This chapter builds on the pioneering work of John Wilson Foster (‘Encountering Traditions’, in Nature in Ireland: A Scientific and Cultural History, ed. John Wilson Foster (Dublin: Lilliput, 1997) and John Waters (‘Topographical Poetry and the Politics of Culture in Ireland, 1772–1820’, in Romantic Generations, ed. Ghislaine McDayter, Guinn Batten, and Barry Milligan (Lewisbury: Bucknell University Press, 2001)), both of whom considered the ways in which English-language poets of the eighteenth century wrote about Irish land and landscape. The essay looks at poems written to celebrate the world of English-speaking owners of Irish farms and estates – vistas and pleasure gardens for instance – and poems about activities taking place in the countryside – gardening, farming, hunting, and team sports. Verses praising the wildness of untamed nature are also considered as are poems on violent events such as storms and extended frosts. The poems raise practical, theological, and aesthetic issues in both pastoral and mock-pastoral modes as well as in the emerging genre of ‘picturesque’ poetry. The chapter also considers popular poetry, such as demotic verse about country life, and indicates that, for some poets – Goldsmith and Laurence Whyte for instance – life in rural Ireland was not always idyllic.

The manuscript of collected verse and prose poems Bolaño began assembling in 1993 under the title “Fragmentos de la Universidad Desconocida,” published posthumously in 2007 as The Unknown University, marks a pivotal moment in his career. Bringing to a close his lifelong aspiration to gain recognition primarily as a poet, its three-part construction, with Antwerp at its center (recycled and retitled as People Going Away), signals a decisive transition and reorientation of Bolaño’s writing priorities over the course of his final decade. Positioning as “one of the wings / of the Unknown University!”–but only one–the verse poetry he had loved all his life but come to find as limiting as Poe, Baudelaire, and Rimbaud had found it to be a century-and-a-half earlier, The Unknown University sets the stage for one of the most productive decades any writer has known. Following quite logically on the farewell to poetry as verse that is The Unknown University, Bolaño published only three years later, in 1996, the breakthrough year of his career, the condensed, prose-poetic fiction of Nazi Literature of the Americas and the novel of poetic apprenticeship this is in fundamental respects both its companion text and its sequel, Distant Star.

The manuscript of collected verse and prose poems Bolaño began assembling in 1993 under the title “Fragmentos de la Universidad Desconocida,” published posthumously in 2007 as The Unknown University, marks a pivotal moment in his career. Bringing to a close his lifelong aspiration to gain recognition primarily as a poet, its three-part construction, with Antwerp at its center (recycled and retitled as People Going Away), signals a decisive transition and reorientation of Bolaño’s writing priorities over the course of his final decade. Positioning as “one of the wings / of the Unknown University!”–but only one–the verse poetry he had loved all his life but come to find as limiting as Poe, Baudelaire, and Rimbaud had found it to be a century-and-a-half earlier, The Unknown University sets the stage for one of the most productive decades any writer has known. Following quite logically on the farewell to poetry as verse that is The Unknown University, Bolaño published only three years later, in 1996, the breakthrough year of his career, the condensed, prose-poetic fiction of Nazi Literature of the Americas and the novel of poetic apprenticeship this is in fundamental respects both its companion text and its sequel, Distant Star.

This chapter begins the text-critical study at the heart of the book. It analyzes the relationship between two different and redundant types of text-segments in the extant text, chapters (ādhyāyas) and topics (prakaraṇas). The chapters are shown to have been added at a later time. So, too, the verses that conclude each of these chapters in the extant text are shown to have been added along with the chapter segments. This chapter goes on to argue that all, or nearly all, of the verses in the text are later additions. Other additions made at the end of certain chapters are identified.