Orpheus

Orpheus cover - Dedalus Press, poetry from Ireland and the world

From self-imposed distance (“I stand back from the streetlight at her school gate”) to a distance that cannot be bridged in a single lifetime, the poems in Theo Dorgan’s extraordinary new collection tell the story of Orpheus, the musician-poet, from artistic awakening through to the cost of remaining faithful to his calling.

In a book presented in two halves, and composed throughout in sapphics – in English, one of the most challenging of poetic forms – Dorgan’s contemporary Orpheus is part-drifter, part-troubadour, part-lover, recognising deeper patterns in his behaviour, but always of this place and time. In the book’s second half, the locus shifts farther out into mythic space with a parallel narrative from the Greek world that both mirrors and interweaves with the first half’s here-and-now.

Together they offer a fresh, adventurous and unexpected take on a foundational mythic figure.

“… a deep understanding of the power
and alchemy of myth …”
— Carol Ann Duffy, on Greek

“[C]ontains some of the most moving and beautiful love poems written by any poet writing in English over the last few decades” — Philip Coleman, Dublin Review of Books (on Nine Bright Shiners)


 

Métro Saint-Michel. Everything much too loud
after a day of silence by the river.
At the interchange I plunge out, unheeding,
shouldering through crowds

to the far escalator. I turn, look back,
she’s stood there looking up, deep wells of sorrow
in her eyes. From the turbulent crowd she signs
I just can’t go on.

Hard fluorescent light, waterfall of black noise,
then a fainting away of all except
that resolute, beseeching figure. Her
unbearable poise.

I batter my way down, panic-struck, fearing
the worst. A loud hiss, the sound of doors closing,
rumbling rubber wheels, light on the last carriage
red, vanishing, gone.

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The Deep Heart’s Core

The Deep Heart's Core - Dedalus Press, poetry from ireland and the world

In our new anthology, The Deep Heart’s Core: Irish Poets Revisit a Touchstone Poem, some 100 poets accept the invitation to revisit a favourite, key or touchstone poem of their own, and offer a short commentary on same — as they might at a live event.

The result is an illuminating, thought-provoking and wholly engaging volume, a unique anthology as selected by the poets themselves, and a rare glimpse into the thinking, feeling and craft behind the finished poems.

The Deep Heart’s Core is both an ideal introduction to contemporary Irish poetry for the general reader and a handbook for the aspiring practitioner or student.

The Deep Heart’s Core is edited by Pat Boran and Eugene O’Connell and features a foreword by Bernard O’Donoghue.

For further information click here.


LIST OF CONTRIBUTORS

Graham Allen: ‘Military Hill’ – Tara Bergin: ‘This Is Yarrow’ – 
Eavan Boland: ‘That The Science Of Cartography Is Limited’ – Dermot Bolger: ‘While We Sleep’ – Pat Boran: ‘Waving’ – Eva Bourke: ‘Evening Near Letterfrack’ – Heather Brett: ‘Bankrupt’ – Paddy Bushe: ‘After Love’ – Rosemary Canavan: ‘Crab Apples’ – Moya Cannon: ‘Chauvet’ – Ciaran Carson: ‘Turn Again’ – Paul Casey: ‘Exile’ – Philip Casey: ‘Hamburg Woman’s Song’ – Sarah Clancy: ‘Homecoming Queen’ – Michael Coady: ‘Assembling The Parts’ – Enda Coyle-Greene: ‘Metathesis’ – Tony Curtis: ‘Bench’ – Pádraig J. Daly: ‘Complaint’ – Kathy D’Arcy: ‘Probable Misuse Of Shamanism’ – Michael Davitt: ‘Déirc’ / ‘Alms’ – Gerald Dawe: ‘The Water Table’ – John F. Deane: ‘The Poem of the Goldfinch’ – Mary Dorcey: ‘Trying on for Size’ – Theo Dorgan: ‘On a Day Far From Now’ – Cal Doyle: ‘Sirens’ – Martina Evans: ‘The Day My Cat Spoke to Me’ – 
John FitzGerald: ‘The Collectors’ – Gabriel Fitzmaurice: ‘Dad’ – Anne-Marie Fyfe: ‘The Red Aeroplane’ – Matthew Geden: ‘Photosynthesis’ – Rody Gorman: ‘Imirce’ / ‘Bodytransfermigration’ – Mark Granier: ‘Grip Stick’ – Vona Groarke: from ‘Or to Come’ – Kerry Hardie: ‘Life Gone Away is Called Death’ – Maurice Harmon: from ‘The Doll with Two Backs’ – James Harpur: ‘The White Silhouette’ – Michael Hartnett: ‘That Actor Kiss’ – Eleanor Hooker: ‘Nightmare’ – Breda Joy: ‘November Morning’ – Brendan Kennelly: from ‘Antigone’ – Patrick Kehoe: ‘The Nearness of Blue’ – Helen Kidd: ‘Sunspill’ – Noel King: ‘Black and Tan’ – Thomas Kinsella: ‘Marcus Aurelius’ – Jessie Lendennie: ‘Quay Street, Galway’ – John Liddy: ‘Scarecrow’ – Alice Lyons: ‘Arab Map of the World With the South at the Top’ – Aifric MacAodha: ‘Gabháil Syrinx’ / ‘The Taking of Syrinx’ – Jennifer Matthews: ‘Work Out’ – John McAuliffe: ‘Today’s Imperative’ – Joan McBreen: ‘My Father’ – Thomas McCarthy: ‘The Garden of Sempervirens’ – Philip McDonagh: ‘Water is Best’ – Afric McGlinchey: ‘Do not lie to a lover’ – Iggy McGovern: ‘Knight Errant’ – Medbh McGuckian: ‘Aunts’ – John Mee: ‘Travel Light’ – Paula Meehan: ‘The Moons’ – John Moriarty: ‘Faust’ – Aidan Murphy: ‘Touching Parallels’ – Gerry Murphy: ‘Poem in One Breath’ – Madelaine Nerson Mac Namara: ‘Atlas’ – Caitríona Ní Chléirchín: ‘Feiliceán bán’ / ‘White butterfly’ – Nuala Ní Chonchúir: ‘Tatú’ / ‘Tattoo’ – Eiléan Ní Chuilleanáin: ‘The Copious Dark’ – Ailbhe Ní Ghearbhuigh: ‘Deireadh na Feide’ / ‘Last Blast’ – Áine Ní Ghlinn: ‘Tú Féin is Mé Féin’ / ‘Yourself and Myself’ – Doireann Ní Ghríofa: ‘From Richmond Hill’ – Mary Noonan: ‘The Moths’ – Julie O’Callaghan: from ‘Edible Anecdotes’ – Eugene O’Connell: ‘Doubting Thomas’ – John O’Donnell: ‘The Shipping Forecast’ – Mary O’Donnell: ‘The World is Mine’ – Bernard O’Donoghue: ‘The Iron Age Boat at Caumatruish’ – 
Liz O’Donoghue: ‘Suspended Animation’ – 
Mary O’Donoghue: ‘My Daughter in Winter Costume’ – Sheila O’Hagan: ‘September the Fourth’ – Nessa O’Mahony: ‘Lament for a Shy Man’ – Mary O’Malley: ‘The Gulls at Fastnet’ – Leanne O’Sullivan: ‘The Station Mass’ – Karl Parkinson: ‘A Love Letter to Reinaldo Arenas’ – Paul Perry: ‘In the Spring of My Forty-First Year’ – Billy Ramsell: ‘Complicated Pleasures’ – Gerard Reidy: ‘Slievemore Deserted Village’ – Maurice Riordan: ‘Badb’ – Mark Roper: ‘Firelight’ – Gabriel Rosenstock: ‘Ophelia an Phiarsaigh’ / ‘Pearse’s Ophelia’ – Colm Scully: ‘What News, Centurions?’ – John W. Sexton: ‘Sixfaces and the Woman of Nothing’ – Eileen Sheehan: ‘My Father Long Dead’ – Peter Sirr: ‘After a Day in the History of the City’ – Gerard Smyth: ‘Taken’ – Matthew Sweeney: ‘I Don’t Want to Get Old’ – Richard Tillinghast: ‘And And And’ –  Jessica Traynor: ‘Scene from a Poor Town’ – John Wakeman: ‘The Head of Orpheus’ – Eamonn Wall: ‘Four Stern Faces/South Dakota’ – William Wall: ‘Alter Ego Quasimodo’ – Grace Wells: ‘Pioneer’ – Sandra Ann Winters: ‘Death of Alaska’ – Joseph Woods: ‘Sailing to Hokkaido’ – Macdara Woods: ‘Fire and Snow and Carnevale’ – Vincent Woods: ‘Homeric Laughter’ – Enda Wyley: ‘Magpie’.

