Revista Almatroz

ALMATROZ

2013-10-18T21:54:32+00:00

Poema Almatroz

THE TIPPING LINE

2013-10-18T21:54:32+00:00

Poem: The Tipping Line

POEMS

2013-10-18T21:54:32+00:00

A selection of poems by Kathleen McCracken

TRADUÇÃO COMENTADA DE MARGE PIERCY

2013-10-18T21:54:32+00:00

Tradução Comentada dos poemas “The Low Road” e “The Hollywood Haircut” de Marge Piercy.

TRADUÇÃO DE BOGLAND

2013-10-18T21:54:32+00:00

Tradução de Bogland

“A MINEFIELD SALTED WITH EYEBRIGHT”: AN URBAN POET’S MUSINGS IN ON THE NIGHT WATCH AND UNTIL BEFORE AFTER BY CIARAN CARSON

2013-10-18T21:54:32+00:00

Abstract: This paper aims at showing how in On the Night Watch and Until Before After, two verse collections published respectively in 2009 and 2010, Ciaran Carson used new forms of exploring language and reached another depth while retaining most of the themes and preoccupations that pervaded his whole work.

’THE SHALLOW LOOPS THE BLACKBIRDS MAKE’: MARY DEVENPORT O’NEILL’S VOICES OF ALTERITY

2013-10-18T21:54:32+00:00

Abstract: Mary Devenport O’Neill’s (1879-1967) short lyric nature poems often resist figuration to display reciprocity with animals and the natural world. In many of her poems, she aligns herself with animals and nature in order to affirm her own agency, recognising her own individual, female narrative as complicit with the alterity of the natural world. Rather than resisting the position of the literal within nature, in a similar way to a masculinist mentality of transcendence, Devenport turns towards it, literally narrating a world in which the “thou” of animals and nature do not act as subordinate to humans. Ecofeminist analysis of gender binaries in language includes critique of figurative language on the basis that a “chain of signifiers” which are embedded within symbolic and figurative language are liable to “dominate, distort and deaden what is signified – the absent referent” which is also identified by Josephine Donovan as the “thou” (1998, p.75). Ecofeminist “critique of the ontology of domination” proposed by Josephine Donovan, which is based on Margaret Homan’s feminist linguistic theory, reveals the ways in which Devenport‘s poetry modified nature tropes in order to literally express the natural world in a pro-ecofeminist modification of Irish literary narratives (74).

‘VESPERTINAL MIXTURE’: MICHAEL LONGLEY’S A HUNDRED DOORS

2013-11-13T14:10:54+00:00

Abstract: Remembering, in some senses, is an act of reparation. What is it, then, to recount by name and number the creatures and the flora that populate the Hibernian landscape, in a time when the edges of the city are ever expanding? Almost as if in a gesture of redress, Michael Longley’s most recent collection of poems, A Hundred Doors, reveals again his sustained and sustaining interest in landscapes not encroached upon by the urban. Why this pointed avoidance of the urban? In part, he is reinstating his relationship to the past, and to a kind of permanence, to the land that remains as people come and go. In my article I will examine Longley’s relationship to the pastoral, to the landscapes that appear unbothered by human forms beyond his immediate family and friends. (Unlike Heaney’s poetry, in Longley we find few if any accounts of laborers and farmers.) The pastoral supposedly represents a simplification of life (the Princeton Encyclopedia of Poetry and Poetics refers to it as “the complex” “reduced to the simple”). It is relief, but not simplicity or isolation, which Longley finds in the pastoral.

WILLIAM MORRIS’ THE EARTHLY PARADISE: WHAT IT MEANS TO BE ‘THE IDLE SINGER OF AN EMPTY DAY'

2013-10-18T21:54:32+00:00

The article examines the historical aspect of William Morris poetry.

KATHLEEN MCCRACKEN’S TATTOO LAND: THE HUMAN MYSTERY

2013-10-18T21:54:32+00:00

Review;

ALMATROZ INTRODUCTION – MISSION STATEMENT

2013-10-18T21:54:32+00:00

Mission Statement;

ALMATROZ FIRST ISSUE: THE MAKING OF AN ATROCIOUS SOUL

2013-10-18T21:54:32+00:00

Intoduction to the first issue