Introduction

Home , Frank McGuinness, Medbh McGuckian, Paul Durcan, Paul Muldoon

Notes

Introduction

1. The infamous Field Day Anthology debacle being a most absurd recent example. 2. Adams recently remarked that May 2014 was the “[f]irst time since partition that [Sinn Féin has] had such a vote . . . near across the island.” Major inroads have been made north and south of the border in what appears to be an all-island party mandate. Indeed, so well has the party done that an effort was made by the PSNI to politically police the situation in their arrest of Adams just a few weeks before the elections, on April 30, 2014. 3. Aside from a handful of books treating poetry of the North, select texts offer broader analyses, including early works like Hughes’ Culture and Politics in Northern Ireland (1991) and Feldman’s Formations of Violence (1991), later studies such as McGarry and O’Leary’s Explaining Northern Ireland (1995) or Cleary’s Literature, Partition and the Nation-State (2002), as well as more recent reflections by Nash and Reid in “Border Crossings” (2013) and Mahon’s Violence, Politics and Textual Interventions in Northern Ireland (2010). All of these studies are thoroughgoing readings that view the North as a discrete locale or take the border as base. Since the publication of Hughes’ and Feldman’s books, much has been written addressing the North, little though from within literary studies, as most come from the disciplines of history, geography, or political science. 4. For prominent examples of this problematic dynamic in Irish Studies, see Roche (1995) and Lloyd (1993). For responses to this dynamic in Irish literature and cultural life, see Deane and Heaney et al. (1986), especially Heaney’s response to having been published in an anthology of British poetry. This has been a perceptible issue in the literary realm since 1922. 5. Notable exceptions are Harkness (1996) and Kearney (1988). 6. The debate is disproportionate given the “the structures of colonial dis- empowerment” (Graham, C. 85) comprising Irish history, a discourse explicitly trained on distinguishing the colonized from the colonizer cul- turally. Nolan notes, along this line, how the revisionism debates have served “well the ideological requirements of both the southern establishment, and of those who defend the union between Great Britain and Northern Ireland” (15). 7. Similarly, Subaltern Studies theorist Gyan Pandey insists that partition will find its fullest and most authentic expression in South Asian literary 182 Notes

writing, particularly the poetry (1997, 26–30). It is my view that this strand of Irish Studies scholarship has served largely as distraction from vital issues that need to be addressed—the border, for example, or various issues within the rubric of gender. 8. The Field Day Theatre Co. is discussed in more detail in chapter 2. 9. The poem was published in Yeats’ 1921 collection, Michael Robartes and the Dancer. 10. This issue is playing out in the political realm now as Adams and McGuinness work to bring the Rialtas na hÉireann and the British government to the table specifically around questions of outstanding mat- ters of the GFA, including parades, flags, and other symbols of identity in the North. See http://youtu.be/Zkx7A2USyPs. 11. The frame of this book is, in other words, “partitionist” only in the sense that it looks at the North as a discrete terrain; it is not partitionist in the way the term is often used, to denote a position in favor of division. This analytic entry point is critical to developing an understanding about why splitting nations does not work, that divided nations are untenable. 12. This is in the opening few pages of chapter 1. Some of the best histories on the North include Santino (2001); Harkness (1983); Foster (1990); Coogan (2013, 2002, and 2002); Parker (2007 both volumes). 13. In the many references made to the communities of the North, usually “two,” I am aware that this is a troublesome generalization. There is much diversity within the small six-county area and certainly more communities than two; likewise, not every Catholic is a Republican of some stripe and not every Protestant a Loyalist or Unionist. The use of such phrasing is an unavoidable shorthand for speaking about the longstand- ing, principal divide, which is political and (because of the legacy colonial discourse) also sectarian. 14. Also see Kelly (2005) and Cleary (2002).

1 “Au contraire”: The Spectral Borderlands of Northern Irish Literature

1. These years typically date the conflict, though some end it at 1994 when the cease-fires were called and the peace process initiated. However, as I note, the conflict actually dates to the mid-1950s. 2. That impossibility of reunification was codified and made law with ratifi- cation of the Good Friday Agreement, which stipulates that “British sovereignty over Northern Ireland will not yield to Irish sovereignty . . . unless and until a majority in Northern Ireland ratify such a change” (Bose 177). 3. The largely Protestant, Unionist majority in the North is generally unwill- ing to consider a United Ireland, as this would render them minorities by an extreme margin. Notes 183

4. Formerly the Ulster Protestant Association, established in 1920, which terrorized the Catholic population of the newly formed North. 5. It was inspired primarily by Martin Luther King, Jr. and his nonviolent civil rights movement in the United States. 6. Irish Republican Army: The generation of Republican paramilitarism, following the Easter Rising, the Civil War, and the partition, whose specific aim was to reunify Ireland and fully dissolve the legacies of colonial occupation. Founded at the moment of partition and widely considered responsible for assassinating Michael Collins, across the decades the group would splinter into multiple factions, such as the Provisional IRA, the Real IRA, the Continuity IRA, or the Official IRA. (The “Real” IRA carried out the largest single moment of violence in the North, the bombing of civilians in County Omagh in 1998, and the “Continuity” IRA has waged mostly guerilla protests. See note below on the Provisionals and the Official IRA.) The IRA decommis- sioned itself in 2005, reinaugurating as a democratic political program under the auspices of Sinn Féin. In the previous era, the Provisional IRA and the Official IRA worked hand in hand with Sinn Féin; now they are essentially one, a nonmilitant, political organization that, since 2005 and especially more recently, has made much headway in all-Irish, cross-border politics. 7. In 1969 there was a major split within IRA leadership that led to the founding of the “Provisional” IRA, maintaining the former platform, and the “Official” IRA (also the Red IRA or “Group B”), whose platform was Marxist, a group aiming to overturn partition and convert the island as a whole into a “workers republic.” 8. Both groups came about in connection with the Orange Order, “[f]ounded in 1795 in Armagh as a secret society to defend the interests of the Protestant peasantry, its original emphasis was decidedly Anglican” (Fraser 10). 9. Eoin McNamee writes exceedingly compellingly of this most chilling aspect of the Troubles in Resurrection Man. 10. I refer most especially to the failure of the state and to Bloody Sunday in 1972. On January 30, 1972, British soldiers opened fire on unarmed civil rights marchers, killing 14 and injuring many more. The event had been covered up for years until a judge finally ordered it reopened and reinvestigated in 1998. The findings of this investigation, known as the Saville Inquiry, were finalized on June 15, 2010, and published in the Saville Report where, among other things, it was determined that British paratroopers (and not members of the IRA, as had been the position of the state) had fired the first shots and murdered unarmed Irish civilians. 11. The Agreement “involves three key elements: devolution of power from London to Belfast; a broadly inclusive, power-sharing regime in Northern Ireland with equal representation in government for parties representing the pro-British (Unionist) and pro-Irish (nationalist) communities; 184 Notes

and cross-border institutional arrangements linking Northern Ireland, which remains under British sovereignty, with the Republic of Ireland” (Bose 177). 12. The annual Orange Order parades celebrate the victory of William III, Prince of Orange, over James II at the Battle of Boyne, 1690. This victory led to the absolute subjugation of Ireland as a British colony. Each year, as recently as summer 2013, violence breaks out when the organiz- ers of the parades insist upon marching through Catholic neighborhoods and streets. For a literary rendering of this, see McGuckian’s “Crystal Night” (2001). 13. The Treaty stipulated that the people of Ireland would retain full rights of citizenship and civil protections under the law, all repealed by the laws of suppression passed little more than a decade later. 14. The University of Minnesota offers a comprehensive website on this era in Irish legal history. http://library.law.umn.edu/irishlaw/intro.html 15. A reference to Yeats’ famous nationalist lament written in the aftermath of the Easter Rising, “Easter, 1916.” 16. Video of the May 2011 press conference, http://www.youtube.com/watc h?v=g0o3RyD2734&feature=player_embedded 17. Ibid. 18. The postmodernism of Northern Irish letters is explicated further in chapters 2, 3, and 4 of this book. 19. An anachronistic aesthetic similar to the one I outline is discussed by Patrick Grant (2001) in his study of Northern Irish literature; his reading of O’Brien’s God Land and other texts through an anachronistic reach toward antiquity as a way of making sense of the contemporary postmodern work coming out of the North. 20. This theory of Northern Irish subjectivity is developed in detail in the section “‘born into all that crap’: The Place of the Author, the Site of the Subject” of the present chapter. 21. As seen in the folk tale that closes Devlin’s After Easter, for example. 22. In an early chapter of Reading in the Dark, for example, Seamus Deane writes: “People with green eyes were close to the faeries . . . they were . . . looking for a human child they could take away. If we ever met anyone with one green and one brown eye we were to cross ourselves, for that was a human child that had been taken over by the faeries. The brown eye was the sign it had been human. When it died, it would go into faery mounds that lay behind the Donegal mountains, not to heaven, purgatory, limbo or hell like the rest of us” (5). A primary aspect of Irish superstition is taking care not to step into, cross, or go near a place where one might fall through the scrim between worlds and be “taken over.” These dangerous “spots,” where faeries reside, comprise various literal geographical locations—particular trees and mountains, specific locations in a park or forest, etc. 23. One of the best-known such moments is the one Muldoon employs as meta-example, the scene at the close of Joyce’s “The Dead” when Gabriel Notes 185

Conroy has his epiphany at the window to his hotel room through which he observes the snow-covered Irish “dead” (Joyce 1992, 191–92). Many of them are however far more dramatic than this Joycean example, involving traveling between worlds, “falls” into death, and so on. 24. The spectrality of Northern Irish literature is also a focus in Chapter 2 on the work of Anne Devlin and in Chapter 4 on Anna Burns. 25. This argument is developed in the section “‘born into all that crap’: The Place of the Author, the Site of the Subject” of this chapter. 26. One obvious example is Amelia’s older, “mulatto” (half-Irish, half-Brit- ish, half-Catholic, half-Protestant) cousin Jamesey who works in service of the Crown, patrolling the streets of Belfast during Operation Banner (31–40). 27. Each of these scrimmed movements is discussed in Chapter 2 on the work of Anne Devlin. 28. The tradition of political poetry so named emerged during the penal era, the most brutal epoch in the history of colonialism in Ireland. Popular examples include James Clarence Mangan’s “Roisin Dubh,” the dark rose or “Dark Rosaleen,” or Yeats’ theatrical translation of the figure in Cathleen Ní Houlihan. 29. I owe this Irish neologism to Barry McCrea, University of Notre Dame (from a private e-mail exchange). 30. I refer to the closing segment of Portrait. 31. A clear allusion to Eliot’s The Waste Land, published in the year of Irish partition, 1922. 32. Of course, the partition plan was put forward and agreed to by Irish representatives, including Michael Collins, in May, 1921. 33. Nash and Reid’s research reveals the undeniable presence of experiences of alienation rooted in the border throughout areas of the Republic (278). 34. By Krapp’s internment, discussed later, I refer to the tape itself and tape recorder, where his “former” self, barely remembered, is “incarcerated” or “held.” That contraption is a brilliant metaphor for the territory of the North, or, perhaps more broadly for divided Ireland. 35. This biographical moment calls to mind the one from Company where the “central image of the son walking across pastureland with the ghost of the father beside him is a journey across country studded with images from Beckett’s life, and from the landscape of his writing. Father and son tramp along the Ballyogan road, with the foothills to the left and Croker’s Acres up ahead, attired in the ‘Topcoat once green stiff with age’ and the ‘battered once buff block hat’ . . . The snowbound hills through which they walk are ‘strewn’ with sheep’s placentae” (Boxall 307), “a father-ridden journey that goes ‘on from nought anew’” (Ibid 308). 36. Of course, Ahmad’s notion of a grief-stricken nationalism also evolved in South Asia as a direct result of partition, decolonization, and associ- ated atrocities (119). On this see Sarkar (2009). 37. Loosely though perhaps especially in Finnegans Wake. 186 Notes

