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Too Many Alibis

James Wood: Geoffrey Hill, 1 July 1999

Canaan 
by Geoffrey Hill.
Penguin, 76 pp., £7.99, September 1996, 0 14 058786 1
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The Truth of Love: A Poem 
by Geoffrey Hill.
Penguin, 82 pp., £8.99, January 1997, 0 14 058910 4
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... should say ‘witted’ criticism. Should he continue in this direction, he will soon sound like William Empson, the Keeper of the Seven Seals in this area, a great critic posing as a terrible poet, who was apparently content to commit lines such as ‘Project her no projectiles, plan nor man it.’ It is bewildering that Hill, once so richly ...

Hi, Louise!

Stephanie Burt: Frank O’Hara, 20 July 2000

In Memory of My Feelings: Frank O’Hara and American Art 
by Russell Ferguson.
California, 160 pp., £24.50, October 1999, 0 520 22243 1
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The Last Avant-Garde: The Making of the New York School of Poets 
by David Lehman.
Anchor, 448 pp., $16.95, November 1999, 0 385 49533 1
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Frank O’Hara: Poet among Painters 
by Marjorie Perloff.
Chicago, 266 pp., £13.50, March 1998, 0 226 66059 1
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... Audenesque pastoral airmen, urban gay camp, Shakespearean aristocrats-in-the-woods and what William Empson called the child-as-swain: TWO SHEPHERDS: We love the country, that’s why we’re handsome, it’s love love love love love. We only quarrel over sheep. We’re terribly natural, aren’t we? Well, is the sky blue? What did you expect, a ...

In Flesh-Coloured Silk

Seamus Perry: Romanticism, 4 December 2003

Metaromanticism: Aesthetics, Literature, Theory 
by Paul Hamilton.
Chicago, 316 pp., £17.50, August 2003, 0 226 31480 4
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... poetry,’ Hamilton writes, which sets the stakes high, to be sure; and when we learn that William once tried to write up a poem from one of her journal entries and found himself stuck, Hamilton is not slow to draw the anti-aesthetic moral: ‘Clearly there is an integrity or propriety to Dorothy’s literalism that resists poetic translation.’ Her ...

Disintegration

Frank Kermode, 27 January 1994

The Varieties of Metaphysical Poetry 
by T.S. Eliot, edited by Ronald Schuchard.
Faber, 343 pp., £25, November 1993, 0 571 14230 3
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... known enemies, especially F.L. Lucas; and many undergraduates, especially women. The undergraduate William Empson, who did not go to lectures on principle, attended the morning-after discussions of them. They seem not to have been a spectacular success. Some judged them too recondite, and others were unable to hear much of discourses delivered in a low ...

Mortal Scripts

Christopher Norris, 21 April 1983

Writing and the Body 
by Gabriel Josipovici.
Harvester, 142 pp., £15.95, September 1982, 0 7108 0495 4
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The Definition of Literature and Other Essays 
by W.W. Robson.
Cambridge, 267 pp., £19.50, November 1982, 0 521 24495 1
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... Among Oxford scholars the fashion was to deplore these latest developments, on the grounds – as William Empson scornfully put it – that one shouldn’t prune down too far toward the roots of beauty for fear of destroying the plant. Fifty years on and Robson, very much an ‘Oxford’ voice, can look to Richards as a mainstay of critical good sense ...

We do it all the time

Michael Wood: Empson’s Intentions, 4 February 2016

... from the psychological dimension?’Giorgio Agamben, The End of the PoemThere is a moment​ in William Empson’s Seven Types of Ambiguity when he decides to linger in Macbeth’s mind. The future killer is trying to convince himself that murder might be not so bad a crime (for the criminal) if he could just get it over with. This is about as unreal ...

False Brought up of Nought

Thomas Penn: Henry VII’s Men on the Make, 27 July 2017

Henry VII’s New Men and the Making of Tudor England 
by Steven Gunn.
Oxford, 393 pp., £60, August 2016, 978 0 19 965983 8
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... VII, the first Tudor king, had died aged 52, in his privy chamber at Richmond Palace. But Richard Empson and Edmund Dudley, though rarely straying from the king’s side in his last disease-ridden and paranoid years, had been away from court and nobody had bothered to tell them. More than that: a faction of the late king’s advisers had decided to keep his ...

Concierge

John Lanchester, 16 November 1995

Sons of Ezra: British Poets and Ezra Pound 
edited by Michael Alexander and James McGonigal.
Rodopi, 183 pp., $23.50, July 1995, 90 5183 840 9
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‘In Solitude, for Company’: W.H. Auden after 1940 
edited by Katherine Bucknell and Nicholas Jenkins.
Oxford, 338 pp., £40, November 1995, 0 19 818294 5
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Auden 
by Richard Davenport-Hines.
Heinemann, 406 pp., £20, October 1995, 0 434 17507 2
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Wystan and Chester: A Personal Memoir of W.H. Auden and Chester Kallman 
by Thekla Clark.
Faber, 130 pp., £12.99, October 1995, 0 571 17591 0
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... in the prose. ‘The range and grasp of his mind is always evident in the present book,’ William Empson wrote in a review of the essay collection The Dyer’s Hand, quoted by Davenport-Hines, ‘but it strikes me that his mind is increasingly hampered, and that the resulting thoughts are often wrong ... he twitters like a curate in ...

