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Essays and articles
‘The Fiction of James Kelman and Irvine Welsh: Accents, Speech and Writing’, in Contemporary British fiction, edited by Richard J. Lane, Rod Mengham and Philip Tew (Cambridge: Polity, 2003), pp. 158-173, ISBN 0-7456-2867-2, £15.99.
‘What becomes of the broken-hearted: King Lear and the dissociation
of sensibility’, essay in Shakespeare Survey, vol. 55 (2002),
53–66.
‘Cheerful History: the Political Theatre of John McGrath’, essay
in New Theatre Quarterly, vol. 72 (2002), 313–324.
‘Corners of the eye: collaborations in contemporary
poetry and photography’, in Works on Paper (2002), pp. 122-7, eds.
Helen Slater and Thomas Mansell, copies cost £5.00, from Aitchess Press, Flat
232, 78 Marleybone High Street, London W1U 5AP. ISBN 0-9543553-0-X.
‘Electra Traces: Beckett’s critique of Sophoclean tragedy’, Didaskalia,
Ancient Theatre Today, special issue on Electra, vol. 5, no. 3 (Summer
2002).
‘In Memory of the Pterodactyl: the limits of lyric humanism’,The
Paper,
issue 2 (September, 2001), pp. 16-29. ISSN 1474-8037.
‘The Anxiety of Print: Recent Fashions in British Drama’,
in Crucible Of Cultures: Anglophone Drama At The Dawn Of A New Millennium,
eds. Marc Maufort & Franca Bellarsi (Bruxelles: Peter Lang, 2002), pp.
31–46.
ISSN 1376 3202, ISBN 90-520-982-7. (www.peterlang.net)
‘Charles Madge: Political Perception and the Persistence of Poetry’,
in New Formations, no. 44 (Autumn, 2001), pp. 63–75. Link to journal here.
‘Broken English: James Kelman’s Translated Accounts’,
in Edinburgh Review,
108 (2001), pp. 106–115. Copies of this issue cost £5.99. Details from
Edinburgh Review, 22a Buccleuch Place, Edinburgh EH8 9LN.
‘Lawrence and the politics of sexual politics’ in The Cambridge
Companion to D.H. Lawrence, ed. Anne
Fernihough (Cambridge University Press, 2001), pp. 197–215.
‘Pinter’s sexual politics’, in The Cambridge Companion
to Harold Pinter, ed. Peter Raby
(Cambridge University Press, 2001), pp. 195–211.
‘Attacking the world’s Portadownians: Beckett’s early politics’,
in Samuel Beckett today / Aujourdhui, eds. Marius Buning and Peter
Boxall, vol. 9 (2000). pp. 279–293.
‘Flaming Robes: Keats, Shelley and the metrical clothes of class struggle’,
essay in Textual Practice, vol. 15, no. 1 (Spring, 2001), pp. 101–122.
‘Introduction’ to new edition of John Malcolm Brinnin, Dylan
Thomas in America (London: Prion, 2000), pp.ix–xiv.
‘Drama in the culture industry: British theatre after 1945’, in British
Culture of the Postwar: an introduction to literature and society 1945-1999,
eds. Alistair Davies and Alan Sinfield (London and New York: Routledge, 2000),
pp. 169–191.
‘Pop tones: poetry in the era of the post’, Stand, new
series, vol. 1, no. 4 (Dec. 1999). 81–7.
ed. Drew Milne, Inscape, 5 (Spring 1999) – special issue of contemporary British poetry.
‘Between Philosophy and Critical Theory: Marcuse’, The Edinburgh Encyclopedia of Continental Philosophy, ed. Simon Glendinning (Edinburgh: Edinburgh University Press, 1999), pp. 461-470.
‘The Dissident Imagination: Beckett's Late Prose Fiction’, An
Introduction to Contemporary Fiction, ed. Rod Mengham (Cambridge: Polity
Press, 1999), pp. 93–109.
‘The Performance of Scepticism’, act 3: Endgames, eds.
Juliet Steyn and John Gange (London: Pluto, 1997), 50–76.
‘Adorno’s Hut: Ian Hamilton Finlay’s neoclassical
rearmanent programme’, Scottish Journal of Literary Studies,
vol. 23, no. 2 (Nov. 1996), 69–79.
‘Marxist Literary Theory after Derrida’, Common Sense 19
(1996), 5–19.
‘De Kooning’s Attic’, act 2: Beautiful Translations,
eds. Juliet Steyn and John Gange (London: Pluto, 1996), 22–33.
Marxist Literary Theory: A Reader, co-edited with Terry Eagleton (Oxford: Basil Blackwell, 1996).
‘David Jones: a charter for philistines’, Conductors of Chaos, ed. Iain Sinclair (London: Picador, 1996).
‘Whose line is it anyway? contemporary British art and poetry’, Tate:
The Art Magazine, 7 (Spring, 1996), 48–53.
‘John Wilkinson: swarf fever’, Pages, (1995), 314–9.
(with Allen Fisher) ‘Exchange in Process’, Parataxis,
6 (1994), 28–36, and 8 (1996), 47–8.
