bleeper going off at the heart of it, sensitive to the intimacies and implications of the words and your way with them, and at the same time she has the ability to create the. Ambiguity of referent can be intended and successful, giving resonance, but not here. 'Churchill did not understand the First World War, or the central place of the Somme within. The image of an ox somehow blundering against a gong - possible but very improbable - compounds the blunder: 'And then the ox would lurch against the gong / And deaden.' These lines are ridiculous. Small words like 'the' and 'is' can often be eliminated in poetry, if not in prose, but that would require a poet very unlike Seamus Heaney, who uses the resources of English so effectively when it's a matter of choice of word, but who neglects. She's right to claim that 'The Grauballe Man' reveals 'Heaney's gift for stunningly exact description better than any other poem in North.' In her discussion of 'The Grauballe Man Helen Vendler's enthusiasm - passion - are very much to her credit, but she doesn't show.
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Not all of the poem is at a high artistic level. Most wars have been far less well served by their poets. This isn't one of the exceptions. The sun over the Bogland is like an absentee landlord, seen only rarely in these sombre expanses. Strange Fruit (North) I'm grateful to John Newman, who has drawn my attention to the significance of the title.
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