This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.
Literary Visions of Multicultural Ireland is the first full-length monograph in the market to address the impact that Celtic-Tiger immigration has exerted on the poetry, drama and fiction of contemporary Irish writers. The book opens with a lively, challenging preface by Prof. Declan Kiberd and is followed by 18 essays by leading and prestigious scholars in the field of Irish studies from both sides of the Atlantic who address, in pioneering, differing and thus enriching ways, the emerging multiethnic character of Irish literature. Key areas of discussion are: What does it mean to be ‘multicultural,’ and what are the implications of this condition for contemporary Irish writers? How has literature in Ireland responded to inward migration? Have Irish writers reflected in their work (either explicitly or implicitly) the existence of migrant communities in Ireland? If so, are elements of Irish traditional culture and community maintained or transformed? What is the social and political efficacy of these intercultural artistic visions? While these issues have received sustained academic attention in literary contexts with longer traditions of migration, they have yet to be extensively addressed in Ireland today. The collection will thus be of interest to students and academics of contemporary literature as well as the general reader willing to learn more about Ireland and Irish culture. Overall, this book will become most useful to scholars working in Irish studies, contemporary Irish literature, multiculturalism, migration, globalisation and transculturality. Writers discussed include Hugo Hamilton, Roddy Doyle, Colum McCann, Éilís Ní Dhuibhne, Dermot Bolger, Chris Binchy, Michael O'Loughlin, Emer Martin, and Kate O'Riordan, amongst others.
Irish women writers entered the international publishing scene in unprecedented numbers in the period between 1878 and 1922. This collection of new essays explores how Irish women, officially disenfranchised through much of that era, felt inclined and at liberty to exercise their political influence through the unofficial channels of their literary output. By challenging existing and often narrowly-defined conceptions of what constitutes ‘politics’, the chapters investigate Irish women writers’ responses to, expressions of, and dialogue with a contemporary political landscape that included not only the debates surrounding nationalism and unionism, but also those concerning education, cosmopolitanism, language, Empire, economics, philanthropy, socialism, the marriage ‘market’, the publishing industry, the commercial market, and employment. The volume demonstrates how women from a variety of religious, social, and regional backgrounds – including Emily Lawless, L. T. Meade, Katharine Tynan, Lady Gregory, Rosa Mulholland, and the Ulster writers Ella Young, Beatrice Grimshaw, and F. E. Crichton – used their work to advance their own private and public political concerns through astute manoeuvrings both in the expanding publishing industry and against the partisan expectations of an ever-growing readership. Close readings of individual texts are framed by new archival research and detailed historical contextualisation. Offering fresh critical perspectives by internationally-renowned scholars including Lauren Arrington, Heidi Hansson, Margaret Kelleher, Patrick Maume, James H. Murphy, and Eve Patten, Irish Women’s Writing, 1878-1922: Advancing the Cause of Liberty is an innovative and essential contribution to the study of Irish literature as well as women’s writing at the turn of the twentieth century.
American literature and Irish culture, 1910–1955: the politics of enchantment discusses how and why American modernist writers turned to Ireland at various stages during their careers. By placing events such as the Celtic Revival and the Easter Rising at the centre of the discussion, it shows how Irishness became a cultural determinant in the work of American modernists. Each chapter deals with a different source of influence, considering the impact of family, the Celtic Revival, rural mythmaking, nationalist politics and the work of W. B. Yeats on American modernists’ writings. It is the first study to extend the analysis of Irish influence on American literature beyond racial, ethnic or national frameworks. Through close readings, a sustained focus on individual writers, and in-depth archival research, American literature and Irish culture, 1910–1955 provides a balanced and structured approach to the study of the complexities of American modernist writers’ responses to Ireland. Offering new readings of familiar literary figures – including Fitzgerald, Moore, O’Neill, Steinbeck and Stevens – it makes for essential reading for students and academics working on twentieth-century American and Irish literature and culture, and transatlantic studies.