The Deep Heart’s Core

The Deep Heart's Core - Dedalus Press, poetry from Ireland and the world

In The Deep Heart’s Core some 100 Irish poets accept the invitation to revisit a favourite, key or touchstone poem of their own, and offer a short commentary on same — as they might at a live event.

The result is an illuminating, thought-provoking and wholly engaging volume, a unique anthology as selected, and introduced, by the poets themselves, and a rare glimpse into the thinking, feeling and craft behind the finished poems.

The Deep Heart’s Core is both an ideal introduction to contemporary Irish poetry for the general reader and a handbook for the aspiring practitioner or student.

The Deep Heart’s Core — whose subtitle is Irish Poets Revisit A Touchstone Poem — is a work of unbounded riches, and the reader cannot help but be engaged by the wonderful play of poem against prose. There is the sense of a poem bedded down in some other era, the poet as the survivor of the incident who walked away, to find rueful, or blissful, or conflicted memories in the poem’s afterlife, as he,or she, exhumes again for the purposes of the anthology … [A]n essential collection for lovers of contemporary Irish poetry.
— RTÉ TEN


 

THE DEEP HEART’S CORE: LIST OF CONTRIBUTORS

Graham Allen: ‘Military Hill’ – Tara Bergin: ‘This Is Yarrow’ – 
Eavan Boland: ‘That The Science Of Cartography Is Limited’ – Dermot Bolger: ‘While We Sleep’ – Pat Boran: ‘Waving’ – Eva Bourke: ‘Evening Near Letterfrack’ – Heather Brett: ‘Bankrupt’ – Paddy Bushe: ‘After Love’ – Rosemary Canavan: ‘Crab Apples’ – Moya Cannon: ‘Chauvet’ – Ciaran Carson: ‘Turn Again’ – Paul Casey: ‘Exile’ – Philip Casey: ‘Hamburg Woman’s Song’ – Sarah Clancy: ‘Homecoming Queen’ – Michael Coady: ‘Assembling The Parts’ – Enda Coyle-Greene: ‘Metathesis’ – Tony Curtis: ‘Bench’ – Pádraig J. Daly: ‘Complaint’ – Kathy D’Arcy: ‘Probable Misuse Of Shamanism’ – Michael Davitt: ‘Déirc’ / ‘Alms’ – Gerald Dawe: ‘The Water Table’ – John F. Deane: ‘The Poem of the Goldfinch’ – Mary Dorcey: ‘Trying on for Size’ – Theo Dorgan: ‘On a Day Far From Now’ – Cal Doyle: ‘Sirens’ – Martina Evans: ‘The Day My Cat Spoke to Me’ – 
John FitzGerald: ‘The Collectors’ – Gabriel Fitzmaurice: ‘Dad’ – Anne-Marie Fyfe: ‘The Red Aeroplane’ – Matthew Geden: ‘Photosynthesis’ – Rody Gorman: ‘Imirce’ / ‘Bodytransfermigration’ – Mark Granier: ‘Grip Stick’ – Vona Groarke: from ‘Or to Come’ – Kerry Hardie: ‘Life Gone Away is Called Death’ – Maurice Harmon: from ‘The Doll with Two Backs’ – James Harpur: ‘The White Silhouette’ – Michael Hartnett: ‘That Actor Kiss’ – Eleanor Hooker: ‘Nightmare’ – Breda Joy: ‘November Morning’ – Brendan Kennelly: from ‘Antigone’ – Patrick Kehoe: ‘The Nearness of Blue’ – Helen Kidd: ‘Sunspill’ – Noel King: ‘Black and Tan’ – Thomas Kinsella: ‘Marcus Aurelius’ – Jessie Lendennie: ‘Quay Street, Galway’ – John Liddy: ‘Scarecrow’ – Alice Lyons: ‘Arab Map of the World With the South at the Top’ – Aifric MacAodha: ‘Gabháil Syrinx’ / ‘The Taking of Syrinx’ – Jennifer Matthews: ‘Work Out’ – John McAuliffe: ‘Today’s Imperative’ – Joan McBreen: ‘My Father’ – Thomas McCarthy: ‘The Garden of Sempervirens’ – Philip McDonagh: ‘Water is Best’ – Afric McGlinchey: ‘Do not lie to a lover’ – Iggy McGovern: ‘Knight Errant’ – Medbh McGuckian: ‘Aunts’ – John Mee: ‘Travel Light’ – Paula Meehan: ‘The Moons’ – John Moriarty: ‘Faust’ – Aidan Murphy: ‘Touching Parallels’ – Gerry Murphy: ‘Poem in One Breath’ – Madelaine Nerson Mac Namara: ‘Atlas’ – Caitríona Ní Chléirchín: ‘Feiliceán bán’ / ‘White butterfly’ – Nuala Ní Chonchúir: ‘Tatú’ / ‘Tattoo’ – Eiléan Ní Chuilleanáin: ‘The Copious Dark’ – Ailbhe Ní Ghearbhuigh: ‘Deireadh na Feide’ / ‘Last Blast’ – Áine Ní Ghlinn: ‘Tú Féin is Mé Féin’ / ‘Yourself and Myself’ – Doireann Ní Ghríofa: ‘From Richmond Hill’ – Mary Noonan: ‘The Moths’ – Julie O’Callaghan: from ‘Edible Anecdotes’ – Eugene O’Connell: ‘Doubting Thomas’ – John O’Donnell: ‘The Shipping Forecast’ – Mary O’Donnell: ‘The World is Mine’ – Bernard O’Donoghue: ‘The Iron Age Boat at Caumatruish’ – 
Liz O’Donoghue: ‘Suspended Animation’ – 
Mary O’Donoghue: ‘My Daughter in Winter Costume’ – Sheila O’Hagan: ‘September the Fourth’ – Nessa O’Mahony: ‘Lament for a Shy Man’ – Mary O’Malley: ‘The Gulls at Fastnet’ – Leanne O’Sullivan: ‘The Station Mass’ – Karl Parkinson: ‘A Love Letter to Reinaldo Arenas’ – Paul Perry: ‘In the Spring of My Forty-First Year’ – Billy Ramsell: ‘Complicated Pleasures’ – Gerard Reidy: ‘Slievemore Deserted Village’ – Maurice Riordan: ‘Badb’ – Mark Roper: ‘Firelight’ – Gabriel Rosenstock: ‘Ophelia an Phiarsaigh’ / ‘Pearse’s Ophelia’ – Colm Scully: ‘What News, Centurions?’ – John W. Sexton: ‘Sixfaces and the Woman of Nothing’ – Eileen Sheehan: ‘My Father Long Dead’ – Peter Sirr: ‘After a Day in the History of the City’ – Gerard Smyth: ‘Taken’ – Matthew Sweeney: ‘I Don’t Want to Get Old’ – Richard Tillinghast: ‘And And And’ –  Jessica Traynor: ‘Scene from a Poor Town’ – John Wakeman: ‘The Head of Orpheus’ – Eamonn Wall: ‘Four Stern Faces/South Dakota’ – William Wall: ‘Alter Ego Quasimodo’ – Grace Wells: ‘Pioneer’ – Sandra Ann Winters: ‘Death of Alaska’ – Joseph Woods: ‘Sailing to Hokkaido’ – Macdara Woods: ‘Fire and Snow and Carnevale’ – Vincent Woods: ‘Homeric Laughter’ – Enda Wyley: ‘Magpie’

