Born in Northern Ireland, Muldoon currently resides in the US and teaches at Princeton University. He held the chair of Professor of Poetry at Oxford University from 1999 through 2004. In September 2007, Muldoon became the poetry editor of The New Yorker.
Awards: 1992: Geoffrey Faber Memorial Prize for Madoc: A Mystery 1994: T. S. Eliot Prize for The Annals of Chile 1997: Irish Times Irish Literature Prize for Poetry for New Selected Poems 1968–1994 2002: T. S. Eliot Prize (shortlist) for Moy Sand and Gravel 2003: Griffin Poetry Prize (Canada) for Moy Sand and Gravel 2003: Pulitzer Prize for Poetry for Moy Sand and Gravel 2004: American Ireland Fund Literary Award 2004: Aspen Prize 2004: Shakespeare Prize
I really wanted to like this more than I did, simply because I studied Irish literature as an undergraduate and enjoyed much of what I read. I found Muldoon to use too many allusions and references that I didn't understand or remember, though, which kept me from grasping at the real meaning or intention of many of the poems in this collection.
This actually is a quick summation of about two decades of work that Muldoon produced, taken from five different books that he published. The poems that I found most moving more often were those out of his book Meeting the British, including the poem that shares that title:
We met the British in the dead of winter. The sky was lavender
and the snow lavender-blue. I could hear, far below,
the sound of two streams coming together (both were frozen over)
and, no less strange, myself calling out in French
across that forest- clearing. Neither General Jeffrey Amherst
nor Colonel Henry Bouquet could stomach our willow-tobacco.
As for the unusual scent when the Colonel shook out his hand-
kerchief: C'est la lavande, une fleur mauve comme le ciel.
They gave us six fishhooks and two blankets embroidered with smallpox.
The incessant need for rhyme, even when broken into half- and slant-rhyme, drove me crazy by the end of the book (even when used in good poems like the one above), mainly because it was either in couplets or quatrains. I might have appreciated this more had I read it while I was still an undergraduate, but I'm sure I would have had many of the same problems while reading it then as I did now.