(with J.H.Prynne), ‘Some Letters’, Parataxis, 5 (1993–4),
56–62.
‘Cottage Industries
and Agoraphobia: further notes on risk’; Parataxis, 4
(1993), 58–69.
‘Beyond
new historicism: Marlowe’s unnatural histories and the melancholy properties
of the stage’, The Glasgow Review, 1 (1993), 79–91.
‘James Kelman: dialectics of urbanity’, Conference proceedings, Fourth International Conference on the Literature of Region and Nation, Swansea 1992, published as special issue of Swansea Review, 1994.
‘Agoraphobia
and the embarrassment of manifestoes: notes towards a community of risk’, Parataxis,
3 (1993), 25–40.
‘Theatre as communicative action: Augusto Boal’s Theatre of the Oppressed’, Comparative
Criticism, 14 (1992), 111–134.
‘The Gulf Crisis: Derrida on Kant’s third Critique’, Pli (formerly The
Warwick Journal of Philosophy), vol. 3, no.2 (1991), 89–107.
‘The Function of Criticism: a polemical history’, Parataxis,
1 (Spring 1991), 30–50.
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 Drew
Milne was born in Edinburgh in 1964. He is the Judith E Wilson Lecturer
in Drama and Poetry, Faculty of English, University of Cambridge, and a
Fellow of Trinity Hall. Born in Edinburgh, he was educated at Daniel Stewart’s
and Meville College, and subsequently studied English at the University
of Cambridge, where he also completed his Ph.D. on philosophy and modern
theatre. He was a university lecturer at the Universities of Edinburgh
and Sussex before taking up his current position in Cambridge in 1997.
In 1995 he was writer in residence at the Tate Gallery, London.
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Drew Milne’s books of poetry include Sheet Mettle (Alfred
David Editions, 1994), Bench Marks (Alfred David Editions, 1998), The
Damage: new and selected poems (Salt, 2001), Mars Disarmed (The
Figures, 2002), and most recently Go Figure (Salt). His work is featured
in numerous collections and anthologies, notably Conductors of Chaos,
edited by Iain Sinclair (Picador, 1996) and Anthology of Twentieth-Century
British and Irish Poetry, ed. Keith Tuma (Oxford University Press, 2001).
He edits the occasional journal Parataxis: modernism and modern writing and
the poetry imprint Parataxis Editions. He co-edited Marxist Literary Theory:
A Reader (Blackwell, 1996) with Terry Eagleton, and has recently edited
the anthology Modern Critical Thought (Blackwell, 2003). As well as
publishing a wide range of critical essays, he has books forthcoming on Marxist
literary theory and on performance criticism, as well as a collection of his
essays on poetry forthcoming from Salt. Sections from a novel in progress entitled The
Prada Meinhof Gang have appeared in a number of journals, including Edinburgh
Review.
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Edwin Morgan wrote of his first collection Sheet Mettle that:
‘Drew Milne’s striking and vigorous sequences of poems collected here show that non-bogus modernism, i.e. the outward push of aesthetics and politics together, did not die the death as some have thought. Beckoning disjunctions and witty deformations shine their torch on tawdry contemporary reality, but lyrical moments and Scottish echoes fill the interstices with pleasing difference.’ In interview, Drew Milne has commented on connections between his work as a poet and a critic suggesting that: “Poetry and drama have changed under pressure from new media, advertising, pop lyrics, sub-editing puns and so on. I’m interested in the tension between popular and unpopular forms of writing, and how writing responds to conditions dominated by capitalist markets … In my critical work, for example, Samuel Beckett’s plays focus a range of arguments about contemporary literature’s critical conditions of possibility. He’ll take something like a woman buried up to her neck, an image that loosely alludes to scenes from modern advertising and Western painting (for example, the famous painting of Salome with St John the Baptist’s head on a plate by Caravaggio), and articulate this image through dramatic poetry. The difficulty and the pleasure is to trace the critical and social resonances by Beckett.”
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 Go
Figure
This book of lyrics and texts challenges the way numbers prevail over words in art and experience. Providing a radically new poetry of the book and an exhilarating manifesto against maths in art, philosophy and society, Go Figure offers a critique of mathematical reason and a comedy of speculative wit.
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The
Damage
Milne’s vital book, The Damage offers a broad
selection & daring
new works. Recently featured in Keith Tuma’s “Anthology
of 20th-Century British and Irish Poetry”, and known as a
Marxist critic (working with Terry Eagleton), Milne writes poems
that range from cheeky pop song riffs to challenges to the worlds
of IT, science & capitalism.
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Marxist
Literary Theory: A Reader
This text is designed to give both students and lecturers a sense
of the historical formation of a marxist literary tradition. A
compilation of principal texts in that tradition, it offers the
reader new ways of reading marxism, literature, theory and the
social possibilities of writing.
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Modern
Critical Thought: An Anthology of Theorists Writing on Theorists
Many key figures in twentieth-century critical thought developed
their theories through dialogues with their predecessors. By bringing
together a selection of these dialogues, this anthology offers
a fresh approach to modern critical thought from Marx through to
the present day.
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