLISTED FOR THE POETRY PIGOTT PRIZE IN ASSOCIATION WITH LISTOWEL WRITERS' WEEKThe hard-hitting new poetry collection from 'Ireland's most ingenious poet' (Telegraph).'Very few poets, living or otherwise, can combine high-speed wit, tongue-twisting alliteration and dizzying rhyme with the kind of insight that makes us pause, laugh, remember; feel envious, out of breath, punch-drunk.' Kit Fan, GuardianA 'howdie-skelp' is the slap in the face a midwife gives a newborn. It's a wake-up call. A call to action. The poems in Paul Muldoon's striking new collection include a nightmarish remake of The Waste Land, an elegy for his fellow Northern Irish poet Ciaran Carson, a crown of sonnets that responds to the early days of the Covid-19 pandemic, a translation from the ninth-century Irish, and a Yeatsian sequence of ekphrastic poems that call into question the very idea of an 'affront' to good taste. Paul Muldoon is a poet who continues not only to capture, but to hold our attention.

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POETRY BOOK SOCIETY CHOICE''To describe Paul Muldoon''s influence on contemporary poetry is like trying to assess the influence of The Beatles on post-war music: it''s to be seen and heard in the work of almost every British and Irish poet since the 1970''s.'' Irish PostSince his debut, New Weather (1973), Paul Muldoon has created some of the most original and memorable poetry of the past half-century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the the highest accolades.Here, from artichokes to zinc, he navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet''s skilful hands, ancient maps are unfurled and brought into focus the aggregation of Imperial Rome and the dis

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New Weather was Paul Muldoon's first book of poems. When it appeared in 1973, Seamus Heaney described its author as 'unusually gifted, endowed with an individual sense of rhythm, a natural and copious vocabulary, a technical accomplishment and an intellectual boldness that mark him as the most promising poet to appear in Ireland for years'. While the promise has been amply fulfilled, this new paperback edition gives Muldoon's many, more recent admirers the opportunity to see what a versatile and substantial artist he was from the outset.

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Meeting the British is Paul Muldoon's fifth collection of poems. They range from an account of the first recorded case of germ warfare, through a meditation on a bar of soap, to a sequence of monologues spoken by some of the famous, or infamous, inhabitants of '7, Middagh Street', New York, on Thanksgiving Day, 1940.

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In his eleventh full-length collection, Paul Muldoon reminds us that he is a traditional poet who is steadfastly at odds with tradition. If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are 'sex and the dead', Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its 'subject' the urge to memorialize the scenes of fatal car accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title-sequence but many of the round-songs that characterize Maggot and has led Angela Leighton, writing in the TLS, to see these new poems (on their earlier appearance in Plan B, an interim volume which included several of the poems in Maggot) as giving readers 'a thrilling, wild, fairground ride, with few let-ups for the squeamish.'

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In his eleventh full-length collection, Paul Muldoon reminds us that he is a traditional poet who is steadfastly at odds with tradition. If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are 'sex and the dead', Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its 'subject' the urge to memorialize the scenes of fatal car accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title-sequence but many of the round-songs that characterize Maggot and has led Angela Leighton, writing in the TLS, to see these new poems (on their earlier appearance in Plan B, an interim volume which included several of the poems in Maggot) as giving readers 'a thrilling, wild, fairground ride, with few let-ups for the squeamish.'

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WINNER OF THE PULITZER PRIZE FOR POETRY 2003Paul Muldoon's ninth collection of poems, his first since Hay (1998), finds him working a rich vein that extends from the rivery, apple-heavy County Armagh of the 1950s, where he was brought up, to suburban New Jersey, on the banks of a canal dug by Irish navvies, where he now lives. Grounded, glistening, as gritty as they are graceful, these poems seem capable of taking in almost anything, and anybody, be it a Tuareg glimpsed on the Irish border, Bessie Smith, Marilyn Monroe, Queen Elizabeth I, a hunted hare, William Tell, William Butler Yeats, Sitting Bull, Ted Hughes, an otter, a fox, Mr and Mrs Stanley Joscelyne, an unearthed pit pony, a loaf of bread, an outhouse, a killdeer, Oscar Wilde, or a flock of redknots. At the heart of the book is an elegy for a miscarried child, and that elegiac tone predominates, particularly in the elegant remaking of Yeats's 'A Prayer for My Daughter' with which the book concludes, where a welter of traffic signs and slogans, along with the spirits of admen, hardware storekeepers, flim-flammers, fixers and other forebears, are borne along by a hurricane-swollen canal, and private grief coincides with some of the gravest matter of our age.