38. Beckett scholars are generally split regarding whether his work is Modernist or postmodern. For me it is clearly the latter; in fact, I view Beckett as a “father” of literary postmodernism. 39. Michael D’Arcy, in his essay on Beckett’s influence (2013), draws similar parallels to the work of several Northern Irish authors, adding Kinsella to Watt’s list, and including Mahon, Muldoon, and Friel again (407). 40. The latter drama opens with a group of “corpsed” characters who, notably, are scrimmed; the stage direction reads: “Three bodies lie gro- tesquely across the front of the stage—” (1986, 107). They are located at the limit of the performance area likewise abutting the fourth wall. Written in the aftermath of Bloody Sunday, in the scenes that follow, viewers get to know these characters post-mortem. Since their deceased status is announced immediately, the play proceeds as spectral “flash- backs,” figures speak as revenant, and the space of the theater takes on that aura. 41. See John Bolin’s recent book Beckett and the Modern Novel, in particular Chapter 7, on incarceration in Molloy. 42. Developing the argument is beyond the scope of this volume. See Esslin 2004. 43. I think it is not unreasonable to correlate that reference with the Troubles with a capital T: this 1957 play was written at the very moment of the IRA’s resurgence and waging of the Border Campaign, starting the year before, in 1956. Certain incidents of early 1957 I think Beckett would surely not have missed knowing, especially the deaths of volunteers Seán South and Fergal O’Hanlon, murdered by the RUC in County Fermanagh where Beckett attended school as a child. Their deaths became quick lore, inspiring popular ballads. 44. Discussed in chapter 2 of this book, on the work of Anne Devlin. 45. A reference to Percy Shelley’s essay “A Defence of Poetry,” which he famously concludes with the claim that “Poets are the unacknowledged legislators of the world.” Heaney’s poem is a direct, contemporary response to Shelley. 46. I read this inlay as an allusion to Mary Shelley’s Frankenstein, the critical moment when the daemon peers through a “chink” in the wall by which he acquires English observing and listening to the family resi- dent there (72). Heaney is comparing his poet-speaker to the daemon, drawing parallels regarding the issues of colonialism and language and whether these subaltern figures can indeed speak. 47. See chapter 2 of this manuscript for a discussion of this critical moment in Irish literary history. 48. This suggests the possibility of reading Finnegans Wake as a partition narrative, of thinking about the “break” represented in that novel as in some way reflective of the “break” in the nation that Joyce had spent his life representing, critiquing, and remembering. 49. Remembered also in Translations by Brian Friel. Along the same lines, when Friel theorizes history, in Making History, he does that through Notes 187

a return to the Battle at Kinsale in 1601 and key figures like “the two Hughs.” 50. Hence, as discussed, we note Anne Devlin’s deployment of the “auld hag” in her stylistically postmodern After Easter, and McGuckian’s spé- irbhean in “The Aisling Hat.” 51. Hennessey says that “[b]y the end of the nineteenth century . . . a form of British national consciousness had evolved among Irish Protestants” whereby they perceive their “national community [as] a . . . British nation extending throughout the British isles” (xii). 52. After the breakdown of the state and entry to British troops, as Nolan suggests, “the minority Catholic population could only conclude either that the nationalist project been carelessly abandoned, or its most pro- gressive, Republican elements betrayed” and “the southern bourgeoisie had begun to disavow the triumphalist narrative of Irish liberation . . . no comradeship could be officially recognized between the founders of the free Republic, and the present-day men and women of violence, with their supposedly bloodthirsty, sectarian creeds” (14–15). This is only now starting to change owing to inroads Sinn Féin is making in the Republic and their popularity there. 53. BBC coverage of the announcement, http://news.bbc.co.uk/2/hi/4720 863.stm 54. Agreed to and outlined in the GFA. 55. They are used in some residential neighborhoods and other public spaces to indicate sect identifications particular to Ireland. 56. See also Zamindar (2007). 57. As opposed to a reified “color line” (Dubois 5) as in phenomena like signs reading “Whites Only” or “No Irish” that used to populate states in the southern United States. 58. My knowledge of this sign is from personal experience. 59. In fact, the “sect” line is not theorized in postcolonial thought, which continues to focus, at the expense of other forms of colonial discourse, on race. I refer however to the line of encounter as theorized. 60. Pandey and Cleary both address the issue at length in their monographs on partition. 61. See Nash and Reid on this, their notion of “border identities.” 62. Heaney references this question, too, saying that the three Anglo-Irish writers he speaks of were “born to a sense of ‘two nations,’ and that part of their imaginative effort was a solving of their feelings toward Ireland, a new answer to that question Macmorris asked Fluellen . . . : ‘What is my nation?’ As Northern Protestants, they . . . explored their relationship to the old sow that eats her farrow” (2002, 47). 63. The first couple of chapters of Benedict Kiely’s Counties of Contention offer one of the most thorough and incisive explications of the way partition veritably fragments the nation. 64. My analysis of Northern Irish subjectivity and political life in compari- son with the general assumptions and tropes of postcolonial theory is 188 Notes

developed in somewhat more detail in chapter 2 on the work of play- wright, Anne Devlin. 65. Boxall (2006) speaks at length about Beckettian time being located in his preoccupation with the end, an obsession suffusing Beckett scholarship. This notion of end, as death, is clearly associable with the sensibil- ity and tropes in contemporary Northern Irish letters. 66. McGuckian seems to get at this emptying in connection with partition in these lines, “The divisions of the town passed through his own / body, existing without, and without, and without” (2002, 87), suggestive of both a body broken and losing blood as well as a conceptual division of it that drove out its ontological meaning or identity. 67. Beckett himself said, of the story “Sedendo et Quiescendo”: “it stinks of Joyce in spite of most earnest endeavors to endow it with my own odours” (D’Arcy 406). 68. Which he notoriously claimed to have occurred on the anniversary of Jesus’ death. 69. This is a question that must also be addressed from the standpoint of the Republic, but that is beyond the scope of this book. My focus remains on the North and how these issues are represented in recent literature, especially on the Troubles. 70. Also reviewed by Muldoon in To Ireland, I. I use it, in contrast, to com- pare pre- and post-partition poetics.

2 Self-Contradiction in a Small Place: Anne Devlin’s “Other at the Edge of Life”

1. The SDLP is the nationalist group that has long existed in a highly con- tentious relationship with other Irish nationalist parties, particularly Sinn Féin. The conflict between Labor and Sinn Féin is dramatized in Devlin’s first play, Ourselves Alone. 2. She also wrote screenplays for film adaptations of Titanic Town by Mary Costello and Emily Brontë’s Wuthering Heights. 3. Marie Jones, Maureen Macauly, Eleanor Methven, Carol Moore, and Brenda Winter, all of whom were out of work at the time and frustrated with the state of Irish theater, not only in the North but throughout the island. Anne Devlin has not been involved with this group that I know of. 4. In Tea in a China Cup (1983), Reid’s protagonist realizes over time that she “has never lived her own life” (Roche 235). Late in the play Beth says, “my head is full of other people’s memories, . . . I don’t know who I am . . . or what I am” (61). 5. Here, I refer to Padraig Pearse’s poem “Mise Éire” (I am Ireland) and to W. B. Yeats’ “I am of Ireland.” Notes 189

6. I am referring here to the metaphysic of indeterminacy we can follow from Nietzsche to Heidegger to Derrida and in other ways in to Bhabha and Anzaldúa. 7. A reference to Bhabha’s theory of mimicry and his essay, “Of Mimicry and Man” (1994), as well as to Naipaul’s The Mimic Men: A Novel (1967). 8. Such as in Seamus Deane’s Reading in the Dark, Brian Friel’s Volunteers and Translations, Eoin McNamee’s Resurrection Man, Anna Burns’ No Bones among many others. 9. These ideas are developed by Bhabha in his introduction titled “Locations of Culture,” see p. 5. 10. This German term is a trope from the work of Paul Celan and means “breath turn.” Belfast writers, Devlin, Burns, and McGuckian among them, often use the term “holocaust” to signify the Anglo-Irish conflict, as in the poem “Crystal Night” (2001). In “Naming the Names,” Devlin writes: “Finnula, the Irish section’s a holocaust!” (1988, 96); in No Bones, the family dog is named “Dachau”; etc. 11. A reference to Marx discussed in Derrida (1994, 102).

3 Outlining Silence in the Poetry of Medbh McGuckian

Key to citations for chapter 3: Fared: My Love Has Fared Inland (2010); Currach: The Currach Requires No Harbours (2007); BA: The Book of the Angel (2004); TSYII: The Soldiers of Year II (2002); Shel: Shelmalier (1998); CL: Captain Lavender (1995); MC: Marconi’s Cottage (1992); OBB: On Ballycastle Beach (1988); VR: Venus and the Rain (1984); TFM: The Flower Master (1982). 1. This refers to volumes of McGuckian’s work published in America. In terms of UK editions, there is one more; the American collection, The Soldiers of the Year II, brought together two previously published UK editions. 2. McGuckian speaks of this in her Comhrá with Ní Dhomhnaill (O’Connor 1995, 592), a group of Northern Irish poets both she and Heaney have participated in as well as, among others, Paul Muldoon and Seamus Deane. Heaney’s essay, “The Group,” which tells its history, is repub- lished in Finders, Keepers (2002, 42–44). 3. See Paul Muldoon’s The Faber Book of Contemporary Irish Poets, Conboy’s remarks on this (202) and Frank Ornsby’s Poets from the North of Ireland, in which, among the 27 poets anthologized, McGuckian is the only female. 4. See Batten (2002), Burgoyne-Johnson, and Wills. 190 Notes

5. See, for example, Patrick Williams’ “Spare That Tree!” which appeared in Honest Ulsterman, vol. 86 (1989): 50; William Pratt’s review of Shelmalier was published in World Literature Today, vol. 73, no. 4 (Autumn 1999): 745; John Carey’s “The Stain of Words” was published in Sunday Times, June 21, 1987, p. 56; and Iain Sinclair’s appeared as the Introduction to his anthology of Irish poetry, Conductors of Chaos, London: Picador, 1996. The titles alone con- vey the scathing tone of the reviews; as such, they do little service to the scholarly dialogue on the ways, means, and character of Irish poetry. Shane Murphy summarizes how McGuckian has attracted so much “vitriolic censure,” citing further articles by Jenkins, Lucas, and McCarthy (85). 6. McGuckian relates the vicissitudes of her coming of age years and entry into college in her poetic journals, “Rescuers and White Cloaks” (Haberstroh 2001) and “Women are Trousers” (Kirkpatrick 2000), which together cover the years 1968 through 1973 and were written con- secutively and between the publications of Shelmalier and The Soldiers of Year II. These poetic journals are the closest McGuckian has come to composing an autobiography, although, as she says, all her poems are “autobiographic” (Sailer 115). Also see the prose essay, “Drawing Ballerinas” (in Lizz Murphy’s Wee Girls). 7. Refers to Joyce’s A Portrait of the Artist, that memorable moment when Stephen Dedalus says his “soul frets in the shadow” of the English language (205). 8. A reference to Bhabha’s theory of mimicry is explained in “Of Mimicry and Man” (1994). A dramatic analogue for this is seen in Devlin’s “Naming the Names.” Under interrogation, Finn recites the names of Belfast streets rather than naming IRA volunteers. 9. As in, as Brazeau points out, “Porcelain Bells” where the adverb “meanwhile” is used as a noun in the line “meanwhile is my anchor” (131), yet another extremely telling line with regard to the “condition” of Northern Irishness. 10. From a May 2011 press conference: http://www.youtube.com/watch?v= g0o3RyD2734&feature=player_embedded 11. This is an unusual poem in the oeuvre because she has altered the for- mat of the words on the page, scattering and splitting each verse left and right, and unevenly, and leaving long several-space gaps in each line. 12. A reference to Dubois’ The Souls of Black Folk: “One ever feels his twoness,—an American, a Negro” (5). 13. The story she cites is his best known, “Toba Tek Singh,” one of the most incisive translations of the experience and condition of partition in South Asia. 14. Refers to Nietzsche’s discussion, in The Birth of Tragedy, of the para- mount role music plays in Attic tragedy. 15. From Breton’s first Surrealist Manifesto. Notes 191

