Paul Muldoon and the BBC : Representing Irish
Poetry to the Audience
著者
SATO Yasuhito
著者別名
佐藤 泰人
雑誌名
白山英米文学
号
39
ページ
107-125
発行年
2014
URL
http://id.nii.ac.jp/1060/00006611/
Creative Commons : 表示 - 非営利 - 改変禁止 http://creativecommons.org/licenses/by-nc-nd/3.0/deed.jaPaulMuldoonandtheBBC:
RepresentinglrishPoetrytotheAudience
YasuhitoSATO
Introduction PaulMuldoonobtainedapositionasaradioproducerfbrtheBBCinl973justafierhis gaduation廿omtheQueen'sUniversityofBelfastinthesameyear.Aiferworkingfbr almostthirteenyearsheresigledfiomthejobinJanuaryl986,andleffNorthemlreland. DuringhisBBCcareerinBelfast,Muldoonestablishedhimselfasadistinguished poet.Hisfirstbook"ewリ化α//ier,publishedinthesameyearasheenteredtheBBC, receivedgoodreviews.Threeacclaimedcollectionsfbllowed-M"/esinl977,〃りノ Bmw"/eeLg/iinl980andQ"oqfinl983.FaberandFaberthencommissionedhimto editananthology,whichappearedas777eFqbeγBookqfCo"/e'"poγa"〃紬Poe"in 1986.Inthesameyearhisownpoeticcareerwascompiledas舵/eα〃Poe"TsI958-〃83．AswellashispoeticcareerandthepublicenvironmentoftheTroubles,his privatelifeoftheperiodtoowaspuncmatedwithimportantevents:marriageinl974, hismother'sdeathinthesameyear,divorceinl977,hisrelationshipwithMaryFarl Powers,andfinally,hisfather'sdeathinl985,whichwasoneofthefactorsbehindhis leavingNorthernlreland(Muldoon,1987b,36).TheBelfastyearsarethusaperiodof profbundsigni6canceinhislife,evenifsomeofthesecontexts,outsidethe@Troubles', remainlargelyunexploredinMuldooncriticism.Inparticular,hisBBCcareerinthis importantperiodhasnotgainedenoughcriticalattention.'Tbshedmorelightonthis aspect,thispaperexaminesMuldoon'sworkattheBBCwithaspecialfbcusinhis representationoflrishpoetry. Thatcherismandthen･oubles AlthoughMuldoonishumbleandjokinginattributinghisemploymenttobeingan excellenttea-bearer,2histalentwasobvioustosome,sothatthethendramaproducer RonaldMasonspottedandrecruitedhim・MichaelLongleytestifiesthathewas&one ofthebestartsproducerstheBBCeverhad':@Hewaspunctilious.Accordingtothose whoworkedwithhim,evenhispaperworkwasthebestthey'dseen.Heworkedwithenormousefficiencyandoriginality.Notwhatonewouldhavebeenledtoexpect byhisuniversitycareer!'(Potts,2001,6).Afterworkingfbralmostthirteenyears, however,hedecidedtoleavetheBBC.InaninterviewMuldoongivesabriefcomment onhowhele仕 Ihadajobwhichwaschallengingandrewardingfbrthemostpart,butl've beendoingitfbralmostthirteenyearsandlcouldn'tseemyselfstayinguntil retirementage-ifeverlseeretirementage・AIso,theclimatewithinBBChad changedconsiderably.WhenljoinedBBCtherewerenotionsofpublicservice broadcasting,andthosenotionsarestillbandiedabout,butldon'treallythink thatanyonewhorunstheshowbelievesverymuchinthem.Icoveredthearts, andalotofmytime,alotofmyenergy−伽toomuchofit-wasspentfighting managementfigureswithinBBCNorthernlrelandwhoprofessedaninterestin theartsbutfianklydidn'tgiveadamnaboutthem.ldecidedthatlwasgettingtoo longinthetoothfbrthat.(Muldoon,1987b,36) Theideaof@publicservice'wasproblematicindeed.Theclimatechangementioned abovewasbroughtaboutlargelybyThatcheritepressure.Althoughthenatureofthe !publicservice'oftheBBChadbeenconstantlybroughtintoquestion,itwasMargaret Thatcherwhomostharshlycriticisedit.McLoonereviewsthesituationasfbllows: Inthel980s,theThatchergovemmentwasfmdamentallyhostiletothepost-war consensusandscepticalofitspublicserviceachievementsandbegantolookfbr waysofprivatisingpublicutilities・TheBBCwaSanobvioustarget,especiallyfbr agovemmentwhichalsofeltthatmarketfbrcescouldbereliedupontodeliver amediasystemmorepoliticallysupportiveofitsunderlyingideologythanthat whichthepublicservicerequirementsandtraditionsoftheBBCcouldoffer. (McLoone,1996,2) Theartswereoneofthemajorfieldsthatthepost-warconsensustreasured.They, andtheirimplicitadvocacyoftheuseofuselessness,musthavebeentheoppositeof theThatcheritepursuitofcostefficiency.AccordingtoChrisSpurr,aBBCNorthern Irelandproducerwhohasworkedfbrthecomorationsincel979,theregulararts featureslotwaslostinthelatel980s.Healsoremembersthattheethosinwhich
everythingwasaccountedfbrrestricted廿eedomandspontaneityinprogrammemaking (Spurr,2003).TheclimatechangeisalsorefiectedinthefactthatMuldoonwasthelast writer/producerofBBCNorthemlrelandinfillltimeandpennanentemployment.The dayswhenacommittedwriterandafilll-timeproducerwereseenascompatible､orat leastparallelroles,havegone. TheartssectionofBBCNorthemlrelandwasunderanotherkindofpressure:the greaterimportanceattachedtonewsandcurrentaffairsbecauseoftheTroubles.The politicalclimateinMuldoon'sBBCyearswasahardone:thoseyearsbeganwiththe SunningdaleAgreement(Decemberl973)andendedwiththeAnglo-lrishAgreement (Novemberl985),bothfbllowedbymassiveUnionistprotests;betweenthemwasthe Republicanprisonprotest廿oml976,whichculminatedinthefatalhungerstrikein 1981.Intheregionwherethereisaseriousdivisioninthepublic,thequestionofwhat 6publicservice'meansbecomesmorecrucial.Ithasalwaysbeenadifficultissuefbrthe BBC.RexCathcarttracesthreestagesoftheBBC'sstrategicchange: Inthepre-warperiod,theBBCignoredthedivision[ofthesociety]andsought topreventanyofitsmanifestationsfifomimpingingonprogrammes.[...]Inthe post-warworld,thepursuitofsuchastrategyprovedimpossible.TheBBCthen soughttobethemeansofbringingbothsidesofsocietytogether.Thefeelingthat thisshouldbedonewithoutprovokingvociferousandpossiblyviolentreaction 廿omtheunionistmajoritymeantthatpositiveaspectsofcommunityrelations wereemphasisedandthenegativeunderplayed・Aconsensusemelgedwhichhad afalsebasis.Whenthecivilrightsmovementattemptedtogiveitarealbasis,the BBC'sstrategybecamein･elevant.BroadcastingHouse,Belfast,threwoverthe incubusofhavingalwaystoplacatelocalunionistfeelingsandtherethenemeIged thethirdandcurrentstrategywhichrequiresthebroadcasterstoreHectthewhole ofsocietyinNorthernlrelandasitis,initsnegativeanditspositiveaspects.[…］ Thepriceofthestrategyisthatneithercommunityissatisfied,fbreachmanifests exclusivepoliticalandculturalattimdes,harbourstheultimatedetenninationthat theothersidewillnotbeseenorheard.Ifthereismiddleground,thenthatis wheretheBBCinNorthernlrelandendeavourstostand.(Cathcart,1984,262-63) Thiseven-handedstrategyoftheBBCtoplaceitselfasabrokerbetweentwoenemies, however,isproblematicpreciselybecauseofitsbeingapublic,or$British',comoration.