Hyacinth Boy

Mark Ford: T.S. Eliot, 21 September 2006

T.S. Eliot: The Making of an American Poet 
by James E. Miller.
Pennsylvania State, 468 pp., £29.95, August 2005, 0 271 02681 2
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The Annotated ‘Waste Land’ with Eliot’s Contemporary Prose 
by T.S. Eliot, edited by Lawrence Rainey.
Yale, 270 pp., $35, April 2005, 0 300 09743 3
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Revisiting ‘The Waste Land’ 
by Lawrence Rainey.
Yale, 203 pp., £22.50, May 2005, 0 300 10707 2
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... and abandoning the prejudices of his provincial Unitarian upbringing in St Louis. In a 1972 essay, William Empson rather ingeniously suggested that Eliot’s anti-semitism was in fact a transfer onto Jews of his dislike of his family religion, but that he just couldn’t bring himself to write: ‘And the Unitarian squats on the ...

What a carry-on

Seamus Perry: W.S. Graham, 18 July 2019

W.S. Graham: New Selected Poems 
edited by Matthew Francis.
Faber, 144 pp., £12.99, September 2018, 978 0 571 34844 2
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W.S. Graham 
edited by Michael Hofmann.
NYRB, 152 pp., £9.99, October 2018, 978 1 68137 276 1
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... response to his more portentous gestures, a version of the self-protective rhetorical device that William Empson diagnosed as ‘pseudo-parody to disarm criticism’. ‘I don’t think I am less happy than most. But the word Happy has ceased for years to mean anything I seek to be. How’s that for a pompous mouthful?’ Heartless about his own ...

Buffed-Up Scholar

Stefan Collini: Eliot and the Dons, 30 August 2012

Letters of T.S. Eliot, Vol. III: 1926-27 
edited by Valerie Eliot and John Haffenden.
Faber, 954 pp., £40, July 2012, 978 0 571 14085 5
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... of the latter occasions have long been in the public domain, not least because the young William Empson occasionally attended (he did so, with characteristic Empsonian brio, without actually going to any of the lectures). The lectures were eventually published, in an exemplary edition by Ronald Schuchard, in 1993, and since Schuchard had access ...
London Reviews 
edited by Nicholas Spice.
Chatto, 222 pp., £5.95, October 1985, 0 7011 2988 3
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The New Review Anthology 
edited by Ian Hamilton.
Heinemann, 320 pp., £12.95, October 1985, 0 434 31330 0
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Night and Day 
edited by Christopher Hawtree, by Graham Greene.
Chatto, 277 pp., £12.95, November 1985, 0 07 011296 7
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Lilliput goes to war 
edited by Kaye Webb.
Hutchinson, 288 pp., £10.95, September 1985, 9780091617608
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Penguin New Writing: 1940-1950 
edited by John Lehmann and Roy Fuller.
Penguin, 496 pp., September 1985, 0 14 007484 8
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... heavenly cricket team. Greene on cinema, Osbert Lancaster on art, Elizabeth Bowen on theatre, William Empson on travel ... and Evelyn Waugh on books. Waugh’s lambasting of the milquetoast Left sounds like mere common sense now, but by making truthfulness of prose his first criterion he achieved a permanently refreshing generosity of taste. With ...

We shall not be moved

John Bayley, 2 February 1984

Come aboard and sail away 
by John Fuller.
Salamander, 48 pp., £6, October 1983, 0 907540 37 6
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Children in Exile 
by James Fenton.
Salamander, 24 pp., £5, October 1983, 0 907540 39 2
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‘The Memory of War’ and ‘Children in Exile’: Poems 1968-1983 
by James Fenton.
Penguin, 110 pp., £1.95, October 1983, 0 14 006812 0
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Some Contemporary Poets of Britain and Ireland: An Anthology 
edited by Michael Schmidt.
Carcanet, 184 pp., £9.95, November 1983, 0 85635 469 4
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Nights in the Iron Hotel 
by Michael Hofmann.
Faber, 48 pp., £4, November 1983, 0 571 13116 6
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The Irish Lights 
by Charles Johnston and Kyril Fitzlyon.
Bodley Head, 77 pp., £4.50, September 1983, 0 370 30557 4
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Fifteen to Infinity 
by Ruth Fainlight.
Hutchinson, 62 pp., £5.95, September 1983, 0 09 152471 7
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Donald Davie and the Responsibilities of Literature 
edited by George Dekker.
Carcanet, 153 pp., £9.95, November 1983, 9780856354663
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... not really in place. More important is Davie’s status as the don’s poet, or the don as poet. William Empson was never that, was indeed rather positively committed to his own version of the English metaphysical manner, a manner as blunt and accessible as in Herbert’s poetry or Aubrey’s prose. As Bernard Bergonzi shows in an acute and learned ...

Ti tum ti tum ti tum

Colin Burrow: Chic Sport Shirker, 7 October 2021

Along Heroic Lines 
by Christopher Ricks.
Oxford, 330 pp., £20, April, 978 0 19 289465 6
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... it can speak thoughts and shape emotions we didn’t know we had. For him, as for his chief master William Empson, imaginative writing is a way of thinking and feeling to which you can and should react as to a person, with all the emotions and confusions and desires that being a person encompasses. As Ricks puts it in Keats and Embarrassment, ‘can we ...

I can bite anything I want

Matthew Bevis: Lewis Carroll, 16 July 2015

Lewis Carroll 
by Morton Cohen.
Macmillan, reissue, 577 pp., £30, April 2015, 978 1 4472 8613 4
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The Selected Letters of Lewis Carroll 
edited by Morton Cohen.
Palgrave, reissue, 302 pp., £16.99, March 2015, 978 1 137 50546 0
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Lewis Carroll: The Man and His Circle 
by Edward Wakeling.
Tauris, 400 pp., £35, November 2014, 978 1 78076 820 5
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... a form of violence even though it may offer a protection from violence, which is I think what led William Empson to suggest that the Alice books contained a satire on things they treated as inevitable. That’s one of the great pleasures of Carroll’s style: it offers a series of rueful protests that somehow avoid sounding either too dispirited or too ...

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