PN Review Print and Online Poetry Magazine
News and Notes
PN Review Prize winners announced
Carcanet Press and PN Review are delighted to announce the winners of the first ever PN Review Prize. read more
Most Read... Drew MilneTom Raworth’s Writing
‘present past improved’: Tom Raworth’s Writing

(PN Review 236)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Alejandro Fernandez-OsorioPomace (trans. James Womack)
(PN Review 236)
Kei MillerIn the Shadow of Derek Walcott

(PN Review 235)
Kate BinghamPuddle
(PN Review 236)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Poems Articles Interviews Reports Reviews Contributors
Gratis Ad 1
Gratis Ad 2
Next Issue CELEBRATING JOHN ASHBERY Contributors include Mark Ford, Marina Warner, Jeremy Over, Theophilus Kwek, Sam Riviere, Luke Kennard, Philip Terry,Agnes Lehoczky, Emily Critchley, Oli Hazard and others Miles Champion The Gold Standard Rebecca Watts The Cult of the Noble Amateur Marina Tsvetaeva ‘My desire has the features of a woman’: Two Letters translated by Christopher Whyte Iain Bamforth Black and White

This interview is taken from PN Review 133, Volume 26 Number 5, May - June 2000.

in conversation with Eavan Boland Jody Allen Randolph

JODY ALLEN RANDOLPH: Your life has really altered in the last few years. You teach at Stanford now and you are Director of the Creative Writing Programme there. Has it been a big shift to go into the teaching environment of a large American university?

EAVAN BOLAND: It's certainly a change. More structured and challenging, in the day-to-day working sense, than anything I'd done before. It has needed some juggling and readjustments. It has also had many rewards. Stanford is a fascinating, challenging place. It has a superb English Department and Creative Writing Program, and wonderful colleagues. Adrienne Rich and Denise Levertov were also there, and I feel honoured to have that association. I've found some cherished new friends. And I'm very glad of the conversations I've been able to have with American poets, either when I travel or when they come to Stanford, as well as those in the programme.

My hope here is to look back over some of your decades as an Irish poet, not so much to scrutinize individual poems, as to take 'a backward look' at the environment in which you wrote them, and the issues around that environment. I'd like to talk about some of the changes and forces that played out both there and in your own work. I am particularly interested in the 1960s. It seems to me a watershed in Irish poetry. Were you conscious of that at the time?

I ...

Searching, please wait... animated waiting image