TheBBCoftenbecameatargetofdirectviolence:fbrexample,thel974-75Annual ReportrecordstheexplosionoftwocarbombsoutsidetheBelfastBroadcastingHouse, andabombattackontheNewrytransmitter.Besidetheseactualexplosions,BBC NorthemlrelandsufferednumerousIRAbombscares.Attacksalsocame廿omthe LoyalistswhosawtheBBCasatraitor:accordingtothel985-86AnnualReport,some membersofthenewsstafrwereinjuredandequipmentwasdamagedwhencovering theUnionists'protestagainsttheAnglo-IrishAgreement,andatEastersomecrews receiveddeaththreats廿omparamilitalyorganisations. Thearts-Muldoon'swork AccordingtoGraniaMcFadden,theartshadmoreslotsbefbrethelatel960swith artsreviewprogrammeslike"e"r/s/"UMerandSo""di"gr;butthissimationwas drasticallyworsenedbytheTroubles(McFadden,2001,238).Bardon,however,says thatthelaunchofBBCRadioUIsterinl975createdamore廿equentoutputonarts (Bardon,2000,133-34).Inanycase,theartswereseenasdistanced廿omthesphere ofpoliticalviolence.BBCAnnualReportsofienstressthatthemajorityoftheir progrannneswereunconnectedwiththeTroubles,reflectingthenonnallifeofNorthem Ireland.Amongthemwere,theReportsstate,thoseonarts・Indeed,theprogrammes MuldoonproducedaremostlyunrelatedtotheissueoftheTroubles.TheTroubles seemtohavebeenathreattotheprogrammemakers:SpurrrecollectsthattheTroubles werealwaystherelike!anelephantintheroom',whichmadehimwanttomakea programmeonsomethingelseasanantidotetotheelephant'soppressivepresence (Spurr,2003).Thefbllowinglines廿om@TheSoap-Pig',apoeminmemolyoftheBBC dramaproducerMichaelHeffeman,mayindicatethearts'positioninrelationtothe newsandcurrentafYairsfieldintheBBC: Tbgetherweleamed廿omDenys HawthomeandAllanMcClelland3 toHoat,likeSaintGennys, onourownhands throughairwavesmostlyjammedbycub-reportersandpoisonedpups.(Muldoon,1987a,25) Thearts@Hoat'throughthepoliticalminefield・ThesimileofasaintHoatingonhisown
handseemstoimplytrickinessintheartsbusinessratherthanthesacrednessofits mission.Theimplicationisthatthewayoftheartsisnotstraightfbrward,whichwould endupbeingjammed',butoblique.Anotherpassage廿omthesamepoemgoes: Many'sanArtsClub nightwithBarheldandMason4 endedwithmethrowingup atthebasin. Anne-Marielookedon,herunspoken, @That'stowash,notbokein.'(Muldoon,1987a,26) Thewayofartsseemstosharesomethingofthisimproperuseofabasin.InMuldoon's poetrytoo,althoughwedonothaveenoughspacetodiscussithere,thingsarelooked atfromdifTerentanglesandperspectives. Althoughthepoemaboveindicatesthesamecongenialgroupmentalityas Muldoon'spredecessorsLouisMacNeiceandW.R.Rodgers(whoworkedfbrBBC London,fifoml941-l963andl945-1966,respectively)hadintheLondonFeamres Department,oneofthemaindifferences廿omthemisthatMuldoondidnotwrite majorcreativepiecesfbrtheradio,beitpoetry,dramaorshortstories.5Yetthisdidnot meantheBBCtotallydeprivedhimofcreativeenergy,asanotherofhispredecessors JohnBoyd,whoworkedfbrBBCNorthernlrelandfioml947tol972,deploredthat thejobwassobusythatitpreventedhim廿omwriting(thecontracthesignedwhen heenteredtheBBCindeedprohibitedwritingorengaginginpublicspeaking(Boyd, 1990,86)),thushe.couldnotservetwomasters-theBBCandliterature'(Boyd,1990, 161).MuldoonpublishedsignificantlydumghisBBCyears.Themediumheprimarily chosewasprintnotbroadcast,althoughhispoemswereoccasionallybroadcastandthe ク BBCandtheRTEareacknowledgedinhisbooks.Itseemshestrictlydifferentiatedthe sphereofhisowncreativewriting廿omhisjobofpublicbroadcasting. Nonetheless,theartsprogrammesMuldooninvolvedhimselfwithasproduceror writercoveredawiderangeofculturalinterestsasthecatalogueofBBCNorthern Irelandradioarchivesshows(LoughranandMcCavana,1993).Theycoveredarts reviewlmusic,drama,architecture,historyetc,thoughthemainfieldwas,ofcourse, literature.Forexample,Poe"ﾂﾉﾊﾉowgatheredtogethercontemporarytalents,while Mひγ"/"gSrorydisplayedavarietyofshortstoriesbywritersoldandnew,Northand
South・Weeklyandmonthlyartsreviewprogrammes,suchasBqzaar,wereanother importantjobthatbroughtmanywritersintothesmdioandthentothepublic.6 AlthoughhedidnotundertakeanymajorcreativewritingfbrtheBBC,some programmesindicatealinktohispoeticalworks.Thereareprogrammesonwren hunting,cock-fighting,horsesandhounds,whichreflectMuldoon'spoeticinterestin animals.Andsevenoutoftwelvetitlesoftheseries"/s/7Poe/ryconcembirds,the mostfeaturedanimalsinMuldoon'spoems.Amongtheprogrammesonearlylrish writingwas@TheVbyageofMaelDuin',writtenbyMuldoonfbrpartofthesuccessfill IrishhistOryprogrammeseriesfbrschooIs.TransmittedinMayl974,itwaSthe precursorofhismasterpiece!Immram'inhisl980collection〃hyB"ow"/eeLe/i.AIso, E噌力ree"Be(/ZIs/s(transmittedinAugustl981)-aprogrammewrittenbyAlastair