Peter McDonald

Life
1962- ; b. 28 Oct., Belfast; ed. Methodist College, Belfast, and University College, Oxford (PhD 1987); junior research fellow, Christ Church, Oxford, 1986-1988; winner of Newdigate Prize for Poetry, 1983; winner of the Eric Gregory Award, 1987; published in Trio Poetry 3 (Belfast: Blackstaff 1982) and with two others in New Chatto Poets (Chatto & Windus 1986); issued first full-length collection, Biting the Wax (1989); appt. fellow and lecturer in English, Pembroke College, Cambridge (1988-92); appt. lecturer and later Reader in English at Univ. of Bristol (1992-99); became Tower Student and Tutor at Christ Church, Oxford, 1999, arising from the legacy of Christopher Tower note]; appt. lecturer of Oxford University [CUF]; issued Louis MacNeice: The Poet in His Contexts (OUP 1990), criticism; ed. with Alan Heuser, Selected Plays of Louis MacNeice (1991);
 
issued Adam’s Dream (1996), a second collection; issued Mistaken Identities: Poetry and Northern Ireland (1997), criticism, dealing especially with Seamus Heaney, Louis MacNeice, and Mahon; a translation of Homeric Hymns (2016) which incls. a translated life of Homer and work of Hesiod was Poetry Book Society Translation Choice and shortlisted for the London Hellenic Prize; contrib. gave PN Review lecture, April 2016; co-ed. collection of critical essas on Muldoon with Tim Kendall (2003); appt. to Chair of British and Irish Poetry, 2015; issued annotated vols. of the poems of W. B. Yeats in Longman Annotated Ser. (Routledge) - of which the first volume (1882-89) appeared in 2020, the second (1890-98) in 2021, and third (1899-1910) in 2023; issued Five Psalms (2021), after the “Songs of David” and published by Agenda at St. Andrews Univ. (2021); emeritus in 2025; presently working on a verse translation of Homer’s Odyssey. ORM

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Works
Poetry
  • Biting the Wax (Newcastle: Bloodaxe 1989, 1990), 64pp.
  • Adam’s Dream (Newcastle: Bloodaxe 1996), 64pp. [see note].
  • Pastorals (Manchester: Carcanet 2004), 72pp.
  • The House of Clay (Manchester: Carcanet Press 2007), 71pp.
  • Herne the Hunter (Manchester: Carcanet Press 2016), 77pp. [see note].
  • One Little Room (Manchester: Carcanet 2024), 79pp.*
  • The Homeric Hymns [Fyfield Books] (Manchester: Carcanet] 2016), 304pp. [see contents].
  • The Gifts of Fortune (Manchester Carcanet 2020), 98pp. [see note].
  • Five Psalms, with accompanying paraphrases ([St. Andrew’s U.] Agenda Editions 2021), 40pp.[ltd. edn.; translation-versions of Psalms 98, 25, 94, 8 & 114; see note].
*Fyfield Books imprint of Carcanet (Manchester U.) grew into Carcanet Classics but continued to print chosen poets [see publication list - online].
Collected poems
  • Collected Poems of Peter McDonald (Manchester: Carcanet 2012), 280pp. [see note].
Critical monographs
  • Louis MacNeice, the Poet in His Contexts (OUP 1991), 241pp. [see contents.]
  • Mistaken Identities: Poetry and Northern Ireland (OUP 1997), 240pp.
  • Serious Poetry: Form and Authority from Yeats to Hill (OUP 2002), 225pp. [[incls. ‘Yeats’s Poetic Structures’].
  • with Tim Kendall, Paul Muldoon: Critical Essays (Liverpool UP 2003), 192pp. [see contents].
  • Sound Intentions: The Workings of Rhyme in Nineteenth-Century Poetry (2013).
Autobiography
Articles & contribs. (sel.)
  • ‘Seamus Heaney as Critic’, in Poetry in Contemporary Irish Literature ed., Michael Kenneally [Studies in Contemporary Irish Literature 2] (Gerrards Cross: Colin Smythe, 1995), pp.174-89.
  • ‘The Poet and the Finished Man: Heaney’s Oxford Lectures’, in The Irish Review, 19 (Spring/Summer 1996) [q.pp.].
  • ‘History and Poetry: Derek Mahon and Tom Paulin’, in Contemporary Irish Poetry: A Collection of Critical Essays, ed. Elmer Andrews (Macmillan 1996), pp.86-106.
  • ‘Yeats and Remorse’ [Chatterton Lecture on Poetry, 31 Oct. 1996], in Proceedings of the British Academy, 94 (British Academy 1997), pp.173-206 [available as pdf - see online, or copy as attached; accessed 27.12.2024].
  • ‘The Function of Criticism at the Present Time: Arnold and Irish Culture’, in The Irish Review, 23 (Winter 1998), pp.94-104.
  • ‘A Poem for All Seasons: Yeats, Meaning, and the Publishing History of “The Lake Isle of Innisfree” in the 1890s’, in The Yearbook of English Studies, Vol. 29 [The Text as Evidence: Revising Editorial Principles (MHRA 1999), pp.202-30.
  • ‘Louis MacNeice: Irony and Responsibility’ in The Cambridge Companion to Contemporary Irish Poetry, ed. Matthew Campbell (Cambridge UP 2003), pp.59-75.
  • [...]
    “Paul Muldoon”, in Cambridge Companion to Irish Poet, ed. Matthew Campbell (2017);
  • ‘Rhyme, once in its prime, is in decline’, in The Economist (28 May 2025) [copy as attached].
Editions
  • ed., with Alan Heuser, Selected Plays of Louis MacNeice, ed. Alan Heuser and Peter McDonald (OUP 1994).
  • ed., with John Lyon, Geoffret Hill: Essays on His Later Work (OUP 2012), 232pp.
  • ed., Collected Poems by Louis MacNeice (London: Faber & Faber 2006; rep. 2013), 836pp. [see contents]
  • ed. & annot., The Poems of W. B. Yeats, Longman Annotated English Poets ser.] (Oxford: Taylor & Francis Group 2020- ) [4 vols.; see details under Yeats, Works - as attached.]
Reviews (sel.)
  • review of Early Poetry; Wild Swans; Michael Robartes; Winding Stair [Cornell UP ‘Manuscript Materials’], in Irish Literary Supplement, 27 Sept. 1996.
  • review of Keith Alldritt, W. B. Yeats: The Man and the Milieu, and Stephen Coote, W. B. Yeats: A Life, in Times Literary Supplement (9 Sept. 1997), p.26.
  • [...]
  • review of Letters of Louis MacNeice, ed. Jonathan Allison. [q.d.]

