MS1/204 Belfast Creative Writing Group Manuscripts
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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. -
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. -
Michael Longley – the Captive of Various Traditions
UDC 821.111(415).09-1 Longley M. https://doi.org/10.18485/bells.2017.9.5 Tomislav Pavlović * Faculty of Philology and Arts, Kragujevac MICHAEL LONGLEY – THE CAPTIVE OF VARIOUS TRADITIONS Abstract Michael Longley (1939), one of the most famous modernist poets of Northern Ireland and the outstanding protagonist of the so-called Ulster Renaissance, was known for his long-standing interest in different cultural traditions or ideological paradigms that gradually became the inspirational sources he drew upon for years. The horrors of First World War experienced by his father, the sectarian violence known as the Troubles that used to shake Ulster for decades, different aspects of the centuries-old protestant – catholic controversy, the Classical heritage of his student days, the tradition of European modernism do coalesce and diverge in Longley’s lines. Our analysis will focus upon Longley’s poetic techniques transforming the aforementioned motifs into the landmarks breaking open new vistas of Ulster’s spiritual landscape. A special emphasis will be laid on the amazing syncretic power of Longley’s poetic genius helping us to penetrate the existential aporias imposed by a specific hermeticism of Ulster, customarily resistant to numerous historical and philosophical explanations. Key words : Michael Longley, Ulster Renaissance, existential aporias, hermeticism of Ulster * E-mail: [email protected] 81 Belgrade BELLS The poetry of Belfast-born and now legendary Ulster poet Michael Longley (1939) seems to be growing in popularity among the critics -
IASIL (IASAIL): the First Fifty Years
IASIL (IASAIL): The First Fifty Years Dear IASIL members, dear Irish literature scholars, As IASIL, the largest global network in Irish literary studies celebrates fifty years of its existence, we have compiled a brief chronicle that outlines some of the most important moments of its history. The Association was initiated by A. Norman (“Derry”) Jeffares as the first international network of scholars, the aim of which would be to first map out where Irish literature in English is being taught and researched (to this aim, another founding member, Ann Saddlemyer, compiled a comprehensive list of courses and institutions for the inaugural conference), and to instigate cooperation amongst scholars in the network and with related professional organisations such as the American Committee for Irish Studies. The importance of the International Association for the Study of Anglo-Irish Literature (IASAIL) – as it was then called – was presently recognized well beyond academic circles, with numerous prominent writers accepting an invitation to read at its conferences, and the President of the Republic of Ireland, Erskine Hamilton Childers, attending the second conference in 1973. Conferences were initially planned as taking place triannually but as IASAIL grew quickly, they became an annual event from the 1980s. Another important objective of the Association was to both publish and record the most up-to-date research on Irish writing. To this end, founding member Maurice Harmon set up the Irish University Review in 1970, which has swiftly established itself as a leading periodical in the discipline; the original editorial board included Desmond Williams, Patrick Lynch, Roger McHugh, John O’Meara, Alexis Fitzgerald, and Judge Sean Kenny. -
Modern and Contemporary Irish Literature
