Titlebook: Contemporary Irish Poetry and the Canon; Critical Limitations Kenneth Keating Book 2017 The Editor(s) (if applicable) and The Author(s) 201

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Book 2017pon allusion, word choice, and formal structure, Keating brings to the discussion a range of new and lesser known voices which decisively complicate and illuminate its pronounced concerns with inheritance, history, and the Irish poetic canon.’ — Steven Matthews, Professor of English Literature, Univ

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Spectres of Irish Poetry,oetry. This study identifies the common misuse of Harold Bloom’s “Anxiety of Influence” and argues instead for the recognition of Jacques Derrida’s “spectral logic” in these critical acts which seek to ontologise reductive understandings of the poet. Such acts are described as divesting the poet and

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,Paul Muldoon’s ,: Absence, Interdependence and Death,absence, interdependence and death. Muldoon explicitly undermines a singular subjectivity through highlighting the interdependency at work in the poems and the artificiality of the surrounding identities. As one term or identity substitutes for another, the subject is revealed to be simply another s

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Paul Durcan and the Death of the Parent in , and ,,r work of the former Ireland Professor of Poetry Paul Durcan. The focus of this chapter is two of Durcan’s most popular collections, both of which deal with the deaths of the subject’s parents, . (1990) and . (2007), published soon after the deaths of Durcan’s father and mother respectively. This ch

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,Bilingualism and the Death of the Dual Tradition in Celia de Fréine’s ,,presents an explicit engagement with the Irish-language and English-language traditions of contemporary Irish poetry. It is argued that the linguistic structure and literary content of this collection function to blur the divisions between both traditions, and thus to challenge the continued margina

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,The Death of the Poem: Geoffrey Squires’s “Texts for Screen”,. This chapter underlines the extent to which Squires embraces computer technology to compose texts which inhabit the screen, but which refuse to adhere to the recently established norms of any of the recognised forms of electronic literature while simultaneously representing something more than the