See also: A response to Denis Donoghue’s review of Alan Heuser, ed., Selected Literary Criticism of Louis MacNeice, in London Review of Books (23 April 1987).

Bibliographical details

The Homeric Hymns (2016): 1. To Dionysus; 2 . To Demeter; Hymn; 3. To Apollo; 4;. To Hermes; 5. To Aphrodite; 6. To Aphrodite; 7.To Dionysus; 8. To Ares; 9. To Atremis; 10. To Aphrodite; 11. To Athene; 12. To Hera; 13. To Demeter; 14. To the Mother of the Gods; 15. To Heracles the Lion-hearted; 16. To Asclepius; 17. To the Dioscuri; 18. To Hermes; 19. To Pan; 20. To Hephaestus; 21. To Apollo; 22. To Poseidon; 23. To Zeus; 24. To Hestia; 25. To the Muses and Apollo; 26. To Dionysus; 27. To Artemis; 28. To Athene; 29. To Hestia; 30. To the Earth, Mother of All; 31. To Helios; 32. To Selene; 33. To the Dioscuri. (Pseudo-)Herodotus, On Homer (containing Homer's Epigrams 1-16.Appendices: 1. Demodocus' Song. Odyssey 8, 266-366; 2. Battle of Typhoeus and Zeus; Hesiod, Theogony 820-68. Notes; 1. [See note.]


Louis MacNeice, the Poet in His Contexts (OUP 1991), 241pp. CONTENTS: Canons and Contexts; Poems (1935); Epitaphs for Louis: Early Writings; The Falling Castle: 1936-1939; The Desert’s Purge: 1939-1944; Experiment: 1945-1953; Parable; Nightmare and Cinders: The Late Poetry; The ‘Ould Antinomies’: Ireland.

Paul Muldoon: Critical Essays ,ed. with Tim Kendall (Liverpool UP 2003), 192pp. - contribs. incl. McDonald, Stephen Burt, Rachel Buxton, Fran Brearton, Michael Allen, John Redmond, John Lyon, John Kerrigan, David Wheatley, and Matthew Campbell. [Contents by title and extract available at JSTOR - online].