 

 

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Groundswell: An Interview with Patrick Deeley

Patrick Deeley. Dedalus Press, poetry from Ireland and the world

Patrick Deeley shares his thoughts on poetry with Aoife Byrne, following the publication of Groundswell, his New and Selected Poems

(Interview first published in July 2013)


Do you have a particular method of writing?

Each collection seems to tie in with a particular period of five or six years in my life. I have to live a bit, to gather fresh experiences as raw materials for poems. So for example the new work in Groundswell, recently published, has to do with my ongoing preoccupations – landscape that’s both rural and urban, stories from history and modernity, meditations on nature and folklore – but now as well there are poems that dwell on ageing, on art and music, on the sustaining of love over time and on the nourishment that comes from a long-lasting love. These themes have come more and more to the forefront.

“I write mainly at night. I enjoy the quietness. The poem often starts with an image, and I build on this and see where it goes.”

I love the physicality of being in the world. I plunge in. Images come of that sensual engagement, but then there’s narrative as well.  If I’m lucky the poem gathers to some kind of earned wisdom or insight. After the rush of the initial draft I have a fair idea whether there’s something worth keeping or not. Then I edit. This job of editing is about as much fun as trying to extract a thistle thorn from your finger with a sewing needle – but crucial if the poem is to have a chance.

Groundswell: New and Selected Poems. Patrick Deeley
Groundswell: New and Selected Poems. Patrick Deeley
How has growing up in Ireland influenced your poetry?

I spent my childhood in rural East Galway in the late 1950s and early 1960s. My father was mad about machines and timber.  He had a sawmill and a carpentry workshop where he made all manner of things – hurleys, furniture, cartwheels, farm implements, even coffins at one stage. I loved watching him shaping wood. My mother as well as being a home-maker did much of the farming.  Part of the farm consisted of a Callows or wetland meadow, with its own specialised flora and fauna.  I skived off there just to avoid work. Both the beauty and solitude grew on me, and influenced my poems, later – I saw nature in its raw state, up close, at first hand. But the skills my father possessed, and the lives of local people who lived round about us, and their colloquial speech, also chimed with me when I began to write.

My grandmother made ballads. Seumas O’Kelly, a relation of my father’s, wrote the highly regarded novella, The Weaver’s Grave. But there were few books in our house. My parents were pragmatic.  They worked hard. They loved talk, the oral tradition. I began to write only after I’d moved to Dublin to train as a teacher.  The home place and the memories came back to me unsentimentally. I enjoyed the quickness and the freedom of city life, and that also has shaped my poems. I still return to County Galway every so often, to meet my family. It’s the trigger of childhood memories, but when I splice these with later experiences and events from the present the poem happens out of that.

Landscape is sometimes still the spur, but I’m more interested in how we’ve harnessed and transformed it. My own memories, as well as more general notions about the primordial, can work as a starting point, but the poem must catch and connect the old world up with the possibilities of now.  That, for me, is the challenge and the excitement. Somebody remarked that you have to keep glancing around and behind you while reading my poems. I like the implication, the ghost lurking in the machine of the poem at any moment liable to jump out.

Are there any particular themes that, as a poet, you feel compelled to write about?

Yes. To do with nature, but not simply as nature poems, more a case of how we impact on the earth and how the earth impacts on us. Groundswell: New and Selected has five sections and these sections have themes in common as well as specific themes of their own. In the first section, ‘The Hidden Village’, I address my early life and the lives of my neighbours in Foxhall, the townland where I was born.

In ‘King of the Wood’, trees are the compulsion, for themselves and for the myths and folktales associated with them. These are frequently given a modern twist or written at a slant. My father lost his life in a tree-felling accident, and maybe it was a working out of grief at what had happened that brought me to face up to trees, their beauty and their versatility, their panoply of legends and their mystery, and the sense of loss I felt for my father, with his sawmill and workshop and the machines and implements he had put his hand to left behind as a reminder of him.

In ‘The Flowing Bones’ section I examine aspects of the earth and its creatures at ground level, to find out what makes them tick, and I focus more on city life as well as on the increasing urbanisation of rural Ireland over the past decade or so.

In the fourth section, ‘Fear Bréige’, I’m having a lash at the recent economic disasters that befell our country – using as catalyst a rudimentary scarecrow or ‘Fear Bréige’ who finds himself in Dublin, living with some builders and made to serve as an ineffectual witness of the entire boom and bust.

And in Groundswell, the substantial batch of new poems that comprise the fifth section of the book, well… I’ve talked about some of the themes there earlier.

Has your idea of poetry changed since you started writing?

“I think poetry – the reading and the writing of it – helps to enrich and develop our consciousness.”