SmythabouttheroleoftheScots-IrishinthefbnnationoftheUnitedStateswhere thereare7DelTys,19Tyrones,9Antrims,andl8Belfasts-mighthavegivenhima hintfbrhislaterMJ"c-J4Mﾉs/e"(1990). RepresentingIrishpoetryontheair Oneofthemostimportantaspectsoftheprogrammesheproducedorcompiled concernstherepresentationoflrishpoetry.lRepresentation'is,ofcourse,alwaysa difficultbusiness,andofienfbughtoverthroughanthologisinglrishpoetly.Reviewed briefly,thefbllowingmajoranthologiesappearedduringthisperiod:Brendan Kennelly's777ePe"g"/"BookQ/〃杣陀応einl970,revisedinl981,JohnMontague's 777eFql)erBooルQ〃"sルルγseinl974;NorthemlrelandhadPadraicFiacc'sMe 恥α『j"gqrrheB/αck･4"""//Io/ogyqrCo"/e'"porα〃U/s/erPoe/"inl974and FrankOnnsby'sPoe"ん"ﾉﾙeﾉvoMQf舵/α"dinl979(revisedinl990);andBlake Morrison'sandAndrewMotion'sMePe"g"加Boo〃QfCO"/e"@porα〃B""s/7Poe"vin 1982wascriticisedasaBritishcolonisation,orappropriation,ofIrishpoets・Muldoon's 剛eFqberBoOkQ/Co"/e"'porα〃/"sル陀応eandThomasKinsella's777e"ewOX/b" BookQ/か杣陀応ebothpublishedinl986wereseenasacontrastbetweenaesthetic andnationalistentemrises.WhilePeterFallon'sandDerekMahon's77IePe"g"加Boo"
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inthefburthandnfthvolumespublishedin2002. ConsideringthatMuldoonwasinvolvedwiththispolemicalbusiness,itisworth seeinghowheproducedradioprogrannnesonlrishpoetry.Theradioarchiverecords threemainsuchworks:〃MPoe"(transmittedinSeptember-Novemberl974),Fqces Q〃7℃/α"〃(January-Junel976),and乃加e/b『陀応e(August-Septemberl986).7 Thefirstone,〃おﾙPoe",isaseriesoftwelveprogrammesonlrishpoe町廿omthe earliesttimestothepresentdaydiscussinghowmodempoetsseetheirheritage.Every programmeiswrittenandpresentedbyadifferentwriterunderadifferenttheme.The firstprogrammeistitled@TheBelfastBlackbird',writtenandpresentedbyBrendan Kennelly,dealingwiththeEarlylrishpoemstranslatedbyKunoMeyerandKennelly himselfthesecondprogrammeJTheScaldCrow',isontheEarlypoetryinmyth andlegend(presenternotrecorded);thethirdFTheBirdKing',isonB""e肋"/M"e, presentedbySeamusHeaney;JohnMontaguetalksaboutBrianMemman'scelebrated 〃 poemC"伽α〃M乃e4"-O/cheinthefburthprogramme,,TheMidnightCourt';thefifth,
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′ 〃 poetslikeMairtinODireain,MAireMhacantSaoiandSednORiorddin;andthelastof theseries@AnExplorationofLarks'waswrittenandpresentedbyMuldoondiscussing contemporarypoets. InthisseriesMuldoonftlnctionsasafacilitator-arolewhichseeminglysuggests acertainneutrality-whogathersagoodvarietyofcontemporarytalentstopresentthe variousheritagesoflrishpoetrylalthoughfemalepoetsareratherunder-represented. Theline-upofpoet-presentersthemselves-Kennelly,Heaney,Montague,Hartnett,H
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representationofcontemporalylrishpoetry,andshowshowtheBBCplayedaroleas amediumthroughwhichthesewritersco-worked.Theseriesisnotasimpleanthology butanassemblageofdialoguesbetweencontemporarypoetsandtheirliteraryfathers(ratherthanmothers).Thesemultipledialogues,andMuldoon'salmostinvisibleroleas facilitator,differentiatetheprmect廿omthesingle-editoranthology. OnestrikingaspectinthisseriesisthattheIrishandEnglishlanguagetraditions areallocatedequally,eachwithsixprogammes,althoughmostofthelrishlanguage poemsarereadonlyinEnglishtranslation.ThisisanindicationofMuldoon'sattimde towardlrishlanguage.Inaninterviewhesays:&Throughlivinginlrelandandhaving thekindofeducationlhad,Iwasvelymuchawareofthelrishlanguageandhistory' (Muldoon,1981,131).SeanO'BoylewaShisteacheratthegrammarschoolSt. Patrick'sCollegeinArmagh,andgavehim&asenseofthismarvellousheritageof literamreandsonginGaelic'(Muldoon,1981,132).8Hisfirstpublishedpoemswerein Irish,buthe@gavethatupbecause[...][he]didn'thavearealcontrolofthelanguage， (Muldoon,1981,132).Inanotherinterview,ontheotherhand,hedeniestheideaof consciouslycalTyingoverGaelicfbnnandrhythmtoEnglishpoems.Suchanattempt, asinMoore,Mangan,DavisorSynge,isinappropriatebecause@Englishhasitsown prosody'(Muldoon,1985,78).Healsoquestionsthetoo-easyassumptionthatEnglish spokeninlrelandismorecolourfillandmusical.Hesays:@Iwouldsaythatinsome respecttheEnglishlanguageisstillbeinglearnedinlreland,butlwouldn'tbecome overlyromanticaboutit'(Muldoon,1985,78).Theradioseriesseemstoreflectthis balancedrespectofEnglishandIrishlanguages,ratherthanthedilemmabetweenthem thathisseniorpoetshadtoarticulate,likeKinsellainhisl970essayDqv/s,Mq"gα"， Fe聰"so"？乃”賊o〃α"d//7e/"sル〃ｹ"eﾉ･orHeaneyinhisearlyessays.AIso,the respectfbrGaelicpoetrymaypartlyhavebeeninspiredbyKennelly'sandpossibly Montague'santhologiesthatemphasisedtheGaelictradition,althoughtheypresented thepoemsinEnglishtranslationonly.Inthisregard,themostinterestingamongthese radioprogrammesisHamett'spresentationofthe!fbrgotten'(asHartnettbitterlysays) UIster-Gaelicpoetsoftheeighteenthcentury.Whileotherpresentersreadmostlyin Englishtranslationonly,hereadsboththeoriginalanditsEnglishtranslation,evena fewpoemsinlrishonly.Intennsofthearts,theBBCwasalsoliberalenoughtoallow himtorefertotheeighteenthcenturyProtestantsas.barbariccapitalists'ortosay:@[the
