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Contents Poetry Ireland Review 132 Colette Bryce 5 editorial Denise Riley 7 1948 Felicity Sheehy 12 after the funeral Ian Duhig 13 the names of the plague 14 sight unseen 15 paddingtons Lianne O’Hara 16 design 17 cavities John Challis 18 night change 19 where the devil gets in Natalie Linh Bolderston 20 needles, a history Katie Donovan 22 two women, one grave 23 the three who were lost Kayo Chingonyi 24 7 sonnets Siobhán Campbell 31 review: martin malone, miriam gamble, gerry murphy, julia copus Gerard Smyth 36 review: eavan boland Ailbhe Darcy 40 essay: recent documentary poetry in performance Richard Hayes 50 review: dairena ní chinnéide, catherine barry, ross thompson, polina cosgrave, chris murray, leeanne quinn Ailbhe Ní Ghearbhuigh 55 tá aibhléis san uile ní 56 dordán aibhléise os mo chionn 57 dordán foiche im bhéal Diarmuid Johnson 58 an ubh fuiseoige Doireann Ní Ghríofa 59 in éineacht Paddy Bushe 60 éanlaith na cóivide Stiofán Ó hIfearnáin 61 boudicca Mary Shine Thompson 62 review: caitríona ní chléirchín Liam Carson 65 review: paddy bushe, mícheál ó haodha Nick Laird 69 valency 70 sheep’s head Luke Morgan 72 zambia Jessica Traynor 73 dad cars Alyson Favilla 74 did sappho ever triple-text? 75 true crime Paul Batchelor 76 the parasite Jane Clarke 78 her first Victoria Kennefick 79 alternative medicine 80 second communion Kelly Michels 81 lockdown Maia Elsner 83 frontispiece Dermot Bolger 84 the unguarded moment Mary Noonan 85 time travellers Dean Browne 86 pinball 87 aide-mémoire Michael Dooley 88 peninsula at night Kate Quigley 89 galway oyster festival James Conor Patterson 90 fear, uncertainty & doubt Jonathan Greenhause 91 beacons of light Kathleen Jamie 92 my parents 93 our garden Emily S Cooper 94 essay: father figures: conjuring michael donaghy Martin Malone 98 review: seán hewitt, laurence o’dwyer, adam crothers David Wheatley 103 review: maurice scully Catherine Gander 106 review: natalie diaz, bhanu kapil Julie Morrissy 111 review: doireann ní ghríofa Adam Wyeth 114 interview: paula meehan Notes on Contributors 124 .

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Issue 6 April 2017 a Literary Pamphlet €4
issue 6 april 2017 a literary pamphlet €4 —1— Denaturation Jean Bleakney from selected poems (templar poetry, 2016) INTO FLIGHTSPOETRY Taken on its own, the fickle doorbell has no particular score to settle (a reluctant clapper? an ill-at-ease dome?) were it not part of a whole syndrome: the stubborn gate; flaking paint; cotoneaster camouflaging the house-number. Which is not to say the occupant doesn’t have (to hand) lubricant, secateurs, paint-scraper, an up-to-date shade card known by heart. It’s all part of the same deferral that leaves hanging baskets vulnerable; although, according to a botanist, for most plants, short-term wilt is really a protective mechanism. But surely every biological system has its limits? There’s no going back for egg white once it’s hit the fat. Yet, some people seem determined to stretch, to redefine those limits. Why are they so inclined? —2— INTO FLIGHTSPOETRY Taken on its own, the fickle doorbell has no particular score to settle by Thomas McCarthy (a reluctant clapper? an ill-at-ease dome?) were it not part of a whole syndrome: the stubborn gate; flaking paint; cotoneaster Tara Bergin This is Yarrow camouflaging the house-number. carcanet press, 2013 Which is not to say the occupant doesn’t have (to hand) lubricant, secateurs, paint-scraper, an up-to-date Jane Clarke The River shade card known by heart. bloodaxe books, 2015 It’s all part of the same deferral that leaves hanging baskets vulnerable; Adam Crothers Several Deer although, according to a botanist, carcanet press, 2016 for most plants, short-term wilt is really a protective mechanism.