In my classroom in Ballyfermot when I was a teacher I encouraged the children to write poems in their own language and out of their own experience, for precisely this sense of personal enrichment – not just in terms of vocabulary but because poetry helps expand our ‘creative space’, where alternative possibilities in the way we live our lives can occur to us.

For my own part, each poem is always a beginning, a shot in the dark. It’s a more studied undertaking now, less fun perhaps because I’m trying to ratchet it up in terms of stretching the language as fully as I can, and deepening the layers of meaning or potential meaning, and aiming for beautiful expression always, even when the world the poem confronts is distasteful or unfair or considered ugly. I hope that the ‘argument’ in my poems has caught up with the imagery, that the wonder remains, and that the payoff for the reader is in finding more pleasure, greater reward in reading the poems.

Do you think that the core ingredient of a poem is that it should be read aloud in order to be fully appreciated?

It depends on the poem, I think. Some poems are slow-burn, and need a good mulling over. Others demand the carry of the air. Others still may fit both forms of presentation. People who attend poetry readings often say that the poem read aloud by the poet enables them to appreciate it more. But then, reading poems aloud to an audience is its own knack, one that not every poet can manage effectively.

What do you think constitutes a successful reading?

A big and happy crowd held spellbound by a poet performing at the top of his or her powers?

Are there any other poets to whose work you continually return?

“There are several poets I admire, but what I tend to do is return to certain poems which I consider to be great and which I never tire of reading.”

I admire the way Hopkins mints a language to match his restless search, and the passion of John Donne expressed with tremendous technical excellence. The pure vulnerability of Theodore Roethke appeals to me, his lyricism hitting the spot, taking you there.  I met him once, when I was a child. He bought drinks for my father and the other men in John Joe Broderick’s pub in Kilrickle.

What are you reading at the moment?
The Bones of Creation

I’m reading Making Way, a novel by Theo Dorgan, and Savage Solitude, a book about the nature of being alone, by Máighréad Medbh.  I’m also reading current issues of The Stinging Fly, Poetry Ireland Review and The Shop – but not just because I happen to have poems in them!

Are there any creative mediums that you’d like to pursue that you haven’t yet?

Recently I took early retirement from the job of primary school principal in order to devote more time to writing. Memoir interests me. At some stage I’d like to write about my father’s life – spent, as he would have it, “following tractors and various other contraptions”. I’ve had works of fiction for young people published by O’Brien Press, and if or when the poems leave me alone I may go back to that.

Which other contemporary Irish writers do you admire?

I admire far too many contemporary Irish writers to even begin to mention just a few.

Do you often find yourself in the company of other poets? If so, how do you think this might influence your work?

I don’t often meet other poets, except at the occasional book launch or festival. I never discuss my work with them – apart from with my editor, Pat Boran – nor do they discuss their work with me. I do feel that we recognise each other’s struggle, however, and the odd word of praise back or forth for work published does matter, especially from someone whose own work you admire.

Do you think the reading public has any preconceptions about poetry? If so, do you think that they are correct presuppositions?

The poetry reading public is small but passionate about poetry. I really don’t know what presuppositions there may be out there generally or even among poetry followers, but people who attend poetry readings seem well informed about the contemporary scene. What I would hope for are more informed anthologists, some of whom seem led by media perceptions of ‘who matters’ and ‘whose work is important’.  I would in common with other poets also welcome more space for reviews and critical attention for poetry.

Do you use the Internet to find new poetry? If so, where do you go?

I go to various sites including that of The Munster Literature Festival and The Irish Literary Times.  Naturally I go to the Dedalus Press website for their ‘Poem of the Month’ and to see what’s up.  I often use the Internet to locate the work especially of the poets of old, when I can’t find their poems in books, but I still buy a fair amount of poetry books.  I’ve a roomful of them, going back over thirty years.

What about some advice for aspiring Irish poets?

Apart from the obvious things such as persevering at the craft and reading the work of proven poets, I’d say follow your own path, but with an open mind and out of an emotional imperative.

What is it about poetry in particular that attracts you as a writer?

“Writing poems helps me to stay open to the world. I enjoy the pressure it puts me under, and the pleasure when the poem catches fire. It’s a solitary task and while I tend to be gregarious the solitariness of poem-making draws me in.”

As a child looking at nature, I often fell into a trance. People say of the new poems in Groundswell that the wonder is still there. The poems help me come to terms with things, in a sense preserve the experiences and the wonder. Writing poems is for me an affirmation of the world and of my place in it.  And the world, for all its faults and failings, deserves to be sung – passionately, beautifully, even in the cracked voice of a poet.

3 Poems from Groundswell: New and Selected Poems

Monkey-Puzzle

 

Again we find ourselves carried away by the thought
of having discovered each other. And in
your garden now this monkey-puzzle, fossil mother
of suburbia, suggests South America.
Wild, we both say, in the parlance of today
or yesterday. Except it all started ages ago – the way
we talked to beat the band, the love play
we wanted to make before the diplodocus that peeped
shyly round a tree could be taken for a common
streetlamp, the blundering brontosaurus
trembling hedge and tarmac become – in a heartbeat
or a time-slip – our last bus back, the one
we might run to catch or contrive to miss on purpose.

 

Birdsong

 

Perspectives through sound: a blackbird’s
oath, sworn from a chimney-stack;
the mellifluous coos of woodpigeons
conjuring sunbeams amid high ivy clusters;
a robin’s pipe, happening to approve
of cotoneaster berries. But if the tremulous,
piercing notes of the thrush
are expansions of space and time, rolling me
wide and far, I still hear the magpie’s
screeched assertion from a wall overlooking
the covered-in quarry, that all was
winter yesterday, was stone the day before.

 

Groundswell

 

Apollo did the dirt, slew poor old serpent god Python,
whose corpse gradually decomposed – the smell,
initially horrible, had tempered itself by the time
the Sibyl breathed it in, and was now an entrancing perfume.

Rubbish, say the experts, that Delphic whiff
was naturally occurring ethylene. But what a gas, still,
what prophecies came to shape the destinies
of peasants and kings trying to live up or down to them.

And if my wetlands will-o’-the-wisp must turn
to methane, or luminosities glissading my skin as I rise
from the turlough are to pass for algal
fluorescence, they’ve long since exerted their influence.

Here is ground and groundswell, fit matter
for a day’s dalliance or a lifetime spent deliberately looking.
Here we speak to each other because of the river –
not the fact of the river but the mood it pushes,

the clay-coloured flood so deep the heron must step
aside from it, the water-hen retreat under St. Patrick’s cabbage.
And, fresh as Hopkins saw it, ‘Kingfishers catch
fire’, their orange bellies flaring from a blue-plumed bush.

 ***

See Groundswell: New and Selected Poems

If Ever You Go: A Map of Dublin in Poetry and Song

If Ever You Go, A Map of Dublin in Poetry and Song - Dedalus Press, poetry from Ireland and the world

The best-selling 400 page anthology of Dublin poems and songs is the ideal guide to its famous streets broad and narrow.

