DOCSLIB.ORG

Ciaran Carson Papers, Circa 1970-2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ciaran Carson Papers, Circa 1970-2010 CARSON, CIARAN, 1948- Ciaran Carson papers, circa 1970-2010 Emory University Robert W. Woodruff Library Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Carson, Ciaran, 1948- Title: Ciaran Carson papers, circa 1970-2010 Call Number: Manuscript Collection No. 746 Extent: 34.5 linear feet (67 boxes) and 2 oversized papers boxes and 5 oversized papers folders (OP) Abstract: Personal and literary papers of Irish poet Ciaran Carson including correspondence, literary notebooks, literary manuscripts, and collected printed material. Language: Materials in English with some items in Irish. Administrative Information Restrictions on Access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. No special restrictions apply. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Ciaran Carson papers, circa 1970-2010 Manuscript Collection No. 746 Related Materials in This Repository Michael Longley papers, Peter Fallon/Gallery Press collection, and Medbh McGuckian papers. Source Purchased from Kenny's Bookshop, 1993. Additions were purchased from Ciaran Carson from 1995 to 2013. Custodial History Purchased from dealer, provenance unknown. Citation [identification of item(s)], Ciaran Carson papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Appraisal Note Acquired by Director of the Rose Library, Stephen Enniss, as part of the Rose Library's holdings in Irish literature. Processing Stephen Enniss, Manuscripts Librarian and Literature Bibliographer, 1995. Updated: 2002, 2012 This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language. If you are concerned about language used in this finding aid, please contact us at [email protected]. Collection Description Biographical Note Ciaran Gerard Carson (1948-), Irish poet. He was born in Belfast on 9 October 1948. He attended St. Mary's Christian Brothers' School in Belfast before going on to Queen's University, Belfast, where he graduated with honors in July 1971. In the final year of its gathering, 1971-1972, Carson participated in the Belfast group of poets and writers, a gathering of young literary talents organized originally by Philip Hobsbaum at Queens University, Belfast in 1963. After publishing poems in various newspapers and magazines, Carson's first chapbook The Insular Celts appeared in 1973. From 1974-1975 he taught school in Belfast; before joining the Arts Council of Northern Ireland as Traditional Arts Officer in 1976. In 1978, Carson received the Eric Gregory Award for his first book of poems, The New Estate. Three years later he published another chapbook The Lost Explorer (1979). Eight years passed before Carson completed his next volume of poems, The Irish for No (1987), which received the Alice Hunt Bartlett Award. Belfast Confetti (1989), a volume closely related to the 1987 collection, received similar critical success, winning the Irish Times/Aer Lingus prize for poetry. From 1979 to 1987, Carson continued writing poems and prose pieces including an Appletree Press guide book called Irish Traditional Music, published in 1986. A flutist himself, Carson returned ten years later to a more extensive examination of Irish music with the 1996 publication 2 Ciaran Carson papers, circa 1970-2010 Manuscript Collection No. 746 of the widely heralded Last Night's Fun: About Time, Food and Music. The art of story-telling continued to be a significant aspect of Carson's poetry as seen in First Language, a collection of poems awarded the first T. S. Eliot Prize for the outstanding book of poetry published in Great Britain in 1993. This volume demonstrated Carson's interest in translation including Ovid's Metamorphoses as well as poems written "after" Irish and French originals. 