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Tara Stubbs

, 1910–55 the previous chapter, Steinbeck was inspired by J. M. Synge’s depiction of Aran island peasants in Riders to the Sea (1903) when writing his own ‘play-novelette’ Burning Bright (1952), which transposed the Atlantic coast location of Synge’s play to the three settings of circus, farm and ship. The Revivalists’ portrayals of peasants, which saw them alternately as spiritual visionaries or uncouth symbols of the ‘real’ Ireland, garnered popularity and controversy. Yeats comments in Dramatis Personae how his playwright patron and friend Lady Gregory ‘was born to

in American literature and Irish culture, 1910–55
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Úna Newell

centuries on the demesne lands of the Gerrard estate was the supreme achievement.’124 The removal of migrants out of the congested areas had varied effects. For the old, many were lost on the day they arrived. They ‘lost the life of the boats, the life of the sea and the strand, going and coming to the Aran Islands with turf and many other things’.125 Hanging in the brand new landlocked cowshed of one Kerry migrant were the fishing nets he had brought with him from his home.126 Many of the younger adults were glad of the opportunity. For the children, it was an adventure

in The west must wait
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Cara Delay

early twentieth-century middle-class Christian America, devotional items were 142 irish women featured in four particular rooms: the living room, dining room, bedroom, and entryway.19 In rural Ireland, however, particularly where there were more modest dwellings, holy artefacts appeared most commonly in the kitchen or bedrooms. Bridget Dirrane, who grew up on the Aran Islands in the 1900s and 1910s, recalled that her parents ‘had a big statue of Our Lady on a stand in the corner of their bedroom’, and ‘[t]he main statue was surrounded by some smaller ones.’20 When

in Irish women and the creation of modern Catholicism, 1850–1950
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Taking the Green Road
Emer Nolan

across the Burren affording magnificent views across Galway Bay to the Aran Islands. This is obviously the central action in the essay (as in the later novel) – geographic and symbolic in equal measure. But she asserts that while the scenes are stunning, they are on an ‘Irish’ scale and ‘therefore a little less than vast’. This may be her father’s part of the world, yet the terrain is somehow for her ‘always maternal’. She remembers it from childhood; it comforts her and allows her a sense of homecoming. It corresponds then to the mother Enright appears to have had and

in Five Irish women