“[A] map of the city’s imagination
” — Evening Herald

“A hugely valuable anthology, full of sustenance for the heart and soul.” — RTÉ TEN

If Ever You Go: A Map of Dublin in Poetry and Song is a major (400-page) verse anthology from Dedalus Press in which editors Pat Boran and Gerard Smyth present a unique invitation to explore, street by street, one of the world’s most famous literary cities through the poems and songs it has inspired down the ages.

A virtual tour of the city and environs, If Ever You Go takes the reader on a journey through Dublin city streets broad and narrow, featuring verse both familiar and new, historical and contemporary, by writers whose work adds up to an intimate and revealing portrait of a place and its people. Contributors include poets already synonymous with the city — Swift, Yeats, Joyce, Beckett, Clarke and Kavanagh among them — as well as a host of others, including Kinsella, Heaney, Boland, Bolger and Meehan, who have made some part of it their own. (See complete list of contents below)

Street singers and balladeers rub shoulders with haiku and performance poets in an anthology that has its heart set on the very streets we live and work and play on. Groundbreaking in its reach, celebratory in its outlook, If Ever You Go is a record of the connections and epiphanies, the missed chances and last buses that knit all of the streets outside our doors into a map of a city where poetry truly matters.

“If Ever You Go is one of the best publishing ideas in decades and a particular delight for those whose souls, for better or worse, are rooted in the city and its past.” — Dublin Review of Books

Special Collector’s Edition (limited to 50 copies only)
A Collector’s Edition of this If Ever You Go: A Map of Dublin in Poetry and Song is also available. Casebound, on munken pure paper, thread sewn, with ribbons, Wibalin endpapers and binding, the edition is limited to 50 numbered copies only, signed by both editors. An ideal gift or collector’s copy, there are a small number still available.


The following is the complete list of poets and poems included in the book:

1. LIFFEYSIDE

from The Mourning Muse of Thestylis — Lodowick Bryskett / 3
Liffeytown — Eavan Boland / 3
from Stella at Wood Park … — Jonathan Swift / 4
Belts — Rudyard Kipling / 5
Liffey Bridge — Oliver St John Gogarty / 7
Dublin — Louis MacNeice / 7
In the City — Rhoda Coghill / 9
Faoileán Drochmhúinte / Ill-mannered Seagull — Máirtín Ó Direáin / 10
Dickey and the Yeomen — Michael J Moran (Zozimus) / 11
Isolde’s Tower, Essex Quay — Moya Cannon / 12
Down by the Liffeyside — Peadar Kearney / 13
Wood Quay — Pádraig J Daly / 14
Liffeyside Bookbarrow — Michael Smith / 15
A Chalk Venus on Eden Quay — Daniel Tobin / 15
Liffey Bridge — Denis Devlin / 16
Ormond Quay — Tomas Venclova / 18
from The Return — John Francis O’Donnell / 19
Children — Pat Boran / 20
The Twang Man — Anonymous / 21
A Closing Scene — Gerard Smyth / 22
Dublin Jack of All Trades — Anonymous / 23
House on Usher’s Island — Gerard Smyth / 24
Aston Quay: January 2008 — Macdara Woods / 25
Haiku — Anatoly Kudryavitsky / 26
Ha’penny Bridge — Pat Boran / 26
Perversion at the Winding Stair Bookshop & Café — Alan Jude Moore / 27
Lannaigh Faoi Dhroichead Uí Chonaill /
Mullet Under O’Connell Bridge — Gabriel Rosenstock / 27
After Reading J. T. Gilbert’s ‘History of Dublin’ — Denis Florence MacCarthy / 29
New Liberty Hall — Austin Clarke / 29
On First Looking Onto the Samuel Beckett Bridge — Tony Curtis / 30
Liffey Swim — Jessica Traynor / 32