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First published in 1984, Paul Muldoon's The Faber Book of Contemporary Irish Poetry sought to establish a canon of Irish Poetry since the death of Yeats. Here the reader can explore substantial selections of the poetry of ten of the most consistently impressive of the post-war poets - Patrick Kavanagh, Louis MacNeice, Thomas Kinsella, John Montague, Michael Longley, Seamus Heaney, Derek Mahon, Paul Durcan, Tom Paulin and Medbh McGuckian.The editor, Paul Muldoon, is widely regarded as the leading Irish poet of his generation. In this anthology he brings together fellow poets who have maintained and extended Yeats's legacy.

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The Sunday Times bestseller and Waterstones Book of the Year, now in paperback‘Paul McCartney says this is as close as he will get to an autobiography and no wonder – his life is in every line of these songs ... pure joy’ Sunday Times, Book of the Year With seven songs added for this edition: ‘Bluebird,’ ‘Day Tripper,’ ‘English Tea,’ ‘Every Night,’ ‘Hello, Goodbye,’ ‘Magical Mystery Tour’ and ‘Step Inside Love’Spanning seven decades – from his early Liverpool days, through the historic decade of The Beatles, to Wings and his long solo career – Paul McCartney’s The Lyrics has transformed the way artists write about music, pairing the definitive texts of 161 songs with intimate, autobiographical commentaries on McCartney’s life and music.Arranged alphabetically, these commentaries reveal the diverse circumstances in which the songs were written, how they ultimately came to be, and the remarkable – often ordinary – people and places that inspired them. Dozens of vignettes re-create the working-class Liverpool of McCartney’s youth, where delivery boys ran parcels on docks, as in ‘On My Way to Work,’ and elderly ladies in the neighbourhood inspired ‘Eleanor Rigby.’ McCartney also introduces us to his early literary influences, among them Shakespeare, Lewis Carroll and Allen Ginsberg, as well as Alan Durband, his beloved English teacher, and his mother, Mary, who passed away when he was just fourteen – and whose memory has infused his work ever since.Yet the two most powerful presences in The Lyrics after the author himself are his songwriting partner, John Lennon, and his ‘Golden Earth Girl,’ Linda Eastman McCartney. Here McCartney describes how he met John at a church fête in 1957; their adventures with George Harrison and Ringo Starr in the early 1960s; and how, at the end of the decade, they, and The Beatles, broke up. Thus began a second act of now more than fifty years, with Linda and family life as driving forces – inspiring songs from ‘Maybe I’m Amazed,’ written just after the breakup of The Beatles, to the 2012 ballad ‘My Valentine,’ addressed to McCartney’s wife and partner, Nancy Shevell McCartney.Edited and introduced by Pulitzer Prize–winning poet Paul Muldoon, and enhanced by more than a hundred images from McCartney’s personal archives – including handwritten texts, mementos, and photographs – and seven new song commentaries, The Lyrics is a book for the ages, and the definitive literary and visual record of one of the greatest songwriters of all time.

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Since his debut, New Weather (1973), Paul Muldoon has created some of the most original and memorable poetry of the past half-century. Joy in Service on Rue Tagore sees him writing with the same verve and distinction that have consistently won him the the highest accolades. Here, from artichokes to zinc, he navigates an alphabet of image and history, through barleymen and Irish slavers to the last running wolf in Ulster. The search involves the accumulated bric-a-brac of a life, and a reckoning along the way of gains against loss. In the poet''s skilful hands, ancient maps are unfurled and brought into focus the aggregation of Imperial Rome and the dismantling of Standard Oil, the pogroms of a Ukrainian ravine and of a Belfast shipyard. Through modern medicine and warfare, disaster and repair, these poems are electric in their energy, while profoundly humane in their line of enquiry.