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Table of Contents (Pdf)
Contents Poetry Ireland Review 123 Eavan Boland 5 editorial Nan Cohen 7 a liking for clocks Eamon McGuinness 8 a gift Afric McGlinchey 9 in an instant of refraction and shadow Mara Bergman 10 the night we were dylan thomas Joseph Horgan 11 art history of emigration Maria Johnston 12 review: michael longley, john montague Harry Clifton 17 thérèse and the jug Simon West 18 on a trip to van diemen’s land Maresa Sheehan 20 our last day Niamh Boyce 21 hans ardently collects patients’ art work Alan Titley 22 maolra seoighe Proinsias Ó Drisceoil 23 review: biddy jenkinson, aifric mac aodha John D Kelly 27 the red glove Eva Bourke 28 small railway stations Catherine Phil MacCarthy 29 legacies of empire Richard W Halperin 30 the beach, malahide Matt Kirkham 31 kurt responds to adele’s call to remove a spider from the bathtub Susan Lindsay 32 when they’ve grown another me Jaki McCarrick 34 review: pete mullineaux, noel duffy, patrick moran Stav Poleg 39 listen, you have to read in a foreign language Noel Monahan 40 two women at a window Stephen Spratt 41 subjectivity AB Jackson 42 the mermayd Cathi Weldon 43 in the key of alzheimer’s John F Deane 44 old bones June Wentland 46 ‘their whiteness bears no relation to laundry ...’ Louis Mulcahy 47 potadóireacht na caolóige Harry Clifton 48 review: michael o’loughlin Matt Bryden 52 the lookout Orla Martin 53 the poets Catullus 54 ‘if you’re lucky you’ll dine well’ John Sewell 55 being alive Tess Adams 56 i hate my stinking therapist Patrick Holloway 57 barrage Eleanor Rees 58 st.
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The 'Nothing-Could-Be-Simpler Line': Form in Contemporary Irish Poetry
The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry Brearton, F. (2012). The 'nothing-could-be-simpler line': Form in Contemporary Irish Poetry. In F. Brearton, & A. Gillis (Eds.), The Oxford Handbook of Modern Irish Poetry (pp. 629-647). Oxford University Press. Published in: The Oxford Handbook of Modern Irish Poetry Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 OUP UNCORRECTED PROOF – FIRST PROOF, 04/19/2012, SPi c h a p t e r 3 8 ‘the nothing-could- be-simpler line’: form in contemporary irish poetry f r a n b r e a r t o n I I n ‘ Th e Irish Effl orescence’, Justin Quinn argues in relation to a new generation of poets from Ireland (David Wheatley, Conor O’Callaghan, Vona Groarke, Sinéad Morrissey, and Caitríona O’Reilly among them) that while: Northern Irish poetry, in both the fi rst and second waves, is preoccupied with the binary opposition of Ireland and England .