Times Literary Supplement - [authored reviews]
  • ‘No Homer for this war: The death of classicism in the trenches’, review of Greek and Roman Antiquity in First World War Poetry, by Elizabeth Vandiver, et. al., and Rupert Brooke, Charles Sorley, Isaac Rosenberg, and Wildfed Owen: Classical Connections, by Lorna Hardwick, et al., in TLS (17 Jan. 2025) - available online.
  • ‘Form and function: Metre matters in this anthology of classical lyric poetry’, review of The Penguin Book of Greek and Latin Lyric Verse, trans. & ed. by Christopher Childers, in TLS (12 April 2024) - available onlin].
  • ‘Lighting the path back: What Virgil did for Seamus Heaney’, review of Seamus Heaney, Virgil and the Good of Poetry, by Rachel Falconer, in TLS (2 Sept. 2022) - available online.
  • ‘Class and classicism: How a once controversial poet became a laureate of sorts’, review of New Light on Tony Harrison, ed. Edith Hall, in TLS (18 June 2021) - available online.
    		•
    —Available at TLS - author index; accessed 13;10.2025.

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    Criticism
    Elmer Kennedy-Andrews, ‘New Voices (Peter McDonald, Sinead Morrissey, Alan Gillis and Leontia Flynn)’, in Writing Home: Poetry and Place in Northern Ireland, 1968-2008 (Woodbridge: D. S. Brewer 2008), pp.249-86; ‘Peter McDonald in conversation with Matthew Campbell’, in Irish Poets in the UK, ed. Patricia McCarthy (London: Agenda Poetry 2021) [copy as attached].

    Reviews (sel.)
    Adam Kirsch, ‘Formal Complaints’, review of Serious Poetry: Form and Authority from Yeats to Hill (OUP), 225pp., in Times Literary Supplement (29 Nov. 2002), p.6; Fiona Sampson, review of The House of Clay, in The Irish Times (3 March 2007), Weekend, p.13 [‘a writer of range as well as subtlety’].

    See also John Kerrigan reviewing works on and by Louis MacNeice: ‘The Tickling Fear’, in London Review of Books (7 Feb. 2008), incl. Collected Poems, ed. Peter McDonald; Selected Poems, ed. Michael Longley, with reps. of I Crossed the Minch (MacNeice) and The Strings are False (MacNeice), [available online; accessed 21.05.2025].

     

    Quotations
    “The Thread”: How slightly, twenty years ago, / I managed to construe the girl / I met three times, or twice, then so / awkwardly flirted with, by proxy, / dispatching printed poems of mine / whose frail and thin-spun lines / took scarcely any weight (I see / that much), carried no weight at all. // In a bored moment, by sheer chance, / news of her death crosses my eyes, / and minutes pass while I realise / that now, at this distance, / I can’t so much as picture her, / feeling for the least snag or pull / in a line that’s barely visible, / and slighter than a thread of hair.’ (Times Literary Supplement, 20 Aug. 2004, p.4.)

    “Partridge”

    A little squeal, and then the sound
    of a spring being tightly wound
    in on itself, is all there is
    at first, a sudden note and whizz-
    whir coming from the bunched-up grass,
    but maybe as the minutes pass
    and you lie still, you start to see
    a round bird moving clumsily,
    all body, getting ready now
    to risk the air, and chance a low
    flight that will take it further out
    from the covey: as if in doubt,
    and happier with the ground below,
    it hesitates; it doesn’t go.
    —from Herne the Hunter (2016); with commentary by Tom Evelyn [online] 01.05.2016).

    “The Overcoat”    

    We stop, and doors come open then
    to let the early dark blow in
    from whatever rain-raked platform
    is just outside the lighted train,
    as men who lined up in a storm
    crush in to seats, bringing a chilled
    February air along with them,
    agents for winter afternoons,
    and entrepreneurs of the cold.

    On business now, and going home,
    I’m no more than a few steps from
                Belfast in 1972:
    the cigarette smell is the same
    in the same draught, that pushes through
    with men who walk in envelopes
    of smoke and cold from a slow queue
    and onto buses with no room
    in the stops and starts, the hold-ups.

    Behind me by a couple of hours,
    in winter downpours, sleet showers,
    he comes by bus from Inglis’s,
    and the breadmen and the bakers,
    to town, and waits again, and catches
    the number 24 or 32
    home, back over his own traces,
    to a breezeblock, ground-floor
    Braniel flat; to damp and mildew.

