You’ll see the word “gaiety” a thousand times if you read any essay on Paul Muldoon; while linguistic feats like “pulley glitches, gully pitches” abound in his work, he is somehow never donnish. He can show you ways of looking at words without pushing you away from them. His resume—spotted as it is with names like Princeton, Oxford, and The New Yorker, where he is the poetry editor—also includes two rock bands, operas, and a song that has been covered in […]