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Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis „Das Moor als dialogischer Moment in der Dichtung von Ted Hughes und Seamus Heaney“ verfasst von / submitted by Gabriella Olivia Violette Attems, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2016 / Vienna 2016 Studienkennzahl lt. Studienblatt / A 066 870 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Vergleichende Literaturwissenschaft degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Dr. Norbert Bachleitner MOORS Are a stage for the performance of heaven Any audience is incidental. Ted Hughes Remains of Elmet It is December in Wicklow: Alders dripping, birches Inheriting the last light, The ash tree cold to look at. Seamus Heaney North Meinen Eltern Dr. Manfred Attems und Chantal Andries, meinem Bruder Dr. Maximilian Attems und meinem Sohn Cian Attems Clendennen gewidmet. Besonderer Dank gebührt Univ.-Prof. Dr. Norbert Bachleitner für die Betreuung dieser Arbeit sowie für die Förderung meiner spezifischen Interessen während des Studiums. Für Ansätze, die mitunter zu dieser Arbeit führten, danke ich Univ.-Prof. Dr. Werner Huber und Univ.- Prof. Dr. Christine Ivanovic. Für Hilfestellungen zu meinem Forschungsgebiet danke ich Doz. Dr. Walter Wagner. Inhalt Liste der verwendeten Siglen.....................................................................................................................1
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THE WOOING of CHOICE: Prosimetric Reconstruction of the Female Journey in Irish Mythology
THE WOOING OF CHOICE: Prosimetric Reconstruction of the Female Journey in Irish mythology by Roxanne Bodsworth 2020 This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, Institute of Sustainable Industries and Liveable Cities, Victoria University. i Abstract: In “The Wooing of Choice: prosimetric reconstruction of the female journey in Irish mythology”, I examine the representation of female characters in Irish mythological tales where the woman chooses her lover in contravention of social expectations. In the traditional versions, the woman recedes into the background as the narrative develops around the male hero. I ask what happens to the discourse of the narrative when it is subverted so that the focus is placed upon the female experience. This is explored through a creative component, called ‘Meet Me in My World’, a prosimetric reconstruction of three Irish tales in which the woman chooses her lover and compels him to follow her. The three tales are: Aislinge Óengusso (The Dream of Óengus); Tóruigheacht Dhiarmada agus Ghráinne (The Pursuit of Diarmaid and Gráinne); and Longes mac nUislenn (The Exile of the Sons of Uisliu). The exegetical component, comprising 50% of the thesis, is composed of two sections. In the first, I examine theories of feminist writing and remythologizing, and develop a new model for feminist reconstruction, which I apply to the creative product. In the second section, I explore the relationship between narrative and poetry, from medieval prosimetric translations to contemporary hybrid texts, and consider which form provides the best framework for my female-centred narrative and the verse.
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Chapter 1 Introduction: Making History?
Notes CHAPTER 1 INTRODUCTION: MAKING HISTORY? 1. Irish Times, Weekend Section, September 3, 1994. 'Ceasefire' has sub sequently been reprinted in Longley's collection The Ghost Orchid (London: Jonathan Cape, 1995, p. 39). The poem continues Longley's discovery in the classics, and in Homer particularly, of passages and incidents pertinent to the present. His collection before The Ghost Orchid, Gorse Fires (London: Seeker & Warburg, 1991), also contains moving, freely translated excerpts which press upon events in the North of Ireland. 2. 'Ulysses, Order, and Myth', Selected Prose of T.S. Eliot, edited with an introduction by Frank Kermode (London: Faber, 1975), p. 177. 3. Modernisms: A Literary Guide (London: Macmillan, 1995), p. 167. 4. Transitions: Narratives in Modern Irish Culture (Manchester University Press, 1988), p. 9. 5. Jonathan Bardon, A History of Ulster (Belfast: Blackstaff Press, 1992), pp.662-90. 6. 'The Irish Writer', Davis, Mangan, Ferguson? Tradition and the Irish Writer, writings by W.B. Yeats and Thomas Kinsella (Dublin: Dolmen Press, 1970), p. 66. 7. Francis Ledwidge: Selected Poems (Dublin: New Island Books, 1992), p. 11. 8. Field Work (London: Faber, 1979), p. 60. 9. Station Island (London: Faber, 1984), p. 37. 10. 'An Ulster Twilight', Krino, No.5, Spring 1988, p. 100. 11. Dublin: The Dedalus Press, 1994; London: Anvil Press, 1993. In the poem 'Irish Cuttings' from the latter collection, O'Driscoll has written a horrific and modern version of the aisling or vision poem in which Ireland is described as a young maiden, as an old farmer is blown up by a booby-trapped bomb in a copy of Playboy (p.