    Where he hangs up his overcoat
    the cold begins to radiate,
    shaped out, like the body’s ghost,
    by the hall door at night;
    and now the cold that presses past
    me here is maybe a ghost’s trail,
    the time it fills already lost
    and its place lost in an infinite
    line of shapes: indistinct, frail.

    On Friday nights, the coat sealed up
    some toy bought from a closing shop
    for a shilling or for one and six,
    coming to me still cold, its shape
    and size all cold, a cardboard box
    with a soldier or a car inside,
    and the toy and winter night would mix
    together, as outside would slip
    inside: with gifts and little said.

    He was late one night, and came in
    quietly; quietly sat down
    and ate his tea, then told us how
    at work for half the afternoon
    the bakery had hosted two
    men with guns, their faces masked,
    who lined them all up in one row
    on the cold floor, to wait, locked in,
    for pointed questions to be asked.

    The two men left eventually.
    Whoever they had come to see
    that day they missed, and would find
    easily on some other day;
    so, standing where they had been lined
    up, as if in some anteroom,
    everyone talked as they stayed behind,
    smoking, and wondering, and free.
    Little to do then but go home.

    Beside me, a grey overcoat
    in the train here is sending out
    a smoky aura of sheer cold
    invisibly in the carriage-light;
    but when I get up, and take hold
    of a case packed with dead papers
    and a book or two, I come home late,
    weighed down with chilly racing cars
    and with brittle plastic soldiers.
    —See Carol Rumens, ‘Poem of the week’ [column], in The Guardian 15 May 2013 - available online.)

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    Worth remembering: reviewing Keith Alldritt, W. B. Yeats (1997), and Stephen Coote, W. B. Yeats (1997), in Times Literary Supplement (19 Sept. 1997), MacDonald remarks on a kind of ‘kitsch reader-friendliness’ of the one, and a digression in the other based on the mistranscription of ‘Kent’ for ‘Kew’ in Denis Donoghue’s edn. of the Memoirs. He writes: ‘[I]t is worth remembering that biography, practised in this way, is as happy dealing in fictions as in facts.’

    ‘In Praise of Ulster Scots’, Letter to London Review of Books (24 Aug. 1995): ‘Tom Paulin, in his Diary (LRB, 24 August), notices what is hard to miss in Northern Ireland these days, when he mentions the media campaign pushing certain “feelgood” aspects of the “peace process&148;, with its images of tourist beauty-spots and playing children, and its Van Morrison soundtrack. Like Paulin, I am uneasy about the assumptions behind a campaign like this, and find the television ...’ [Available online.]

    Greek bearing gifts: ‘I must be eleven years old, maybe twelve - so this is about 1973 or 1974.  I am in the ground-floor council flat we lived in then, in a housing estate in east Belfast called the Braniel. It’s a rough place: I’ve written about this in a good few poems since. As a family, we really have next to nothing, and prospects are bleak. But I’ve been very lucky, and have managed to get a place to go to a good grammar school on the other side of town.  I’m not actually very clever, and am already falling behind. However, I’ve been allowed to start the Greek class: Greek!  And of course I’m already finding it painfully difficult, so I’m at the bottom of this particular class, but I’ve never been so enthusiastic about anything. I keep gazing and gazing at the textbook, willing the squiggly letters to make sense, and fantasizing about becoming fluent. Anyhow, this culminates one afternoon in a vivid hallucination, where a single ancient Greek - cloak, helmet, crest and all - appears by my bedroom window. He just looks at me and looks at me, and his eyes are dark, alien, not unkindly. Then he goes, but I know what I have to do.  I’m glad to say this is the only time I have ever had an hallucination: but it was so powerful that, in many ways, I’m still having it. If it was a vision, let me just say that I can’t accept it was a vision of elitism, of cultural exclusivity, or social advantage. If only the Spirit of Property Law or Advanced Accountancy had appeared instead, I’d be a much more advantaged man now. But not a happier one, I would guess.’ (Excerpt from ‘Peter McDonald in conversation with Matthew Campbell’, in Irish Poets in the UK, ed. Patricia McCarthy, 2021; see copy - as attached.)

