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Sean O’Faolain (1900-1991) was Ireland’s leading social and political critic in the period following the country’s independence from the United Kingdom. Since his death, scholarly opinion has alternately cast him as an arch-revisionist, a liberal nationalist, and a frustrated republican. The Selected Essays of Sean O’Faolain reassesses his reputation by showing that he wrote in the tradition of post-Enlightenment European intellectuals, and that while he was a significant figure in Ireland, his work extends beyond immediate national concerns. This volume includes over fifty unabridged essays by O’Faolain on a wide range of subjects – from canonical writers to architecture, from religious scandals to economics, from nationalism to internationalism, from long-dead historical figures to recent controversies. O’Faolain’s fearlessness in taking on the major political, cultural, and religious figures of his day, his masterly use of rhetoric, and his intellectual acuity have contributed to his works being quoted often by scholars working across several disciplines. Many of these essays appear here in print for the first time since they were published in the foremost periodicals of their day. An extensive introduction and helpful annotations contextualise and explain them for a new audience. In his re-readings of history and challenges to dominant historiographical trends, O’Faolain has become a pariah to some and a hero to others. The Selected Essays of Sean O’Faolain bridges some of these competing visions, presenting a more complex figure through his varied corpus of writing.
Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency. Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and supported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art. What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties. Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.
A modern Irish classic about the irrepressible Tailor and his wife Ansty. The models for the book were an old couple who lived in a tiny cottage on a mountain road to the lake at Gorigane Barra.
This classic dictionary explains the origins of over 16,000 names in current English use. It will be a source of fascination to everyone with an interest in names and their history.This classic dictionary answers questions such as these and explains the origins of over 16,000 names in current English use. It will be a source of fascination to everyone with an interest in names and their history.
Michael O'Leary was born in Iveleary, the ancient tribal homeland of the O'Leary clan. It is a land of the warrior and the poet, where history and story go hand in hand, and the spiritual and the natural complement each other without contradiction or contrivance.This is a story of Ireland with the clan O'Leary at its core. It offers a perspective of Irish history as viewed from the half-door of a hillside cottage in Iveleary. It is a saga that thunders along the beautiful green and leafy Lee Valley - from its mystical source high up over Gougán, all the way to the Gearagh and the broad meandering latticework of waterways of Corcach Mór na Mumhan. Iveleary is not just a destination, it is a journey into time; it is a sound, a scent, a state of mind. Cónal Creedon invites you to join him on his voyage of discovery into the heartland of O'Leary country; a land where fact and fiction dovetail together seamlessly, and pagan tradition and Christian belief become one.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.
Readers of Robert Gibbings’ previous illustrated tales of river life such as “Sweet Thames Run Softly” (1940) and “Coming Down the Wye” (1942) will need no introduction to the unique style that this author uses to explore the people and places that he describes with warmth and affectionate good humour. But the real reason that his books have become so collectable is the delicate and evocative engravings with which he illustrates his subject. In “Lovely is the Lee”, first published in 1945, Gibbings has never written with more ease and grace than in this exploration of the River Lee in Ireland. Here is the simple and ancient life which still exists in Ireland, centered in tiny villages in the southern and western part of the Irish Free State. Gibbings finds every part of that life absorbing. As a naturalist he is sensitive to the bird life of the western counties and islands, and describes with an accurate beauty these winged inhabitants. Richly illustrated throughout with engravings by the author.
Three stage plays (The Cure, When I Was God & After Luke) - conceived as a tragicomic exploration of various father-son relationships, set against the social, historical and topographical background of Cork City, the second city of the Republic of Ireland. The trilogy is comprised of three short plays and is structured such that the casting requirements of all three plays can be met by three actors, with each actor appearing in two of the plays.THE CURE. In times of personal crisis, either a cure or a miracle may be required to turn a life around. Our anti-hero is incapable of confronting and dealing with a number of personal issues. It is a recurring theme in his life, a theme that has been handed down, from generation to generation through the male line in his family, like a baton in a relay race. We meet him trawling the streets looking for an early morning pub in search of a cure. But fate takes a hand to his feet and the streets of Cork become his road to Damascus.WHEN I WAS GOD. It's FAI Cup Final day. Referee Dino Keegan is retiring from the game. At half-time the spotlight of self-doubt shines directly down on Dino as the ghosts of his past visit him in his dressing room. On the field of dreams the referee is God, but what happens when God is made man?AFTER LUKE. Is inspired by the parable of the Prodigal Son, in St. Luke's Gospel. It explores greed-driven frenzy surrounding the property market at the height of the Celtic Tiger economy. The action unfolds in that contentious place where concrete and asphalt meet pasture and stone and urban necessity collides with the rural idyll - with devastatingly tragic consequences.