1996 witnessed the publication of Opera Et Cetera, which included a sequence of translations from the Romanian of Stefan Augustin Doinas. Returning to his roots, The Star Factory, Carson's memoir and homage to the Belfast of his childhood followed in 1997. Leaving the Arts Council in October 1998 to work as a full-time writer, Carson has emerged as one of the major contemporary writers working in English, publishing numerous books of poetry and translations. In 1998, he was appointed a Professor of English at Queen’s University Belfast, where he established the Seamus Heaney Centre for Poetry. Scope and Content Note The collection consists of the personal and literary papers of Ciaran Carson from 1970-2010. The papers include correspondence, literary notebooks, literary manuscripts, printed material, subject files, photographs, and personal files. Among the correspondents represented in the papers are the poets Peter Fallon, Tess Gallagher, Seamus Heaney, Medbh McGuckian, John Montague, and Frank Ormsby. Writings include numerous drafts (in manuscript and typescript form) of Carson's published poems and prose, as well as a significant number of unpublished poems. There are also unpublished draft materials and published versions of creative and critical work sent to or collected by Carson. Printed material includes reviews, programs, and clippings related to Carson's writings, performances and readings. The collection also contains early "group sheets" from Philip Hobsbaum's Belfast Group, Arts Council of Northern Ireland records, and an assortment of photographs and other personal items. Arrangement Note Organized into ten series: (1) Correspondence, (2) Writings by Carson, (3) Writings by others, (4) Printed material by Carson and others, (5) Belfast Group worksheets, (6) Photographs, (7) Personal materials, (8) Subject files, (9) Arts Council of Northern Ireland records and (10) Unprocessed additions. Finding Aid Note An index to selected correspondents is available for the correspondence from the mid-1970s to 1999. 3 Ciaran Carson papers, circa 1970-2010 Manuscript Collection No. 746 Description of Series Series 1: Correspondence, 1971-2010 Series 2: Writings by Carson, circa 1970-2009 Subseries 2.1: Notebooks, circa 1970-2007 Subseries 2.2: Poetry, 1971-2009 Subseries 2.2a: Collected poems, 1973-2009 Subseries 2.2b: Uncollected poetry, 1971-2007 Subseries 2.3: Translations, 1994-2008 Subseries 2.4: Prose, 1985-2009 Subseries 2.5: Scripts, 1985-2005 Subseries 2.6: Interviews, 1989-2009 Series 3: Writings by others, 1977-2007 Subseries 3.1: Poetry by others, 1977-2007 Subseries 3.2: Prose fiction and drama by others, 1985-2005 Subseries 3.3: Writings about Carson, 1989-2006 Subseries 3.4: Other writings, 1994-1998 Series 4: Printed material, 1975-2008 Subseries 4.1: Printed material by Carson, 1975-2007 Subseries 4.2: Printed material about Carson, 1976-2008 Subseries 4.3: Other printed material, 1976-2006 Series 5: Belfast Group worksheets, [1971-1972] Series 6: Photographs, 1977-2007 Series 7: Personal materials, 1975-2003 Series 8: Subject files Series 9: Arts Council of Northern Ireland records, 1973-1998 Series 10: Unprocessed additions 4 Ciaran Carson papers, circa 1970-2010 Manuscript Collection No. 746 Series 1 Correspondence, 1971-2010 Boxes 1-7 Scope and Content Note The correspondence series contains letters Ciaran Carson received from 1971-2010. A substantial part of the correspondence pertains to letters from Carson's various editors: Peter Fallon at Gallery Press, Dillon Johnston at Wake Forest University Press, and Neil Belton at Jonathan Cape and then Granta. There are also significant literary exchanges with scholars and writers from around the world, including Michael Longley, Seamus Heaney (restricted), Medbh McGuckian, Tim Robinson, Annie Proulx, and Tess Gallagher. The Ciaran Carson / Tess Gallagher correspondence is of particular interest because of the very close attention Gallagher pays to Carson's work at both early and late stages of a volume's development. She has served often as a pre-publication editor of most of Carson's major works, and her often extensive annotations