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Hartnett(.ASonnet')asexamplesofthosewhosuccessfilllygotoutofamildclimate ofSouthernparochialism,ora&parishpumpsyndrome',thatlooksfbraudienceand publishernofartherthanDublin,wherePatrickKavanaghisrememberedasalounge barphilosopherratherthanapoet・Muldoon,however,illustrateshowthesefburpoets shareaconsistenttone,bypickinguponelinefifomeachpoemtomakeupastanza.He thenshiftstotheNorth,wherehesaysthevoiceismorevariousandwilfill.Muldoon's stanceseemstobeonadelicatebalance:ononehandheseestheborderasamatter ofmereconvenienceandtriestoavoidaneasysummary;ontheotherhand,he acknowledgesthedifferencebetweentheNorthandtheSouthandhastoexplainitina neatandclearwayinthistypeofradioprogramme. ThisrecognitionofNorth/SouthdivisionseemstocorrelatewiththatofSeamus Deane'searlyessaywhereheexaminesthedifferencebetweenMontague'sNorthand Kavanagh'sSouth,oneis@thehistoricalmoment'andtheother@theeternalmoment' (Deane,1975,16).Inotherwords,poetryreHectsthepoliticalstabilityoftheRepublic andtheinstabilityofNorthemlreland.Muldoon,however,alsocommentsinthe programmethatNorthernpoetryispractisedasarealalternativetopoliticsand religion,andismoreexcitingandenergeticthananyotherEnglishpoems.Hewitt (lAprilAwake'),Simmons(mARefbrmertoHisFather'),Mahon(@TheSpringVacation'), Longley(｡Galapagos')andHeaney(&TheSeedCutters')arechosen.Muldoonthus deliberatelyavoids.Troublespoems'toevadethepitfallofeasyrepresentation-ashe avoidstypicalparochialpoemsinselecting廿omSouthernpoetry.ThisalsoremindsuS ofDeane'scommentonthe@apolitical'namreofsomecontemporaryNorthernliterary activity: Noreaderof777e"o"eWUZWeγ〃α〃couldfindthereapolitics,anaesthetic;buthe couldfindagooddealoflaughteratthethoughtofhavingoneortheother.This is伽renough,exceptthatthelaughterisitselfborrowed;itinvoIvesthekindof ‘廿eespirit'attitudeyougotinBerkeleyintheearlysixties､Andthatlooksrather preciousintheNorthatthemoment-althoughpreciosityisnotasintowhich Northernersthinkthemselvesprone,largelybecausetheythinkitmeansthe oppositeofcrudeness.(Deane,1975,14) Theapoliticalattitudeseemstohavepartlybeenaresponsetoajoumalisticnotion oftheTroubles.WhenPadraicFiaccedited77ie"tf""j"g”/heB/"c"inl974,itwas
answeredbyJamesSimmons'sbitterreviewinthe"o"esr(/伽〃版α":@Ifheisnot exploitingthetroublef,thenperhapsFiacchasallowedhimselftobeexploitedby 66 them,bytheirnewsvalueandthequestionsofjournalists'(Simmons,1974/75,68).By thisexploitation,Simmonsargues,theaestheticvalueofpoetryisseverelyneglected. Anotherjournalisticaspectisthenotionof｡NorthernPoets',i.e.aneasycombination ofpoetryandtheTroubles.Manywritersdetestedthisnotion:fbrexample,Deanein theaboveessayregardsitas｣nomorethananewspaperphenomenon'(Deane,1975, 14),andinlateryearsKennellycommentsthatitis{misleading'(Kennelly,1981,41) andfbrKinsellaitirajoumalisticentity'(Kinsella,1986,xxx).However,thisisnot acompletedenialofaspecialityoftheNorthempoets.Deanecommentsthat.agood dealofwhattheyrepresenthashadnopreviousexistenceinlrishliteratureatall' (Deane,1975,14).AndMahon,thoughadmittingitistosomeextentajoumalistic phenomenon,says:､Thepoetryandthe"troubleghadacommonsource;thesame energygaverisetoboth,thoughit'sworthnotingthatthepoetryprecededthepolitics' (Mahon,1991,5). Muldoon'sevasionoftheTroublesintheprogrammeseemstobeaconsequence ofthedetestationhesharedwithotherwritersofthejoumalisticattitudestowards Northemwriting.Theironyisthatbythisevasionhisprogrammeapparentlybecomes suitablefbrtheBBC'saspirationthatitsartsprogrammesrenectanonnalityofthe societyunconnectedtothecurrentviolence.Theaspirationbecomesproblematical becausetheideaofnonnalisationimpliestheNorthernconHictisakindoftemporary aberration,denyingthesignificanceofitsroots.Poetry,asMahonsuggests,cannot denythoseroots.Muldoon'ssolutionseemstobetopresentconHictingpoeticvoices intheNorthwhileavoidingovertviolentfeaturesthatmightbemisleading.Where Southempoetryisseenasharmonious,tonallyandstylistically,Northempoetry's variousnessandwilfillnessbecomesacovertexpressionofthecomplexitiesofthe society. Thesecondrepresentationalwork,FqcesQ//花/α凧isaseriesofsixprogrammes ofpoetry,proseandsongonvariousaspectsoflrishlife,onthethemesof.Work andPlay'(presentedbyGeITyDowney),@Love'(MaryMumhy),$ThelrishandTheir Creator'(TbmMullarkey),.WarandPeace'(PeterMullan),@HeroesandVillains'(Gen･y Downey),and.ThelrishAbroad'(FrankD'Arcy).Irishpoemsinthisseriesareputin adifferent,widercontextsetalongsideproseandsongs.Itssocial,ratherthanliterary, aspectisemphasised.So,fbrexample,Kavanagh's@TheGreatHunger'isreadunderthe