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MICHAEL S. BEGNAL [email protected]
MICHAEL S. BEGNAL [email protected] EDUCATION M.F.A., North Carolina State University, Raleigh, NC English, Creative Writing – Poetry. Thesis: “Red Horse.” John Balaban, Director. B.A., Pennsylvania State University, University Park, PA English Literature. TEACHING POSITIONS HELD Assistant Teaching Professor (Full-Time), Department of English, Ball State University, Muncie, IN August 2015-Present. Creative writing and first-year writing. Instructor (Full-Time), Department of English, Duquesne University, Pittsburgh, PA August 2013-May 2015. Creative writing, literature, and first-year writing. Instructor (Part-Time), Department of English, Duquesne University, Pittsburgh, PA August 2009-May 2013. Creative writing and first-year writing. Instructor (Part-Time), Department of English, Wake Technical Community College, Raleigh, NC August 2008-May 2009. First-year writing. Graduate Teaching Assistant, Department of English, NC State University, Raleigh, NC August 2006-May 2008. Creative writing. PUBLICATIONS Poetry Collections Future Blues. Cliffs of Moher, Ireland: Salmon Poetry, 2012. 86 pages. Print. Ancestor Worship. Cliffs of Moher, Ireland: Salmon Poetry, 2007. 70 pages. Print. Chapbooks The Muddy Banks. Syracuse, NY: Ghost City Press, 2016. 30 pages. Print. Mercury, the Dime. Pittsburgh: Six Gallery Press, 2005. 46 pages. Print. As Editor Honeysuckle, Honeyjuice: A Tribute to James Liddy. Ed. Michael S. Begnal. Galway, Ireland: Arlen House, 2006. 144 pages. Print. The Burning Bush literary magazine. Spring 1999 to Spring 2004. Eleven issues published. Print. Refereed Articles “‘Bullets for Hands’: Witter Bynner, Arthur Davison Ficke, and the Spectra Poems of World War I.” Twentieth- Century Literature. Accepted. Expected publication in 2018. “Modernist Mythologies: The Turquoise Trail Anthology and the Poets of Santa Fe.” Western American Literature.
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Contemporary Irish Poetry and the Canon, New Directions in Irish and Irish American Literature, DOI 10.1007/978-3-319-51112-2 232 BIBLIOGRAPHY
BIBLIOGRAPHY A Poem for Ireland. “About: Ten Poems for Ireland. Which is Your Best-Loved?” Accessed 9 October 2016. http://apoemforireland.rte.ie/about/. ———. “Our Jury”. Accessed 9 October 2016. http://apoemforireland.rte.ie/ jury/. ———. “Terms and Conditions”. Accessed 9 October 2016. http://apoemforire land.rte.ie/terms-conditions/. Alcobia-Murphy, Shane. “‘My Cleverly Dead and Vertical Audience’: Medbh McGuckian’s ‘Difﬁcult’ Poetry”. New Hibernia Review 16.3 (2012): 67–82. Allen, Michael. “Horse-People and Others”. Review of Mules, by Paul Muldoon. Honest Ulsterman 56 (1977): 136–41. ———. “The Poetry of Medbh McGuckian”.InContemporary Irish Poetry: A Collection of Critical Essays, edited by Elmer Andrews, 286–309. Basingstoke: Macmillan, 1992. Allen-Randolph, Jody, and Eavan Boland. “An Interview with Eavan Boland”. Irish University Review 23.1 (1993): 117–30. Allison, Jonathan. “Questioning Yeats: Paul Muldoon’s ‘7, Middagh Street’”.In Learning the Trade: Essays on W. B. Yeats and Contemporary Poetry, edited by Deborah Fleming, 3–20. West Cornwall, CT: Locust Hill, 1993. ———. “Acts of Memory: Poetry and the Republic of Ireland Since 1949”.In Writing in the Irish Republic: Literature, Culture, Politics 1949–1999, edited by Ray Ryan, 44–63. Basingstoke: Macmillan, 2000. “Ancrene Wisse”.InAnchoritic Spirituality: Ancrene Wisse and Associated Works, edited by Anne Savage and Nicholas Watson, 41–208. Mahwah, NJ: Paulist, 1991. © The Author(s) 2017 231 K. Keating, Contemporary Irish Poetry and the Canon, New Directions in Irish and Irish American Literature, DOI 10.1007/978-3-319-51112-2 232 BIBLIOGRAPHY Andrews, Elmer, ed. Seamus Heaney: A Collection of Critical Essays. Basingstoke: Macmillan, 1992.
