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When constructing each of her poems, the contemporary Northern Irish poet Medbh McGuckian selects, modifies, and juxtaposes extracts from other (often unacknowledged) texts. “I like to find a word living in a context,” she has stated, “and then pull it out of its context. It’s like they are growing in a garden and I pull them out of the garden and put them into my garden, and yet I hope they take with them some of their original soil, wherever I got them.” In a sense, this is a much a matter of “graft” as of “craft”: what is taken from the quoted text takes root and grows in the quoting text. Her appropriative methodology allows her not only to inscribe within her own poems the psychodramas of female literary authorship, and thus learn from the experiences of her foremothers on how to circumvent patriarchal power, but also to write from an enabling distance about the conflict in Northern Ireland.2 However, in her 2012 collection, The High Caul Cap, she adapts texts and engages in ekphrastic rewritings in order to come to terms with the loss of her mother, Margaret McCaughan. 3 Although the sources themselves compensate for the silencing propensities of grief, their collage-like arrangement within her poems results in a nonstandard collocation of phrases that mimics the symptoms of pathological grief, thereby intimating to the reader its disordering and dislocating nature. Her elegies are not just significant for the ways in which they seek to overcome both the traumatic nature of her grief and the limitations of the poetic medium in the face of death; her elegies also constitute selfreflexive meditations on her own poetic practices. In her work, McGuckian adopts, co-opts, and appropriates sources in order to engage in a paragone with precursors. She seeks to exorcise the anxiety of influence and exercise the creative reformulation

Forging Intertextual Encounters with Death: Medbh McGuckian's The High Caul Cap