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Queering the Poetics of Race and Nationalism: Yeats, Casement, and Paul Muldoon's "A Clear Signal" (1992)

Queering the Poetics of Race and Nationalism: Yeats, Casement, and Paul Muldoon's "A Clear... Alison Garden Queering the Poetics of Race and Nationalism: Yeats, Casement, and Paul Muldoon’s “A Clear Signal” (1992) On St. Patrick’s Day in 1992, the Irish poet Paul Muldoon published “A Clear Signal” in the New York Times. The dense and complicated poem is sixty-two lines long, written across thirty-one sardonic couplets. With its rhyme scheme forming forced and simplistic pairings, it sounds much like an acerbic children’s nursery rhyme. As we have come to expect of Muldoon, the poem shifts in tone and, thematically, traverses a great amount of ground. But it is chiefly pre- occupied with the deeply intertwined politics and histories of Ireland, both in the North and the Republic, Britain and the United States. Beginning with the “tit-for-tat” violence that was one part of the euphemistically named “Troubles,” the poem ends by invoking the “ghost of Roger Casement” as a riposte to the Ancient Order of Hibernians’ (AOH) refusal to let the Irish Lesbian and Gay Organization (ILGO) march in the 1991 New York St. Patrick’s Day Parade. Muldoon’s poem—which, curiously, has never been anthologized or r - epub lished—is structured around the repeating refrain calling “to Ao m ur I eric ri a sn http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png New Hibernia Review Center for Irish Studies at the University of St. Thomas

Queering the Poetics of Race and Nationalism: Yeats, Casement, and Paul Muldoon's "A Clear Signal" (1992)

New Hibernia Review , Volume 22 (4) – Apr 22, 2019

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Publisher
Center for Irish Studies at the University of St. Thomas
Copyright
Copyright © The University of St. Thomas.
ISSN
1534-5815

Abstract

Alison Garden Queering the Poetics of Race and Nationalism: Yeats, Casement, and Paul Muldoon’s “A Clear Signal” (1992) On St. Patrick’s Day in 1992, the Irish poet Paul Muldoon published “A Clear Signal” in the New York Times. The dense and complicated poem is sixty-two lines long, written across thirty-one sardonic couplets. With its rhyme scheme forming forced and simplistic pairings, it sounds much like an acerbic children’s nursery rhyme. As we have come to expect of Muldoon, the poem shifts in tone and, thematically, traverses a great amount of ground. But it is chiefly pre- occupied with the deeply intertwined politics and histories of Ireland, both in the North and the Republic, Britain and the United States. Beginning with the “tit-for-tat” violence that was one part of the euphemistically named “Troubles,” the poem ends by invoking the “ghost of Roger Casement” as a riposte to the Ancient Order of Hibernians’ (AOH) refusal to let the Irish Lesbian and Gay Organization (ILGO) march in the 1991 New York St. Patrick’s Day Parade. Muldoon’s poem—which, curiously, has never been anthologized or r - epub lished—is structured around the repeating refrain calling “to Ao m ur I eric ri a sn

Journal

New Hibernia ReviewCenter for Irish Studies at the University of St. Thomas

Published: Apr 22, 2019

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