Woven Shades of Green is an annotated selection of literature from authors who focus on the natural world and the beauty of Ireland. The anthology begins with the Irish monks and their largely anonymous nature poetry, written at a time when
Five Irish Women is comprised of five interlinked portraits of exceptional Irish women from various fields – literature, journalism, music, politics – who have achieved outstanding reputations since the 1960s: Edna O’Brien, Sinéad O’Connor, Nuala O’Faolain, Bernadette McAliskey and Anne
This book examines Thomas MacGreevy’s central role in the development of Irish culture from the arrival of national independence in 1922 to the moment of programmatic modernisation during the early 1960s. It makes a strong case for the reassessment of
In my book, Irish Transatlantics, 1980-2015, I use the idea of transatlantic to illustrate a range of modern Irish migrant experiences that bridge both places – 20 stories in all – most drawn from the 84 interviews I conducted in
Samuel Beckett referred to Brendan Behan as “the new O’Casey” and yet, despite all of his international success, despite his enduring popularity, and perhaps because of his fame (and indeed, notoriety), Behan remains a neglected figure in literary criticism today.
This is the first full-length critical study of author, critic, and translator Hannah Lynch. It explores her writing and her life, in doing so shedding new light on women’s cultural and political networks in Ireland and beyond. Never one to
Richard Murphy’s poetry is central to the evolution of Irish poetry since 1950. These original essays offer new insights into Murphy’s poetic preoccupations – love and loss, nature and solitude, history and inheritance – showing how Richard Murphy’s life and
This book provides a detailed analysis of the decline of Catholicism and the almost simultaneous surge of new religious movements in Ireland during the second half of the twentieth century. After chronicling the sudden emergence of these new religious movements,
Since W. B. Yeats wrote in 1890 that “the man of science is too often a person who has exchanged his soul for a formula,” the anti-scientific bent of Irish literature has often been taken as a given. Science, Technology,
Gaelic games have repeatedly provided filmmakers and producers with a resonant motif through which they have represented perceived aspects of Irish identity, perceived as this representation has been neither straightforward nor unproblematic: in international productions in particular, Gaelic games have