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Although Frolic and Detour is Paul Muldoon's thirteenth book, it has all the passion and provocation we more often associate with a first collection. Ranging as it does from poems that take as their subject matter the Native American leaders Joseph Brant and Mangas Coloradas, through the Great War, the Irish Rising, hunting with eagles, the house wren, all the way to the day-to-day assault of twenty-first-century America, Frolic and Detour reminds us that the sidelong glance is the sweetest, the tangential approach the most telling. It also confirms Dwight Garner's assessment of Selected Poems 1968-2014 in the New York Times: 'a compact, powerful book, filled with catharses you didn't know you needed'.

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Selected Poems 1968-2014 offers forty-five years of work drawn from twelve individual collections by a poet who 'began as a prodigy and has gone on to become a virtuoso' (Michael Hofmann). Hailed by Seamus Heaney as 'one of the era's true originals', Muldoon seems determined to escape definition yet this volume, chosen by the poet himself, serves as an indispensable introduction to his trademark combination of intellectual high jinx and emotional honesty. Among his many honours are the Pulitzer Prize for Poetry and the Shakespeare Prize 'for contributions from English-speaking Europe to the European inheritance.'

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Paul Muldoon's new book, his twelfth collection of poems, is wide-ranging in its subject matter yet is everywhere concerned with watchfulness. Heedful, hard won, head-turning, heartfelt, these poems attempt to bring scrutiny to bear on everything, including scrutiny itself. One Thousand Things Worth Knowing confirms Nick Laird's assessment, in the New York Review of Books, that Paul Muldoon is 'the most formally ambitious and technically innovative of modern poets, [who] writes poems like no one else.'

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The End of the Poem contains the fifteen lectures delivered by Paul Muldoon as Oxford Professor of Poetry, from 1999 to 2004. Rather than individual and discrete performances, these lectures form a dazzling set of variations around the sustained theme of 'the end of the poem'. Each lecture explores a different sense of an ending: whether a poem can ever be a free-standing structure, read and written in isolation from other poems; whether a poem's line-endings are forms of closure (and where this might leave the poem in prose); whether the poem is completed only with the reader's act of understanding; whether revision brings a poem nearer to its ideal ending (when does a poet know when a poem has come to an end?); what is the right true end of poetry, and is the end of the poem the beginning of criticism, including an Arnoldian 'criticism of life'?

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The four pieces that make up this work are taken from Muldoon's Oxford Clarendon Lectures of 1998. Together, they take the form of an A-Z, or abecedary of Irish literature, in which his imagination forges links between disparate aspects and individuals in the Irish literary landscape, ranging back and forth between modern and medieval. From Beckett and Bowen, through MacNeice, Swift and Yeats - and guided throughout by Joyce - To Ireland, I moves lightly through the long grass of Irish writing. The result is a provocative handbook for the literary traveller, who is treated to an astonishing display of scholarship and idiosyncratic inwardness from Irish literature over the course of a millennium.

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In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to the most important poets in our literature.George Gordon was born in London in 1788, of Scottish, French and English extraction. He succeeded to a baronetcy in 1798, and as Lord Byron he was soon to become the most famous poet of his age - with the publication of Childe Harold, in 1812 - as well as one of its most notorious characters. His career spanned a momentous period in European history, in which Byron himself was deeply involved. He left England in 1816, and died in Missolonghi, Greece (where he had gone to join the forces struggling for Greek independence) in 1824.

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Paul Muldoon's new collection opens with a sonnet sequence, 'Horse Latitudes', written as the U.S. embarked on its foray into Iraq. Poems on historical battles where horses played an important part present us with a commentary on the political agenda of America today.