themeof&workandplay'alongwithpoems@TheScholarandHisCat'(whichMuldoon latertranslatesas.Anonymous:MAFe〃α"dPα"g"γ'inHay,1998),｡TheSmdent'sLife IsPleasant'(bothbyunknownauthors,translatedbyKunoMeyer)JDeITy'bySeamus Deaneandsoon;withprose廿omWilliamCarleton's@NotetoSchoolmasters',Patrick Gallagher's$TheHiringFair',BrendanBehan's#HoldYourHourandHaveAnother' etc;andwiththesongs&OneDayfbrRecreation',,TheLimerickRake',@AMaidGoing toComber',.TheRocksofBawn',.FearA'Bhata'and@McAlpine'sFusiliers'(which isfeaturedinMuldoon'rlRememberSirAI廿ed'in〃")/B/cw"/eeLg/i).Thefbcus istherefbrenotonthepoetKavanaghbutontheharshpeasantlifeofthepoem's protagonistinthecontextofvariouslrishsocialsituations.Whiletheborderline betweenpoetryandotherartfbnnsblurs,artandlifecomecloser・Asimilarapproach isseeninprogrammeslike･HorsesandHounds'(transmittedon80ct.1978)and &FightingCocks'(21Nov.1982),bothofwhichMuldoonproduced.Theseprogrammes arerepresentationsofIrishlifethroughliteratureratherthanarepresentationoflrish literamre. Thethirdone,ontheotherhand,isliterary.7Y"'e/br陀恋e,producedbyClive BrillandtransmittedafterMuldoonlefitheBBC,isaseriesofsevenshortmoming programmes(tenminuteseach)inwhichMuldoonpicksupwhatheconsiderstobethe bestlrishpoemsovertheprevioustwentyyears.Introducingtheprogrannneshesays thathedoesnotsetanythemesbutsuggeststhevarietyofrecentlrishpoetry,andthat hewantstoavoidthepitfallofanyeasyconstruction.Theintroductorycommenton eachpoetiskepttoaminimum.Selectedpoetsandpoemsareasfbllows:1)Thomas Kinsella(@Ancestor',,BallyDavidPier'),RichardMumhy(℃oppersmith'),William Peskett(.Moths'),MichaelDavitt(@TheMirror');2)JohnMontague(Windharp'JThe Trout'),DesmondO'Grady(.Sightseeing'),HaITyClifion(@MagyarCoat'),andJohn Hewitt(@SonnetsfbrRoberta'Iandll);3)SeamusHeaney(@Widgeon'JTheGiven Note',@NightDrive'),BrendanKennelly(.MyDarkFathers'),MichaelHamett(,ISaw MagiconaGreenCountryRoad'),PeterFallon(@WinterWork');4)MichaelLongley (@SecondSight',･TheThirdLight',&SeaShanty'),JamesSimmons(&TheHarvestis Past'),HughMaxton(@Ode'),MichaelFoley(.IRememberAdlestrop'),AidanCarl Matthews(GSpectrum');5)DerekMahon(@Nostalgias','AGarageinCountyCork'), CiaranCarson(.ThelrishfbrNo'),FrankOnnsby(.Islands');6)MedbhMcGuckian (.TheStanding',$TbMyGrandmother',@Slips"),EavanBoland(.InHisOwnlmage'), EileanNiChuilleanain(.Swineherd'),NualaNiDhomhnaill(@AsfbrtheQuince');
7)PaulDurcan(.MakingLoveoutsideArasanUachtarain',@InMemoryofThose
MurderedintheDublinMassacre'),ThomasMcCarthy(@StateFuneral'),TbmPaulin(&A RumCove,AStoutCove'FAWrittenAnswer'),SeamusDeane(.Retum').Apparently thelistisbasedonhisFaberanthology,publishedbefbrethisprogramme.Theeight poets(excludingKavanaghandMacNeice)ofthebookaremorefeaturedthanothers inthisradioprogramme.Thatsaid,thosewhoseverelycriticisedtheFaberanthology wouldbehappierwiththisselectionofcontemporarylrishpoets:nodeadpoets,wider selection廿omtheNorthandtheSouth,andmorefemaleandIrishlanguagepoets, thoughnotenoughandtheGaelicpoetryisreadintranslationonly.Theseriesdoesnot avoidpoliticalissuesandviolence,yettheyarenotinthefbregroundbutarepresented aspiecesthatmakeawholepictureofvariety.AlthoughMuldoondidnotreadhisown poems,withoutwhichthepicturewouldneverbesatisfactory,theprogrammeturns outtobeamoreinclusive,certainlylessrisky,andlessadventurousrepresentationof contemporarylrishpoetry. RepresentinglrishpoetryinbookfOrm Inabookfbrm,Muldoonismuchmoredemandingandchallengingtowardshis audience,andagreatdealofattentionhasbeendevotedtodiscussionofthepoliticsof Muldoon'santhologising,althoughthedifferentslantprovidedbytheabovecontextis usuallyabsent.Hiseditionof771eFq6e"BookQfCo"ie′"porq〃〃MPoe"received anumberofcriticismsfbritsunusual,buttypicallyMuldoonesque,wayofediting: thebookcontainsonlytenpoets(Kavanagh,MacNeice,Kinsella,Montague,Longley, Heaney,Mahon,Durcan,Paulin,McGuckian)withnointroductionandnoexplanatory notes.Inthewordsofonereviewer,@Itinnosenseoffersafairpicmreofcontemporary Irishpoetry,norhasPaulMuldoonperfbnnedtherealjobofaneditor,merelythatofa selectorwithsomecuriousblindspots'(Grennan,1986,58).Inclusionoftwotwenty -year-deadpoetsunderthetitleof,contemporary'canbequestionable(Dawe,1986, 21).A.Northernbias'(Mahon,1986)isobvious:eightoutofthetenpoetsarefrom theregionofUIster,ofwhomsevenare廿omNorthemlreland(somehowachievinga decentNorthemreligiousbalanceof4Catholicsand6Protestants);onlyonefemale poet;nolrishlanguagepoet;andnoMuldoon(soMuldoonreadersareimplicitlyledto buyhisSe/ecredPoe"Tspublished廿omFaberinthesameyear). Thelackofanintroductionisespeciallyproblematic,asifMuldoonisreplicating hisroleintheBBCasinvisiblefacilitatorwhoallowsotherstospeak.Thatsaid､the6 prologue'oftheanthologyisaninterestingeditorialmessage.ltisanextractfifom aradiodiscussionbetweenF.R.HigginsandLouisMacNeice,broadcastonBBC NorthemlrelandonllJuly,19399.Muldoonthuspickeduparadioprogrammefbrthe prefacetoanenterprisehecouldnotdofbrtheradio.Yetthiscanbeseenasonelast jobasaBBCproducer,bringingtoanewaudiencethebroadcaStwhichitwouldnot otherwisehavereached,andprovingitspertinencetoacontemporaryproblem. InitHigginssays:@Readingthroughtheanthologiesmade廿omcontemporary Englishpoetslwouldsaythatthereislittlesignofsuchmagic;indeedtherearefew signsoftheawfillsenseofrespectfbrwordswhichpoetrydemands'.MacNeicereplies: lPerhapshalfLa-dozenpoemsin6fty,whichisnotabadaverage'(Muldoon,1986,18). Muldoonthustangentiallyaddressesthequestionofanthologies.Helaterexplainsthe approachmoredirectly(thereis,ofcourse,someironyinthefactthatMuldoonfeels compelledtoexplainhisabsenceofexplanationaifertheevent): Ithinkhadlwrittentheintroductionlwouldhavepointedout[...]thatthisis notmeanttobeanexhaustive,all-embracingrecordofeverylrishpoetwho'sput pentopaperoverthelastfiftyyears・Anynumberofanthologiesdothat.And theycome,atleastfbrme,tolookdepressinglysimilar.Anthologiesdo,afierall, tendtobecomposedof@anthologypieces'.Andlwantedtoavoidnotonlythe bitternesslassociatewiththesemoreconventionalanthologies,buttheinsidious valuejudgementsimpliedbythenumberofpages,fbrexample,assignedtoeach contributor.[...]Sowhatlchosetodowastolimitthenumberofpoetstoten inthisbook,andtorepresentthemwithsubstantialselections[...].Something, inotherwords,thatareadermightgethisorherteethinto,ratherthannibbleat. (MuldoOn,1994) Itishisbeliefthat@anthologypieces'cannotrepresentapoet,inwhichcaseHiggins's conceptofcontemporaryEnglishpoetryisimplicitlyinvalidatedbecausehejudges only廿omanthologypieces.Ontheotherhand,however,itisquestionableifMuldoon's limitedselectionoftenpoetscanrepresentthe｡contemporarylrishpoetry'ofthe volume'stitle.AsonereviewersuggestsJた〃〃MPoe/3,selectedbyPaulMuldoon9 wouldbeamoreaccuratetitle(Grennan,1986,58).Butisitanywaypossibleto representcontemporary‘Irishness，ordesirabletotryanddoso？Thisisanotherpoint Muldoonquestionsbywayoftheprologue.ForHiggins,@suchmagic'referredtoabove
isthatof.purepoetry'oflrelandthatcomes廿om@abeliefemanatingfi･omlife,from nature,廿omrevealedreligion,andfiomthenation'.Anlrishpoet,Higginssays,cannot escapefi｡omthis!blood',or#blood-musicthatbringstheracialcharactertomind'. MacNeiceanswersthatheandhiscontemporariesbelongto@animpureage',andthat 6 onemayhavesuchathingasone'sracialblood-music,butthat,likeone'sunconscious, itmaybelefttotakecareofitself.Thepoet'sfilnction,MacNeicecontinues,isjustto recordanythingwhichinterestshim,beitagasometerortheMarxiandialectic,with thegreatestintegrityandmusicthathecan(Muldoon,1986,17-18).Muldoon'sattimde isclosertoMacNeice'sthanHiggins's・Muldooncertainlydemandsthatreadersreadas manypoemsaspossible,withouttheeasyguidelineofexplanatorynotes,toknowthe poetsproperly;thusideallyavoidingquick,easyandmisleadingconclusions. Thisdoesnotmeanhisselectionisrandom.HesetsKavanaghandMacNeice up付ontasthetwopillarswhohavehadthemostinnuenceoncontemporarylrish poets-theparochialsensitivityofKavanagh,wholivedallhislifeinlreland,and MacNeice'scosmopolitansenseofplace.MuldoonseesthatKavanaghbecameanicon tolaterpoetssuchasMontague,HeaneyandDurcan,whileMacNeiceisanexemplar toLongley,MahonandPaulin,or.Protestantswhoseethemselvesasoccupyinga particularlycomplexareabetweenthepullsofEnglandandlreland'(Muldoon,1994). Then,fbllowingthecelebrated6vepoets,theanthologyendswiththevariedvoicesof threeyoungerpoetswhoexploresocial,politicalandprivatespheres.77IEFqberBook therefbrehasawell-thoughtconstruction. ItsNorthembias,however,was-andis-seenasproblematical.AsMichaelAllen comments,theanthology.seemstohavedroppedintothemiddleofacontinuously seethingsenseofoutrageinDublinattheideathatanylrishpoetsshouldbecalled .Northem'(Allen,1990,100).KinsellainhiseditionofﾉVEwOX/b"Bookq〃"sル J'ｾ恋e,publishedinthesameyearl986,dismissesthesocalled@Northemlreland Renaissance'as.ajournalisticentity'(Kinsella,1986,xxx).PeterFallonandDerek Mahon's777ePe"g"/"Booﾙ”Co"/e"7po『α〃か杣Poe",publishedinl990,pumoses ltocorrectimbalancescreatedovertheyearsbyeditors,publishersandcritics,andto dispeltheillusionthatldshpoetryhasbeenwrittenexclusivelybypersonsofNorthern provenance,whethertheyliveinBelfast,Dublin,DingleorBerkeley,Califbmia'(Fallon andMahon,1990,xx).ThisisamischievousswipeatMuldoon,whoafierleaving BelfastlivedinDingleandtaughtattheUniversityofCalifbmia.Theconspicuousness oftheborder,theTroubles,andtheBelfastGroupcertainlyhelpedtopublicise