4 Specter and Doubt in Anna Burns’ No Bones

1. Smyth says that “The [Irish] novel . . . developed . . . a metadiscursive capacity, to the extent that much of the time, narration and the novel form itself—its limitations, its social and cultural impact . . . emerge as explicit themes” (41). 2. I refer to A Portrait of the Artist as a Young Man and Reading in the Dark, respectively. 3. See Vincent’s chapter, for example, “Mr. Hunch in the Ascendant, 1980,” as well as “Miscellany and Drift, 1978.” 4. Refers to the chapter “Somethin’ Political, 1977.” 5. These references allude primarily to events in the chapter “The Pragmatic Use of Arms, 1973.” 6. “Operation Banner”: the entry of British troops during the period between August 1969, when the violence precipitously escalated, through July 2007, when the operation was brought to an end after successful implementation of most provisions of the Good Friday Agreement. 7. Such as that seen between a Muslim and a Hindu in Aparna Sen’s film, Mr. and Mrs. Iyer, or likewise in The Crying Game through Stephen Rea’s character’s love for the “enemy” played by Forest Whitaker. 8. A reference to Joseph Cleary’s argument in Chapter Three of Literature Partition and the Nation-State, “‘Fork-tongued on the border bit’: Partition and the Politics of Form in Contemporary Narratives of the Northern Irish Conflict.” 9. Because of the lack of response, I devote several pages to summarizing the content of the novel. 10. Judith Grossman’s especially. There is also Burns’ own “School of Tears and Terror,” an article in which she reflects on the novel’s historical con- texts and speaks in direct terms about her life, growing up, her relationship with her mother, the daily traumatizations of war, and the like. 11. The McCann quote is from a recent interview with Irish author and critic, Theo Dorgan: “Engaging Colum McCann.” Published on the Irish arts program, Imeall, and available here: http://youtu.be/LAd7Uy0DD1M. 12. The name is explicable in sundry ways, particularly as a critique of Irish colonial discourse in which the Irish were represented as ape-like hunchbacks, more intuitive and emotional than intellectual and rea- soning. He is of course also Benjamin and Grass’ “little hunchback” (Benjamin 15). 13. In Devlin’s play, set in London and Belfast during the Troubles, Greta is first encountered in a private room of the facility where she is promptly visited by a male psychiatrist. Grass initiates his historical novel with his protagonist likewise incarcerated and with his first-person declaration: “Granted: I am an inmate of a mental hospital” (15). 14. Coleridge discusses the concept in the Biographia Literaria (1817): “It was agreed, that my endeavors should be directed to persons and 192 Notes

characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith.” 15. Tone, leader of the Fenians and their so-called failed 1798 rebellion, is a much beloved Irish icon and one of the novel’s several spectral presences. 16. We know it is a summer day because it is a Thursday and the kids are not in school. The chapter as a retelling of the events of August 1969 is reverified several times over by details presented. 17. Derry is the other major urban center in Northern Ireland. 18. Also note Vincent’s outrageously absurd retelling of the Northern Troubles in the section of his chapter involving Billy Battles, a Protestant character named after William of Orange and his infamous Battle at Boyne, of course, who preaches and is the stand-in here for the “other” on the other side of the conflict (170–173). It is also the only near-full telling Vincent offers of the brutal murder of his father by Protestant thugs, including Billy Battles. 19. I’m referring to the opening passage from Joyce’s A Portrait of the Artist. 20. Though their work was almost never historical, I believe Burns derives this absurd realism primarily through Kafka and Beckett, though her language is also nodding to Frances Molloy. 21. See endnote 13; http://youtu.be/LAd7Uy0DD1M. 22. With Scott’s Ivanhoe as exemplar, Lukács proposes the critical impact of the late entry of the hero. Only after Scott “has made us sympathizers and understanding participants of this crisis . . . does the great historical hero enter upon the scene of the novel” (38). Without a doubt, from Beowulf onward, the anxiety of historico-epic narrative has been the wait for this pivotal figure. 23. In fact, it is the most pivotal moment in the whole history of the Troubles: the calling of the cease-fires and establishment of the peace process. 24. I am thinking specifically of Morrison’s assertion, in the Nobel Lecture, that language doesn’t merely represent, it is performative and “does” things: “Oppressive language does more than represent violence; it is violence” (16). This is asserted by other theorists including Sedgwick in Touching Feeling (2003), Judith Butler in Excitable Speech, J. L. Austin in How to Do Things with Words, among numerous others. 25. In using the word “respond” here, I am referring to Benjamin’s use of that term in the essay referenced. The final sentence reads: “Communism responds by politicizing art” (242). 26. Analyzed in chapter 1. 27. This final sequence seems reminiscent of this passage from Endgame: “Hamm: [With ardour.] Let’s go from here, the two of us! South! You can make a raft and the currents will carry us away, far away, to other . . . mammals” (1986, 109). Notes 193

28. The British had a presence in Ireland from the twelfth century, but most historians mark the official era of Empire as starting with the Battle at Kinsale and flight of the Earls, 1601–1603. 29. These important cliff scenes are reminiscent of the house at 124 Bluestone Road, in Beloved, outside of which a cacophony of voices is heard as Stamp Paid approaches the door but leaves unnoticed. They are both symbolic locations used to allegorize and signify the masses of persons wrongfully and criminally murdered through processes of empire and slavery. 30. In Aeschylus’ Oresteia Trilogy, Athena transforms the mythological furies—those who would wreak havoc in the lives of guilty persons and work to bring about revenge against them—into the eumenides, the “benevolent ones,” whose (female) power and agency in the process of Greek justice is stripped as they are forced to live “under the ground” of the city—they are literally buried, symbolically killed—their role now being simply to “benevolently” guard the city state. The grand spectacle of Aeschylus’ play is the primary moment in Greek letters of the con- solidation and legitimation of the patriarchy. In both Beloved and No Bones, the figures haunting Sethe and Amelia are not eumenides, they are most definitely furies. 31. Lukács theorizes, using Sir Walter Scott’s Ivanhoe as exemplar, the critical impact of the late entry of a heroic figure in the historical novel. Only after the novelist “has made us sympathizers and understanding participants of [the national] crisis does the great historical hero enter upon the scene of the novel” (38). As anticipation builds about the crisis facing the nation, the specter of the hero looms until, finally, the figure appears to set things right and reconsolidate the polity. I am drawing a parallel with this idea in Burns’, Morrison’s, and Joyce’s use of the specter in twentieth-century postcolonial novels. This page intentionally left blank Bibliography

Agee, Chris. The New North: Contemporary Poetry from Northern Ireland. London: Salt Publishing, 2011. (Web) Ahern, Joanne. “No Bones, by Anna Burns.” (Book Review.) RTE Entertainment: http://www.rte.ie/arts/2001/0621/burnsa.html. (Web) Ahmad, Aijaz. In Theory: Nations, Classes, Literatures. London, New York: Verso, 1992, 2008. (Print) Alderson, David, et al. Ireland in Proximity: History, Gender, Space. London, New York: Routledge, 1999. (Print) Alexander, Meena. “Lyric in a Time of Violence.” In Fault Lines: A Memoir. Rev. and expanded ed. New York: The Feminist Press at CUNY, 2003. 277–289. (Print) ———. Poetics of Dislocation. Ann Arbor: University of Michigan Press, 2009. (Print) Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. ed. London, New York: Verso, 1991. (Print) ———. The Spectre of Comparisons: Nationalism, Southeast Asia, and the World. London, New York: Verso, 1998. (Print) Anderson, James. “Territorial Sovereignty, Political Identity: National Problems, Transnational Solutions?” Graham, ed., 215–236. (Print) Anderson, Malcolm, and Eberhard Bort, eds. The Irish Border: History, Politics, Culture. Liverpool: Liverpool University Press, 1998. (Print) Anzaldúa, Gloria. Borderlands, La Frontera: The New Mestiza. 2nd ed. San Francisco: Aunt Lute Books, 1999. (Print) Aristotle. Poetics with the Tractatus Coislinianus, Reconstruction of Poetics II, and the Fragments of the On Poets. Trans. Richard Janko. Indianapolis: Hackett Publishing, 1987. (Print) Arrowsmith, Aidan. “M/otherlands: Literature, Gender, Diasporic Identity.” In Alderson et al., 129–144. (Print) Ashbery, John. Other Traditions. Cambridge, MA: Harvard University Press, 2000. (Print) Bahti, Timothy. “History as Rhetorical Enactment: Walter Benjamin’s ‘Theses on the Philosophy of History.’” Diacritics. Volume 9, Issue 3 (Autumn 1979): 2–17. (Print) Batten, Guinn. “Afterword.” The Soldiers of Year II. Medbh McGuckian. Winston Salem, NC: Wake Forest University Press, 2002. (Print) ———. “‘The More with Which We are Connected’: The Muse of the Minus in the Poetry of McGuckian and Kinsella.” In Gender and Sexuality in Modern Ireland, ed. Anthony Bradley and Maryann Gialanella Valiulus. Amherst: University of Massachusetts Press, 1997. 212–244. (Print) 196 Bibliography

Beckett, Samuel. Company/ Ill Seen Ill Said/ Worstward Ho/ Stirrings Still. London: Faber and Faber, 2009. (Print) ———. The Complete Dramatic Works. London, Boston: Faber and Faber, 1986. (Print) ———. The Complete Short Prose: 1929–1989. New York: Grove Press, 1995. (Print) ———. First Love and Other Shorts. New York: Grove Press, 1974. (Print) ———. The Poems, Short Fiction, and Criticism of Samuel Beckett: Volume IV of The Grove Centenary Editions. New York: Grove Press, 2006. (Print) ———. Waiting for Godot: A Tragicomedy in Two Acts. New York: Grove Press, 1982. (Print) Benjamin, Walter. Illuminations. Ed. Hannah Arendt. New York: Schocken Books, 1968. (Print) Bhabha, Homi. The Location of Culture. London, New York: Routledge, 1994. (Print) Bixby, Patrick. Beckett and the Postcolonial Novel. Cambridge: Cambridge University Press, 2009. (Print) ———. “Ireland: 1906–1945.” In Uhlmann 2013, 65–75. (Print) Blakeman, Helen. ”Metaphor and Metonymy in Medbh McGuckian’s Poetry.” Critical Survey. Volume 14, Issue 2 (May 2002): 61–76. (Print) Bloch, Ernst. Aesthetics and Politics. London: NLB, 1977. (Print) ———. The Utopian Function of Art and Literature: Selected Essays. Cambridge: The MIT Press, 1988. (Print) Bohman, Kimberly S. ”Surfacing: An Interview with Medbh McGuckian.” Irish Review. Volume 16 (1994): 95–108. (Print) Bolin, John. Beckett and the Modern Novel. Cambridge: Cambridge University Press, 2013. (Print) Bose, Sumantra. Kashmir: Roots of Conflict, Paths to Peace. Cambridge: Harvard University Press, 2003. (Print) Boxall, Peter. “Since Beckett.” Textual Practice. Volume 20, Issue 2 (2006): 301–317. (Print) Brandes, Rand. “A Dialogue with Medbh McGuckian, Winter 1996–1997.” Studies in the Literary Imagination. Volume 30, Issue 2 (1997): 37–61. (Print) Brazeau, Robert. “Troubling Language: Avant-Garde Strategies in the Poetry of Medbh McGuckian.” Mosaic. Volume 37, Issue 2 (June 2004): 127–145. (Print) Breton, André. Manifestoes of Surrealism. Trans. Richard Seaver and Helen Lane. Ann Arbor: The University of Michigan Press, 1969. (Print) Brewster, Scott. “Space: Introduction.” In Alderson et al., 125–128. (Print) Brink, C. O. Horace on Poetry: The “Ars Poetica.” Cambridge: Cambridge University Press, 2011. (Print) Bruyneel, Kevin. The Third Space of Sovereignty: The Postcolonial Politics of U.S.-Indigenous Relations. Minneapolis: University of Minnesota Press, 2007. (Print) Bibliography 197