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BIBLIOGRAPHY and CRITICISM Volumes
BIBLIOGRAPHY AND CRITICISM EILÉAN NÍ CHUILLEANÁIN Volumes of Poetry Acts and Monuments. Dublin: The Gallery Press, 1972. Site of Ambush. Dublin: The Gallery Press, 1975. The Second Voyage. Winston-Salem, NC: Wake Forest University Press; Dublin: The Gallery Press, 1977. 2nd edition, Dublin: The Gallery Press, 1986; Winston-Salem, NC: Wake Forest University Press, 1989. Cork. Dublin: The Gallery Press, 1977. The Rose-Geranium. Oldcastle, Co. Meath: The Gallery Press, 1981. The Magdalene Sermon. Oldcastle, Co. Meath: The Gallery Press, 1989. The Magdalene Sermon and Other Poems. Winston-Salem, NC: Wake Forest University Press, 1991. The Brazen Serpent. Oldcastle, Co. Meath: The Gallery Press, 1994; Winston-Salem, N.C.: Wake Forest University Press, 1995. The Girl Who Married the Reindeer. Oldcastle, Co. Meath: The Gallery Press, 2001; Winston- Salem, NC: Wake Forest University Press, 2002. Selected Poems. Oldcastle, Co. Meath: The Gallery Press, 2008; London: Faber, 2009; Winston- Salem, NC: Wake Forest University Press, 2009. The Sun-fish. Oldcastle, Co. Meath: The Gallery Press, 2009; Winston-Salem, NC: Wake Forest University Press, 2010. Other Works “Woman as Writer: The Social Matrix.” Crane Bag 4.1 (1980): 101–5. “Introduction.”In Eiléan Ní Chuilleanáin, ed. Irish Women: Image and Achievement. Dublin: Arlen House, 1985. 1–11. “Women As Writers: Dánta Grá to Maria Edgeworth.” In Eiléan Ní Chuilleanáin, ed. Irish Women: Image and Achievement. Dublin: Arlen House, 1985. 111–26. “Acts and Monuments of an Unelected Nation: The Cailleach Writes about the Renaissance.” The Southern Review 31.3 (July 1995): 570–80. The Water-Horse: Poems in Irish by Nuala Ní Dhomnaill.
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The Field Day Anthology of the Irishwriting Presents a Timely Occasion for a Review of Women's Literary Studies and an Assessment of Their Influence in Irish Studies
777eField Day Anthology and Irish Women's Literary Studies MARGARETKELLEHER recent publication of volumes 4 and 5 of The Field Day Anthology of The IrishWriting presents a timely occasion for a review of women's literary studies and an assessment of their influence in Irish studies. Indeed the ? contested status of these volumes from their very inception objected to by some as wrongly separate in their focus on female representations, and by others as not separate enough, given their placement under the Field ? Day 'umbrella' should, at the very least, have brought increased attention to the issue of women's studies more generally. Yet, with the exception of some as individual critics, Irish studies a discipline remains singularly ill informed of (and by) the debates and concerns that have occupied Irish feminist criticism in the past decade. Meanwhile feminist critics, and those working in the field of women's writings more generally, have themselves moved slowly to a more public airing of these preoccupations and to their articulation in a more self-questioning mode. 'Woman-As-Sign': Irish Feminist Criticism I When did Irish feminist criticism begin? Its later practitioners cite the early example of B. G. MacCarthy's two-volume The Female Pen: Women Writers, Their Contribution to the Novel first published in 1944?7, and reis? sued by Cork University Press in 1994; a longer chain of influence might extend to Elizabeth Owens Blackburne's 1877 Illustrious Irishwomen or to Sydney Owenson's 1840 Woman and Her Master. The Field Day Anthology volumes 4 and 5 provide further answers and a useful genealogy: thus in the contemporary (post-1960) section, Clair Wills' selection of'Feminism, Cul? ture and Critique in English' opens with extracts from Edna O'Brien's 82 KELLEHER,'The Field Day Anthology', Irish Review 30 (2003) 'Mother Ireland' (1976) and from M?ir?n de Burca's feminist analysis of The on Midnight Court (1980).