are recorded on many typescripts. Invitations, contracts, and royalty statements are included in this series and arranged separately from the literary correspondence. Arrangement Note The correspondence is arranged chronologically. Some correspondence is located with specific writings in Series 2: Writings by Carson. Finding Aid Note An index to selected correspondents is available for the correspondence from the mid-1970s to 1999. Box Folder Content 1 1 1971-1989 1 2 1990-1992 1 3 1993 1 4 1994 January-March 1 5 1994 April-December 1 6 1995 January-June 2 1 1995 July-December 2 2 1996 January-March 2 3 1996 April-September 2 4 1996 October-December 2 5 1997 January-May 2 6 1997 June-September 3 1 1997 October-December 3 2 1998 January-March 3 3 1998 April-June 3 4 1998 July-October
Load more

Recommended publications
  • Book8-File06
    APPENDIX 1 SHADOWS EPS, FRANCE: BACK COVER IMAGES French EPs back covers are not especially informative, on any level, but their various attributes may prove to be of interest to some enquirers, hence this collection. These are as they come, for the most part, no effort having been made by me to doctor the images to eliminate or lessen the ravages of time. 91 EP 01 92 UK version [see main entry]: 93 EP 02 94 EP 03 (ESDF) 95 EP 03 (ESRF) 96 EP 04 (ESDF) 97 EP 04 (ESRF) 98 EP 05 (ESDF) 99 EP 05 (ESRF) 100 EP 06 (ESDF) 101 EP 06 (ESRF) 102 EP 07 103 EP 08 104 EP 09 105 EP 10 (ESDF) 106 EP 10 (ESRF) 107 EP 11 (ESDF) 108 EP 11 (ESRF) 109 EP 12 110 EP 13 111 EP 14 112 EP 15 113 EP 16 114 EP 17 115 EP 18 116 EP 19 117 EP 20 118 EP 21 119 APPENDIX 2 CLIFF RICHARD & THE SHADOWS THE SHADOWS FRENCH EPS, 1959–1967 This is a checklist of all the initial issues of EPs featuring The Shadows with Cliff Richard or The Shadows in their own right released over this nine-year period. Asterisked titles* denote Cliff tracks in which the group had no involvement. — (Initial) ESRF reissues are illustrated with smaller thumbnails as they arise: see under 1963/3 and 1966. 1959 1. ESDF1272 CLIFF RICHARD AND THE DRIFTERS [Drifters personnel variable] Schoolboy Crush/ Move It!/ Mean Streak/ Steady With You 2. ESDF 1289 CLIFF RICHARD AND THE DRIFTERS/ THE DRIFTERS† Living Doll/ No Turning Back/ Mad About You/ Chinchilla † 3.
    [Show full text]
  • Limits of Orality and Textuality in Ciaran Carson's Poetry
    Grzegorz Czemiel Instytut Anglistyki Wydział Neofilologii Uniwersytet Warszawski Limits of orality and textuality in Ciaran Carson’s poetry praca doktorska napisana pod kierunkiem prof. dr. hab. Jerzego Jarniewicza Warszawa, 2012 Table of contents Introduction .............................................................................................................................. 4 Chapter One – The dialectics of orality and textuality ....................................................... 18 I Aspects of orality in The Irish For No ............................................................................ 18 The turn ........................................................................................................................... 18 The revival of the oral tradition .................................................................................... 19 The dialectic .................................................................................................................... 21 The Irish For No ............................................................................................................. 23 The ends of discourse ..................................................................................................... 28 Locality and the reservoir .............................................................................................. 32 The image of speech ....................................................................................................... 34 Ying-yang, I-Ching and politics ...................................................................................