Burgoyne-Johnson, Jolanta. Bleeding the Boundaries: The Poetry of Medbh McGuckian. Coleraine: Cranagh Press, 1999. (Print) Burns, Anna. Little Constructions. London: Harper Perennial, 2007. (Print) ———. No Bones. New York: W. W. Norton, 2002. (Print) ———. “School of Terror and Tears.” The Sunday Times, London. September 9, 2001. p. 7. (Print) Cahill, Eileen. “‘Because I Never Garden’: Medbh McGuckian’s Solitary Way.” Irish University Review, Volume 24, Issue 2 (Autumn/Winter 1994): 264–271. (Print) Cairns, David, and Shaun Richards. Writing Ireland: Colonialism, Nationalism and Culture. New York: St. Martin’s Press, 1988. (Print) Campion, Peter. “The Soldiers of Year II (Book Review).” Poetry. Volume 183, Issue 12 (November 2003): 96–100. (Print) Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: The University of Michigan Press, 2001. (Print) Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, History. Baltimore: The Johns Hopkins University Press, 1996. (Print) Celan, Paul. Poems of Paul Celan. Trans. Michael Hamburger. New York: Persea Books, 2002. Cerquoni, Enrica. “Anne Devlin in Conversation with Enrica Cerquoni.” Theatre Talk:Voices of Irish Theatre Practitioners. Ed. Lilian Chambers, Ger FitzGibbon, Éamonn Jordan, Dan Farrelly, and Cathy Leeney. Dublin: Carysfort Press, 2001: 107–23. (Print) Cha, Theresa Hak Kyung. Dictee. Berkeley: Third Woman Press, 1995. (Print) Chakrabarty, Dipesh. “Colonialism as Memory.” Fourth Galway Conference on Colonialism: India and Ireland [Plenary Talk]. Galway, Ireland. June 4, 2004. (Print) ———. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton: Princeton University Press, 2007. (Print) Cheah, Pheng. Spectral Nationality: Passages of Freedom from Kant to Postcolonial Literatures of Liberation. New York: Columbia University Press, 2003. (Print) Chomsky, Noam. “The Unipolar Moment and the Culture of Imperialism.” The 5th Annual Edward Said Memorial Lecture, Columbia University. December 3, 2009: http://www.democracynow.org/blog/2009/12/17/ noam_chomsky_the_unipolar_moment_and_the_culture_of_imperial- ism (Web) Cleary, Joseph. Literature, Partition and the Nation-State: Culture and Conflict in Ireland, Israel and Palestine. Cambridge: Cambridge University Press, 2002. (Print) ———. Outrageous Fortune: Capital and Culture in Modern Ireland. Dublin: Field Day Publications, 2007. (Print) Connolly, Claire. Theorizing Ireland. London, New York: Palgrave, 2003. (Print) 198 Bibliography

Conrad, Joseph. Heart of Darkness and Selections from the Congo Diary. New York: The Modern Library, 1999. (Print) Coogan, Tim Pat. The Famine Plot: England’s Role in Ireland’s Greatest Tragedy. New York: Palgrave Macmillan, 2013. (Print) ———. The IRA. Revised and Updated. New York: Palgrave Macmillan, 2002. (Print) ———. The Troubles: Ireland’s Ordeal and the Search for Peace. New York: Palgrave Macmillan, 2002. (Print) Corcoran, Mary. “Mapping Carceral Space: Territorialisation, Resistance and Control in Northern Ireland’s Women’s Prisons.” In Alderson et al., 157–172. (Print) Corngold, Stanley. Franz Kafka: The Necessity of Form. Ithaca/London: Cornell University Press, 1988. (Print) Cousin, Geraldine. Women in Dramatic Place and Time. London: Routledge, 1996. (Print) Cunliffe, W. G. “Aspects of the Absurd in Günter Grass.” Wisconsin Studies in Contemporary Literature. Volume 7, Issue 3 (1966): 311–327. (Print) Curley, Jon. Poets and Partitions: Confronting Communal Identities in Northern Ireland. Portland: Sussex Academic Press, 2011. (Print) D’Arcy, Michael. “Influence.” In Uhlmann 2013, pp. 405–416. (Print) Daniels, Kate. “Ireland’s Best.” Southern Review. Volume 35, Issue 2 (1999): 387–402. (Print) Das, Veena. Critical Events: An Anthropoligcal Perspective on Contemporary India. Oxford: Oxford University Press, 1995. (Print) Deane, Seamus. Celtic Revivals: Essays in Modern Irish Literature, 1880– 1980. Winston-Salem: Wake Forest University Press, 1985. (Print) ———. “Introduction.” In Eagleton et al., 1990, 3–19. (Print) ———. Reading in the Dark. New York: Alfred A. Knopf, 1997. (Print) ———. A Short History of Irish Literature. Notre Dame: University of Notre Dame Press, 1986. (Print) Deane, Seamus, Seamus Heaney, et al. Ireland’s Field Day. Notre Dame: University of Notre Dame Press, 1986. Delgado, Maria M. “Introduction.” Christina Reid: Plays 1. London: Methuen Drama, 1997. vii–xxii. (Print) Denman, Peter. “Ways of Saying: Boland, Carson, McGuckian.” Poetry in Contemporary Irish Literature. Ed. Michael Kenneally. Lanham, MD: Rowman and Littlefield, 1995. 158–173. (Print) Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. London, New York: Routledge, 1994. (Print) ———. “Structure, Sign and Play in the Discourse of the Human Sciences.” In Writing and Difference. Trans. Alan Bass. Chicago: University of Chicago Press, 1980. 278–294. (Print) Devlin, Anne. After Easter. New York: Faber and Faber, 1994. (Print) ———. Ourselves Alone. New York: Dramatist’s Play Service, 1999. (Print) Bibliography 199

———. Ourselves Alone with A Woman Calling and The Long March. New York: Faber and Faber, 1986. (Print) ———. The Way-Paver. New York: Faber and Faber, 1988. (Print) Devlin, Anne, Stephen Bill, and David Edgar. Heartlanders: A Community Play to Celebrate Birmingham’s Centenary. London: Nick Hern Books, 1989. (Print) Diehl, Paul F., ed. A Road Map to War: Territorial Dimensions of Inter- national Conflict. Nashville: Vanderbilt University Press, 1999. (Print) Docherty, Thomas. “Initiations, Tempers, Seductions: Postmodern McGuckian.” In The Chosen Ground: Essays on the Contemporary Poetry of Northern Ireland, ed. Neil Corcoran. Chester Springs, PA: Dufour Editions, 1992. 191–212. (Print) Donoghue, Denis. We Irish: Essays on Irish Literature and Society. Berkeley: University of California Press, 1986. (Print) Douglas, Neville. “Political Structures, Social Interaction and Identity Change in Northern Ireland.” Brian Graham, ed., 151–173. (Print) Drexel, John. “Threaders of Double-Stranded Words: News from the North of Ireland.” New England Review and Breadloaf Quarterly. Volume 12, Issue 2 (Winter 1989): 179–192. (Print) Dubois, W. E. B. The Souls of Black Folk. New York: The Modern Library, 1996. (Print) Eagleton, Terry, Seamus Deane, and Fredric Jameson. Nationalism, Colonialism and Literature. Intro. Seamus Deane. Minneapolis: University of Minnesota Press, 1990. (Print) Ellis, Jonathan. “Absence as Influence: Samuel Beckett and Paul Muldoon.” In Feldman and Nixon, 40–57. (Print) Esslin, Martin. The Theatre of the Absurd. New York: Vintage Books, 2004. (Print) Estrin, Barbara. “‘The Invisible Suction of the Past’: Paul Muldoon through Samuel Beckett.” Literary Imagination. Volume 15, Issue 3 (2013): 327– 344. (Print) Farago, Borbala. “The Book of the Angel (Book Review).” Irish University Review. Volume 34, Issue 2 (Autumn–Winter 2004): 432–36. (Print) Feldman, Allen. Formations of Violence: The Narrative of the Body and Political Terror in Northern Ireland. Chicago: The University of Chicago Press, 1991. (Print) Feldman, Matthew, and Mark Nixon, eds. Beckett’s Literary Legacies. Newcastle: Cambridge Scholars Publishing, 2007. (Print) Felman, Shoshana. “Madness and Philosophy; or, Literature’s Reason.” Yale French Studies, Volume 52 (1974): 206–228. (Print) Flannery, Eoin. “Irish Cultural Studies and Postcolonial Theory.” Postcolonial Text. Volume 3, Issue 3. (2007): 1–9. (Print) Fletcher, John. “Beckett’s Verse: Influences and Parallels.” The French Review. Volume 37, Issue 3 (1964): 320–331. (Print) Foster, R. F. Modern Ireland: 1600–1972. New York: Penguin, 1990. (Print) 200 Bibliography

Foucault, Michel. “Of Other Spaces.” Diacritics: A Review of Contemporary Criticism. Volume 16, Issue 1 (Spring 1986): 22–27. (Print) ———. “Panopticism.” Discipline and Punish: The Birth of the Prison. New York: Vintage Books, 1979. 195–228. (Print) Fraser, T. G. Partition in Ireland, India, and Palestine: Theory and Practice. New York: Palgrave MacMillan,1984. (Print) Friel, Brian. Making History. London/Boston: Faber and Faber, 1989. (Print) ———. Selected Plays: Brian Friel. Ed. Seamus Deane. Washington, DC: Catholic University of America Press, 1986. (Print) Gale. “Anna Burns, 1962–.” Gale Group Literature Resource Center: http:// galenet.galegroup.com.exproxy.gc.cuny.edu.2048/servlet/Lit (Web) Gee, Lisa. “Interview: Anna Burns.” Orange Prize: http://www.orangeprize. co.uk/2002prize/shortlist/shortlist.php4?pageid=burnsi (Web) Gibbons, Luke. Transformations in Irish Culture. Notre Dame: University Press of Notre Dame, 1996. (Print) Giddens, Anthony. Modernity and Self-Identity: Self and Society in the Late Modern Age. Palo Alto: Stanford University Press, 1991. (Print) Giliomee, Hermann, and Jannie Gagiano, eds. The Elusive Search for Peace: South Africa, Israel and Northern Ireland. Cape Town, South Africa: Oxford University Press, 1990. (Print) Gonzalez, Alexander G., ed. Contemporary Irish Women Poets: Some Male Perspectives. Westport: Greenwood Press, 1999. (Print) Gonzalez, Alexander G., et al., eds. Modern Irish Writers: A Bio-Critical Sourcebook. Westport: Greenwood Press, 1997. (Print) Graham, Brian, ed. In Search of Ireland: A Cultural Geography. London, New York: Routledge, 1997. (Print) Graham, Colin. Deconstructing Ireland: Identity, Theory, Culture. Edinburgh: Edinburgh University Press, 2001. (Print) Graham, Colin, and Richard Kirkland. Ireland and Cultural Theory: The Mechanics of Authenticity. London: MacMillan Press, 1999. (Print) Gramsci, Antonio. Selections from the Prison Notebooks. New York: International Publishers, 1971. Grant, Patrick. Literature, Rhetoric and Violence in Northern Ireland, 1968–’98: Hardened to Death. London: Palgrave Macmillan, 2001. (Print) Grass, Günter. The Tin Drum. Trans. Ralph Manheim. New York: Vintage Books, 1990. (Print) Greenhalgh, Susan. “The Bomb in the Baby Carriage: Women and Terrorism in Contemporary Drama.” Terrorism and Modern Drama. Ed. John Orr and Dragan Klaic. Edinburgh: Edinburgh University Press, 1990. 160– 183. (Print) Grossman, Judith. “Survival Skills.” The Women’s Review of Books. Volume 20, Issue 1 (October 2002): 10–13. (Print) Haberstroh, Patricia. “Medbh McGuckian.” In Women Creating Women: Contemporary Irish Women Poets. Syracuse, NY: Syracuse University Press, 1996. 122–158. (Print) Bibliography 201