Reading List: Modern and Contemporary Irish Literature Students preparing for a doctoral examination in this field are asked to compose a reading list, in conjunction with their exam committee, drawn from the core of writers and scholars whose work appears below. We expect students to add to, subtract from, and modify this list as suits their purposes and interests. Students are not responsible for reading everything on this section list; instead, they should create a personalized list of approximately 40-50 texts, using this list as a guide. However, at least 50% of a student’s examination reading should come from this list. Poetry: W. B. Yeats Patrick Kavanagh Louis MacNeice Thomas Kinsella John Montague Seamus Heaney Rita Ann Higgins Michael Longley Derek Mahon Ciaran Carson Medbh McGuckian Paul Muldoon Eavan Boland Eiléan Ní Chuilleanáin Paula Meehan Nuala Ní Dhomhnaill Dennis O’Driscoll Cathal Ó Searcaigh Chris Agee (ed.)—The New North: Contemporary Poetry from Northern Ireland Short Fiction: Sean O’Faolain—The Short Story Ben Forkner (ed.)—Modern Irish Short Stories W. B. Yeats—Irish Fairy and Folk Tales George Moore—The Untilled Field James Joyce—Dubliners Elizabeth Bowen—Collected Stories Frank O’Connor—Collected Stories Mary Lavin—In a Café: Selected Stories Edna O’Brien—A Fanatic Heart: Selected Stories (especially the stories from Returning) William Trevor—Collected Stories Bernard MacLaverty—Collected Stories Éilís Ní Dhuibhne—Midwife to the Fairies: New and Selected Stories Emma Donoghue—The Woman Who Gave Birth to Rabbits -
Heaney and Ellmann at Emory Ronald Schuchard
Irish Studies South Issue 1 Remembering Seamus Heaney Article 5 August 2014 Heaney and Ellmann at Emory Ronald Schuchard Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/iss Part of the Celtic Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Schuchard, Ronald (2014) "Heaney and Ellmann at Emory," Irish Studies South: Iss. 1, Article 5. Available at: https://digitalcommons.georgiasouthern.edu/iss/vol1/iss1/5 This article is brought to you for free and open access by the Journals at Digital Commons@Georgia Southern. It has been accepted for inclusion in Irish Studies South by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Schuchard: Heaney and Ellmann at Emory Heaney and Ellmann at Emory Ronald Schuchard Seamus Heaney’s legacy is worldwide. It will take years to collect the stories and measure the impact of his personal presence and generosity on the peoples of Ireland, Great Britain, Eastern and Western Europe, America, Russia, Japan, South Africa their schools, colleges, universities, poetry festivals, and summer schools in Sligo, Cleggan, Dublin, Bellaghy, Belfast, Grasmere, Oxford, London, Berkeley, Boston, New York, Moscow, St. Petersburg, Copenhagen, Stockholm, Krakow, Kyoto, Cape Town, and other towns and cities and countries galore whose citizens have attended his classes, readings, lectures, signings, openings, and a cornucopia of civic ceremonies and literary occasions beyond the outreach of other poets. From this global satellite perspective, however, I want to zoom in on his bardic wanderings in the American South, recognizing in descent his contribution to the growth of Irish Studies in the Southern ACIS through his participation in annual conferences and special events in Atlanta, Wake Forest, Chapel Hill, Hickory, Lexington, Charlottesville, Williamsburg, Tulsa, Waco, and other college towns. -
Stewart Parker
HIDDEN GEMS AND FORGOTTEN PEOPLE STEWART PARKER Stewart Parker was born on 20th October 1941 at 86 Larkfield Road, Sydenham, Belfast, into a working class Protestant family. He was educated at Strand Primary, Ashfield Secondary (where he came under the influence of the great educator John Malone), Sullivan Upper and Queen's University, Belfast. While still at Queen's he contracted bone cancer and had to have a leg amputated, but in spite of that took an active part in university life. He was a member of the group of young poets set up by Philip Hobsbaum (along with people like Seamus Heaney and Derek Mahon). Having completed his MA in Poetic Drama he moved to the USA in 1964, where he taught in Hamilton College and at Cornell University at a pivotal time in US politics. Returning to Belfast in 1969 and moving later to Edinburgh and London, he lived by his pen, contributing a column on pop music to the Irish Times and devoting his creative energies to the broad field of drama, for stage, radio and television. His first stage play, Spokesong (1975) depicts Belfast life through the eyes of the proprietor of a bicycle shop. It was the hit of the Dublin Theatre Festival and went on to gain success in London, New York and beyond, winning the 1976 London Evening Standard Most Promising Playwright award. Many other works followed (two volumes of stage plays were published by Methuen Drama after Parker's death). Among his television plays the best known is perhaps Catchpenny Twist, a freewheeling work about the Eurovision Song Contest with a tragic sting in the tail. -
