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The story of a voice
Emer Nolan

with O’Connor’s biography, this doe-eyed child looking shyly at the camera, her fingertips pressed together in a gauche attempt at a prayerful pose, represents a disturbing image of Irish Catholic identity. O’Connor had already associated child abuse with Black historical experience when she sang a version of Marley’s ‘War’, substituting the words ‘child abuse’ for ‘racism’ in several of the lines. This was just before she ripped up the picture of the Pope. She reprises ‘War’ on the final track on Throw down your arms. Yet what relationship exists between O

in Five Irish women
Jarlath Killeen

Social History , 10 (1983), 60–88 and Religion, Law and Power: The Making of Protestant Ireland, 1660–1760 (Oxford: Clarendon Press, 1992), 263–313; Charles Ivar McGrath, ‘Securing the Protestant interest: the origins and purpose of the Penal Laws of 1695’, Irish Historical Studies , 30 (1996–7), 25–46; Thomas Bartlett, ‘The Penal Laws against Irish Catholics: Were They too Good for Them?’, in Irish Catholic Identities , ed. Oliver J. Rafferty (Manchester: Manchester University Press, 2013), 154

in Imagining the Irish child