Harkness, David. Ireland in the Twentieth Century: Divided Island. New York: St. Martin’s Press, 1996. (Print) ———. Northern Ireland Since 1920. Dublin: Helicon, 1983. (Print) Harris, Claudia. “Inventing Women’s Work: The Legacy of the Charabanc Theatre.” In Introduction to Four Plays: ‘Inventing Women’s Work.’ Ed. Claudia Harris. London: Colin Smythe, 2006. ix–lii. (Print) Harrison, Robert Pogue. The Dominion of the Dead. Chicago: The University of Chicago Press, 2003. (Print) Haslam, Richard. “‘The Pose Arranged and Lingered Over’: Visualizing the ‘Troubles.’” In Contemporary Irish Fiction: Themes, Tropes, Theories. Ed. Liam Harte and Michael Parker. New York: St. Martin’s Press, 2000. 192–212. (Print) Heaney, Seamus. Finders Keepers: Selected Prose 1971–2001. New York: Farrar, Straus and Giroux, 2002. (Print) ———. North. New York: Faber and Faber, 1975. (Print) ———. The Redress of Poetry. New York: Farrar, Straus and Giroux, 1986. (Print) ———. Station Island. New York: Farrar, Straus and Giroux, 1984. (Print) Heidegger, Martin. “Building, Dwelling, Thinking.” In Basic Writings. Ed. David Farrell Krell. San Francisco: Harper Collins Publishers, (1977) 1993. 343–163. (Print) Hennessey, Thomas. Dividing Ireland: World War I and Partition. London, New York: Routledge, 1998. (Print) Herman, Judith. Trauma and Recovery. New York: Harper Collins, 1992. (Print) Hirsch, Marianne, and Nancy K. Miller, eds. Rites of Return: Diaspora Poetics and the Politics of Memory. New York: Columbia University Press, 2011. (Print) Hochberg, Gil. In Spite of Partition: Jews, Arabs, and the Limits of Separatist Imagination. Princeton: Princeton University Press, 2007. (Print) Holder, Noddy. “Book Review: No Bones by Anna Burns.” Orange Broadband Prize for Fiction: http://orangeindex.co.uk/opf/archive_ reviews.php4?bookid=119 (Web) Homen, Rui Carvalho. Poetry and Translation in Northern Ireland: Dislocations in Contemporary Writing. London: Palgrave Macmillan, 2009. (Print) Hooper, Glenn, and Colin Graham, eds. Irish and Postcolonial Writing: History, Theory, Practice. New York: Palgrave, 2002. (Print) Hufstader, Jonathan. Tongue of Water, Teeth of Stones: Northern Irish Poetry and Social Violence. Lexington: The University Press of Kentucky, 1999. (Print) Huggan, Graham. Interdisciplinary Measures: Literature and the Future of Postcolonial Studies. Liverpool: Liverpool University Press, 2008. (Print) Hughes, Éamonn. Culture and Politics in Northern Ireland. Milton Keynes, PA: Open University Press, 1991. (Print) 202 Bibliography

Hutcheon, Linda. The Politics of Postmodernism. London/New York: Routledge, 1989. (Print) Imhof, Rudiger. The Modern Irish Novel. Dublin: Wolfhound Press, 2002. (Print) Jain, Jasbir, ed. Reading Partition / Living Partition. Jaipur, India: Rawat Publications. 2007. (Print) Jameson, Fredric. The Political Unconscious. Ithaca: Cornell University Press, 1981. (Print) Jenkins, Alan. “Private and Public Language: New Poetry.” Encounter. Volume 59, Issue 5 (November 1982): 58. (Print) Jordan, Neil, dir. The Crying Game. Perf. Stephen Rae, Forest Whitaker, Miranda Richardson. Miramax, 1992. (Print) Joyce, James. The Dead. Ed. Daniel Schwarz. Boston/New York: Bedford/St. Martin’s, 1994. (Print) ———. Dubliners and A Portrait of the Artist as a Young Man. New York: Barnes and Noble Books, 1992. (Print) ———. Finnegans Wake. New York: Penguin Books, 1976. (Print) ———. A Portrait of the Artist as a Young Man. Ed. Seamus Deane. New York: Penguin Books, 1993. (Print) ———. Ulysses. New York: Vintage Books, 1990. (Print) Kafka, Franz. The Metamorphosis and Other Stories. New York: Barnes and Noble, 1996. (Print) Kaul, Suvir, ed. The Partitions of Memory: The Afterlife of the Division of India. Bloomington: Indiana University Press, 2001. (Print) Kearney, Richard, ed. Across the Frontiers: Ireland in the 1990’s, Cultural, Political, Economic. Dublin: Wolfhound Press, 1988. (Print) Kearney, Richard. Postnationalist Ireland: Politics, Culture, Philosophy. London, New York: Routledge, 1997. (Print) Kelly, Aaron. The Thriller and Northern Ireland since 1969: Utterly Resigned Terror. Hampshire: Ashgate Publishing, 2005. (Print) Kiberd, Declan. Inventing Ireland: The Literature of the Modern Nation. Cambridge: Harvard University Press, 1995. (Print) Kiely, Benedict. Counties of Contention. Cork, Ireland: Mercier Press, 1945, 2004. (Print) Kincaid, Jamaica. A Small Place. New York: Farrar, Straus and Giroux, 1988. (Print) Kirkpatrick, Kathryn. Border Crossings: Irish Women Writers and National Identities. Tuscaloosa: University of Alabama Press, 2000. Kirkus Reviews. “No Bones.” (Book Review.) Kirkus Reviews. Volume 70, Issue 7 (April 1, 2002): 437–438. (Print) LaCapra, Dominick. Writing History, Writing Trauma. Baltimore: Johns Hopkins University Press, 2001. (Print) Lloyd, David. Anomalous States: Irish Writing and the Post-Colonial Moment. Dublin: Lilliput, 1993. (Print) Lukács, George. The Historical Novel. Trans. Hannah and Stanley Mitchell. Lincoln: University of Nebraska Press, 1962. (Print) Bibliography 203

Lustick, Ian. Unsettled States, Disputed Lands: Britain and Ireland, France and Algeria, Israel and the West Bank-Gaza. Ithaca: Cornell University Press, 1993. (Print) Lyotard, Francois. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis: University of Minnesota Press, 1979. (Print) MacLaverty, Bernard. Cal: A Novel. New York: W. W. Norton, 1995. (Print) Mahon, Peter. Violence, Politics and Textual Interventions in Northern Ireland. London: Palgrave Macmillan, 2010. (Print) Maley, Willy. “Nationalism and Revisionism: Ambiviolences and Dissensus.” In Alderson et al., 12–27. (Print) Manto, Saadat Hasan. Mottled Dawn: Fifty Sketches and Stories of Partition. Trans. Khalid Hasan. New Delhi: Penguin Books, 1997. (Print) Martin, Carol. “Charabanc Theatre Company: ‘Quare’ Women ‘Sleggin’ and ‘Geggin’ the Standards of Northern Ireland by ‘Tappin’ the People.” Drama Review: TDR. Volume 31, Issue 2 (Summer, 1987): 88–99. (Print) Martiny, Erik. “Demonic Forefather: Portraits of Samuel Beckett in the Poems of Paul Durcan.” Nordic Irish Studies. Volume 5 (2006): 149–156. (Print) Matalon, Ronit. The One Facing Us. New York: Henry Holt, 1995. (Print) McCann, Colum. Everything in this Country Must: A Novella and Two Stories. New York: Henry Holt, 2000. (Print) ———. Let the Great World Spin: A Novel. New York: Random House, 2009. (Print) ———. Transatlantic: A Novel. New York: Random House, 2013. (Print) McCarthy, Dermot. “Belfast Babel: Postmodern Lingo in Eoin McNamee’s Resurrection Man.” Irish University Review. Volume 30, Issue 1 (Spring– Summer, 2000): 132–148. (Print) McCracken, Kathleen. “Medbh McGuckian” (1987 Interview). Writing Irish: Selected Interviews with Irish Writers from the Irish Literary Supplement. Ed. James P. Myers, Jr. Syracuse: Syracuse University Press, 1999. 157–171. (Print) McDonald, Peter. Mistaken Identities: Poetry and Northern Ireland. Oxford: Clarendon Press, 1997. (Print) McEvoy, Dermot. “A Bumper Crop of Irish Novels: Fourteen New Hardcovers and Reprints Indicate a Mature Market for Irish Fiction.” Publisher’s Weekly. Volume 249, Issue 9 (March 4, 2002): 28–30. (Print) McGarry, John, and Brendan O’Leary. Explaining Northern Ireland: Broken Images. London: Blackwell Publishers, 1995. (Print) McGuckian, Medbh. The Book of the Angel. Winston Salem, NC: Wake Forest University Press, 2004. (Print) ———. Captain Lavender. Winston Salem, NC: Wake Forest University Press, 1995. (Print) 204 Bibliography

———. “Crystal Night” and “Rescuers and White Cloaks: Diary 1968–69.” In My Self My Muse: Irish Women Poets Reflect on Life and Art. Ed. Patricia Haberstroh. Syracuse, NY: Syracuse University Press, 2001. 135– 154. (Print) ———. The Currach Requires No Harbours. Winston Salem, NC: Wake Forest University Press, 2007. (Print) ———. “Drawing Ballerinas: How Being Irish has Influenced Me as a Writer.” In Wee Girls: Women Writing from an Irish Perspective. Ed. Lizz Murphy. North Melbourne, Australia:Spinifex Press, 1996. 184– 203. (Print) ———. The Flower Master. Co. Meath: The Gallery Press, 1982. (Print) ———. The High Caul Cap. Winston Salem, NC: Wake Forest University Press, 2013. (Print) ———. Marconi’s Cottage. Winston Salem, NC: Wake Forest University Press, 1992. (Print) ———. My Love Has Fared Inland. Winston Salem, NC: Wake Forest University Press, 2010. (Print) ———. On Ballycastle Beach. Winston Salem, NC: Wake Forest University Press, 1988. (Print) ———. Shelmalier. Winston Salem, NC: Wake Forest University Press, 1998. (Print) ———. The Soldiers of Year II. Winston Salem, NC: Wake Forest University Press, 2002. (Print) ———. Venus and the Rain. Co. Meath: The Gallery Press, 1984. (Print) ———. “Women are Trousers.” Border Crossings: Irish Women Writers and National Identities. Ed. Kathryn Kirkpatrick. Tuscaloosa, AL: Alabama University Press, 2000. 157–189. (Print) McGuinness, Frank. Frank McGuinness: Plays One. London: Faber and Faber, 1996. (Print) ———. Frank McGuinness: Plays Two. London: Faber and Faber, 2002. (Print) McGuire, Matt. “Literary Perspectives: Northern Ireland.” Eurozine: www. eurozine.com, June 21, 2007. (Web) McKenna, Bernard. Rupture, Representation, and the Refashioning of Identity in Drama from the North of Ireland, 1969–1994. Westport: Praeger, 2003. (Print) McLiam Wilson, Robert. Ripley Bogle. New York: Balantine Books, 2000. (Print) ———. Eureka Street: A Novel of Ireland Like No Other. Balantine Books, 2001. (Print) McNamee, Eoin. Resurrection Man. New York: Picador, 1994. (Print) Memmi, Albert. The Colonizer and the Colonized. Intro. Liam O’Dowd. London: Earthscan Publishers, 1990. (Print) Merleau-Ponty, Maurice. Sense and Non-Sense. Trans. Hubert Dreyfus and Patricia Dreyfus. Chicago: Northwestern University Press, 1964. (Print) Bibliography 205

Michaelson, Scott, and David Johnson, eds. Border Theory: The Limits of Cultural Politics. Minneapolis: University of Minnesota Press, 1997. (Print) Mistry, Rohinton. A Fine Balance. New York: Alfred A. Knopf, 1996. (Print) Molloy, Frances. No Mate for the Magpie: A Novel. New York: Persea Books, 1986. (Print) Moloney, Caitriona, and Helen Thompson. “Introduction: Border Traffic.” Journal of Commonwealth and Postcolonial Studies. Volume 7, Issue 1 (2000): 3–14. (Print) Morris, Pam. Realism. London: Routledge, 2003. (Print) Morris, Sawnie. “‘Under a North Window’: An Interview with Medbh McGuckian.” Kenyon Review. Volume 23, Issues 3 and 4 (Summer/Fall 2001): 64–74. (Print) Morrison, Toni. Beloved. New York: Vintage Books, 2004. (Print) ———. Lecture and Speech of Acceptance, Upon the Award of the Nobel Prize for Literature . . . New York: Alfred A. Knopf, 2000. (Print) ———. “The Site of Memory.” Inventing the Truth: The Art and Craft of Memoir. Ed William Zinsser. New York: Houghton Mifflin, 1998. 185– 200. (Print) Mufti, Aamir. Enlightenment in the Colony: The Jewish Question and the Crisis of Postcolonial Culture. Princeton: Princeton University Press, 2007. (Print) Muldoon, Paul. To Ireland, I: The Clarendon Lectures. Oxford: Oxford University Press, 2001. (Print) Murphy, Shane. “Obliquity in the Poetry of Paul Muldoon and Medbh McGuckian.” Eire-Ireland. Volume 31, Issue 3–4 (1996): 76–101. (Print) Myers, Jr., James P. Writing Irish: Selected Interviews with Irish Writers from the Irish Literary Supplement. Syracuse: Syracuse University Press, 1999. (Print) Ní Dhuibhne, Éilís. The Dancers Dancing. Belfast: The Blackstaff Press, 1999. Naipaul, V. S. The Enigma of Arrival. New York: Vintage, 1988. (Print) Nash, Catherine, and Bryonie Reid. “Border Crossings: New Approaches to the Irish Border.” Irish Studies Review. Volume 18, Issue 3 (August 2010): 265–284. (Print) Neuberger, Benyamin. “Nationalisms Compared: ANC, IRA and PLO.” In Giliomee and Gagiano, 54–77. (Print) Newman, David. “Real Spaces, Symbolic Spaces: Interrelated Notions of Territory in the Arab- Israeli Conflict.” In Diehl, 3–33. (Print) Nieblyski, Dianna. The Poem on the Edge of the Word: The Limits of Language and the Uses of Silence in the Poetry of Mallarme, Rilke and Vallejo. New York: Peter Lang, 1993. (Print) Nixon, Mark. “‘A Brief Glow in the Dark’: Samuel Beckett’s Presence in Modern Irish Poetry.” The Yearbook of English Studies. Volume 35, Issue 1 (January 1, 2005): 43–57. (Print) Nolan, Emer. James Joyce and Nationalism. London, New York: Routledge, 1994. (Print) 206 Bibliography