The Seamus Heaney Centre at Queen's
THE SEAMUS HEANEY CENTRE AT QUEEN’S ‘This centre holds and spreads.’ THE SEAMUS HEANEY CENTRE AT QUEEN’S AN ACT OF FAITH IN THE IMAGINATIVE AND THE INTELLECTUAL At its opening in 2003, Heaney described the Centre as ‘an act of faith in the imaginative and the intellectual that has brought repute and respect to the university’. Since then, the Centre has been home to some of the world’s foremost poets, writers and critics. Representing the place Anchored by its academic where Heaney studied and and literary distinction, and developed as a writer and building on the activities Recognising the significance of Heaney and his poet, the Centre works in created by Seamus Heaney stature as a global literary force, we are about close collaboration with and other writers in the to embark on a new and exciting era that will the Heaney family and is a 1960s, the Centre has build on this success. Our vision is to: distinctive and important constantly evolved. element of the wider Heaney – Celebrate and symbolise the legacy of community, including the Seamus Heaney on the world stage; Estate of Seamus Heaney, the – Attract, nurture and inspire future Heaney HomePlace and the generations of writers from around the globe; National Library of Ireland. – Produce world-class writing and research. 2 THE SEAMUS HEANEY CENTRE AT QUEEN’S GROWTH AND EXPANSION Student numbers are growing and projected to almost double in the next five years. The Seamus Heaney Centre is now firmly Writing groups, workshops and events are established as an internationally recognised often oversubscribed, with many local and centre of excellence in creative writing international partners in the higher education, The Centre has adopted as its motto the and poetry rooted in community, Ireland cultural and community sectors aspiring to words from section IV of Heaney’s ‘Kinship’, and beyond. -
Seamus Heaney and the Aesthetics of Enlightenment Shea Robert
Seamus Heaney and the Aesthetics of Enlightenment Shea Robert Atchison BA (Hons), M.A. Faculty of Arts, Humanities and Social Sciences Ulster University A thesis submitted for the Degree of Doctor of Philosophy January 2020 I confirm that the word count of this thesis is less than 100,000 excluding the title page, contents, acknowledgements, abstract, abbreviations, footnotes, and bibliography. in memoriam May Gallagher, 1938-2019 Contents Acknowledgements ................................................................................................................... i Abstract .................................................................................................................................... ii List of Abbreviations ............................................................................................................. iii 1. Heaney and Enlightenment: Introduction ..................................................................... 1 2. A Spiritual Intellect: Heaney’s Conceptualisation of Enlightenment ....................... 27 2.1. Proper Work in an Agnostic Time, 1963-1975 .................................................... 27 2.2. The Idea of Transcendence, 1977-1986 ............................................................... 33 2.3. Inclusive Consciousness, 1988-1991 ................................................................... 49 2.4. A Solemn Order of Reality, 1992-2008 ............................................................... 59 3. Glimmerings: Enlightenment in the Early Poems ..................................................... -
The Field Day Archive
