The Poetry of Medbh McGuckian
The Interior of Words
Publication Year: 2010
Published by: Cork University Press
Title Page, Copyright Page
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We would also like to express our heart-felt gratitude to Medbh McGuckian for permission to quote from her work and for granting us an interview â such good-natured co-operation is rare, and her contribution to this volume is inestimable. We would also like to formally acknowledge the AHRC Centre for Irish and Scottish Studies at Aberdeen for providing a...
List of Contributors
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Author of twelve collections of poetry, Medbh McGuckian is one of Northern Irelandâs foremost poets; however, she has not won the critical acclaim accorded to her peers. While there are monographs and collections of essays devoted to the work of Seamus Heaney, Paul Muldoon, Derek Mahon and Michael Longley, McGuckianâs oeuvre tends to be overlooked. The reason...
1. Speaking as the North: Self and place in the early poetry of Medbh McGuckian
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Medbh McGuckian ranks among the most prolific and original contemporary poets in English. She is, moreover, the only female poet to have gained international renown alongside an almost exclusively male generation of Northern Irish poets. Surprisingly, however, despite her Northern Irish background, the majority of critics have tended to label McGuckianâs poetry...
2. A Gibbous Voice: The poetics of subjectivity in the early poetry of Medbh McGuckian
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During the period in which Medbh McGuckian was establishing her authority as artist â from the early 1980s up to her fourth volume, Marconiâs Cottage (1991) â that authority was configured through a process of confirmatory self-displacement: resistance to expansionist ego as the means of delivering the subject. There is a paradox in claiming such a procedure for a...
3. âPoetry must almost Dismantle the Lettersâ: McGuckian, MallarmÃ© and polysemantic play
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It may initially seem incongruous to make a connection between Medbh McGuckian and StÃ©phane MallarmÃ© and yet, despite differences of time and place, the oeuvre of each poet demonstrates the instrumentation of what, in reference to Lacanian theory, can be termed âpolysemantic playâ. This is not to say that what motivates each poet to utilise such polysemantic play is identical...
4. Signs of encounters in Medbh McGuckianâs Poetry
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The complex issues of the nature of signs, speaking or representation generally, as commented on by Heidegger and Levinas above, have been extensively debated in contemporary philosophical discourse and aesthetic practices. In this respect, Medbh McGuckianâs poetry is no exception, since many of her poems deal with representational acts such as writing and...
5. The Space that Cleaves: The house and hospitality in Medbh McGuckianâs work
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The house in Northern Ireland has at times offered only partial sanctuary from turbulence âoutsideâ: it is a physical and affective interior, a space of retreat and secrecy, yet it remains far from invulnerable to the history it must endure. The phrase âsafe houseâ paradoxically suggests both shelter and security, and also the harbouring of a threat within. The unheimlich house has...
6. âWarding off an Epitaphâ: Had I a thousand lives
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Questions of names and naming loom large in Medbh McGuckianâs collection Had I a Thousand Lives (2003): the act of naming as a mode of control, as a means of change and renewal, and as a token of possession.1 Most of all, however, naming appears in these poems as a practice of remembrance. In this sense one could argue that behind McGuckianâs collection there remains...
7. âThat Now Historical Groundâ: Memory and atrocity in the poetry of Medbh McGuckian
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When searching for ways to impose a meaningful order upon reality, we rely on memory for âthe provision of symbolic representations and frames which can influence and organize both our actions and our conceptions of ourselvesâ.2 However, in the aftermath of the Belfast Agreement and the creation of the Northern Ireland Assembly narratives produced by the media and...
8. Medbh McGuckian and the politics of minority discourse
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The creation of human subjectivity is a necessarily endless process. Described by Gilles Deleuze as a âbecomingâ, it is a condition that constantly looks towards a final goal, a homecoming, but that destination is always deferred, always held out of reach. To understand and live within this is a difficult art, one that requires a particular sensuousness and a sensitive...
9. âThey Come into Itâ: The muses of Medbh McGuckian
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The most enigmatic participant in the performance of inspiration is the imaginary subject who, in one way or another, exerts authorial influence on the completion of the work. Whether imagined or real, this person, the muse, functions as the created projection of the workâs singularity. In simpler terms, he or she becomes an essential participant in the performance of inspiration...
10. Re-assembling the Atom: Reading Medbh McGuckianâs intertextual materials
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The title poem of On Ballycastle Beach speaks of âread[ing] these words to you [. . .] meaningless and full of meaningâ,1 and may be taken as a description of the aesthetic which first brought Medbh McGuckianâs work to critical attention. By the time of the publication of her third collection, however, the poetâs meaningful meaninglessness, or meaningless meaningfulness...
11. Interview with Medbh McGuckian (Athol Hotel, Aberdeen, 6 May 2007)
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My husband isnât working, so heâs taking on all of the household responsibilities, the cooking and the shopping. Also, the children have grown up â the youngest [her daughter, Emer] is eighteen â so that gives me a bit more leeway. Although I now have my mother to look after instead of them, I do feel I have more time for writing. I also have a regular job, with a regular income, whereas...
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I first encountered Medbh McGuckianâs work soon after the publication of Venus and the Rain, in 1984. There was a stand devoted to the Oxford Poets series in the middle of the ground floor of Blackwells in Oxford, where I was then living, and, amongst Penelope Shuttle and Peter Porter and D.J. Enright, I found Medbhâs work. Venus and the Rain led me back to...
Notes and references
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Page Count: 272
Publication Year: 2010