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Who Gets the Pope's Nose? single work   poetry   "It is so tiring having to look after the works of God."
  • Author:agent Peter Porter http://www.poetrylibrary.edu.au/poets/porter-peter
Issue Details: First known date: 1961... 1961 Who Gets the Pope's Nose?
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Once Bitten, Twice Bitten Peter Porter , London : Scorpion Press , 1961 Z9640 1961 selected work poetry London : Scorpion Press , 1961 pg. 52
  • Appears in:
    y separately published work icon Collected Poems Peter Porter , Melbourne Oxford New York (City) : Oxford University Press , 1983 Z575458 1983 selected work poetry Melbourne Oxford New York (City) : Oxford University Press , 1983 pg. 32-33
  • Appears in:
    y separately published work icon Collected Poems Peter Porter , Melbourne Oxford New York (City) : Oxford University Press , 1983 Z575458 1983 selected work poetry Melbourne : Oxford University Press , 1999 pg. 39
  • Appears in:
    y separately published work icon The Rest on the Flight : Selected Poems Peter Porter , London : Picador , 2010 Z1687048 2010 selected work poetry Crows Nest : Allen and Unwin , 2010 pg. 18-19

Works about this Work

Peter Porter and Music William Poulos , 2019 single work column
— Appears in: PN Review , March - April vol. 45 no. 4 2019;

'Like a kookaburra’s laugh, Peter Porter’s poetry is musical but not entirely euphonic. Even in his ‘mature’ poetry we find lines such as, ‘Then, beside the church where a clapped-out pigeon fell / to be picked up by a not-very-poor-looking Italian – was…’ and ‘open the dictionary of discontinuity’. One can barely say these lines, but they were written by a poet who collaborated with many composers and said that the poet should prioritise sound over meaning, ‘follow[ing] the tread of language rather than the thread of thought’. Porter’s moderated mellifluousness was evident early. I only had to read the last stanza from ‘Who Gets the Pope’s Nose?’ once before it was permanently in my head:  

And high above Rome in a room with a wireless

The Pope also waits to die.

God is the heat in July

And the iron band of pus tightening in the chest.

Of all God’s miracles, death is the greatest.

(Introduction)

Peter Porter and Music William Poulos , 2019 single work column
— Appears in: PN Review , March - April vol. 45 no. 4 2019;

'Like a kookaburra’s laugh, Peter Porter’s poetry is musical but not entirely euphonic. Even in his ‘mature’ poetry we find lines such as, ‘Then, beside the church where a clapped-out pigeon fell / to be picked up by a not-very-poor-looking Italian – was…’ and ‘open the dictionary of discontinuity’. One can barely say these lines, but they were written by a poet who collaborated with many composers and said that the poet should prioritise sound over meaning, ‘follow[ing] the tread of language rather than the thread of thought’. Porter’s moderated mellifluousness was evident early. I only had to read the last stanza from ‘Who Gets the Pope’s Nose?’ once before it was permanently in my head:  

And high above Rome in a room with a wireless

The Pope also waits to die.

God is the heat in July

And the iron band of pus tightening in the chest.

Of all God’s miracles, death is the greatest.

(Introduction)

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