THE FIELD DAY ARCHIVE CORMAC O DUIBHNE Field Day Publications Dublin 2007 Cormac Ó Duibhne has asserted his right under the Copyright and Related Rights Act, 2000, to be identified as the author of this work. Copyright © Cormac Ó Duibhne 2007 ISBN-10 0-946755-34-5 ISBN-13 978-0-946755-34-9 Published by Field Day Publications in association with the Keough-Naughton Institute for Irish Studies at the University of Notre Dame. Field Day Publications Newman House 86 St. Stephen’s Green Dublin 2 Ireland www.fielddaybooks.com Set in 10pt/12pt Baskerville Designed and typeset by Caroline Moloney and David Anderson Printed on 150 gsm 2 Acrtic Matt This publication has received support from the Heritage Council under the 2007 Publications Grant Scheme. for Marion and Seamus, and for Norah CONTENTS Buíochas vi Introduction 1 Chronology 7 The Field Day Archive General Contents 13 Detailed Listings 21 How to Use the Archive 159 Locations of Other Resources 163 Appendix: People Associated with Field Day 165 vi The Field Day Archive BUÍOCHAS Thug Seamus Deane, Brian Friel, David Hammond, Seamus Heaney, Thomas Kilroy, Tom Paulin agus Stephen Rea tacaíocht agus dea-thoil don tógra seo ón tús. Bhí Norah Campbell, Marion Deane, Claire Kelley agus Kathryn Kozarits ina gcuidiú agam agus páipéir, grianghrafanna, fístéipeanna agus ábhair eile sa Chartlann á rangnú agus á gcur in ord agam. Chuidigh Jessica Dougherty McMichael, Heather Edwards, Michael O’Connor agus Cheman Roy liom fosta agus an obair sin idir lámha agam. Chuir Breandán Mac Suibhne comhairle orm fá ghnéithe éagsúla den tógra. -
Re-Evaluating the Work of Stewart Parker On
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Wallace, Clare “A SCEPTIC IN A CREDULOUS WORLD”: RE-EVALUATING THE WORK OF STEWART PARKER ON THE TWENTIETH ANNIVERSARY OF HIS DEATH Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 157-178 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696008 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative “A Sceptic in a Credulous World": Re-evaluating... 157 “A SCEPTIC IN A CREDULOUS WORLD”: RE-EVALUATING THE WORK OF STEWART PARKER ON THE TWENTIETH ANNIVERSARY OF HIS DEATH Clare Wallace Charles University, Prague The theatre is an even chancier business than literature, for a published play is nothing more than a box of tricks stuck on a shelf waiting for somebody to haul it down and find a key to unlock it. (Parker, “Exiles by James Joyce” 78) Abstract: This paper aims to survey and re-evaluate the work of Northern Irish writer, Stewart Parker, following the twentieth anniversary of his death in November 2008. The paper takes into account work collected and published in 2008 that had been previously available only in archives. The focus is upon the alternative images of Northern Ireland that are to be found in Parker’s dramatic writings. -
AMBIGUOUS SILENCES? WOMEN in ANTHOLOGIES of CONTEMPORARY NORTHERN IRISH POETRY1 ALEX PRYCE Ruth Hooley, Poet and Feminist Activi
AMBIGUOUS SILENCES? WOMEN IN ANTHOLOGIES OF CONTEMPORARY NORTHERN IRISH POETRY1 ALEX PRYCE Ruth Hooley, poet and feminist activist, observed that in 1985 women’s poetry seemed to be less prevalent in Northern Ireland as it was elsewhere, commenting, ‘[t]his silence is ambiguous. Does it mean an absence—there are hardly any women writing?’ (1). This article considers how anthologies of poetry published in the contemporary era in Northern Ireland can be seen as agents of exclusion for women writers at the same time as these anthologies were effectively instating a post– 1960s canon and restating a generational dimension for which poetry from the North of Ireland would become known. In drawing on the broad context of anthology publication, this article examines how female poets are absent from an otherwise thriving literary culture and questions whether this silence is, as Hooley suggests, ambiguous. In responding to these issues, this article addresses both the commercial business of poetry production alongside the literary representation of women in poetry published in representative publications such as anthologies in order to re–insert women into Northern Irish poetic discussion. By investigating women’s writing as unanthologized and addressing the lack of agency of women figures in verse published by male poets, this article argues that the way in which women are represented inside and outside publication in the second half of the twentieth–century is severelyllacking. i. As with most other studies of Northern Irish poetry in the twentieth century, there requires an acknowledgement of the necessarily heavy emphasis on the post–1960 period, an era of political turbulence accompanied by an increase in literary activity in Northern Ireland.