O’Brien, Eugene. “‘What Ish My Nation?’: Towards a Negative Definition of Identity.” Minerva. Volume 2 (November 1998). (Web) O’Brien, Peggy. “Reading Medbh McGuckian: Admiring What We Cannot Understand.” Colby Quarterly. Volume 28, Issue 4 (1992): 227–238. (Print) O’Casey, Sean. Three Plays. New York: St. Martin’s Press, 1957. (Print) O’Connor, Laura. “Medbh McGuckian and Nuala Ní Dhomhnaill: Comhrá, with a Foreword and Afterword by Laura O’Connor.” Southern Review. Volume 31 (Summer 1995): 581–614. (Print) O’Connor, Mary. “‘Rising Out’: Medbh McGuckian’s Destabilizing Poetic.” Eire-Ireland. Volume 30, Issue 4 (Winter 1996): 154–172. (Print) O’Dowd, Liam. “New Introduction.” The Colonizer and the Colonized. Albert Memmi. London: Earthscan Publishers, 1990. 29–66. (Print) O’Leary, Brendan. “Analyzing Partition: Definition, Classification and Explanation.” Political Geography (2007): 1–23. (Print) O’Neill, Charles L. “Medbh McGuckian’s Poetry: Inhabiting the Image.” Contemporary Irish Women Poets: Some Male Perspectives. Ed. Alexander G. Gonzalez. Westport: Greenwood Press, 1999. 65–78. (Print) Ormsby, Frank, ed. Poets from the North of Ireland. Belfast: The Blackstaff Press, 1990. (Print) Østerud, Øyvind. “The Uses and Abuses of Geopolitics.” Journal of Peace Research. Volume 25, Issue 2 (June 1988): 191–199. (Print) Ostriker, Alicia. “Beyond Confession: The Poetics of Postmodern Witness.” In After Confession: Poetry as Autobiography, ed. Kate Sontag and David Graham. Saint Paul: Graywolf Press, 2001. 317–331. (Print) Pandey, Gyanendra. “In Defence of the Fragment: Writing about Hindu- Muslim Riots in India Today.” In Subaltern Studies Reader, 1986–1995, ed. Ranajit Guha. Minneapolis: University of Minnesota Press, 1997. 1–33. (Print) ———. Remembering Partition: Violence, Nationalism and History in India. Cambridge: Cambridge University Press, 2001. (Print) Parker, Michael. Northern Irish Literature, 1956–1975: Volume 1, The Imprint of History. New York: Palgrave Macmillan, 2007. (Print) ———. Northern Irish Literature, 1975–2006: Volume 2, The Imprint of History. London: Palgrave Macmillan, 2007. (Print) Patterson, Glenn. Burning Your Own. London: Blackstaff Press, 2008. (Print) Patterson, Nicholas. “Different Strokes I: An Interview with Seamus Deane.” The Boston Phoenix: http://weeklywire.com/ww/06-08-98/boston_ books_1.html (Web) Pearl, Nancy. “The Sum of Their Parts: Linked Stories.” (Book Review.) Library Journal. May 1, 2003. Volume 28, Issue 8: 176. (Print) Perkins, Christine. “No Bones.” (Book Review.) Library Journal. Volume 27, Issue 7 (April 15, 2002): 123. (Print) Pilling, John. “Dublin and Environs.” In Uhlmann 2013, 19–28. (Print) Rea, Ann. “Reproducing the Nation: Nationalism, Reproduction, and Paternalism in Anne Devlin’s Ourselves Alone.” In Border Crossings: Bibliography 207

Irish Women Writers and National Identities, ed. Kirkpatrick, Kathryn. Tuscaloosa, AL: Alabama University Press, 2000. 204–226. (Print) Reid, Christina. Christina Reid: Plays 1. London: Methuen Drama, 1997. (Print) Roche, Anthony. Contemporary Irish Drama: From Beckett to McGuinness. New York: Palgrave MacMillan, 1995. (Print) Ross, Andrew. “Irish Secrets and Lies.” Interview with Seamus Deane. Salon. com: http://www.salon.com/april97/deane970411.html (Web) Rukeyser, Muriel. The Life of Poetry. Ashfield, MA: Paris Press, 1996. (Print) Rushdie, Salman. Imaginary Homelands: Essays and Criticism 1981–1991. New York: Penguin, 1992. (Print) ———. The Lavin Agency Lecture, April 24, 2007: http://www.youtube. com/user/meruprecht?feature=mhw4#p/f/26/7QOwGFo2_f4 (Web) ———. Midnight’s Children. New York: Penguin Books, 1991. (Print) Russell, Richard Rankin. Poetry and Peace: Michael Longley, Seamus Heaney and Northern Ireland. Notre Dame: University of Notre Dame Press, 2010. (Print) Said, Edward. Orientalism. New York: Vintage Books, 1994. (Print) ———. “Orientalism Reconsidered.” Europe and its Others: Proceedings of the Essex Conference on the Sociology of Literature, July 1984. Colchester: University of Essex Press, 1985. 14–27. (Print) ———. “What Can Separation Mean?” Media Monitors Network: http:// www.mediamonitors.net/edward22.html. 2001. (Web) Sailer, Susan Shaw. “An Interview with Medbh McGuckian.” Michigan Quarterly Review. Volume 32 Issue 1 (1993): 111–127. (Print) Sands, Bobby. Writings from Prison. Cork: Mercier Press, 1998. Santino, Jack. Signs of War and Peace: Social Conflict and the Use of Public Symbols in Northern Ireland. New York: Palgrave, 2001. (Print) Sarkar, Bhaskar. Mourning the Nation: Indian Cinema in the Wake of Partition. Durham: Duke University Press, 2009. (Print) Satris, Marthine. “Frustrated Meanings: Silence in the Poetry of Catherine Walsh and Medbh McGuckian.” Free Verse: http://english.chass.ncsu. edu/freeverse/Archives/Winter_2005/reviews/M_Satris.html. (Web) Scarry, Elaine. The Body in Pain. New York: Oxford University Press, 1985. (Print) Schacter, Daniel. Searching for Memory: The Brain, the Mind, and the Past. New York: Basic Books, 1996. (Print) Schaeffer, Robert K. Severed States: Dilemmas of Democracy in a Divided World. Lanham, MD: Rowman and Littlefield, 1999. (Print) ———. Warpaths: The Politics of Partition. New York: Hill and Wang, 1990. (Print) Schwerter, Stephanie. Northern Irish Poetry and the Russian Turn: Intertextuality in the Works of Seamus Heaney, Tom Paulin and Medbh McGuckian. New York: Palgrave Macmillan, 2013. (Print) Sedgwick, Eve. Epistemology of the Closet, 2nd ed. Berkeley: University of California Press, 2008. (Print) 208 Bibliography

———. Touching, Feeling: Affect, Pedagogy, Performativity. Durham: Duke University Press, 2003. (Print) Sered, Danielle. “‘By Escaping and [Leaving] a Mark’: Authority and the Writing Subject of the Poetry of Medbh McGuckian.” Irish University Review. Volume 32, Issue 2 (Autumn–Winter 2002): 273–285. (Print) Shelley, Mary. Frankenstein. New York: W. W. Norton, 1996. Sidhwa, Bapsi. Cracking India. Minneapolis: Milkweed Editions, 1991. (Print) Sirr, Peter. “‘How Things Begin to Happen’: Notes on Eiléan Ní Chuilleanáin and Medbh McGuckian.” Southern Review. Volume 31, Issue 3 (Summer 1995): 450–469. (Print) Smyth, Gerry. The Novel and the Nation: Studies in the New Irish Fiction. London: Pluto Press, 1997. (Print) Staples, Heidi. “Medbh McGuckian Interview.” The Argotist Online: www. argotistonline.co.uk. (Web) Steiner, George. Language and Silence: Essays on Language, Literature and the Inhuman. New York: Antheum, 1970. (Print) Sullivan, Esther Beth. “What Is ‘Left to a Woman of the House’ When the Irish Situation is Staged?” In Staging Resistance: Essays on Political Theater, ed. Jeanne Colleran and Jenny S. Spencer. Ann Arbor: University of Michigan Press, 1998. 213–228. (Print) Sullivan, Moynagh. “The In-formal Poetics of Medbh McGuckian.” Nordic Irish Studies. Volume 3, Issue 1 (2004): 75–92. (Print) Toft, Monica Duffy. The Geography of Ethnic Violence: Identity, Interests and the Indivisibility of Territory. Princeton: Princeton University Press, 2003. (Print) Uhlmann, Anthony. Samuel Beckett in Context. Cambridge: Cambridge University Press, 2013. (Print) Urban, Eva. Community Politics and the Peace Process in Contemporary Northern Irish Drama. Oxford: Peter Lang, 2010. (Print) Van Houtum, Henk, et al., eds. B/Ordering Space. Aldershot: Ashgate Publishing, 2005. (Print) Vance, Norman. Irish Literature Since 1800. London: Pearson Education, 2002. (Print) Waterman, Stanley. “Partition and Modern Nationalism.” In Community Conflict, Partition, and Nationalism. Eds. Colin H. Williams and Eleonore Kofman. London, New York: Routledge, 1989. 117–132. (Print) Watt, Stephen. Beckett and Contemporary Irish Writing. Cambridge: Cambridge University Press, 2009. (Print) Welch, Robert, ed. The Oxford Companion to Irish Literature. London: Oxford University Press, 1996. (Print) Williams, Patrick. “Spare that Tree!” The Honest Ulsterman. Volume 86 (Spring/Summer 1989): 49–52. Wills, Clair. Improprieties: Politics and Sexuality in Northern Irish Poetry. Oxford: Clarendon Press, 1993. (Print) Bibliography 209

Woolf, Virginia. Three Guineas. New York and London: Harcourt, Brace and World, 1966. (Print) Yeats, W. B. The Collected Poems of W. B. Yeats. Ed. Richard Finneran. New York: Simon and Schuster, (1983) 1989. (Print) Zamindar, Vazira. The Long Partition and the Making of Modern South Asia: Refugees, Boundaries, Histories. New York: Columbia University Press, 2007. (Print) This page intentionally left blank Index