    [Show full text]
  • Fall 2003 Archipelago
    archipelago An International Journal of Literature, the Arts, and Opinion www.archipelago.org Vol. 7, No. 3 Fall 2003 AN LEABHAR MÒR / THE GREAT BOOK OF GAELIC An Exhibiton : Twenty-two Irish and Scottish Gaelic Poems, Translations and Artworks, with Essays and Recitations Fiction: PATRICIA SARRAFIAN WARD “Alaine played soccer with the refugees, she traded bullets and shrapnel around the neighborhood . .” from THE BULLET COLLECTION Poem: ELEANOR ROSS TAYLOR Our Lives Are Rounded With A Sleep Reflection: ANANT KUMAR The Mosques on the Banks of the Ganges: Apart or Together? tr. from the German by Rajendra Prasad Jain Photojournalism: PETER TURNLEY Seeing Another War in Iraq in 2003 and The Unseen Gulf War : Photographs Audio report on-line by Peter Turnley Endnotes: KATHERINE McNAMARA The Only God Is the God of War : On BLOOD MERIDIAN, an American myth printed from our pdf edition archipelago www.archipelago.org CONTENTS AN LEABHAR MÒR / THE GREAT BOOK OF GAELIC 4 Introduction : Malcolm Maclean 5 On Contemporary Irish Poetry : Theo Dorgan 9 Is Scith Mo Chrob Ón Scríbainn ‘My hand is weary with writing’ 13 Claochló / Transfigured 15 Bean Dubh a’ Caoidh a Fir Chaidh a Mharbhadh / A Black Woman Mourns Her Husband Killed by the Police 17 M’anam do sgar riomsa a-raoir / On the Death of His Wife 21 Bean Torrach, fa Tuar Broide / A Child Born in Prison 25 An Tuagh / The Axe 30 Dan do Scátach / A Poem to Scátach 34 Èistibh a Luchd An Tighe-Se / Listen People Of This House 38 Maireann an t-Seanmhuintir / The Old Live On 40 Na thàinig anns a’ churach
    [Show full text]
  • Belfast Group Poetry|Networks : Essays
    Croxall and Koeser • 2015 Belfast Group Poetry|Networks What Do We Mean When We Say “Belfast Group”? Brian Croxall [email protected] http://orcid.org/0000-0001-5602-6830 Rebecca Sutton Koeser [email protected] https://orcid.org/0000-0002-8762-8057 June 2015 https://belfastgroup.ecds.emory.edu/essays/#what This essay was peer reviewed by Geraldine Higgins and Nathan Suhr-Sytsma . In creating a project to investigate the relationships among members of the Belfast Group, it is important to know exactly what that Group is. Being specific about this when creating our data was critical so we could accurately measure who was connected to this thing we call “the Belfast Group.” But, as often happens with humanities data, it turns out that things are a little messy. In this case, while the term originally refers to the writing workshop begun by Philip Hobsbaum, many critics and commentators have also used it to refer to the idea of a Belfast “school” of poets (see Clark 1, 6). Many members of this supposed school—Seamus Heaney and Michael Longley, among others—were, of course, participants in the writing workshop, which adds to the slippage between the two uses. But while it is demonstrably true that a writing workshop existed, it is less clear whether there was any unified purpose that might constitute a school; as Norman Dugdale put it, the “The Group had no manifesto, no corporate identity, no programme beyond providing a forum in which writers […] could produce their wares and have them discussed” (Dugdale et al.
    [Show full text]
  • The Gallery Press
    The Gallery Press The Gallery Press’s contribu - The Gallery Press has an unrivalled track record in publishing the tion to the cultural life of this first and subsequent collections of poems by now established Irish country is ines timable. The title poets such as Eiléan Ní Chuilleanáin, Eamon Grennan, ‘national treasure’ is these days Michael Coady, Dermot Healy, Frank McGuinness and Peter conferred, facetiously for the Sirr . It has fostered whole generations of younger poets it pub - most part, on almost any old lished first including Ciaran Berry, Tom French, Alan Gillis, thing — person or institution — Vona Groarke, Conor O’Callaghan, John McAuliffe, Kerry but The Gallery Press truly is an Hardie, David Wheatley, Michelle O’Sullivan and Andrew enterprise to be treasured by the Jamison . It has also published seminal career-establishing titles nation. by Ciaran Carson, Paula Meehan, Nuala Ní Dhomhnaill, — John Banville Justin Quinn, Seán Lysaght and Gerald Dawe . The Press has published books by Seamus Heaney, Paul Muldoon and John Banville and repatriated authors such as Brian Friel, Derek Peter Fallon’s Gallery Press is the Mahon and Medbh McGuckian who previously turned to living fulcrum around which the London and Oxford as a publishing outlet. swarm ing life of contemporary Irish poetry rotates. Fallon’s is a Gallery publishes the work of Ireland’s leading women poets truly extraordinary Irish life, and and playwrights including Eiléan Ní Chuilleanáin, Nuala Ní it goes on still, unabated. Dhomhnaill, Medbh McGuckian, Michelle O’Sullivan, Sara — Thomas McCarthy, Irish Berkeley Tolchin, Vona Groarke, Ailbhe Ní Ghearbhuigh, Literary Supplement Aifric MacAodha and Marina Carr .