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'The Faber Book of Beasts is a generous and intelligent round- up of old favourites, new juxtapositions, and poems we mightn't know about ... Will set heads shaking, as well as nodding with pleasure.' Independent William Wordsworth's 'To a Skylark'W.B. Yeats' 'Leda and the Swan'Elizabeth Bishop's 'The Moose'D.H. Lawrence's 'Bat'Marianne Moore's 'Elephants'William Blake's 'The Tyger' Gerard Manley Hopkins' 'The Windhover'Thom Gunn's 'The Snail'Seamus Heaney's 'Otter'John Donne's 'The Flea'Christopher Smart's 'My Cat Jeoffry''Baa Baa Black Sheep' From childhood rhymes to canonical classics, Homer to Ted Hughes, this eclectic poetry anthology celebrating the earth's creatures brims with beastly delights. Celebrated poet Paul Muldoon's bestiary shows that we are 'most human in the presence of animals', whether tame or wild, common or exotic, mammals or reptiles, real or imaginary - and the result is a must-read for animal-lovers of all ages everywhere.'Animals bring the best out in us [and make] the best art ... Elephants, skunks, otters, hedgehogs and hippos feature in Muldoon's menagerie; how charming it is to observe how they nuzzle along together in his engaging anthology.' Irish Times

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The Collected Poems of Dylan Thomas contains poems that Thomas personally decided best represented his work. A year before its publication Thomas died from swelling of the brain triggered by excessive drinking. (A piece of New Directions history: it was our founder James Laughlin who identified Thomas’ body at the morgue of St. Vincent’s Hospital.) Since its initial publication in 1953, this book has become the definitive edition of the poet’s work. Thomas wrote “Prologue” addressed to “my readers, the strangers” — an introduction in verse that was the last poem he would ever write. Also included are classics such as “And Death Shall Have No Dominion,” “Do Not Go Gentle into that Good Night,” and “Fern Hill” that have influenced generations of artists from Bob Dylan (who changed his last name from Zimmerman in honor of the poet), to John Lennon (The Beatles included Thomas’ portrait on the cover of Sgt. Pepper’s Lonely Hearts Club Band); this collection even appears in the film adaptation of Cormac McCarthy’s The Road when it is retrieved from the rubble of a bookshelf. And death shall have no dominion. Dead men naked they shall be one With the man in the wind and the west moon; When their bones are picked clean and their clean bones gone, They shall have stars at elbow and foot; Though they go mad they shall be sane, Though they sink through the sea they shall rise again, Though lovers be lost love shall not: And death shall have no dominion. (From “And Death Shall Have No Dominion”)

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Finally in paperback and featuring seven new song commentaries, the #1 New York Times bestseller celebrates the creative life and unparalleled musical genius of Paul McCartney. Spanning sixty-four years—from his early days in Liverpool, through the historic decade of The Beatles, to Wings and his solo career—Paul McCartney’s The Lyrics revolutionized the way artists write about music. An unprecedented “triumph” (Times UK), this handsomely designed volume pairs the definitive texts of over 160 songs with first-person commentaries on McCartney’s life, revealing the diverse circumstances in which songs were written; how they ultimately came to be; and the remarkable, yet often delightfully ordinary, people and places that inspired them. The Lyrics also includes: · A personal foreword by McCartney · An unprecedented range of songs, from beloved standards like “Band on the Run” to new additions “Day Tripper” and “Magical Mystery Tour” · Over 160 images from McCartney’s own archives Edited and introduced by Pulitzer Prize-winning poet Paul Muldoon, The Lyrics is the definitive literary and visual record of one of the greatest songwriters of all time.

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In this new collection Paul Muldoon goes back to the essential meaning of the term 'lyric' -a short poem sung to the accompaniment of a musical instrument. These words are written for music, assuredly, with half an ear to Yeats's ballad-singing porter drinkers and half to Cole Porter-and indeed, many of them double as rock songs, performed by the Wayside Shrines, the Princeton-based music collective of which Muldoon is a member. Their themes are the classic themes of song: lost love, lost wars, Charlton Heston, barbed wire, pole dancers, cellulite, Hegel, elephants, Oedipus, more barbed wire, Buddy Holly, Jersey peaches, Julius Caesar, Trenton, cockatoos, and the Youngers (Bob and John and Jim and Cole).The Word on the Street is a lively addition to this Pulitzer Prize-winning poet's masterful body of work. It demonstrates, once again, that, as Richard Eder has written in the pages of the New York Times Book Review, 'Paul Muldoon is a shape-shifting Proteus to readers who try to pin him down . . . Those who interrogate Muldoon's poems find themselves changing shapes each time he does.'

