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Patrick McGuinness

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  • Patrick McGuinness was born in 1968 in Tunisia. In 1998 he won an Eric Gregory Award for poetry from the Society of Authors and his work has appeared in the Independent, PN Review, Poetry Wales, Leviathan and other journals and magazines, as well as the anthology New Poetries II, edited by Michael Schmidt (Carcanet). His first collection, The Canals of Mars, appeared in 2004. Also for Carcanet, McGuinness has translated For Anatole's Tomb by Stephane Mallarme from the French and edited the prose and poems of the Welsh modernist poet Lynette Roberts. He is a fellow of St Anne's College, University of Oxford, where he lectures in French. He lives in Cardiff. In 2009 was made Chevalier dans l’Ordre des Palmes académiques for services to French culture. In 2011 he was made Chevalier des Artes et des Lettres by the French government.

    His academic books include Maurice Maeterlinck and the Making of Modern Theatre (Oxford UP, 2000), Symbolism, Decadence and the fin de siecle (University of Exeter Press, 2000), and he has edited the Penguin Classics edition of Against Nature by J-K Huysmans and T.E. Hulme's Selected Writings for Carcanet. His French Anthologie de la Poesie symboliste et decadente is published by Les Belles Lettres (Paris, 2001).

    Praise for Patrick McGuinness 'When T.E. Hulme was killed in Flanders in 1917, he was known to a few people as a brilliant talker, a brilliant amateur of metaphysics, and the author of two or three of the most beautiful poems in the English language... he appears as the forerunner of a new attitude of mind...'
    T.S. Eliot, The Criterion, 1924
    'There is a huge amount to savor, learn from and enjoy here. Anyone with pretensions to know British writing of the 1940s should read it.'
    Paul St John Mackintosh, TeleRead
    'Patrick McGuinness has constructed a rough guide to a lonely planet, full of unquenchable cultural curiosity and irresistible ironies... Alive to every undulation of the linguistic landscapes in which he moves, McGuinness’s poems often pivot on the cross-cultural possibilities of a single isolated word.'
    New Welsh Review
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