    [Show full text]
  • 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.
    [Show full text]
  • Precursors, the Environment and the West in Seamus Heaney’S “Postscript”
    Estudios Irlandeses, Issue 13, March 2018-Feb. 2019, pp. 69-81 __________________________________________________________________________________________ AEDEI Precursors, the Environment and the West in Seamus Heaney’s “Postscript” Ross Moore Independent scholar, Belfast Copyright (c) 2018 by Ross Moore. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. Being the final poem in Heaney’s 1996 collection The Spirit Level, situates the poem “Postscript” significantly in Heaney’s poetic oeuvre. The collection was Heaney’s first to be published after winning the Nobel Prize for literature, it was also his first published amidst the changed social and political context following the 1994 paramilitary ceasefires in Northern Ireland. Here, I will explore the manner in which “Postscript” interacts with previous work by Heaney. Looking closely at the language, imagery and procedures of the poem, I argue that the poem embodies a fundamental shift in Heaney's approach to the natural environment but that this change is reliant on poetic procedures which Heaney had come to trust early in his career. Heaney's descriptive precision and openness to the “marvellous” combine to produce a uniquely effective poem. “Postscript” treats the natural world and the human subject in a manner atypical of Heaney's procedures yet stands among his most accomplished work. I will consider the manner in which Heaney's poem simultaneously exists “post” the “scripts” of literature mythologizing the West of Ireland while remaining in close dialogue with perhaps the most famous of these: Yeats's poem “The Wild Swans at Coole”.
    [Show full text]
  • What More Could Anyone Do?
    issue 1 / april 2014 / €2 a literary pamphlet You planted A TREE. Iwrote APOEM. Whatcould more anyone DO? My father, the least happy man I have known. His face retained the pallor The of those who work underground: the lost years in Brooklyn listening to a subway shudder the earth. Cage But a traditional Irishman who (released from his grille John Montague in the Clark Street IRT) drank neat whiskey until from new collected poems he reached the only element (the gallery press, 2012) he felt at home in any longer: brute oblivion. And yet picked himself up, most mornings, to march down the street extending his smile to all sides of the good, (all-white) neighbourhood belled by St Teresa's church. When he came back we walked together across fields of Garvaghey to see hawthorn on the summer hedges, as though he had never left; a bend in the road which still sheltered primroses. But we did not smile in the shared complicity of a dream, for when weary Odysseus returns Telemachus should leave. Often as I descend into subway or underground I see his bald head behind the bars of the small booth; the mark of an old car accident beating on his ghostly forehead. —2— 21 74 Sc ience and W onder by Richard Hayes Iggy McGovern A Mystic Dream of 4 quaternia press, €11.50 Iggy McGovern’s A Mystic Dream of 4 is an ambitious sonnet sequence based on the life of mathematician William Rowan Hamilton. Hamilton was one of the foremost scientists of his day, was appointed the Chair of Astronomy in Dublin University (Trinity College) while in the final year of his degree, and was knighted in 1835.