Northemlrishpoetlyononehand;butsuchthingsontheothermisledcriticsasto thedegreeofitshomogenisation.EdnaLongley,however,arguesthattheNorthern-nessofMuldoon'santhologyratherindicatesdissensusincontemporarylrishpoetry andsociety:itisa@counter-bias'againstasingular,uniiiedtraditionoflrishpoetrythat Kinsella'santhologyclaims(Longley,1994,201). Thatsaid,theanthologystillhasitsunusualaspect-theverylimitednumberof poetspresentedwithoutanyguidelines-fbrthevesselnameda@bookofcontemporary Irishpoetry'.Onereviewerevensuspects:｡onecanonlyassumethatFaberweresimply availingoftheopportunitytoconsolidatetheirpositionastheleadingpublisherof IrishpoetsinBritainwhichis,ofcourse,soundcommercialsenseinthesediffIcult times'(Dawe,1986,21).Consideringanthologiesbecamepopularinthetwentieth cenmrywiththeexpansionoftheinstimtionofhighereducation,onemay,assome reviewersare,beconcernedaboutthedangerofmisrepresentationespeciallyoutside Ireland.Oronemay,ontheother,wolTyaboutitssalesasatextbook,whichwould bebetterifitwereintroducedandannotated・Interestingly,asMuldoonrevealedlateI; itwashiseditoratFaber,CraigRaine,whopersuadedhimthatheshouldnotwrite anintroductiontotheanthology(Muldoon,1994).TheMuldoonesquequalityofthe anthologywasthuspartlycreatedbythepublisher.Itis,ofcourse,Muldoon'spoetical talent,whichisacommercialvaluefbrthepublisher,thatenabledthepublicationof thischallenginganthology.Faber'ssenseofvaluesiscertainlydifferent廿omthatof theBBC・AndMuldoonaltershisagendaaccordingly,althoughhisprincipalattitude towardpoetry,thatis,toletpoemsthemselvesspeak,doesnotchange. Conclusion Overall,Muldoon'sactivitiesintheBBCwerepoliticallymoderate,thoughartistically interesting.Iftheywerenotdirectlysigniflcantintennsofhiscreativewriting,they neverthelessconstituteanotherlayerofthecontextfbrthatwriting,beyondthemore obviousoneprovidedbytheTroubles.MuldoonlaterlooksbackathisBBCyearsin anautobiographicalpoem.TheyThatWashonThursday'inHqy: TheAnnaliteinonehand andtheballotboxintheother・Mendyingathand Throughoutallofwhichlwouldhand backtocontinuityasthesecondhand
cameuptonoon..Ontheonehand... Ontheother...'Themuch-vauntedevenhand oftheBBC.Thoughthey'dprettymuchgivenmea廿eehand Idecidedatlengthtothrowinmyhand andtenderedmyresignationbyhand'.(Muldoon,1998,83-84) Thel加essuggeststhatMuldoon,orthearts,attheBBCwassandwichedinanarrow spacebetweentheviolentrealityoftheTroublesandhourlynewsprogrammesthat reportsuchviolence.Thenewsandcurrentaffairprogrammeshadtodealwithsocio-politicalissueswithasensitive@evenhand',whiletheartsweregivena.丘eehand'. However,thepoemitselfiscontrolledbythesame&hand',whichgiveSthispoema fbrmalfiameworkastheendwordofeveryline.ThepoemistypicalofMuldoon whoemployspoeticfbnns,orhewouldrathersaythefbnnsusehim,toreleasehis poetics.Yet,onanotherlevel,intennsofMuldoonattheBBC,itcanbeallegorically readastheCorporationintheparticularpoliticalsituationatthetime,beitthe TroublesorThatcherism,puttinghimundercertainrestrictionsevenifheclaims 廿eedom.Meanwhile,hisoffBBCliteraryactivitiesseemtohavereleasedhim廿om thisrestriction.HisBBCcareer,however,indicatesmanyimportantaspectsinhis involvementwiththeculturalfbnnationofcontemporaryNorthernlreland. NOteS IThefburmonographsonMuldoonpublishedso伽(Kendall,1996;Wills,1998;Kendalland McDonald,2004;andHoldridge,2008),fbrexample,failtoincorporatethisaspectintotheir essentialarguments;Muldoon'sworkintheBBCamountingtonothingmorethanbiographical notesrefelTedtoinpassing. 2Duringhisinterview,ateatrolleyarrived.@I'dbeensowellbrought-up',Muldoonrecollects, .thatljustnaturallyleanedoverandsaid,"wouldyoulikeacupoftea?".Theymusthave thought,@.Here'safinetea-bearertothegods",whichisbasicallywhatbeingaradioproducer is'(Potts,2001,6). 3DenysHawthome(1932-2009)andAllanMaClelland(1917-l989),NoIthemlrishactors. 4BrianBarfieldandRonaldMason,artsproducersattheBBC. sExceptionally,hewroteaverseplayfbraSt.Patrick'sDayprogramme:@TheGreatDebate', aversionofthedialoguebetweenStPatrickandOisin,broadcastsimultaneouslybyRadio
