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In defence of the Irish essay

-fiction, however, represents a different set of priorities and complications. In the 1960s and 1970s, as fictional techniques in non-fiction became more popular in the United States (with the rise of New Journalism and the non-fiction novel), the use of dialogue, characterisation, description and such in non-fiction became more standard. As the memoir form itself became more popular in the United States in the 1980s, the emphasis on telling the stories of others shifted to include telling one’s own personal stories.Australian non-fictionist Mark Tredinnick considers the

in Unfolding Irish landscapes
The visual art of Tim Robinson/Timothy Drever

The Times show that the suppression of the Ordnance Survey Memoir in 1840 in Ireland was clearly understood as a way of denying a subjected people access to their history and identity. Postmodern artists, such as Jimmie Durham in the United States and Tim Robinson/Drever, have drawn on the concept of the map 191 192 Catherine Marshall Figure 24   To the Sun (oil on canvas, 1969, Timothy Drever). as a highly subversive force, calling attention to other cultural views ignored if not totally destroyed under the colonial regimes of the past. One of the consistent

in Unfolding Irish landscapes
Abstract only
Postcolonialism and ecology in the work of Tim Robinson

Maher (ed.), Cultural Perspectives on Globalisation and Ireland (Bern:  Peter Lang, 2009), 11–30, and Cronin, ‘Speed Limits:  Ireland, Globalisation and the War against Time’, in Peadar Kirby, Luke Gibbons and Michael Cronin (eds), Reinventing Ireland: Culture, Society and the Global Economy (London:  Pluto Press, 2002), 54–66. More recently, see Eóin Flannery, ‘Ecology, Memory and Speed in John McGahern’s Memoir’, Irish University Review 42:2 (2012): 273–97. 54 Robinson, ‘A Land without Shortcuts’, 41. 55 Robinson, ‘A Land without Shortcuts’, 40. 56 Ryden, Mapping

in Unfolding Irish landscapes
The deep mapping projects of Tim Robinson’s art and writings, 1969–72

, the discursive and the sensual; the conflation of oral testimony, anthology, memoir, biography, natural history and everything you might ever want to say about a place.34 A more recent and comprehensive account of the history of deep mapping is offered by the visual artist and scholar Iain Biggs, where he notes that the term deep mapping with regards to its origins and praxis has now become associated with two distinct types of place-based practice. In North America (and in environmental circles) deep mapping usually refers to ‘an environmentally oriented 57 58

in Unfolding Irish landscapes