« Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B

A significant part of Paul Muldoon’s recent work has been dedicated to experimenting with the visual arts and, in particular, photography. He recently published a book with Scottish photographer Norman McBeath entitled Plan B (2009). This work presents us with a new genre: photoetry. In fact, in a f...

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Main Author: Alexandra Tauvry
Format: Article
Language:English
Published: Presses universitaires de Rennes 2014-06-01
Series:Revue LISA
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Online Access:https://journals.openedition.org/lisa/6026
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author Alexandra Tauvry
author_facet Alexandra Tauvry
author_sort Alexandra Tauvry
collection DOAJ
description A significant part of Paul Muldoon’s recent work has been dedicated to experimenting with the visual arts and, in particular, photography. He recently published a book with Scottish photographer Norman McBeath entitled Plan B (2009). This work presents us with a new genre: photoetry. In fact, in a foreword to the book, Muldoon explains that the poems and photographs are “making all sorts of connections of their own, none right-in-your-face […] yet all somehow revelatory, all accompanied by little grunts, the grins and grimaces of recognition.” However, although this work confronts poems with photographs in praesentia, Muldoon increasingly resorts to the literary device of ekphrasis in order to exploit the work of photographers. Muldoon’s poetry is sometimes akin to a palimpsest, a repository of words and concealed images, which only appear beneath the surface, in absentia.
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spelling doaj-art-4c3b297f2c7c43aab9b03ccf7892defd2025-01-06T09:02:45ZengPresses universitaires de RennesRevue LISA1762-61532014-06-0112310.4000/lisa.6026« Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan BAlexandra TauvryA significant part of Paul Muldoon’s recent work has been dedicated to experimenting with the visual arts and, in particular, photography. He recently published a book with Scottish photographer Norman McBeath entitled Plan B (2009). This work presents us with a new genre: photoetry. In fact, in a foreword to the book, Muldoon explains that the poems and photographs are “making all sorts of connections of their own, none right-in-your-face […] yet all somehow revelatory, all accompanied by little grunts, the grins and grimaces of recognition.” However, although this work confronts poems with photographs in praesentia, Muldoon increasingly resorts to the literary device of ekphrasis in order to exploit the work of photographers. Muldoon’s poetry is sometimes akin to a palimpsest, a repository of words and concealed images, which only appear beneath the surface, in absentia.https://journals.openedition.org/lisa/6026intertextualityekphrasisphotometryintersemioticitysynaesthesia
spellingShingle Alexandra Tauvry
« Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
Revue LISA
intertextuality
ekphrasis
photometry
intersemioticity
synaesthesia
title « Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
title_full « Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
title_fullStr « Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
title_full_unstemmed « Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
title_short « Little grunts, the grins and grimaces of recognition »: Resistance and Exchange in Paul Muldoon and Norman MacBeath’s Plan B
title_sort little grunts the grins and grimaces of recognition resistance and exchange in paul muldoon and norman macbeath s plan b
topic intertextuality
ekphrasis
photometry
intersemioticity
synaesthesia
url https://journals.openedition.org/lisa/6026
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