UIsterandRadioEireannonStPatrick'sNightofl976.Onlyacoupleofextractswere publishedinFFo""妙/,issuel31. 6MichaelLongleyrecollects:@ThemagazineprogrammeBazaarencouragedwriterstodotheir ownthingortlysomethingentirelynew."Ihearyou'retryingtogiveupthefags.Wouldyou liketowriteaboutit?Fiveminutes,say?"Whocouldrefilse?Partofthefimwaswondering whoelsewouldbeinthestudio[...].Paulbroughtusalltogetherontheairand,without tryingtoohard,madeBelfastfeellikethecentreoftheuniverse'(BBCNorthernlreland, 2003)． 7TheauthorlistenedtotherecordingsoftheseprogrammesbythecourtesyoftheBBC NorthernlrelandArchivesattheUIsterFolkandTransportMuseum.Theirreferencenumbers areasfbllows:Ir/shPoe"y(TBE37/UT680U,TBE38/UT681,TBE37/728U,TBE39/ UT729,TBE41/UT730U,TBE42/UT731,TBE43/UT732,TBE43/UT733,TBE40川T734U, TBE44/UT735,TBE47/UT737);Fqcesqf"e/α"d(BBEO2/140UO31,BBEO6/140UO35, BBEll/140UO38,BBE14/140UO76,BBE19/140UO77,BBE19/140UO78);and万me/br 姥応e(TBE627/86DBO142,TBE627/86DBO703,TBE627/860BO744,TBE627/860BO745, TBE627/86DBO746,TBE627/86DBO747,TBE627/86DBO748). 81tisworthrememberingthatO'BoyleworkedwithSamHannaBellfbrtheBBC.Healso workedonanumberofotherBBCprogrammes,amongwhichwastheprog･ammeMuldoon producedonSamHenry'scollectionoftraditionalUIstermusic,transmittedonl4Maybl978. ThisprogrammewaspresentedbyBell. 9Itisalsopublisheda3TbndenciesinModernPoetry:ADiscussionbetweenProfHigginsand LouisMacNeice'in777eLis/e"er,27Julyl939. Re従rences Allen,Michael.(1990)..NewAnthologiesfbrOld.'Revof77iePe"g"j"BOOkq/Co"/e"7pomry かむルPoe",eds・PeterFallonandDerekMahon.〃おルReview,9,100-lO2. Bardon,Jonathan.(2000).Beyo"dr/7eSr"C伽.･4〃jsroﾉﾌﾉq/BBcﾉVO"ﾉ7eγ〃/7℃/α〃.Belfast: BlackstaffPress. Boyd,John.(1990).777eMMWeq/Mノルz"wev.Belfast:Blackstaff､Press. BritishBroadcastingCorporation.(1974-1979).BBC〃α"助ookl975-/980:/"“ゆorα""g//Ie 4"""α/R"o〃α"cMcco""な〃73/74-/978/79.London:BBC. ---.(1980-l986).BBC""""α/R印o〃α"d〃α"肋ook/98/-I987.London:BBC. BBCNorthemlreland.(2003).Po"&""ers.(Exhibitionpamphlet).Belfast:BBCNorthern lreland．
Cathcart,Rex.(1984).777eMos/Co"/qryRegio":777eBBC加Ⅳひ"〃eγ"Iﾉで〃”〃24-〃84． Belfast:BlackstaffPress. Dawe,Gerald.(1986).@ALessThanPersuasiveBook.'Rev.of777eFQ6e『Bookqj CO〃e"'poraﾉ目)ﾉ〃杣Poerr)AFFo""jg",241,21. Deane,Seamus.(1975).!IrishPoetryandlrishNationalism.'7WoDecqch"〃杣肪/""g.･" CM/cα/Sz""vey.Ed.DouglasDunn.Cheadle:CarcanetPress,5-22. Fallon,PeterandDerekMahon.(Eds.)(1990).777ePe"g"/〃BookqjCo"/e'"porqry"is/7 Poe".Hannonsworth:Penguin. Grennan,Eamon.(1986)..AWhimful,MyopicBook.'Rev.of771eFQ6erBookqf Co"/eﾉ"poγaryかおhPoerび〃O"es/[/Zs/e/""α",82,58-66. Holdridge,Jefferson.(2008).771ePoe"QfPα"/MM"/伽o".Dublin:TheLiffbyPress. Kendall,Tim.(1996).Pα"/MMbo".Bridgend:Seren. Kendall,TimandPeterMcDonald.(Eds.).(2004).Pα"/MM"/"o":O""jcaﾉふsのAF.Livemool: LiverpooIUR Kennelly,Brendan.(Ed.)(1981).771ePe"gl""Bookq/か杣陀応e.Hannondsworth:Penguin Books. Kinsella,ThomaS.(1986).7彫ⅣewOXﾌFtlBookQ/〃杣陀応e.Oxfbrd:OxfbrdUP Longley,Edna.(1994).77ieLivi"gS"eα〃.．L"”α"ｲだ&Revisio"/s加加ﾉﾉｾね"d.Newcastle-upon-Tyne:BIoodaxe. Loughran,GrdinneandMarianMcCavana(Eds.)(1993).77IeRqdioCq"/Og"e・･BBCﾉVひ"ﾙer〃 ノノセノα"dRqdio4℃〃vesar的e(ﾉZWeﾉ･FFo股α"d刀α"Spo"MiJse"碗.Belfast:UIsterFolk andTransportMuseum. Mahon,Derek.(1986)_.TheSheepandGoatmRev.of777eFFq6erBoohqJCo"reﾉ"po"α〃か杣 Poe/〃〃おル7Y"7es7June. ---.(1991)..DerekMahonlnterviewed.'WithWilliamScammell.Poe"ReWew,81.2,4-6. McFadden,Grania.(2001).@ReportingtheArts.'S/epp加gS/o"es:777eJ4γ応加UZWerl971-200/.Ed.MarkCanuthersandStephenDouds.Belfast:BlackstaffPress,237-60. McLoone,Martin.(Ed.).(1996).B'℃α伽as""g加aD/vj虎dCb加加""叩馳ve"〃たα芯Qf//'e BBC加ﾉVひ"h〃〃17℃ﾉα"乱Belfast:InstituteoflrishStudies,TheQueen'sUniversityof Belfast. Muldoon,Paul.(1981).$PaulMuldoon.'InterviewwithJohnHaffenden.I'iewpoi"rs.J. HafYbnden.London:Faber,130-42. ---.(1985).!AConversationwithPaulMuldoon.'WithMichaelDonaghy.CﾙﾉcQgoRel)jew 35.l,76-85.
---.(Ed.)(1986).777eFQ6erBookqfCb"/e"7poqry〃杣Poe".London:FaberandFaber. ---.(1987a).MMee""g/heB"応/7.London:FaberandFaber. ---.(1987b)..Q&A:PaulMuldoon.'InterviewwithKevinBalTy.〃紬L"erqryS"pp/e"7e"/, 6.2,36-37. ---.(1994).Lecture.MeijiUniversityStaffSeminar.MeijiUniversity,Tbkyo､40ct、 ---.(1998)./加えLondon:FaberandFaber. Potts,Robert.(2001).4TheGuardianProfile:PaulMuldoon.'G"αﾉて加〃l2May. Simmons,James.(1974/75).@TheManMostTbuched.'Revof777e唯α""gQMIGB/αck,ed PadraicFiacc.Ho"es/UMe""α〃46/47,67-71. Spurr,CMs.(2003).Personalinterview.5Aug. Wills,Clair.(1998).Reqdi"gPα"/Mi'/Wo".Newcastle-upon-Tyne:Bloodaxe
