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A Woman Without a Country

Eavan Boland

Cover of A Woman Without a Country by Eavan Boland
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This title is available for academic inspection (paperback only).
Paperback
ISBN: 978 1 847772 17 6
Categories: 21st Century, Irish, Women
Imprint: Carcanet Poetry
Published: September 2014
216 x 135 x 5 mm
80 pages
Publisher: Carcanet Press
Also available in: eBook (Kindle), eBook (EPUB), eBook (PDF)
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  • He starts with the head, cutting in
    To the line of the cheek, finding
    The slope of the skull, incising
    The shape of a face that becomes
    A foundry of shadows...

    from ‘A Woman Without a Country’
    The poems in Eavan Boland’s new collection consider questions of inheritance and identity, of what is handed down and what is lost. Boland's poems are acts of preservation: they are aware of the significance of objects, memories, words, in keeping alive what we would otherwise 'lose / without thinking'. At the same time, they are a holding to account, addressing the damage wrought by that other inheritance, the 'art of empire', the 'business ... of colony'. In the title sequence, Boland seeks to restore voice and place to those who, like her grandmother, lived and died 'outside history', skilled in ... silence'.

     




    Born in Dublin in 1944, Eavan Boland studied in Ireland, London and New York. Her first book was published in 1967. She has taught at Trinity College, University College and Bowdoin College Dublin, and at the University of Iowa. She is currently Mabury Knapp Professor in the Humanities at Stanford University, ... read more
    Praise for Eavan Boland Eavan Boland's A Journey with Two Maps: Becoming a Woman Poet contains essays both personal and public written in a tone urgent and wise, with astute observations on her own trajectory as a poet and the work of Elizabeth Bishop, Sylvia Plath and Paula Meehan, among others. - Colm Toibin, The Irish Times, Our Favourite Books of 2011
    Eavan Boland's A Journey with Two Maps: Becoming a Woman Poet contains essays both personal and public written in a tone urgent and wise, with astute observations on her own trajectory as a poet and the work of Elizabeth Bishop, Sylvia Plath and Paula Meehan, among others. - Colm Toibin, The Irish Times, Our Favourite Books of 2011
    Eavan Boland's A Journey with Two Maps: Becoming a Woman Poet contains essays both personal and public written in a tone urgent and wise, with astute observations on her own trajectory as a poet and the work of Elizabeth Bishop, Sylvia Plath and Paula Meehan, among others. - Colm Toibin, The Irish Times, Our Favourite Books of 2011
    'Over eight collections, her developing forms and subjects - the fabric of domestic life, myth, love, history and Irish rural landscape - have kept their commitment to lyrical grace and feminism.'
    Ruth Padel, The Independent on Sunday, January 2000.

    'A skilled and celebrated poet.'
    Ken Gladdish, Poetry Quarterly Review, Autumn 1999.

    'Eavan Boland's critical status has burgeoned in the last ten years to the point where she is now one of the major figures in contemporary Irish and women's poetry.'
    The North magazine.

    'This subtle, unadorned book is typical of Boland's powerfully persuasive manner as a poet.'
    Michael Glover, The Independent on Sunday, October 1998.

    'The internationally acclaimed Irish poet powerfully and movingly continues to merge private and mythic history.'
    W.W. Norton books.

    'She's a poet of both painterly and worldly engagements, equally attentive to the dance of the intellect and the testimony of the senses.'
    The Boston Review.

    'Thoughtful, spare and elgant verse from one of Ireland's most significant poets.'
    Margaret Greenwood, The Rough Guide to Ireland.

    'A modern romantic with impressive intellectual resources, Boland fulfils her desire to "bless the ordinary...sanctify the common." Her poems have a rare artistic resonance.'
    Alan Bold, The Scotsman, 1987.

    'She has the equipment of the true poet, that is to say an image-making faculty, a true devoted eye and an ear for rhythm.'
    Iain Crichton Smith, Chapman magazine, 1989.

    'Boland's gift is that she is always accessible, never elitist, but intelligent, striving and inclusive.'
    Sue Hubbard, New Statesman and Society, 1996.

    'The wealth of Eavan Boland's language is complemented by a visual wealth in metaphors.'
    Anthony Libby, the New York Times, 1987.

    'More than twenty years ago her voice was sweet and low and musical...now it has deepened in resonance and authority.'
    Brian Kennelly, The Irish Times, 1986.

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