Incense and insensibility: Austin on the 'non-seriousness' of poetry

What is at stake when J. L. Austin calls poetry ‘non-serious’, and sidelines it in his speech act theory? (I). Standard explanations polarize sharply along party lines: poets (e.g. Geoffrey Hill) and critics (e.g. Christopher Ricks) are incensed, while philosophers (e.g. P. F. Strawson; John Searle) deny cause (II). Neither line is consistent with Austin's remarks, whose allusions to Plato, Aristotle and Frege are insufficiently noted (III). What Austin thinks is at stake is confusion, which he corrects apparently to the advantage of poets (IV). But what is actually at stake is the possibility of commitment and poetic integrity. We should reject what Austin offers (V).

‘The Pages are Bugged': the politics of listening in the poetry of W.S. Graham

This paper probes the public dimensions of the work of the twentieth-century Scottish poet W. S. Graham. It draws upon the public contacts and contexts that Graham's lyrics structure and reconfigure, in texts that have appeared to critics to demonstrate the poet's textual aloneness, his intellectual and geographical banishment. Repeatedly addressing his St Ives community of artists and writers, lovers and companions, Graham's work sets up strategic routes through a succession of publicly-minded verbal engagements. Refusing to allow one passively to listen in to the poet's isolation, the lyrics invite, rebuff, tease, avoid, dally with, and proposition audiences and interlocutors. Graham's poetry speaks from within and without tradition, location and heritage, subtly attuning readers to the politics of its handling of national allegiance, identity, class and patronage.

Science in modern poetry: new directions

An edited collection of essays by the leading scholars in the field on science in poetry from 1900 to the present. This is a collection of research essays, not a companion. The introduction (pp. 1-15) and one of the 12 main chapters, 'From Bergson to Darwin: Evolutionary Biology in the Poetry of Judith Wright' (pp. 194-209), are by the editor.

Pagan epic in contemporary British poetry: Hughes and Logue, Ovid and Homer

In 'Tales from Ovid' and 'War Music' respectively, Ted Hughes and Christopher Logue turned to classical epic as source material and a model for contemporary poetry. In this essay I consider the different ways in which they work with the original epic poems and how they rework them both textually and generically. In the process, I suggest, Hughes gives his readers an Ovid modeled on his own, vatic conception of Homer, while Logue reworks Homer in a manner that is essentially Ovidian.