    [Show full text]
  • 100 Years: a Century of Song 1950S
    100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary
    [Show full text]
  • Irish Studies Around the World – 2020
    Estudios Irlandeses, Issue 16, 2021, pp. 238-283 https://doi.org/10.24162/EI2021-10080 _________________________________________________________________________AEDEI IRISH STUDIES AROUND THE WORLD – 2020 Maureen O’Connor (ed.) Copyright (c) 2021 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction Maureen O’Connor ............................................................................................................... 240 Cultural Memory in Seamus Heaney’s Late Work Joanne Piavanini Charles Armstrong ................................................................................................................ 243 Fine Meshwork: Philip Roth, Edna O’Brien, and Jewish-Irish Literature Dan O’Brien George Bornstein .................................................................................................................. 247 Irish Women Writers at the Turn of the 20th Century: Alternative Histories, New Narratives Edited by Kathryn Laing and Sinéad Mooney Deirdre F. Brady ..................................................................................................................... 250 English Language Poets in University College Cork, 1970-1980 Clíona Ní Ríordáin Lucy Collins ........................................................................................................................ 253 The Theater and Films of Conor McPherson: Conspicuous Communities Eamon
    [Show full text]
  • Female Ulster Poets and Sexual Politics
    Colby Quarterly Volume 27 Issue 1 March Article 3 March 1991 "Our Lady, dispossessed": Female Ulster Poets and Sexual Politics Jacqueline McCurry Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.1, March 1991, p.4-8 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. McCurry: "Our Lady, dispossessed": Female Ulster Poets and Sexual Politics "Our1/Our Lady, dispossessed": Female Ulster Poets and Sexual Politics by JACQUELINE MCCURRY OETRY AND POLITICS, like church and state, should be separated," writes P Belfast critic Edna Longley (185); in Eire and in Northern Ireland this is not the case: the marriage of church and state in the Republic has resulted in constitutional bans on divorce and on abortion; Northern Ireland's Scots­ Presbyterian majority continues to preventminority Irish-Catholic citizens from having full participationin society. Butwhile mencontinue to control church and state, women have begun to raise their voices in poetry and in protest. Northern Ireland's new poets, through the 1960s and 1970s, were exclusively male: Jan1es Simmons, Seamus Heaney, Michael Longley, Derek Mahon, Paul Muldoon, Seamus Deane, Frank Ormsby, Tom Paulin, and Ciaran Carson dominated the literary scene until the early 1980s. In 1982 Medbh McGuckian published her first book ofpoetry. Since then, she has published two additional collections and achieved international fame, while younger women poets like Janet Shepperson and Ruth Hooley have made their debuts in print.
    [Show full text]
  • The Early Work of Austin Clarke the Early Work (1916-1938)
    THE EARLY WORK OF AUSTIN CLARKE THE EARLY WORK (1916-1938) OF AUSTIN CLARKE By MAURICE RIORDAN, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University March 1981 DOCTOR OF PHILOSOPHY (1981) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: The Early Work (1916-1938) of Austin Clarke. AUTHOR: Maurice Riordan, B.A. (Cork) M.A. (Cork) SUPERVISOR: Dr. Brian John NUMBER OF Fll.GES: vi, 275 ii ABSTRACT Austin Clarke dedicated himself to the ideal of an independent Irish literature in English. This dedication had two principal consequences for his work: he developed a poetic style appropriate to expressing the Irish imagination, and he found inspiration in the matter of Ireland, in hex mythology and folklore, in her literary, artistic and __ religious traditions, and in the daily life of modern Ireland. The basic orientation of Clarke's work determines the twofold purpose of this thesis. It seeks to provide a clarifying background for his poetry, drama and fiction up to 1938; and, in examining the texts in their prope.r context, it seeks to reveal the permanent and universal aspects of his achievement. Clarke's early development in response to the shaping influence of the Irish Revival is examined in the opening chapter. His initial interest in heroic saga is considered, but, principally, the focus is on his effort to establish stylistic links between the Anglo-Irish and the Gaelic traditions, an effort that is seen to culminate with his adoption of assonantal verse as an essential element in his poetic technique.
    [Show full text]