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Paul Muldoon has been interested in writing for music for at least twenty years, over which time he has collaborated with composers as various as Mark-Anthony Turnage, Warren Zevon, and Wayside Shrines, the Princeton-based musical collective of which he is a founder member. Songs and Sonnets brings together poems and lyrics from a writer who has been described by The Irish Times as 'a force of nature.'

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Roger Rosenblatt, writing in the New York Times in 2016, described Paul Muldoon as `one of the great poets of the past hundred years, who can be everything in his poems - word-playful, lyrical, hilarious, melancholy. And angry. Only Yeats before him could write with such measured fury.’ This is a selection (chosen by poet John Kinsella) of some of the more linguistically innovative and overtly 'experimental' poems from Muldoon’s extensive and verbally rich oeuvre. Muldoon is always innovative and `electric’, but the focus in this selection is on linguistic `departures’ in his own practice. Both inside and outside the avant-garde, Muldoon is ultimately a maverick whose unique voice is nonetheless steeped in the politics of a bilingual Irish poetics, with a forensic dissection of `New World’–`Old World’ (false) verbal dynamics. We see and hear his poems in juxtaposition and proximity, in terms of those elements of his work that are possibly less appreciated and discussed by those who cast him as a lyrical purist who 'plays' with language. Muldoon’s is a poetry that is compelled, propelled and is 'political' in complex arrays, and isn't about `gameplay’ per se, but a politics of language. Muldoon has a driving purpose in all he writes, and the reader and listener may begin to get a sense of the possibilities of this purpose through engaging with this book.

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Since his first recordings in 1955, Johnny Cash has been an icon in the music world. In his newly discovered poems and song lyrics, we see the world through his eyes. The poetry reveals his depth of understanding, both of the world around him and within - his frailties and his strengths alike. He pens verses in his hallmark voice, reflecting upon love, pain, freedom, fame and mortality. Illustrated with facsimile reproductions of Cash's own handwritten pages, Forever Words is a remarkable new addition to the canon of one of America's heroes. His music is a part of our collective history, but here he demonstrates the depth of his talent as a writer. Edited and introduced by Paul Muldoon, with a foreword by John Carter Cash, this is a book sure to delight and surprise fans the world over.

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An extraordinarily successful collaboration between the Irish poet, Paul Muldoon and the acclaimed Scottish photographer, Norman McBeath, in which there's an uncanny relationship between word and black-and-white image. Although a McBeath photograph (of a statue of Apollo wrapped in polythene) is directly invoked in one poem, much of the success of this beautifully produced book has to do with indirection and evocation. It's as if this book presents us with a distinctly new genre - photometry.

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THE SUNDAY TIMES BOOK OF THE YEARWinner of Non-Fiction Book of the Year, British Book Awards (Nibbies), 2022A self-portrait in 154 songs, by our greatest living songwriter'More often than I can count, I've been asked if I would write an autobiography, but the time has never been right. The one thing I've always managed to do, whether at home or on the road, is to write new songs. I know that some people, when they get to a certain age, like to go to a diary to recall day-to-day events from the past, but I have no such notebooks. What I do have are my songs, hundreds of them, which I've learned serve much the same purpose. And these songs span my entire life.'In this extraordinary book, with unparalleled candour, Paul McCartney recounts his life and art through the prism of 154 songs from all stages of his career - from his earliest boyhood compositions through the legendary decade of The Beatles, to Wings and his solo albums to the present. Arranged alphabetically to provide a kaleidoscopic rather than chronological account, it establishes definitive texts of the songs' lyrics for the first time and describes the circumstances in which they were written, the people and places that inspired them, and what he thinks of them now. Presented with this is a treasure trove of material from McCartney's personal archive - drafts, letters, photographs - never seen before, which make this also a unique visual record of one of the greatest songwriters of all time.We learn intimately about the man, the creative process, the working out of melodies, the moments of inspiration. The voice and personality of Paul McCartney sings off every page. There has never been a book about a great musician like it.Each volume is 480 pp, not available separately