2. NORTHSIDE

Easter 1916 — William Butler Yeats / 35
Imperial Measure — Vona Groarke / 37
O’Connell Street — Francis Ledwidge / 39
Statue — Paddy Bushe / 40
Dream Song 321— John Berryman / 40
Fód an Imris: Ard Oifig an Phoist 1986 / Trouble Spot: General Post Office 1986 — Máire Mhac an tSaoi / 41
Nelson’s Pillar — Richard Murphy / 44
Post Colonial — Willa Murphy / 44
Dublin Honeymoon — Frank Ormsby / 46
Plane — Vona Groarke / 46
Sráid an Amhrais / Disillusion Street — Michael Davitt / 47
Dublin — Thomas McCarthy / 48
Dublin Spire — Dave Lordan / 48
The Spire (10 Years On) — Pat Boran / 50
William Butler Yeats, in Old Age, Meets Maud Gonne
MacBride in O’Connell Street — Evangeline Paterson / 51
The Volta — John O’Donnell / 52
The Uniform — Gerry McDonnell / 53
Searmanas na Feola / Rites of the Flesh — Biddy Jenkinson / 53
City Dweller — Christy Brown / 55
Love Letter to My Henry St. Dealer — Keith Payne / 56
On Hearing of the Death of Gerald Davis — Fred Johnston / 57
Flute-fixing in McNeill’s of Capel Street — Nessa O’Mahony / 58
Parnell Street — Michael O’Loughlin / 59
In North Great George’s Street — Seumas O’Sullivan / 61
At the Gate Theatre — Derek Mahon / 61
Municipal Gallery Revisited — William Butler Yeats / 62
Francis Bacon at the Hugh Lane Gallery — David Butler / 65
Matt Talbot, 1856–1925 — Dermot Bolger / 66
In Memory of Those Murdered in the Dublin Massacre, May 1974 — Paul Durcan / 67
from The Week-end of Dermot and Grace — Eugene R. Watters / 68
Remembrance Day, Sean McDermott St. — Hugh O’Donnell / 69
Dicey Riley — Anonymous / 69
Buying Winkles — Paula Meehan / 70
Dublin Town — Damien Dempsey / 71
Oíche / Night — Cathal Ó Searcaigh / 72
Nelson Street — Seumas O’Sullivan / 74
Charleville Mall Sestina — Michael Hartnett / 75
The Piper’s Club — Ulick O’Connor / 76
Summerhill Moon — Jessica Traynor / 77
Dublin Girl, Mountjoy Jail, 1984 — Dermot Bolger / 78
Condemned — James J McAuley / 79
Temple Street Children’s Hospital — Dermot Bolger / 80
Eccles Street, Bloomsday 1982 — Harry Clifton / 81
Daily Bread — Philip Casey / 83
North Brunswick Street Lullaby — John McAuliffe / 83
The Early Houses — Harry Clifton / 84
The Dead and the Undead of St Michan’s — John F Deane / 85
Smithfield Saturday — Nessa O’Mahony / 85
Lines Written on the Burying-Ground of Arbour Hill … — Robert Emmet / 86
The Parkgate Book of the Dead — Aidan Murphy / 88
Ode to the Phoenix Park — Karl Parkinson / 89
Epigram on the New Magazine Fort in Phoenix Park — Jonathan Swift / 90
Magazine Hill — Harry Clifton / 90
from At the Polo-Ground — Samuel Ferguson / 91
The Zoological Gardens — Anonymous / 93
Beacons at Bealtaine — Seamus Heaney / 94
Wellington Testimonial — Richard Murphy / 94
Making Love Outside Áras an Uachtaráin — Paul Durcan / 95
Daisy Chain — Noel Duffy / 96
Tilly — James Joyce / 97
1941 (North Strand) — Alan Jude Moore / 98
Elegy for Donal McCann — Betty Thompson / 98
Croke Park — Theo Dorgan / 99
Herself and Himself — Brendan Kennelly / 100
East Road, East Wall — Macdara Woods / 100
Fairview Park: 6 a.m. — Michael Hartnett / 104
Cycling to Marino — Mairéad Byrne / 105
Stardust Sequence — Dermot Bolger / 107
The Battle of Clontarf: Address of Brian to his Army — William Kenealy / 109
Dublin Bay — Eithne Strong / 109
Kiss — Maurice Scully / 110
from Lament for the Bull Island — Kevin Faller / 111
Touchdown — Pat Boran / 112
Drumcondra Bridge — Dermot Bolger / 113
1968 — Maurice Scully / 113
Cross Guns Bridge — Valentin Iremonger / 114
Leinster Street — Dermot Bolger / 115
The Botanic Gardens — Jean O’Brien / 116
Holotropic Botanicus —Dermot Bolger / 116
First Poem — Brian Lynch / 117
Glasnevin Cemetery — Michael O’Loughlin / 118
Elvis in Glasnevin — Brian Lynch / 120
Glasnevin North — Alan Moore / 120
Other People’s Grief — Dermot Bolger / 121
The Song of Dermot and the Earl — Anonymous / 122
Motorway Daffodils — Máiríde Woods / 122
Finglas, 1979 — Dermot Bolger / 123
Stony, Grey, Soiled — Colm Keegan / 124
The Smock Race at Finglas — James Ward / 125
My Father Perceived as a Vision of St Francis — Paula Meehan / 125
Fingal Driving Range — Dermot Bolger / 127
‘A Man is Only as Good’ — Pat Boran / 127
Grange Abbey, Donaghmede — Catherine Ann Cullen / 128
Station Road, Sutton — Pat Boran / 129
Moladh Bhinn Éadair / In Praise of Howth Head — Anonymous / 129
Ar Thrá Bhinn Éadair / On the Strand of Howth — Pádraig Pearse / 131
Beautiful Lofty Things — William Butler Yeats / 135
Seo Anois Linn / Here We Go Now — Liam Ó Muirthile / 135
Haute Couture — Katherine Duffy / 137
The Baily Lighthouse — Dermot Bolger / 138
Feltrim Hill — Patrick MacDonogh / 138
Vigil — Theo Dorgan / 139
High Tide at Malahide — Oliver St John Gogarty / 140
Hedgehog — Enda Coyle-Greene / 140
Place Names — Pat Boran / 142
You’ve been this way before — Enda Coyle-Greene / 143

