5Just as there are tensions with the story of the original Passion, the poet plays with similarities and contrasts in the description of the daughter. With 2001's Cries of an Irish Caveman, the poet again balances "the offbeat with the reflective," Heaney said. A close reader will be bale to find a few poetic techniques in this very short poem though. “Dancing with Paul Durcan”. In 2003, he published a collection of his weekly addresses to the nation, Paul Durcan's Diary, on RTÉ Radio 1 programme Today with Pat Kenny. Christmas Day, Harvill (London, England), 1996. This 257-page "whopper" of a collection, as Booklist reviewer Ray Olson described it, takes an autobiographical journey through the years of Mary Robinson's presidency in Ireland (a Durcan poem was read at her inauguration).

She is a member of the FoReLL B1 research group, University of Poitiers (France), which specializes in “Forms and Representations in Literature”. It's the surprise of reality without makeup rather than the jolt of a punk adolescent mask, black and white with a slash of red….Like a nun married to God, Durcan lets intense, consuming love of his idealized father, an unconventional admission for a man, give complete meaning to these poems.

Although Durcan has been publishing poetry since the late 1960s, he earned widespread critical acclaim with The Selected Paul Durcan, a collection of poems from four earlier volumes, including Teresa's Bar and Jesus, Break His Fall. Devant l’image. An Economist critic suggested that Durcan's talent as a reciter of poetry does not translate to the page in Greetings.

He produces the book from his bag and runs his hand over the cover; it’s a handsome affair, emblazoned with a charm of flying goldfinches and, in discreetly tiny letters beneath the author’s name, the line “Winner of the Lifetime Achievement Irish Book Award 2014”. Photograph: Cyril Byrne. According to Georges Didi-Huberman, details are what first enable us to “get closer: we ‘enter the detail’ just as we enter the elective area of an epistemic intimacy”.

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It suggests a court of justice, a place of power, and here the daughter is a victim of her father’s law or decision. “I’m trying to record, in verse, a moment – like a photograph – things that happened,” says Durcan. Pour une critique intermédiale. Finally, intratextuality adds new layers to the palimpsest. His ekphrasis of Giovanni di Paolo’s work, that is to say his dialogue between the verbal and the visual, turns into a palimpsest equally composed of pictorial and verbal elements. In Liliane Louvel’s words, we can see these images twinkling on our inner screen through the sizzling dialogue between the visual and the verbal conveyed by the network of the text (Louvel 2010, 215). Paul Durcan (born 16 October 1944) is a contemporary Irish poet.

“The Crucifixion” is the second ekphrasis in Crazy About Women, a book of poems commissioned by the National Gallery of Ireland in 1990 and inspired by the Gallery’s collection. NATIONALITY: Irish . His unique style is both captivating and striking, and greatly aids his portrayal of contemporary themes and …

Marin, Louis. Paris : Méridiens/Klincksieck, 1986.

He studied arts in UCD. Encyclopedia of World Literature in the Twentieth Century, Volume 1, St. James Press (Detroit, MI), 1999.

This distinction was conferred on Durcan at last year’s Bord Gáis Energy Irish Book Awards. This poem was inspired by the 1480 version of the scene Mantegna painted three times.13, Andrea Mantegna, Saint Sebastian, c.1480, tempera, 255 cm x 140 cm, But I would if I could Unfreeze the frame where it stopped at pain.May not Saint Sebastian step down, hit his drive,Pitch his next shot pin high, hole his putt?Still he will perish from the dream of love. Paul Durcan’s life is useful to know about when discussing his poetry. ", Give Me Your Hand is a similar collection of poetry written for paintings in the National Gallery, London, including Gainsborough's "Mr. and Mrs. Andrews," Jan van Eyck's "The Arnolfini Marriage," and Beccafumi's "An Unidentified Scene." 7, l. 41 and 46, emphasis in the original). Irish Literary Supplement, spring, 1986; spring, 1988; spring, 1991, Peggy O'Brien, "Braving Personal Themes," p. 9; spring, 1992, review of Crazy about Women, p. 5. 14Both Paul Durcan and Gene Lambert wanted to point out facts and elements which were not public knowledge and not as widely known as they are today. leads to a rewriting of the Biblical Passion and becomes a denunciation of a traumatic element in Irish history: namely, the Magdalene Laundries. In covering the past with words and images in “The Crucifixion”, Paul Durcan creates a complex ekphrastic palimpsest to try to recover from his own past. ‘‘Durcan takes a narrative approach to explore a variety of issues in poems of great emotional honesty.” 4, Discuss this statement, supporting your answer with reference to the poetry of Paul Durcan on your course. It suggests a court of justice, a place of power, and here the daughter is a victim of her father’s law or decision. lead to the creation of a palimpsest, both covering and uncovering the past with words and images? This echoes the contradictory nature the daughter claims. The artist is crazy about painting and takes his pleasure from the aesthetic experience, appropriating the gallery and its collection.

He wrote to me once, aeons ago, telling me about when he and Anne – whom he married – were young that they’d gone round Mayo on a Vespa. He was educated at University College, Cork, where he studied archaeology and medieval history. (With Gene Lambert) In the Land of Punt, Clashganna Mills Press (Dublin, Ireland), 1988. In doing so, he uses what Georges Didi-Huberman calls “the paradoxical fruitfulness of anachronism”, thus creating both humorous effects and tensions which increase the intensity of the poem.
The Gate Theatre in Dublin is the venue for May 10th, followed by a visit to Listowel Writers Week, May 27th-31st. “Some poets try to write the same poem over and over, and that’s a totally valid thing to be doing. "The most immediately attractive aspect of [Durcan's] work is the comic/satirical monologues. Auden, and a way of celebrating poetry itself. Paul Durcan's Diary, New Island (Dublin, Ireland), 2003.

The dislocated, conversational vernacular of his zany verse-narratives made him an excellent performer of his own work, associating him with performance poets such as Allen Ginsberg and the Liverpool Beat poets rather than with the mainstream." La manière dont le poète l’écrit est à la fois une profanation – telle que Giorgio Agamben définit ce terme – et un dialogue entre le verbal et le visuel qui mène à une redécouverte du passé par le biais d’une réécriture biblique de la Passion. Times Educational Supplement, May 14, 1999, review of Greetings to Our Friends in Brazil, p. 13.
In being both a live and enchanted representation, she personifies this paradoxical new form of enchantment to which the poet aspires. “He did, you know. Observer (London, England), March 11, 1984; January 26, 1986; August 29, 1993, review of A Snail in My Prime, p. 53; March 6, 1994, Kate Kellaway, "When Every Picture Tells a Poem," p. 22; March 20, 1994, review of Give Me Your Hand, p. 21; June 28, 1999, review of Greetings to Our Friends in Brazil, p. 11. Through this palimpsest, the poet superimposes di Paolo’s cross with images of a young girl, a reversed pieta, and of the waterfall at Powerscourt, an estate.

Rennes : PU de Rennes, 2010.