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Contents Poetry Ireland Review 126
Contents Poetry Ireland Review 126 Eavan Boland 5 editorial Abayomi Animashaun 7 when lights go out in the village Anthony Caleshu 8 the creaturely amongst us are celebrating the advent of a vanquished species Enda Coyle-Greene 9 angel from montgomery Roderic Vincent 10 poem on a rainy birthday Raine Geoghegan 12 the greenhouse Louise C Callaghan 14 murmuration of starlings Rosie Lavan 15 review: martina evans, maria mcmanus Jenny Carla Moran 20 i live in the vanishing triangle Greg Delanty 22 monarch butterfly Janet Sutherland 23 dilapidations 1 Lucia Kenny 24 roots Milena Williamson 25 the outing John Greening 26 hyperion’s song of destiny John Noonan 27 hymn of innocence Nicholas Grene 28 review: derek mahon, peter fallon Marie Morrin 34 godmother Terry Doyle 36 gardening in mute Colin Pink 37 hopefully to dwell Ali Lewis 38 love poem to your self-sufficiency Gerard Smyth 39 idolatry Phil Kirby 40 landscape/portrait Lottie Limb 41 essay: blanaid salkeld Rachel Coventry 47 all metaphors are flawed Michael Dooley 48 solstice Orla Fay 49 poet in a train station bar Mary O’Donnell 50 doorways Niamh Nic Ghabhann 52 review: colm keegan, elaine feeney, denise blake Maria Isakova-Bennett 57 bregdan Medbh McGuckian 58 responses to weathering Mary Finn 60 on samos Thomas O’Grady 61 envoi Cecilia McGovern 62 crossovers Mary Shine Thompson 63 review: theo dorgan, matthew sweeney, eva bourke Mary Wilkinson 67 stroke Ruth Esther Gilmore 68 oystercatchers Jo Burns 69 as the saying goes, it goes too fast Justin Quinn 70 ivana lomová’s neorealist portrait
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Akhmatova on the Liffey: Paula Meehan's Lyrical Craft
Colby Quarterly Volume 35 Issue 3 September Article 17 September 1999 Akhmatova on the Liffey: Paula Meehan's Lyrical Craft Thomas O'Grady Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 35, no.3, September 1999, p.173-183 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. O'Grady: Akhmatova on the Liffey: Paula Meehan's Lyrical Craft Akhmatova on the Liffey: Paula Meehan's Lyrical Craft by THOMAS O'GRADY She goes to poetry or fiction looking for her way of being in the world, since she too has been putting words and images together; she is looking eagerly for guides, maps, possibilities.... But pre cisely what she does not find is that absorbed, drudging, puzzled, sometimes inspired creature, herself, who sits at a desk trying to put words together. (Rich 39) "WHAT FOREMOTHERS?" Irish-language poet Nuala Nf Dhomhnaill has asked (18), taking her cue from a skeptical critic's response to the dialogue initiated by her contemporary Eavan Boland concerning the place of women writers in the historically male-dominated discourse of Irish letters. Describing one poet's search within her national literary tradition for an exemplary woman writer embodying "the lived vocation, the craft witnessed by a human life" (Object Lessons 134), Boland's 1989 essay "Outside History" in fact resonates in the Irish context on a scale comparable to Adrienne Rich's now-classic "When We Dead Awaken: Writing as Re Vision." Indeed, as much manifesto as apologia, Boland's essay records with poignancy and immediacy the extent to which Irish women poets have their work well cut out for them if Irish society at large is ever to recognize women as more than "fictive queens and national sybils" (Object Lessons 135).
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