3. SOUTHSIDE

Bewley’s coarse brown bread (unsliced) — Brendan Kennelly / 147
Bewley’s Oriental Café, Westmoreland Street — Paul Durcan / 148
Gerard Depardieu in Eustace Street — Betty Thompson / 149
Dublin, You’re a Bitch — John McNamee / 150
Hawkins Street — Enda Coyle-Greene / 151
Trinity New Library — Eiléan Ní Chuilleanáin / 152
Visiting The Book of Kells in the Trinity College Library — Rosemary Canavan / 153
The Long Room Gallery — Julie O’Callaghan / 153
Molly Malone (Cockles and Mussels — James Yorkston / 154
Molly Malone — Paula Meehan / 155
To the Pen Shop — Thomas Kinsella / 156
Morning on Grafton Street — Micheal O’Siadhail / 158
Summer in Dublin — Liam Reilly / 159
Mother and Daughter in Bewley’s Café — Anne Haverty / 160
Grafton Street / Grafton Street — Pádraig Ó Snodaigh / 161
Dublin — Phil Lynott / 162
The List (A Letter to Phil Lynott) — Jordi Pujol Nadal / 163
A Neary’s Afternoon — James Liddy / 164
Going to the Gaiety — Sheila O’Hagan / 165
‘shiver in your tenement’ — Derek Mahon / 166
St Teresa’s—Clarendon Street — Ted McNulty / 167
Gulliver in Dublin — Gerald Mangan / 168
Dublin in July — Ben Howard / 170
A Photograph of Fade Street, Dublin, 1878 — Mark Granier / 170
The Beau Walk of St Stephen’s Green — Thomas Newburgh / 171
The Death in Dublin by Fire of Six Loreto Nuns — John McNamee / 172
At the Shelbourne — Derek Mahon / 173
Hopkins in Newman House — Sheila O’Hagan / 174
The Dolls Museum in Dublin — Eavan Boland / 175
Three Paintings of York Street — Paula Meehan / 177
Machines — Pat Boran / 179
The National Museum of Ireland — Sorley MacLean / 180
In a Dublin Museum — Sheila Wingfield / 182
Frost Moving — Gerard Fanning / 183
French Exam, Alliance Française — Gréagóir Ó Dúill / 183
The Natural History Museum — Padraig Rooney / 184
A Child’s Map of Dublin — Paula Meehan / 185
If Ever You Go to Dublin Town — Patrick Kavanagh / 187
Sketch of a Dubliner — John Sheahan / 189
Baggot Street Deserta — Thomas Kinsella / 190
Merrion Square: A Descriptive Poem — Maurice Craig / 193
The Washing of Feet — Pat Boran / 195
The National Gallery Restaurant — Paul Durcan / 196
Merrion House Sestina — Pat Boran / 196
Westland Row — Thomas Kinsella / 198
Holles Street — Mairéad Byrne / 198
from Home — Winifred M. Letts / 200
The Impact — Leeanne Quinn / 201
A Reason for Walking — Pat Boran / 202
From Mount Street Bridge — Mark Granier / 203
Waiting in the Eye and Ear Hospital on Christmas Eve — Stephen Kennedy / 203
Trees that Lead to You — Enda Wyley / 204
from The Undergraduate — Maurice Harmon / 205
Ely Place — Thomas Kinsella / 206
Herbert Street Revisited — John Montague / 208
Dublin, Dublin — John F Deane / 210
You never saw a bed-end in a Protestant fence — Eiléan Ní Chuilleanáin / 210
The Huguenot Graveyard at the Heart of the City — Eavan Boland / 211
Camden St. — Tom Mathews / 213
Mrs. Katherine Dunne, Street Trader, Camden Street, Dublin, Died March 1983 — Leland Bardwell / 213
Construction — Trevor Joyce / 214
Meeting at the Chester Beatty — Catherine Ann Cullen / 215
Essex Street — Peter Sirr / 217
The Ring — Ted McNulty / 218
In The Brazen Head — Gerard Smyth / 219
The Messiah — John Ennis / 219
All That is Left — Gerard Smyth / 221
from Sonnets to James Clarence Mangan — David Wheatley / 222
Viking Dublin: Trial Pieces — Seamus Heaney / 223
Clearing a Space — Brendan Kennelly / 226
Dublin City (aka The Spanish Lady) — Anonymous / 227
A Son! A Son! — Harry Clifton / 229
Madly Singing in the City — Peter Sirr / 230
Eyrie, Christ Church Place — Clairr O’Connor / 231
The View from St Augustine Street — Gerard Smyth / 232
The Fall — Fergus Allen / 233
The Hot Bread of St Catherine’s — Gerard Smyth / 235
Scene with Lights: Thomas Street — Pádraig J. Daly / 235
Vicar Street Flats — Pádraig J. Daly / 236
Dick King — Thomas Kinsella / 236
Golden Lane — Gerard Smyth / 238
Long Lane — Michael Smith / 239
Notebook Shop — Enda Wyley / 239
Houses off Francis Street — Pádraig J. Daly / 240
The Old Jockey — FR Higgins / 241
The Song of Zozimus — Michael J Moran (Zozimus) / 241
Night Walk — Paula Meehan / 242
Walls: John’s Lane 1978 — Pádraig J Daly / 243
Street Games — Austin Clarke / 244
Peter Street — Peter Sirr / 244
Burial of an Irish President — Austin Clarke / 245
Sráid na gCaorach — Peter Sirr / 246
Clanbrassil Street — Joseph Woods / 247
Heytesbury Lane — John Boland / 248
A Carol for Clare — Gerard Fanning / 249
Pride of Pimlico — Arthur Griffith / 249
A Parable of Pimlico — Brendan Kennelly / 250
The Jewish Museum in Portobello — Seán Dunne / 251
On the Crest of the Bridge at Portobello — Pearse Hutchinson / 252
Enueg I — Samuel Beckett / 253
Madman. Twilight. Portobello Bridge — Tom Mathews / 255
Black Ball Gown — Eileen Casey / 255
Little Back Streets of Dublin — Liam Ryan / 257
A Writer’s Farewell — Francis Stuart / 258
Islandbridge — Gerard Smyth / 259
from Mnemosyne Lay in Dust — Austin Clarke / 260
The Hunt — Peter Sirr / 260
Kilmainham Gaol, Dublin, Easter 1991 — Theo Dorgan / 262
Rehearsal for a Presidential Salute at the Irish Museum of Modern Art (IMMA) … — Hugh O’Donnell / 263
Bully’s Acre — Enda Wyley / 264
Inchicore, Early Autumn, 1986 — Philip Casey / 265
from Inchicore Haiku —Michael Hartnett / 266
The House on Jamestown Road — Neil Donnelly / 267
38 Phoenix Street — Thomas Kinsella / 268
Paper Mill Heartland — Paul Murray / 270
Procession — Kevin Byrne / 270
Opening the Door — Robert Greacen / 272
Dart Journey — Paddy Glavin / 273
An Evening in Booterstown — Gerard Fanning / 274
Booterstown — Frank McGuinness / 274
He tells me I have a strange relationship — Ailbhe Darcy / 276
The Humours of Donnybrook Fair — Anonymous / 277
Dublin 4 — Seamus Heaney / 279
Lines Written on a Seat on the Grand Canal, Dublin — Patrick Kavanagh / 279
In Vavasour Square — Brian Lynch / 279
Marlborough Road — Enda Wyley / 280
Morehampton Road — Frank McGuinness / 282
Begin — Brendan Kennelly / 283
On Raglan Road — Patrick Kavanagh / 284
Raglan Lane — Brendan Kennelly / 285
Ringsend — Mark Granier / 286
Ringsend — Oliver St John Gogarty / 287
Haiku — Anatoly Kudryavitsky / 288
The Ringsend Ferry — James J McAuley / 288
Gas Light & Coke — Fergus Allen / 289
At the Irishtown Dump — John Ennis / 290
Scything Nettles in Churchyards — Francis Devine / 292
The Shellybanks — Rory Brennan / 293
The Waxies Dargle— Anonymous / 295
Sketch from the Great Bull Wall — Sebastian Barry / 296
from The End of the Modern World— Anthony Cronin / 297
Sandymount Now — Valentin Iremonger / 298
When the Dust Settles — Catherine Phil MacCarthy / 298
The Strand — Seamus Heaney / 299
Dumhach Thrá / Sandymount — Marcus Mac Conghail / 299
Doctors, Daughters — Mary O’Donnell / 300
The Stillorgan Road — Frank McGuinness / 301
Refusals — Pearse Hutchinson / 302
Shades of Ranelagh: 1984 — Macdara Woods / 303
47 Sandford Road — Peggy O’Brien / 304
Cinéma Vérité — Patrick Deeley / 306
The Leinster Road — John Boland / 307
A Short Walk — Peter Sirr / 308
Flatland — Dennis O’Driscoll / 309
‘One Night I’ — Tom Mathews / 310
An Ghrian i Ráth Maonais / The Sun in Rathmines — Michael Davitt / 310
Wet Morning, Clareville Road — Eamon Grennan / 311
The Dartry Dye Works — Fergus Allen / 314
Walking in Yellow Leaves — Hugh McFadden / 316
To the Oaks of Glencree — John Millington Synge / 317
Casimir Road — Alan Moore / 318
When I Think of You — Hugh McFadden / 320
Landmarks — Basil Payne / 320
Local Nightlight — Hugh McFadden / 321
Waking — Hugh Maxton / 321
Milltown Road — Derry Jeffares / 322
from Clonskeagh Haiku — Iggy McGovern / 323
Mo Thaibhse / My Ghost — Máirtín Ó Direáin / 324
Language Lessons in a Churchtown Chipper — Nessa O’Mahony / 325
Dublin Tramcars — Thomas McDonagh / 326
Transformations — George William Russell (‘AE’) / 327
Rathgar Pastoral — Patrick Deeley / 327
Midnight in Templeogue — Austin Clarke / 328
The Quaker Graveyard in Blackrock — Gerard Smyth / 329
Willow Park Winter — James McCabe / 329
One Who Was Not Invited to the Opening of the Joyce Tower Complains Bitterly — John Jordan / 331
Tai Chi at Sandycove — Gerald Dawe / 332
Haiku — Anatoly Kurdyavitsky / 332
Dip — Katie Donovan / 332
Deansgrange Cemetery — Jean O’Brien / 333
Dublin Roads — Padraic Colum / 334
The New Luas Bridge in Dundrum — Iggy McGovern / 337
The View from Dundrum — Iggy McGovern / 337
Radharc Ó Chában tSíle / The View from Cabinteely — Nuala Ní Dhomhnaill / 338
Bluebell — Patrick Deeley / 339
Thanksgiving — Katharine Tynan / 341
Clondalkin Concrete — Leland Bardwell / 341
Jesus of Clondalkin — Dermot Bolger / 342
In Memory of Veronica Guerin — Billy Ramsell / 343
Common Ground — Declan Collinge / 344
The Globe on Captain’s Road — Terri Murray / 345
Father and Son 1966 — Declan Collinge / 346
Funeral Games — Patrick Glavin / 347
Them’s Your Mammy’s Pills — Leland Bardwell / 348
Warriors — Eileen Casey / 350
The Bingo Bus — Leland Bardwell / 351
In the Spring of My Forty-First Year — Paul Perry / 353