Adams, Gerry 3, 18, 117, 129, 130 105, 119, 129, 137, 138, 157, aesthetic(s) 1, 3, 19, 22, 24, 26, 29, 185, 186, 188, 192 31, 33, 35, 57, 60, 101, 145, Company 60 153, 158, 159, 165, 169, 184 Endgame 26, 30, 33, 34, 35, affect, 157, 158, 160, 164, 169 36, 47, 48, 49, 55, 56, 87, 93, Ahmad, Aijaz 30, 31, 185 192 aisling 25, 41, 48, 60, 93, 96 Happy Days 33, 38 Alexander, Meena 10, 19, 103, 105, Krapp’s Last Tape 30, 33, 34, 35, 107, 114, 115, 116, 129, 171, 36, 185 172 Malone Dies 33 Alliance Party 16 Waiting for Godot 32, 33, 35, Allingham, William 57, 58, 59, 60, 36, 46, 59, 61, 196 61 Belfast Agreement. See under: Good “Laurence Bloomfield in Ireland, Friday Agreement A Modern Poem” 57 Belfast Group, The 4, 40 An tSeanbhean Bhocht (Shan Van Benjamin, Walter 21, 43, 48, 139, Vocht) 8, 87, 176 165, 167, 168, 169, 172, 179, Anderson, Benedict 3, 51, 53, 54 191, 192 imagined communities 80 Bhabha, Homi 8, 23, 50, 53, 59, Anglo-Irish Treaty 13, 30 66, 67, 71, 74, 75, 76, 77, 78, anticolonial nationalism 13, 64, 65, 79, 81, 89, 106, 189, 190 70, 97, 141 Bloch, Ernst 11, 52, 144, 165, 166, Anzaldúa, Gloria 7, 8, 23, 25, 50, 167, 169, 179 66, 74, 75, 76, 77, 143, 189 Bloody Sunday 161, 183, 186 Aristotle 119, 161, 167, 169 border(s) 2, 3, 4, 5, 6, 8, 9, 14, 17, Ashbery, John 101, 110, 115 18, 19, 20, 22, 23, 24, 28, 29, Ashe, Thomas 41 33, 34, 35, 40, 43, 44, 47, 48, assimilation 50 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 60, 61, 67, 74, 75, 76, Bahti, Timothy 168, 169, 170 77, 82, 83, 84, 85, 87, 88, 90, Balzac, Honoré de 150, 164 104, 105, 124, 128, 133, 134, Batten, Guinn 9, 125, 189 138, 141, 170, 172, 181, 182, Battle at Boyne 192 183, 184, 185, 187, 191 bean sidhe (banshee) 8, 21, 24, 25, borderlands 1, 7, 8, 9, 11, 19, 21, 73, 83, 87 22, 23, 24, 25, 27, 28, 29, 30, Beckett, Samuel 1, 6, 7, 18, 19, 26, 33, 38, 46, 50, 54, 55, 56, 57, 28, 29, 30, 31, 32, 33, 34, 35, 58, 74, 75, 76, 83, 85, 91, 92, 36, 37, 38, 41, 42, 47, 54, 55, 102, 127, 134, 157, 172, 174, 56, 57, 59, 60, 61, 78, 80, 93, 175, 176 212 Index

Bose, Sumantra 14, 15, 51, 182, 184 67, 71, 72, 73, 82, 92, 97, 104, Boxall, Peter 24, 29, 31, 33, 35, 41, 107, 181, 182, 187, 191 47, 48, 55, 57, 59, 83, 105, 185, colonial discourse 3, 17, 39, 75, 188 100, 141, 182, 187, 191 Breton, André 118, 135, 161, 165, colonialism 3, 9, 11, 16, 48, 50, 166, 167, 190 51, 64, 65, 68, 70, 74, 97, 108, British Empire 16, 171 124, 140, 141, 170, 174, 175, Burns, Anna 1, 2, 6, 7, 8, 10, 11, 179, 185, 186 16, 19, 20, 24, 26, 27, 28, 29, communities 7, 14, 15, 30, 44, 45, 37, 42, 46, 61, 137, 138, 139, 46, 50, 51, 53, 71, 141, 163, 140, 141, 142, 143, 144, 145, 182, 183 146, 147, 148, 149, 150, 151, Conrad, Joseph 138, 179 152, 153, 154, 156, 157, 158, Corkery, Daniel 35, 42, 67, 68 159, 160, 161, 162, 163, 164, 165, 167, 168, 169, 170, 171, Dáil Éireann 18 172, 173, 174, 175, 176, 177, Das, Veena 103, 131, 132 178, 179, 185, 189, 191, 192, Deane, Seamus 20, 31, 138, 139, 193 144, 153, 181, 184, 189 No Bones 2, 6, 10, 11, 16, 26, Reading in the Dark 138, 139, 48, 137, 138, 139, 140, 142, 153, 184, 189, 191 143, 145, 147, 148, 149, 151, decommissioning 15, 183 153, 156, 157, 158, 159, 160, Derrida, Jacques 8, 46, 66, 67, 88, 162, 163, 165, 169, 170, 171, 89, 90, 91, 93, 97, 98, 134, 173, 174, 177, 178, 179, 189, 170, 172, 189 191, 193 Devlin, Anne 1, 2, 6, 7, 8, 19, 20, Little Constructions 137 24, 26, 29, 35, 36, 37, 41, 42, 55, 61, 63, 64, 65, 66, 67, 68, Cairns, David and Shaun 69, 70, 71, 72, 73, 74, 75, 76, Richards 53, 54 77, 78, 79, 80, 81, 82, 83, 84, Carson, Ciaran 9 85, 86, 87, 88, 89, 90, 91, 92, Caruth, Cathy 11, 143, 144, 151, 93, 94, 96, 97, 98, 107, 109, 152, 158, 171, 179 114, 122, 134, 137, 143, 147, catharsis 160, 163, 164, 173 184, 185, 186, 187, 188, 189, Catholic 7, 14, 15, 16, 23, 24, 43, 190, 191 44, 48, 69, 72, 79, 90, 111, A Woman Calling 87, 93 137, 140, 141, 143, 146, 182, After Easter 24, 35, 36, 63, 65, 183, 184, 185, 187 66, 68, 69, 70, 72, 73, 77, 78, Cha, Theresa Hak Kyung 105 81, 83, 85, 86, 87, 88, 91, 92, Chakrabarty, Dipesh 167 93, 94, 95, 96, 97, 147, 184, Charabanc Theatre Company 64 187 Civil Rights Association Heartlanders 63 (Catholic) 14 Ourselves Alone 24, 35, 63, 65, Civil Rights Movement (Irish) 183 70, 72, 76, 80, 85, 86, 87, 92, Civil War 13, 41, 43, 44, 183 93, 188 Cleary, Joseph 3, 10, 14, 16, 17, The Long March 24, 63, 73, 77, 21, 23, 28, 43, 47, 50, 51, 66, 78, 83, 85, 93 Index 213

The Way Paver 63, 90 trans-genre 117, 119, 123, 128 “Naming the Names” 24, 65, 67, thriller (Irish) 10, 17, 72, 140 73, 76, 78, 84, 87, 90, 92, 93, geographical 3, 20, 23, 45, 75, 115, 189, 190 184 “Passages” 93 geography 32, 55, 80, 121, 133, Dickinson, Emily 41, 120, 123, 130 174, 181 Donoghue, Denis 18, 57 geopolitical 4, 5, 6, 18, 37, 60, 71, drama 4, 19, 55, 58, 64, 95, 186 75, 100, 124 Dubois, W.E.B. 23, 50, 76, 187, 190 Good Friday Agreement 15, 48, 182, 187, 191 Eagleton, Terry 97, 178 Graham, Colin 46, 48, 50, 51, 181 Easter Rising 17, 30, 44, 63, 183, Gramsci, Antonio 21, 23, 47 184 interregnum, 21, 47, 48 epistemology 11, 89, 92, 139, 148, Grass, Günter 138, 143, 147, 157, 149, 165, 171, 178 191 grotesque 6, 9, 129, 142, 143, 144, faery 22, 23, 184 153, 155, 157, 166, 178 famine 34, 44, 174, 177 Felman, Shoshana 157, 163, 166, Heaney, Seamus 1, 4, 5, 8, 9, 19, 167 25, 30, 34, 35, 37, 38, 39, 40, feminism 24 41, 42, 45, 47, 48, 49, 60, 61, fenians 41, 192 80, 99, 102, 104, 105, 118, fiction 1, 10, 19, 24, 56, 65, 78, 93, 119, 127, 133, 165, 181, 186, 138, 149, 151, 152, 153, 162 187, 189 Field Day Theater Co. 4, 64, 181, Station Island 9, 186 182 North 38 film 64, 65, 77, 84, 93, 125, 167, Finders Keepers 4, 5, 19, 35, 40, 188, 191 45, 165 Foucault Michel 19, 21, 26, 27, 45, “Whatever You Say, Say 59, 60, 144, 166, 167 Nothing” 25, 47, 48, 102, 104, Fraser, T.G. 13, 44, 183 105, 133, 135, 191 Friel, Brian 1, 2, 5, 7, 8, 9, 19, 20, “The Unacknowledged 32, 34, 58, 64, 65, 67, 92, 113, Legislator’s Dream” 38 186, 187, 189 Heidegger, Martin 58, 189 Making History 5 Herman, Judith 21, 47 The Freedom of the City 32 historical 2, 3, 5, 6, 7, 11, 17, 19, Translations 20, 34, 92, 113, 21, 22, 24, 29, 31, 35, 37, 41, 187, 189 42, 43, 45, 50, 51, 53, 55, 63, Volunteers 32, 189 66, 71, 75, 79, 82, 97, 100, 103, 107, 114, 115, 116, 118, gender 2, 3, 23, 25, 69, 70, 99, 129, 129, 137, 139, 142, 144, 145, 182 148, 149, 150, 151, 153, 154, transgender 88, 108 156, 157, 159, 160, 161, 163, genre 2, 9, 17, 19, 20, 29, 39, 41, 164, 166, 167,169, 170, 172, 117, 119, 123, 128, 132, 143, 174, 175, 177, 178, 179, 191, 145, 157, 160, 165 192, 193 214 Index historical revisionism (Irish) 4, 50, 67, 71, 73, 81, 82, 88, 89, 96, 181 97, 111, 190 historicity 158 Israeli 43, 45 historiography 71, 144, 169 history 1, 2, 3, 5, 6, 7, 8, 9, 10, Jameson, Frederic 144, 158, 165, 11, 13, 15, 16, 17, 18, 20, 21, 167, 168, 172 22, 23, 24, 26, 27, 28, 30, 32, Jordan, Neil 28 33, 35, 37, 38, 39, 40, 41, 43, The Crying Game 28, 191 44, 45, 46, 47, 48, 51, 54, 55, Joyce, James 21, 26, 29, 31, 32, 34, 56, 57, 59, 60, 63, 64, 65, 70, 35, 40, 41, 56, 100, 119, 130, 71, 73, 74, 77, 83, 89, 90, 97, 138, 141, 144, 146, 155, 170, 99, 101, 102, 103, 105, 106, 178, 184, 185, 186, 188, 190, 108, 113, 114, 116, 119, 120, 192, 193 124, 128, 130, 132, 137, 139, A Portrait of the Artist as a 141, 142, 143, 144, 145, 147, Young Man 146, 162, 191 148, 149, 150, 151, 152, 153, Ulysses 4, 40, 41, 58, 81, 101, 155, 156, 157, 158, 159, 160, 140, 164, 190 161, 162, 163, 164, 165, 166, Finnegans Wake 40, 41, 185, 186 167, 168, 169, 170, 171, 172, “The Dead” 19, 21, 164, 170, 173, 174, 175, 177, 178, 179, 178, 184 181, 182, 184, 185, 186, 187, 189, 192 Kafka, Franz 138, 157, 192 Hobsbaum, Philip 4 Kiberd, Declan 23, 30, 31, 32, 35, Horace 117 36, 42, 48, 52, 55, 59, 60, 61, Hughes, Éamonn 3, 10, 17, 42, 44, 67, 81 46, 49, 53, 181 Kiely, Benedict 30, 61, 188 Hughes, Geraldine 64 Kincaid, Jamaica 13, 43, 77, 139 Belfast Blues 64 LaCapra, Dominick 11, 143, 144, invisibility 4, 18, 23, 26, 28, 157, 158, 165, 166, 167, 179 36, 70 liminality 22, 30, 50, 55, 74, 77, IRA. See under: Irish Republican 84, 157, 158 Army Lloyd, David 22, 50, 51, 52, 141, Irish Free State 13 181 Irish Republic. See under: Republic Loyalists 14, 43, 46 of Ireland Lukács, Georg 144, 145, 160, 161, Irish Republican Army 14, 15, 44, 165, 166, 192, 193 79, 81, 84, 90, 137, 183, 186, Lyotard, Francois 160 190 Provisional IRA 14, 15, 79, 137, MacLaverty, Bernard 19, 32, 138 183 MacNeice, Louis 9 Irish Studies 3, 4, 6, 66, 142, 143, Mahon, Derek 41 181, 182 Mahon, Peter 3, 15, 17, 32, 44, 47, Irishness 4, 17, 24, 25, 27, 29, 34, 181, 186, 203 36, 40, 45, 52, 56, 59, 65, 66, Manto, Saadat Hasan 131 Index 215