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    References

    Included in Irish anthologies (sel.):
    • with Johnston Kirkpatrick &Trevor McMahon, in Trio Poetry, 3 (Belfast: Blackstaff 1982), 59pp.*
    • New Chatto Poets, ed. Alan Jenkins (London: Chatto & Windus 1986) [with Jenkins, Peter McDonald, Jo Shapcott, Dominic Fisher, Pippa Little, Lachlan Mackinnon, and Adam Thorpe.]
    • Todd Swift, Map-makers Colours: New Poets of Northern Ireland (Montreal Nu-Age Edns. 1988).
    • Gerald Dawe, ed., The New Younger Irish Poets (Belfast: Blackstaff 1982; rev. edn. 1991).
    • Patrick Crotty ed., Modern Irish Poetry: An Anthology (1995) [selects “Sunday in Great Tew” [416]; “Peacetime” [419].]
      Justin Quinn, ed., Irish Poetry After Feminism [Princess Grace Irish Library in Monaco Lectures, 10] (Colin Smythe, 2008).
     

    *full series incl. by vols: 1. Will Colhoun, Robert Johnstone, David Park; 3. Johnston Kirkpatrick, Peter McDonald, Trevor McMahon; 6. Angela Greene, Oliver Marshall, Patrick Ramsey [COPAC]

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    Notes
    Adam’s Dream (1996): ‘In [...] his second book of poems, Peter McDonald combines bold experiments in imagining the past with the kinds of formal control and invention which have marked his previous work. The ambitions and trials of the eighteenth-century Scottish architect Robert Adam feature alongside rewritings of Dante Gabriel Rossetti’s Victorian fantasies and accounts of strange business in a modern Argentinian mausoleum. Throughout the book, in both the shorter poems and the longer pieces of dramatic monologue, as well as in the closing sequence of sonnets, McDonald dwells on subtle and troubling themes of reproduction, forgery and decay, inhabiting past and present with a complex originality. These poems put into play a linguistic alertness and a sense of lyric form which will secure McDonald’s place at the forefront of the younger generation of Northern Irish poets.’

    Collected Poems of Peter McDonald (2012): ‘A collection of five books of poems by Northern Irish poet Peter McDonald, this book ranges wildly across subjects and forms and combines intense emotional perception with a historical and personal imagination. Ambitious and original, it meditates on place, belonging, loss, and love while exploring the haunting persistence of memories and the acts of remembrance that preserve and shape them. The classical world inspired many of the works herein and his lyrical narrative style has established him as one of the important writers of contemporary Northern Irish poetry.’ (Publisher’s notice via Perlego - online.)

    Herne the Hunter (2016) - From award-winning poet and one of the most important Northern Irish writers and critics of his generation, Peter McDonald, comes an earthy and sensual new collection. Drawing from the landscape of his native Ireland and indebted to the works of Heaney, Yeats and the Ancient Greek classics, each poem in Herne the Hunter reveres both the brutality and beauty of nature. From a hare caught in a trap resigned to its grim fate, to a despondent farmer’s wife begging a calling tradesman to help her escape the life she’s been confined to, McDonald contemplates death in its many forms in a style that is at once lyrical, muscular and erotic. Blood and soil permeate the pages; the scent lingers long after reading. (Publisher’s notice via Amazon.)

    The Homeric Hymns (2016): ‘[...] a crucial work in the Western literary canon, and Peter McDonald’s new verse translations offer the major modern account of this still under-appreciated body of ancient poetry. The thirty-three “hymns“ are poetic accounts of ancient Greek gods, including Apollo, Dionysus, Aphrodite, Zeus, and Poseidon. Some of the poems are micro-epics in their own right, recounting the lives and affairs of the divine; taken together, they form a meditation on the primal themes of love, war, betrayal, desire, and paternity, and contemplate the dangerous proximity of gods and men. The book includes a new translation of the “Life of Homer”, a narrative incorporating the shorter poems known as Homer’s Epigrams, attributed to Pseudo-Herodotus. Two appendices provide verse translations of episodes from Homer’s Odyssey and Hesiod’s Theogony, while McDonald gives fresh versions throughout of relevant passages from Pindar, Aeschylus, Sophocles, and other Greek poets. The accompanying notes and commentaries on the poems are the most generous and authoritative of any translation. This book revives an ancient classic for the twenty-first century.’ (Publisher's notice, via Amazon.)

