Poems 1968-1998

"A massive achievement, persistently inventive at every stage."—The Economist

"[Muldoon is] the dazzling, elusive (and allusive) . . . master of indirection, suggestion, diversion, and surprise."—The New York Times Book Review

"The poet's poet of his generation . . . He has created one of the tumultuous and engrossing bodies of work still in progess."—Lachlan Mackinnon, The Daily Telegraph (London)

"Muldoon has enfranchised a whole generation of poets, by freeing them into his own brand of linguistic euphoria. But what sets him apart from his imitators, and raises him above them, is his imaginative scope and daring . . . He is a fabulous poet."—Stephen Romer, The Guardian

"Muldoon seems to me one of the five or so best poets alive; to most of Britain and Ireland, he seems the single most influential."—Stephen Burt, Boston Review

"The best, most-honored Irish poet of the generation after Heaney, 'the man who could rhyme knife with fork' (as another poet quipped), Muldoon finds his collected work seeing print a few months before his 50th birthday . . . Though it includes no new poems, this big brick of a volume does make available several long-out-of-print early books, and it serves better than Muldoon's older selecteds to reveal the full range of his prodigious talents. There is the Frostian, anecdotal Muldoon of early work like 'The Big House' . . . There is the evasive, tough-guy Muldoon who wrote narrative poems, like 'The More a Man Has the More a Man Wants,' about terror and gangsters in his native Ulster. There is the brilliantly canny and understatedly moving family elegist. There is the Muldoon whose oeuvre includes all shades of romantic and erotic emotion, from sexual disgust ('Aisling') to long-married tenderness ('Long Finish'). There is the writer of serious, terse, effective political verse, the author of 100 haiku about suburban New Jersey, and the Muldoon who recreated the sonnet in his own image. And, most famously, there is the postmodern comic, who claims to be 'my own stunt double,' and who explains in another recent poem: 'A bird in the hand is better than no bread. / To have your cake is to pay Paul.' Muldoon (who now teaches at Princeton and Oxford) may yet expand his range even further; for now, the Muldoons are all here, in force and in bulk. Most readers of poetry will need to deal with them."—Publishers Weekly