in Literature, is slightly better known, sells widely and has enjoyed more popular success. In 2003, Muldoon won the Pulitzer Prize for Poetry. He has been awarded fellowships in the Royal Society of Literature and the American Academy of Arts and Sciences; the 1994 T. S. Eliot Prize; the 1997 Irish Times Poetry Prize, and the 2003 Griffin International Prize for Excellence in Poetry. He was also shortlisted for the 2007 Poetry Now Award. Muldoon's poems have been collected into four books: Selected Poems 1968–1986 (1986), New Selected Poems: 1968–1994 (1996), Poems 1968–1998 (2001) and Selected Poems 1968–2014 (2016). In September 2007, he was hired as poetry editor of The New Yorker. Most of Muldoon's collections contain shorter poems with an inclusion of a long concluding poem. As Muldoon produced more collections, the long poems gradually took up more space in the volume, until in 1990 the poem Madoc: A Mystery took over the volume of that name, leaving only seven short poems to appear before it. Muldoon has not since published a poem of comparable length, but a new trend is emerging whereby more than one long poem appears in a volume. Madoc: A Mystery, exploring themes of colonisation, is among Muldoon's most difficult works. It includes, as "poetry", such non-literary constructions as maps and geometric diagrams. In the book Irish Poetry since 1950, John Goodby states it is "by common consent, the most complex poem in modern Irish literature [...] – a massively ambitious, a historiographical metafiction". The post-modern poem narrates, in 233 sections (the same number as the number of Native American tribes), an alternative history in which Samuel Taylor Coleridge and Robert Southey come to America to found a utopian community. The two poets had, in reality, discussed but never undertaken this journey. Muldoon's poem is inspired by Southey's work Madoc, about a legendary Welsh prince of that name. Critics are divided over the poem's success. Some are stunned by its scope and many others, such as John Banville, have professed themselves utterly baffled by it – feeling it to be wilfully obscure. Muldoon says of it: "I quite enjoy having fun. It's part of how it is, and who we are." Muldoon has contributed the librettos for four operas by Daron Hagen: Shining Brow (1992), Vera of Las Vegas (1996), Bandanna (1998), and The Antient Concert (2005). His interests have not only included libretto, but