    The Gifts of Fortune (2020): ‘[...] Peter McDonald’s seventh book of poems, cover a spectrum of personal history. They go to Belfast, Oxford, and further afield; in time they visit the poet’s pasts, his now, his possible futures. Autobiographical detail abounds: McDonald’s experiences (as a working class boy in Belfast, who dreams of leaving, and a middle-aged Oxford don, who dreams of going back) are filtered through a deep instinct for poetic tradition. At the heart of the book are two sequences: one, “Mud,” in which family, professional, and literary histories are combined in strictly formal, but personally unguarded, reflections on poetry, class, and privilege; and another, “Blindness,” where a series of ten line units test poetic form to (and beyond) breaking-point, in a meditation on family and suffering, disappointment and hope. Other poems return to themes of wealth and poverty, love and loss, and the alienation and puzzlement of age. Throughout the book, form is ghosted by the formless, hovering just beyond the frame; and Fortune vies with Fate, quite another force.’ (Publisher’s notice, via Amazon; see also Perlogo [online].)

    Five Psalms (2021) - book notice by Michael Longley: ‘Fuelled by rage and sorrow, this is an astonishing outburst. From the greatest hymnbook of them all Peter McDonald takes five Psalms and reshapes them with metrical resource and virtuosic rhyming. The second part of each section has a more improvisatory feel, and consists of variations on the theme of the originating Psalm. Written under great pressure, even the free-verse passages are focused and intense. This poet’s burden is “the way of truth” and the need to vanquish “those who poison and destroy / in darkness”. His utterance ranges from ferocity to hush. His compulsion is always towards transcendence. This sequence is not like anything else. Five Psalms is profound and beautiful and frightening. It is a masterwork.’ (Michael Longley [notice]; quoted Agenda Editions > Facebook - online.)

    Family home: Peter was brought up at 44a Woodview Drive, Belfast, BT5 7PY (UK).

    Christopher Thomas Tower (fam. Thomas, 1915-98) won prizes for poetry and literature in English and began a life-long interest in archaeology at school before reading read English and History at Christ Church, Oxford (1934-17). He afterwards served as a diplomat in the Middle East where he studied Arabic and Persian literature, and served as a solder in WII. A noted collector and traveller, he settled in Athens and published nine illustrated books of poetry, mainly of Persian and Arab legends. Tower left a legacy of £5m to Christ Church in order to promote the enjoyment and understanding of poetry in English, giving rise to the Christopher Tower Poetry Studentship. a Tutorial Fellowship, and a Junior Research Fellowship in Greek mythology, as well as the Tower Poetry Competition, the Tower Poetry Summer School, and the Tower Poetry Grants Scheme. (See notice at Christ Church Poetry - online.)

    Descendant of namesake Christopher Thomas (1694-1771), his grandson Christopher Thomas Tower (1775-1867) of  Weald Hall, Essex, and Christopher Tower (1804-84; High Sherriff of Essex, 1840), respectively MPs for Lancaster [&c.] and Harwich, and MP for Buckinghamshire. [See Wikipedia - disambiguation - online.] There is a portrait of a gentleman traditionally called Thomas Tower (c.1600-59) by John Vanderbank [van der Banck] (1694-1739) - signed ‘Jn. Vanderbank/fecit 1737’ - which was bequested by Christopher Tower (d.1998) to the Christopher Tower Collection of Family Portraits, Pictures and Miniatures at Ashridge, Hertfordshire.

    Namesake(s): 1.] Peter McDonald (1836-189; b. Kilfinane, Co. Limerick), teacher in Blackrock College and afterwards commercial traveller and partner in Cantwell & McDonald, a wine merchant and distiller in Dublin; became MP for North Sligo in 1885 and MP for Kingstown (now Dun Laoghaire) in 1891; spoke in Westminister on Scottish crofters and on income tax respectively in 1886 and 1891. 2.] Peter D. McDonald (1964- , b. Cape Town, S. Africa), a fellow of St. Hugh’s College, Oxford, and Professor of English and Related Literature at the University; writes on censorship, the rise of mass culture, and the history of the book. Works incl. The Literature Police: Apartheid Censorship (2009) and The Double Life of Books: Making and Re-making the Reader (2024). 3.] Peter MacDonald (1928- ), Native American and four-term Chairman of the Navajo Nation. 4.] Peter McDonald (1972- ), Irish stage and screen actor and director; appeared as William Kenzie in The Batman and The Penguin. 5.] Rev. Peter MacDonald (1958-2020), minister at Broughton St. Mary’s Parish, Edinburgh. 6] Peter McDonald (1973- ), b. lives and works in London and Toyko, painter of large depicting intricate aspects of human behaviour with variously simplified and stylised shapes and pastel colours. 7] Peter McDonald, author of From Deadbeat to Dean [Mult. al. ...]

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