Thomas Kinsella is unquestionably one of the leading Irish poets of our day. One of a number of young Irishmen who began to write in the years following World War II, he has played a major role in inv...
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Critical Essay by The Times Literary Supplement
Thomas Kinsella has always been an eloquent poet, but one who seemed to find … that the "clenched emotions" fitted best into a tig...
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Critical Essay by Calvin Bedient
In the Irish poet Thomas Kinsella … the sense of life as deprivation and the oral rage and horror bring up the pathology of narcissism; but unlike [Ted] Hughes...
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Critical Essay by Richard Tobias
For Poems 1956–1973 Kinsella selects items from his first six volumes and prints all of his New Poems (1973). The early pieces help prepare the reader for the ...
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Critical Essay by Edna Longley
Thomas Kinsella, John Montague and Richard Murphy—a disparate threesome—are generally considered to lead the pack of Irish poets who emerged during the 19...
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Critical Essay by John Montague
Thomas Kinsella [is] probably the most accomplished, fluent, and ambitious Irish poet of the younger generation. American readers have already been introduced to his w...
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Critical Essay by Kevin Sullivan
People in Dublin have had something to talk about lately other than the North, the Common Market, or the deplorable state of the Irish theatre. A few weeks ago Thomas...
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Critical Essay by The Times Literary Supplement
The major part of Thomas Kinsella's New Poems 1973 is a collection … called Notes from the Land of the Dead, a corny confessionalist titl...
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Critical Essay by The Times Literary Supplement
Thomas Kinsella's Selected Poems appears simultaneously with his New Poems 1973; and although the earlier poems are on the whole less distraught...
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Critical Essay by David Bromwich
[Thomas Kinsella is a] restless soul who can do many things well. In Nightwalker he appeared to have found his stride, the event which ought to mark a happy origin, b...
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Critical Essay by Seamus Deane
[In Ireland] most writers have become wearied by the attritional quality of their relationship to their society and its history. Given the example of W. B. Yeats, the p...
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Critical Essay by M. L. Rosenthal
Ours is more than ever a poetry of the recapture of lost worlds—a nation's or a region's deep history, the buried memories of families, the prim...
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Critical Essay by Floyd Skloot
A clear break in Kinsella's poetic development is embodied in two collections, Poems 1956–1973 and Peppercanister Poems 1972–1978….
The e...
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In the following interview, originally conducted 24 September 1962, Kinsella discusses his beginnings as a poet, his thematic concerns and literary influences, and the process of artistic creation.
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In the following excerpt, Lucas faults Kinsella for overly rhetorical language and a lack of distinctness in Poems, 1956–1973.
The Ulster poet W. R. Rodgers claimed to speak for ‘an a...
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In the following excerpt, Donoghue expresses dissatisfaction with Kinsella's translations of medieval Irish verse and choice of representative selections in The New Oxford Book of Irish Verse.
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In the following excerpt, Howard praises Kinsella's work as editor of The New Oxford Book of Irish Verse.
To the etymologist an anthology is a gathering of flowers, but to poets, critics, an...
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In the following review, Pyle offers a tempered assessment of The New Oxford Book of Irish Verse, citing shortcomings in Kinsella's omission of women poets and several twentieth-century figures...
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In the following essay, Skloot discusses the transition in Kinsella's approach to poetry—from one of elegance and order to one of denseness and atonality—as represented in Blood a...
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In the following essay, Drexel examines Kinsella's artistic development and thematic preoccupations with death, fragmentation, and the creative process. Drexel concludes, “Despite its qu...
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In the following review, Matthews offers a positive assessment of Poems from Centre City.
In their tone and address, the poems in From Centre City mark both a furtherance of, and a departure from, ...
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In the following review, Skloot discusses Kinsella's literary career and artistic development in the context of Poems from Centre City.
‘There are established personal places / that r...
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In the following essay, Jackson situates Kinsella's creative development in the historical context of Irish cultural identity and literary tradition.
If a career like Ezra Pound’s or,...
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In the following review, Craig discusses Kinsella's assessment of Irish literary tradition—in particular, its unities and divisions—as presented in The Dual Tradition.
“...
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In the following essay, Kenner discusses the problem of assessing Kinsella's self-styled verse in light of Yeats's daunting influence and the self-consciousness of modern Irish poets.
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In the following review of The Dual Tradition, Pratt finds shortcomings in Kinsella's narrow categorization of Irish writers, notably James Joyce and W. B. Yeats.
“I am of Ireland, / ...
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In the following review, Rosenthal offers a favorable assessment of The Dual Tradition.
Irish poetry has had a long, trauma-beset journey. In his book The Dual Tradition: An Essay on Poetry and Pol...
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In the following essay, Badin provides an overview of the major themes, recurring motifs, and structural elements of Kinsella's poetry as they evolved throughout his career.
Works
Three majo...
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In the following essay, John discusses the maturation and defining features of Kinsella's later poetry in relation to Irish literary tradition and the influence of W.B. Yeats, James Joyce, and ...
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In the following review of Collected Poems, 1956-1994, Sirr summarizes the central themes and artistic concerns of Kinsella's poetry.
Thomas Kinsella is an anomalous figure in Irish poetry: ...
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In the following review, Pratt offers an unfavorable assessment of The Pen Shop.
Thomas Kinsella is one of the most gifted living poets, as earlier volumes have testified, one of them a translation...
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In the following positive review of Collected Poems, 1956-1994, Skloot provides an overview of Kinsella's literary career and artistic development.
Over the last fifteen years, an impressive...
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In the following review of Collected Poems, 1956-1994, Quinlan comments on Kinsella's literary career and ambiguous critical status.
In the early 1960s, Thomas Kinsella reigned as Ireland...
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In the following review of Collected Poems, 1956-1994, Skloot discusses the recurring themes, artistic concerns, stylistic innovations, and cumulative motifs found in Kinsella's poetry over a p...
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In the following essay, Newman analyses the use of phantoms in “Butcher's Dozen” to express Kinsella's outrage over the Bloody Sunday massacre and the unjust Widgery report...
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In the following essay, Broder examines the transition in Kinsella's poetry away from preoccupations with intellectual knowledge and rational order in favor of new explorations of emotional kno...
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In the following essay, Johnston defends the depth and dynamics of Kinsella's verse—and Kinsella's place in modern Irish poetry—in response to an unflattering critique of K...
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In the following essay, McGuinness discusses the intersection of physical, psychological, and symbolic landscapes in Kinsella's poetry, particularly as they reveal multiple levels of consciousn...
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In the following positive review of Poems, 1956-1973 and Peppercanister Poems, 1972-1978, Broder provides an overview of Kinsella's artistic development and recurring thematic concerns.
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In the following essay, O'Hara discusses the debate between Kinsella and critic Harold Bloom over the significance of literary influence in modern poetry. Opposing Bloom's negative view,...
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In the following review, Engle offers an extended analysis of Peppercanister Poems, 1972-1978. Though arguing that Kinsella's verse is at times overly personal and occasionally falls flat, Engl...
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In the following essay, Deane discusses Kinsella's place in postwar Irish poetry, elements of structure and fragmentation in his verse, and his preoccupation with the violent imagery of biologi...
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