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The Waste Land is arguably the most important poem of the twentieth century. First published in the United States by Boni & Liveright in 1922, this landmark reissue of the first edition, now back with its original publisher, includes a new introduction by Paul Muldoon, showcasing the poem's searing power and strange, jarring beauty. With a modernist design that matches the original, this edition allows contemporary readers to experience the poem the way readers would have seen it for the first time. As Muldoon writes, "It's almost impossible to think of a world in which The Waste Land did not exist. So profound has its influence been not only on twentieth-century poetry but on how we’ve come to view the century as a whole, the poem itself risks being taken for granted." Famously elliptical, wildly allusive, at once transcendent and bleak, The Waste Land defined modernity after the First World War, forever transforming our understanding of ourselves, the broken world we live in, and the literature that was meant to make sense of it. In a voice that is arch, ironic, almost ebullient, and yet world-weary and tragic, T. S. Eliot mixes and remixes, drawing on a cast of ghosts to create a new literature for a new world. In the words of Edmund Wilson, "Eliot…is one of our only authentic poets…[The Waste Land is] one triumph after another."

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Since his first recordings in 1955, Johnny Cash has been an icon in the music world. In his newly discovered poems and song lyrics, we see the world through his eyes. The poetry reveals his depth of understanding, both of the world around him and within - his frailties and his strengths alike. He pens verses in his hallmark voice, reflecting upon love, pain, freedom, fame and mortality. Illustrated with facsimile reproductions of Cash's own handwritten pages, Forever Words is a remarkable addition to the canon of one of America's heroes. His music is a part of our collective history, and here he demonstrates the depth of his talent as a writer. Edited and introduced by Paul Muldoon, with a foreword by John Carter Cash, this is a book sure to delight and surprise fans the world over.

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John Donne (1572-1631) forfeited his Parliamentary seat and was briefly imprisoned when his secret marriage to Ann More was uncovered in 1601. He spent the subsequent decade in poverty, trying to rehabilitate his reputation. He entered the Church in 1615, and become Dean of St Paul's. His first volume of poetry was published posthumously in 1633.In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature.

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Illuminating the parallel and overlapping careers and relationships of Wallace Stevens and William Carlos Williams, this catalogue juxtaposes the two poets with unique material on view for the first time. With essays by biographer Paul Mariani, poets Paul Muldoon and Daniel Halpern, and collector Alan Klein, it represents a remarkable opportunity for understanding the overlapping careers of Stevens and Williams, their development as poets, the progression of their reputations, and the development of American Modernism.

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This concentrated dose of the mystical wisdom of W.B. Yeats offers pleasure and insight to all who partake of it. “For nothing can be sole or whole / That has not been rent.”Pulitzer Prize-winning poet Paul Muldoon carries on the influential tradition of Irish mystical poetry with the great words of William Butler Yeats. Yeats had a lifelong interest in Spiritualism; his work is rich in tarot and occult imagery. He asserted that a number of poems were “given” to him by supernatural powers. Yeats’s fierce ideas and images, coupled with his exquisite sense of rhyme, make for quotes that seekers will want to commit to memory. As Paul Muldoon explains, this poet is “supremely positioned to help us make sense of both the things of this world, the Otherworld, and the vast region between.” The Divining Poets Quotable Deck Series: Elegant, boxed sets of seventy-eight cards à la tarot decks, with oracular quotes from the world’s greatest visionary poets. Each card contains inspiring and provocative lines chosen for seekers to contemplate, memorize, or answer life questions. Complete with display stand and how-to instructions, this pocket-sized wisdom is perfect for the holiday season.

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