See also: http://www.onedublinonebook.ie/books/if-ever-you-go/

Nine Bright Shiners

Nine Bright Shiners by Theo Dorgan. Dedalus Press, poetry from Ireland and the world

At the heart of Theo Dorgan’s 2014 collection is a sequence of elegies that reflect on early and recent deaths, from the loss of his infant sister to that of a contemporary by suicide. These are poems from a broken world.

The book is unflinching in facing up to death and the poet’s own mortality, but these dark meditations are framed by, subsumed into, whole-hearted celebrations of love, life, art and voyaging.

“While Nine Bright Shiners contains many elegies then, it also contains some of the most moving and beautiful love poems written by any poet writing in English over the last few decades.”
— Philip Coleman, Dublin Review of Books


ISBN 978 1 906614 98 0 Paperback
140 x 216 mm, 144 pp
2014

Flowing Still

Flowing Still: Irish Poets on Irish Poetry. Dedalus Press, poetry from Ireland and the world

Subtitled ‘Irish Poets on Irish Poetry’, Flowing Still is a prose survey of just over a century of Irish verse by some of its best known practitioners.

A decade on from the major anthology Watching the River Flow (Poetry Ireland / Éigse Éireann, 1999), Dedalus Press reissues the ten introductory essays from that book, by some of the best-known names in contemporary Irish poetry (Eavan Boland, Ciaran Carson, Seamus Heaney, Thomas Kinsella, Michael Longley, John Montague, Eiléan Ní Chuilleanáin, Nuala Ní Dhomhnaill, Bernard O’Donoghue and Cathal Ó Searcaigh) bringing the survey up to the present day with the addition of essays by Pat Boran, Theo Dorgan, Eamon Grennan and David Wheatley, as well as an informed outsider’s view of the subject by distinguished American poet, now resident in Ireland, Richard Tillinghast.

Flowing, Still: Irish Poets on Irish Poets is an ideal introduction to the subject of recent Irish poetry, both for students and the general reader alike.


ISBN 9781904556041 Paperback
216 x 140 mm, 194 pp
Feb 2008

Shine On

Shine On. Edited by Pat Boran. Dedalus Press, poetry from Ireland and the world

Shine On is a major anthology of prose and poetry in support of those affected by mental ill health. Edited and introduced by Pat Boran, and with a Foreword by Miriam O’Callaghan, this wide-ranging volume is a fascinating overview of Irish writing now, as well as a heartfelt and generous response to the challenges faced by so many members of our society, not least in the present dark and difficult times.

“A monumental and enlightening collection of writers coming together for a worthy cause” — Books Ireland

CONTRIBUTORS

Alex Barclay * Leland Bardwell * Kevin Barry * Sara Berkeley * Dermot Bolger * Pat Boran * Colm Breathnach * Paddy Bushe * Philip Casey * Harry Clifton *  Michael Coady * Evelyn Conlon * Susan Connolly * Enda Coyle-Green * Tony Curtis * Pádraig J Daly * Philip Davison * Gerald Dawe * John F Deane * Patrick Deeley * Greg Delanty * Theo Dorgan * Paul Durcan * Christine Dwyer Hickey * Peter Fallon * Gerard Fanning * Gabriel Fitzmaurice * Miriam Gamble * Anthony Glavin * Eamon Grennan * Vona Groarke * Kerry Hardie * James Harpur * Jack Harte * Dermot Healy * Michael D Higgins * Rita Ann Higgins * Fred Johnston * Claire Keegan * Brendan Kennelly * Thomas Kinsella * Anatoly Kudryavitsky * Jessie Lendennie * Jinx Lennon * Dave Lordan * Aifric MacAodha * Catherine Phil MacCarthy * John MacKenna * Tom Mathews * Joan McBreen * Colum McCann * Molly McCloskey * Mike McCormack * Hugh McFadden * Iggy McGovern *  Máighread Médbh * Paula Meehan * Lia Mills * Judith Mok * John Montague * Sinéad Morrissey * Gerry Murphy * Nuala Ní Chonchúir * Eiléan Ní Chuilleanáin * Nuala Ní Dhomhnaill * Jean O’Brien * Joseph O’Connor * Mary O’Donoghue * John O’Donnell * Mary O’Donnell * Dennis O’Driscoll * Michael O’Loughlin * Nessa O’Mahony * Mary O’Malley * Liam Ó Muirthile * Micheal O’Siadhail * Leanne O’Sullivan * Maeve O’Sullivan * Paul Perry * Billy Ramsell * Maurice Riordan * Mark Roper * Gabriel Rosenstock * Peter Sheridan * Gerard Smyth * Peter Sirr * Richard Tillinghast * Colm Tóibín * Eamonn Wall * Grace Wells * David Wheatley * Macdara Woods * Vincent Woods * Enda Wyley


ISBN 978 1 906614 46 1 Paperback
€12.99

ISBN 978 1 906614 47 8 Hardback
€21.50

140 x 21 mm, 304 pp
October 2011

Voices at the World’s Edge

Paddy Bushe (ed.)
Foreword Marie Heaney
Photographs John Minihan

For some 700 years after its foundation in the 6th century, the monastery on Skellig Michael off the Kerry coast (a climb of 670 steps above sea level) was home to a vibrant monastic community, and one of the earliest of such settlements in Ireland.

For this unique and fascinating anthology, Dublin-born Paddy Bushe (long since living within sight of the Skelligs) invited some of Ireland’s best-known poets to spend the night among bee-hive huts, puffins and gannets, and to write of the experience at the one-time ‘edge of the world’.

FEATURING POETRY AND PROSE BY
Paddy Bushe, John F. Deane, Theo Dorgan, Kerry Hardie, Biddy Jenkinson, Seán Lysaght, Derek Mahon, Eiléan Ní Chuilleanáin, Nuala Ní Dhomhnaill, Bernard O’Donoghue, Cathal Ó Searcaigh and Macdara Woods.


Special Collector’s Editon

A Special Collector’s Edition of this book is also available. Casebound, it comes in a matte grey slipcase, and is limited to 50 numbered copies only, each of which is signed by all of the contributors, the photographer and the publisher.