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The Sea Cabinet
This is an accomplished second collection from Caitriona O'Reilly, with poems on nature and history, including the vanished world of the whaling industry."
Geis
Geis is a word from Irish mythology meaning a supernatural taboo or injunction on behavior. In her third volume of poetry (following the critically acclaimed The Nowhere Birds and The Sea Cabinet), Caitríona O'Reilly examines the geis in all of its psychological, emotional, and moral suggestiveness: exploring the prohibitions and compulsions under which we sometimes place ourselves, or find ourselves placed. Geis is the first appearance of a volume by Caitríona O'Reilly in North America, though she has been anthologized numerous times, including in The Wake Forest Series of Irish Poetry, Volume I (2005) and The Wake Forest Book of Irish Women's Poetry (2nd edition, 2011). In poems that range from the searingly personal to the more playfully abstract and philosophical, this poet's characteristic imaginative range and linguistic verve are everywhere in evidence. These are poems that question our sometimes tenuous links with the world, with others, and even with ourselves, but which ultimately celebrate the richness of experience and the power of language to affirm it.
The Nowhere Birds
O'Reilly's 'The Nowhere Birds' introduces a young writer of remarkable maturity and narrative power. The book's holding pattern is set by questions of location and flight, beginning with views of childhood and adolescence, then moving outwards in poems of daring imaginative range-finding.
The New Irish Poets
Covers over 30 poets of all ages from all parts of Ireland who've produced first collections since 1994.
Selected Poems
None
The Wake Forest Book of Irish Women's Poetry
Poetry by Eil an N Chuilleanain, Eavan Boland, Eva Bourke, Medbh McGuckian, Kerry Hardie, Nuala N Dhomhnaill, Mary O'Malley, Rita Ann Higgins, Paula Meehan, Moya Cannon, Katie Donovan, Vona Groarke, Enda Wyley, Sin ad Morrissey, Caitr ona O'Reilly, and Leontia Flynn. Revised, expanded edition, with poetry from 16 contemporary poets: Edited and with a new introduction by Peggy O'Brien
Painting Rain
Painting Rain explores an Ireland where uncontrolled development is tearing apart a sustaining ecology. Paula Meehan sifts through the lore and memory available to her: her own journey through life, the small victories and large defeats that shape a world. Hers is an ambitious meditation, from that point where private memory, mythology and ecology meet. The home, the city's heart, neglected suburban battlegrounds, all are shot through with visionary light. In poems of loss, hymns to the empty world, celebrations of people and place, Meehan confronts the darkness that everywhere threatens. These are poems that sustain belief in the power of language to reveal, interrogate and heal.
Irish Women Writers Speak Out
Bringing together the diverse and marvelously articulate voices of women of Irish and Irish-American descent, editors Caitriona Moloney and Helen Thompson examine the complicated maps of experience that the women's public, private, and literary lives represent—particularly as they engage in both feminism and postcolonialism. Acknowledging Mary Robinson's revised view of Irish identity—now global rather than local—this work recognizes the importance of identity as a site of mobility. The pieces reveal how complex the terms "feminism" and "postcolonialism" are; they examine how the individual writers see their identities constructed and/or mediated by sexuality. In addition, the book traces common themes of female agency, violence, generational conflicts, migration, emigration, religion, and politics to name a few. As it represents the next wave of Irish women writers, this book offers fresh insight into the work of emerging and established authors and will appeal to a new generation of readers.
The Magpie and the Child
The Magpie and the Child tells a story of great loss, love, and learning. The volume starts from the days before the poetic journey, in a sort of pre-exploration of events before they were events, moving to and through the death of her child Emily at almost eleven years old from an unsuspected heart condition. The poems speak, lament, and sing among the metaphors and religious resonances that such mourning must inspire. The thieving magpie of the prefatory title poem pecks at its own image in the glass while the poet daubs the hope of intervening blood on the "trembling lintel of faith." The volume is filled with self-examination, suffering, remembered conversations with the living child, and very real ones with the dead, each of which record the steps of the emotional journey. The second half of The Magpie and the Child is an extended sequence taking the form of a fragmented diary, one that captures the pain of loss in a skeptical age yet insists on the ritual compensation of belief. In the rigors of its form, the depth of its despair, and the necessary belief in the meaning of its artistic act, Clutterbuck's poetry carefully and beautifully maintains this very delicate balance.
The Book of Judas
Brendan Kennelly's Book of Judas, a 400-page epic poem in twelve parts, became the number one bestselling book in Ireland. As well as receiving rapturous reviews, Brendan Kennelly won the Sunday Independent/Irish Life Award for the book and earned the ultimate accolade of 'Kerryman of the Year'. Not merely lost but irredeemable, Kennelly's bitterly articulate Judas speaks, dreams and murmurs - of past and present, history and myth, good and evil, of men, women and children, and of course money - until we realise that the unspeakable perpetrator of the apparently unthinkable, in penetrating the icy reaches of his own world, becomes a sly, many-voiced critic of ours. The full-sized Book of Judas is no longer available, usurped by The Little Book of Judas, a distillation of that literary monster, purged to its traitorous essence.