Matalon, Ronit 151 “The Dream-Language of materialism 164, 167, 168, 171, Fergus” 130 177, 179 “Birthday Composition of McCann, Colum 1, 29, 61, 138, Horses” 57, 102 145, 151, 158, 191 “Moon Script” 88, 133 Let the Great World Spin 151 “The She-Eagles” 116, 117 TransAtlantic 29 “The Aisling Hat” 25, 26, 29, “Everything in This Country 102, 187 Must” 29, 138 McGuinness, Frank 6, 7, 8, 42 McGuckian, Medbh 1, 2, 4, 6, 7, 9, Observe the Sons of Ulster 10, 19, 20, 24, 25, 26, 29, 36, Marching Towards the Somme 8 37, 38, 39, 41, 42, 47, 48, 55, McLiam Wilson, Robert 6, 10, 19, 57, 58, 59, 60, 61, 63, 88, 96, 138 99, 100, 101, 102, 103, 104, Ripley Bogle 6 105, 106, 107, 108, 109, 110, McNamee, Eoin 6, 10, 138, 156, 111, 112, 113, 114, 115, 116, 183, 189 117, 118, 119, 120, 121, 122, Resurrection Man 6, 10, 138, 123, 124, 125, 126, 127, 128, 156, 183, 189 129, 130, 131, 132, 133, 134, Merleau-Ponty, Maurice 11, 144, 135, 137, 143, 145, 172, 184, 158, 161 187, 188, 189, 190 mimesis 9, 11, 24, 35, 68, 129, 144, The Flower Master 99, 110, 111, 169, 171, 177 112, 122, 189 Mistry, Rohinton 150 Venus and the Rain 106, 110, modernism 21, 31, 41, 186 111, 112, 113, 120, 123, 125, Molloy, Frances 26, 137, 192 126, 189 Morris, Pam 107, 108, 111, 119, On Ballycastle Beach 103, 108, 144, 145 109, 111, 112, 125, 128, 130, Morrison, Toni 10, 11, 115, 116, 131, 132, 189 118, 122, 138, 143, 144, 159, Marconi’s Cottage 106, 109, 110, 170, 171, 172, 173, 176, 178, 112, 113, 114, 117, 118, 120, 192, 193 121, 122, 125, 126 Beloved 143, 159, 170, 172, 173, Captain Lavender 25, 111, 113, 176, 178, 193 118, 121, 122, 123, 125, Mufti, Aamir 33, 38, 167, 179 127, 189 Muldoon, Paul 1, 4, 6, 8, 19, 21, Shelmalier 99, 106, 111, 119, 22, 23, 24, 28, 29, 30, 32, 33, 122, 124, 127, 134, 189, 190 37, 41, 57, 61, 84, 100, 101, The Soldiers of Year II 106, 111, 184, 186, 188, 189 113, 119, 122, 127, 134, 189, To Ireland, I 21, 22, 188 190, 195, 197, 204 mythological cycles (Irish) 21, 22, The Book of the Angel 110, 115, 28, 87, 88, 93, 193 118, 120, 124, 133 The Currach Requires No Naipaul, V.S. 105, 189 Harbours 110, 122, 124 national identity 2, 20, 43, 51, 65, The High Caul Cap 99, 122 67, 69, 72, 77, 83, 88 216 Index nationalism 7, 14, 15, 16, 17, 24, 130, 131, 132, 139, 140, 142, 30, 31, 34, 35, 36, 43, 45, 143, 144, 146, 147, 150, 158, 48, 52, 56, 57, 59, 66, 67, 167, 174, 179, 181, 183, 185, 68, 69, 72, 76, 81, 82, 90, 186, 187, 188, 190 140, 143, 183, 184, 185, partitionist 5, 21, 48, 54, 70, 71, 187, 188 83, 102, 111, 114, 128, 131, transnational(ism) 7, 8, 23, 46 140, 144, 159, 160, 182 nation-state 71, 72, 75, 87, 103 Patterson, Glenn 10, 138 Ní Chonaill, Eibhlín Dubh 41 Burning Your Own 10, 138 Ní Dhomhnaill, Nuala 38, 41, 100, Paulin, Tom 1, 6, 8, 9, 39, 40, 42, 106, 113, 143, 189, 206 43, 46, 55, 61, 118, 206, 207 Ní Dhuibhne, Éilís 28, 143 Peace Line, The 45, 50 The Dancers Dancing 28 Peace Process, The 3, 15, 16, 25, Northern Irish Troubles. See under: 149, 161, 162, 174 The Troubles Pearse, Padraig 31, 66, 67, 82, 134, 189 O’Casey, Sean 31, 35, 56, 63, 64 penal codes 16 The Shadow of a Gunman, 64 phenomenology 144, 157, 158, 159, ontological 2, 3, 8, 9, 20, 33, 36, 160, 161, 166, 167, 168, 169, 41, 43, 46, 47, 58, 66, 68, 69, 171, 179 75, 76, 80, 82, 89, 97, 188 Picasso, Pablo 41, 122, 128 ontology 8, 18, 19, 31, 32, 34, 42, plantation schemes 16, 44, 51 56, 59, 60, 61, 65, 67, 68, 75, poesis 99, 103, 104, 116, 117, 122, 76, 81, 160, 170, 179 159 Operation Banner 140, 149, 161, poetics 6, 7, 9, 10, 11, 19, 20, 21, 185, 191 24, 28, 29, 37, 44, 78, 102, Orange Order 16, 183, 184 108, 116, 117, 123, 126, 128, 130, 132, 143, 144, 145, 148, Palestinian 43, 45, 163 158, 164, 165, 166, 169, 172, Pandey, Gyanendra 3, 11, 144, 148, 188 158, 166, 167, 168, 179, 181, of confinement 78 187, 206 of contingency 126 paramilitarism 15, 84, 183 of doubt 144, 145, 164, 165, paramilitary 14, 15, 146, 175 169 Parker, Andrew 6, 15, 20, 37, 53, poetry 2, 6, 8, 9, 25, 26, 38, 39, 182 41, 61, 99, 100, 101, 102, 104, Parker, Stewart 7, 8 105, 106, 107, 108, 109, 114, Pentecost 8 115, 116, 117, 118, 119, 120, partition 1, 2, 4, 6, 7, 8, 9, 10, 13, 121, 122, 129, 130, 131, 132, 14, 17, 18, 21, 22, 23, 24, 25, 134, 135, 166, 167, 169, 179, 26, 28, 29, 30, 31, 33, 34, 36, 181, 182, 190 38, 40, 41, 43, 44, 48, 49, 50, political poetry (Irish) 25, 185 51, 52, 53, 55, 56, 57, 58, 59, postcolonial 1, 4, 8, 11, 32, 44, 46, 60, 61, 63, 64, 65, 66, 67, 72, 50, 51, 52, 53, 54, 61, 66, 67, 74, 75, 76, 77, 78, 79, 81, 84, 74, 75, 76, 77, 78, 81, 82, 85, 87, 88, 100, 104, 105, 117, 124, 89, 107, 117, 129, 144, 145, Index 217

147, 148, 160, 161, 164, 165, 59, 60, 61, 84, 85, 86, 87, 88, 168, 169, 170, 172, 173, 177, 89, 92, 93, 94, 102, 156, 159, 178, 179, 187, 193 162, 170, 174, 184 Postcolonial Studies 202, 205 SDLP (Social Democratic and postcoloniality 4, 5, 24, 36, 53, 64, Labour Party) 63, 188 74, 75, 129, 169 seanchaí 24, 68, 93, 94, 95 postfeminism 81 sect line 50 postmodern(ism) 1, 19, 20, 21, 22, sectarianism 15, 16, 43, 44, 71, 72, 23, 24, 31, 35, 38, 41, 49, 54, 73, 79, 88, 90, 141, 150, 152, 55, 58, 59, 66, 67, 74, 117, 119, 182, 187 129, 143, 144, 160, 161, 169, Sedgwick, Eve 11, 144, 148, 157, 184, 186, 187 158, 161, 165, 167, 168, 169, post-partition 18, 24, 34, 36, 40, 192 53, 56, 57, 58, 59, 60, 63, 78, self-contradiction 7, 68, 69, 70, 75, 81, 146, 188 77, 82, 89, 107, 148 poststructuralism 1, 8, 66 sexual politics 71, 103 Protestant 7, 14, 15, 23, 32, 44, 69, Shakespeare, William 53 72, 111, 140, 141, 182, 183, Shelley, Mary 38, 186, 208 185, 192 Shelley, Percy 38, 186 Sidhwa, Bapsi 139, 153 realism 142, 143, 145, 148, 157, silence(ing) 1, 4, 7, 9, 25, 26, 29, 165, 166, 167, 168, 192 35, 37, 38, 41, 79, 80, 88, 100, realism debates 165 103, 104, 105, 106, 107, 108, Reid, Christina 1, 6, 7, 8, 41, 49, 109, 110, 113, 116, 118, 119, 51, 64, 65, 70, 85, 143, 181, 120, 121, 127, 130, 131, 132, 185, 187, 188 135, 144, 145, 146, 159, 164, Joyriders 41, 64 170, 171, 177, 178 Tea in a China Cup 188 Sinn Féin 3, 18, 34, 63, 72, 181, reparations 11, 144, 169, 170, 172, 183, 188 177, 179 specter 1, 7, 19, 25, 29, 30, 33, 37, Republic of Ireland 1, 13, 14, 17, 46, 57, 58, 60, 65, 82, 83, 89, 23, 28, 43, 46, 49, 51, 142, 97, 102, 105, 138, 151, 152, 184, 185, 187, 188 157, 170, 172, 177, 193 Republican (Irish) 14, 15, 43, 44, spectral 1, 7, 11, 19, 21, 22, 23, 52, 72, 87, 141, 182, 183, 187 24, 25, 26, 28, 29, 30, 33, Rilke, Rainer Maria 41 38, 45, 46, 47, 54, 55, 57, Rushdie, Salman 138, 139, 144, 59, 61, 65, 66, 76, 78, 82, 145, 160, 169 83, 87, 88, 90, 91, 92, 97, 102, 130, 133, 134, 171, Saint Andrews Agreement 15 172, 174, 175, 176, 177, Sands, Bobby 130, 161 186, 192 Sarkar, Bhaskar 18, 30, 45, 51, spectrality 9, 10, 19, 33, 58, 65, 76, 185 82, 83, 84, 88, 93, 96, 97, 102, Saville Inquiry 183 134, 175, 185 scrim 1, 7, 8, 9, 10, 19, 21, 22, 23, spéirbhean 21, 25, 30, 60, 87, 108, 24, 25, 27, 28, 29, 37, 38, 57, 187 218 Index

Subaltern Studies 167, 181, 186 wait 30, 35, 46, 48, 54, 59, 75, 137, fragment 1, 5, 20, 29, 42, 53, 192 105, 138, 144, 145, 147, 149, waiting 27, 34, 46, 47, 48, 54, 56, 156, 159, 168, 169 61, 78, 90, 150, 160 Surrealism 165 war 2, 9, 10, 13, 15, 27, 30, 31, 37, 38, 64, 84, 88, 100, 101, 102, theater 4, 9, 22, 64, 121, 182 103, 104, 105, 107, 109, 110, Abbey Theatre 40 114, 120, 121, 122, 129, 131, Tone, Wolfe 41, 48, 140, 149 132, 135, 139, 140, 141, 142, traumatic realism 143, 157, 167 143, 144, 145, 146, 148, 149, Treaty of Limerick 16 150, 152, 157, 159, 165, 167, Troubles, The 2, 3, 4, 6, 7, 10, 11, 174, 191 13, 14, 16, 19, 24, 27, 28, 32, Waterman, Stanley 53, 54 34, 38, 44, 45, 47, 48, 49, 63, Women’s Caucus (Peace Process) 3 65, 71, 72, 73, 100, 101, 103, Women’s Studies 2 109, 133, 137, 138, 139, 140, 141, 143, 148, 149, 150, 156, Yeats, W.B. 5, 22, 29, 30, 31, 41, 159, 161, 162, 163, 172, 174, 56, 64, 66, 100, 182, 184, 175, 177, 179, 183, 186, 188, 185, 189 191, 192 Cathleen Ní Houlihan 185 truth claim 144, 145, 148, 149, “The Second Coming” 4 150, 154, 158, 160, 178 Zamindar, Vazira 7, 18, 187 Unionists 14, 17, 42, 43, 44, 46 partition effects 7, 56