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The Irish Art of Controversy
Controversies are high drama: in them people speak lines as colorful and passionate as any recited on stage. In the years before the 1916 Rising, public battles were fought in Ireland over French paintings, a maverick priest, Dublin slum children, and theatrical censorship. Controversy was "popular," wrote George Moore, especially "when accompanied with the breaking of chairs."In her new book, Lucy McDiarmid offers a witty and illuminating account of these and other controversies, antagonistic exchanges with no single or no obvious high ground. They merit attention, in her view, not because the Irish are more combative than other peoples, but because controversies functioned centrally in the...
At Home in the Revolution
Eye-witness narratives- diaries, memoirs, letters, autobiographies and official witness statements- were written by nationalists and unionists, Catholics and Protestants, women who felt completely at home in the garrisons, cooking for the men and treating their wounds, and women who stayed at home during the Easter Rising of 1916 in Ireland.
Poets & the Peacock Dinner
On January 18, 1914, seven male poets gathered to eat a peacock. W. B. Yeats and Ezra Pound, the celebrities of the group, led four lesser-known poets to the Sussex manor house of the man they were honouring, Wilfrid Scawen Blunt: the poet, horse-breeder, Arabist, and anti-imperialist married to Byron's only granddaughter. In this story of the curious occasion that came to be known as the 'peacock dinner, ' immortalized in the famous photograph of the poets standing in a row, Lucy McDiarmid creates a new kind of literary history derived from intimacies rather than 'isms.' The dinner evolved from three close literary friendships, those between Pound and Yeats, Yeats and Lady Gregory, and Lady...
Selected Writings
This text contains selections of Lady Gregory's writings on autobiography, Irish folklore and translations, Irish saga and romance, Irish culture, and her own plays, poems and journals. The book includes pieces from Seers and Healers, West Irish Ballads, The Kiltarten Poetry Book, Laughter in Ireland, Kathleen ni Houlihan and also extracts from her journals Volume 1 (1916-1925) and Volume 2 (1925-1932).
The Vibrant House
'3' / Vona Groarke -- 'I am off-white walls': exploring and theorizing domestic space / Rhona Richman Kenneally -- OUR HOUSE -- A moving house / Eiléan Ní Chuilleanáin -- Four paintings and a cloakroom / Mary Morrissy -- Omphalos / Colette Bryce -- Home is where you start from / Theo Dorgan -- Liturgies of fire and water / Macdara Woods -- THE VIBRANT HOUSE : A VISUAL ESSAY -- THEIR HOUSE -- 'Flung open': walking into the parlour in Victorian Irish literature / Howard Keeley -- Inside the house: Synge's stage spaces / Nicholas Grene -- Hairpins among the rifles: the domestic site in women's accounts of 1916 / Lucy McDiarmid -- The house that never blew up: Maeve Brennan's Dublin home / Angela Bourke -- The vibrancy of first houses in the poetry of Seamus Heaney and Derek Mahon / Adam Hanna -- Melancholy ornaments in the house of Edna O'Brien's fiction / Maureen O'Connor -- A wandering to find home: Adam & Paul (2004) / Tony Tracy -- 'How to read a building' /Vona Groarke
Saving Civilization
'Saving civilization' was the grandiloquent cry of the 1920s and 1930s, This is a study of the various answers these three great modern British poets - Yeats, Eliot and Auden - gave to the question of how a 'mere writer' could affect the world of his audience. The author concentrates on the years between the wars, a time when the pressure to save civilization was felt by poets and political leaders alike. The book avoids the typical political labels associated with these poets, such as 'reactionary' or 'leftist'. Rather, it analyses the conflict the three felt between a civic urge to become engagé and an artistic need to remain disengaged. Dr McDiarmid traces the story of the different ideals the poets formulated in response to the fragmentation and anxiety of the modern world. Yeats, Eliot and Auden experienced a simultaneous disillusionment over political goals and a triumphant rededication to artistic ones. Their realistic adjustments to the limiting conditions of the twentieth century are sensitively described in a work that has immediate interest and permanent value.
Late Modernism and Expatriation
How did living abroad inflect writers’ perspectives on social change in the countries of their birth and in their adopted homelands? How did writers reformulate ideas of social class, race, and gender in these new contexts? How did they develop innovations in form and technique to achieve a style that reflected their social and political commitments? The essays in this book show how the “outward turn” that typifies late modernist writing was precipitated, in part, by writers’ experience of expatriation. Late Modernism & Expatriation encompasses writing from the 1930s to the present day and considers expatriation in both its voluntary and coerced manifestations. Together, the essays in this book shape our understanding of how migration (especially in its late twentieth- and twenty-first century complexities) affects late modernism’s temporalities. The book attends to major theoretical questions about mapping late modernist networks and it foregrounds neglected aspects of writers’ work while placing other writers in a new frame.
Writing Irish
This collection is the first volume to comprise notable selections from the Irish Literary Supplement. These sixteen interviews—some of the most distinguished pieces ever published in the journal—originally appeared in its pages between the years 1984 and 1994. James P Myers, Jr., introduces the collection with a critical essay exploring some of the aesthetics and conventions of the interview form itself. the conversations record the author's perceptions of their own works, the process by which those writings came into being, and commentary on other writers' work. From the lively give-and-take of the dialogue, the interviews reveal the passion with which the authors regard literature and their own writing. The book will serve as primary material for students and will preserve for Irish literature the discourse and methods of some of its preeminent writers.
Auden's Apologies for Poetry
Common wisdom has it that when Auden left England for New York in January 1939, he had already written his best poems. He left behind (most critics believe) all the idealisms of the 1930s and all serious concerns to become an unserious poet, a writer of ingenious, agreeable, minor lyrics. Lucy McDiarmid argues that such readers, spoiled by the simple intensities of apocalypse, distort and misjudge Auden's greatest work. She shows that once Auden was freed from the obligation to criticize and reform the society of his native country, he devoted his imaginative energies to commentary on art. And about art he was never complaisant: with greater passion than he had ever used to undermine "bourge...
High and Low Moderns
This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and young Georgian, the popular and the coterie. Academic literary studies have until recently preferred to treat the "opaque," "difficult" writings of high moderns Conrad, Yeats, Woolf, and Eliot, and the more accessible work of the low moderns Kipling, Shaw, and Wells in separate categories. In contributions by scholars David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and Low Moderns brings these writers into critical proximity. Essays on such topics as the public mourning of Queen Victoria, Florence Farr and the "New Woman," the Edwardian Shaw, Lady Gregory's attraction to Irish felons, and the high artistic uses of low entertainments--cinema, detective fiction, and journalism-- introduce a subtler model of modernism, in which "demotic" and "elite" cultural forms criticize, imitate, and address one another.