This book addresses the intriguing incongruity between naming Charles Robert Maturin as a 'well-known' author of the Romantic period and the lack of any real critical analysis of his works in the past thirty years. The central thesis of the book is that Maturin's novels provide the key to a new understanding of Irish national fiction as a peculiarly haunted form of literature. Specifically, it argues that Maturin's too often overlooked body of fiction forcefully underscores the haunting presence of the past and past literary forms in early nineteenth-century Irish literature. It is a presence so often omitted and/or denied in current critical studies of Irish Romantic fiction. The book represents a project of ghost-hunting and ghost-conjuring. It investigates the ways in which Maturin's fourth novel attempts to build on the ruins of the Irish nation by describing the fissures produced by religious sectarianism in the country. The book makes use of the rarely consulted correspondence between Maturin and the publisher Archibald Constable. It does this to emphasise the manner in which Maturin's completion of his novel, Melmoth the wanderer was at all times crowded by, and, indeed, infiltrated with, his work on competing texts. These include books of sermons, Gothic dramas, short stories, and epic poems interspersed with prose narrative.
The gothic novel in Ireland, 1760–1830 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Against traditional scholarly understandings of Irish gothic fiction as a largely late-nineteenth century development, this study recovers to view a whole body of Irish literary production too often overlooked today. Its robust examination of primary texts, the contexts in which they were produced, and the critical perspectives from which they have been analysed yields a rigorous account of the largely retrospective formal and generic classifications that have worked to eliminate eighteenth-century and Romantic-era Irish fiction from the history of gothic literature. The works assessed here powerfully demonstrate that what we now understand as typical of ‘the gothic novel’– medieval, Catholic Continental settings; supernatural figures and events; an interest in the assertion of British modernity – is not necessarily what eighteenth- and nineteenth-century readers or writers would have identified as ‘gothic’. They moreover point to the manner in which scholarly focus on the national tale and allied genres has effected an erasure of the continued production and influence of gothic literature in Romantic Ireland. Combining quantitative analysis with meticulous qualitative readings of a selection of representative texts, this book sketches a new formal, generic, and ideological map of gothic literary production in this period. As it does so, it persuasively positions Irish works and authors at the centre of a newly understood paradigm of the development of the literary gothic across Ireland, Britain, and Europe between 1760 and 1830.
In this book, George Legg provides a new interpretation of the Northern Irish Troubles. From internment to urban planning, the hunger strikes to post-conflict tourism, Legg asserts that concepts of capitalism have been consistently deployed to alleviate and exacerbate violence in the North. Through a detailed analysis of the cultural texts, Legg traces the affective energies produced by capitalism’s persistent attempt to resolve Northern Ireland’s ethnic-national divisions: a process he calls the politics of boredom. Such an approach warrants a reconceptualisation of boredom as much as cultural production. In close readings of Derek Mahon’s poetry, the photography of Willie Doherty and the female experience of incarceration, Legg argues that cultural texts can delineate a more democratic – less philosophical – conception of ennui. Critics of the Northern Irish Peace Process have begun to apprehend some of these tensions. But an analysis of the post-conflict condition cannot account for capitalism’s protracted and enervating impact in Northern Ireland. Consequently, Legg returns to the origins of the Troubles and uses influential theories of capital accumulation to examine how a politicised sense of boredom persists throughout, and after, the years of conflict. Like Left critique, Legg’s attention to the politics of boredom interrogates the depleted sense of humanity capitalism can create. What Legg’s approach proposes is as unsettling as it is radically new. By attending to Northern Ireland’s long-standing experience of ennui, this book ultimately isolates boredom as a source of optimism as well as a means of oppression.
–1869), and Gerald
Griffin (1803–40), as a ‘well-known’ early
nineteenth-century Irish author. Critical suspicion of Maturin –
and the ensuing trivialisation of both Maturin and his works – is
evident in early studies of the Irish novel in which Maturin is very
often dismissed as a mere imitator of Owenson, with questionable
literary skill at best. More recently, work on Irishliterature, while
Literary Revival during the decades leading up to
the achievement of partial independence and the partition of the island
in 1922, this literature was romantic in its origins. It asserted Ireland’s
spiritual superiority to capitalist materialism and claimed that the
Irish could provide an alternative to the soulless modernity embodied
by Britain. This vision survives to some extent in contemporary Irish
writing and in the culture generally.
But such romantic and nationalist strains in Irishliterature exist
alongside disenchantment and pessimism; indeed, the former may
’Connor felt that this national quiescence was reflected in
Irishliterature, and a whole generation of artists had failed to deliver on the
promise of the cultural revival to develop a great national art:
I’m only back from England and in a state of complete disillusionment with this
country. The first thing I did was re-order my books so that the complete Irish
section now forms portion of a larger English unit. What’s the point of pretending that Sean [O’Faoláin] or Peadar [O’Donnell] or any of the lads after Yeats
is anything except a damp squib? ‘IrishLiterature’ is