Essays on the Poetry of Trevor Joyce
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Life Is a Dream
Paul Durcan Life is a Dream 40 Years Reading Poems 1967-2007 Harvill Seeker LONDON Contents Foreword xix Acknowledgements xx ENDSVILLE (1967) The White Window 3 O WESTPORT IN THE LIGHT OF ASIA MINOR (1975) Nessa 7 Gate 8 8 On a BEA Trident Jet 9 Hymn to Nessa 9 Le Bal 10 O Westport in the Light of Asia Minor 10 Phoenix Park Vespers 12 In the Springtime of Her Life My Love Cut Off Her Hair 13 The Daughters Singing to Their Father 14 The Nun's Bath 14 Combe Florey 15 Please Stay in the Family, Clovis 15 Black Sister 16 November 30, 1967 17 They Say the Butterfly is the Hardest Stroke 17 La Terre des Hommes 18 Aughawall Graveyard 18 Ireland 1972 18 The Girl with the Keys to Pearse's Cottage 18 Dun Chaoin 19 The Day of the Starter 20 The Limerickman that Went to the Bad 20 The Night They Murdered Boyle Somerville 21 Tribute to a Reporter in Belfast, 1974 22 Letter to Ben, 1972 23 vii TERESA'S BAR (1976) The Difficulty that is Marriage 27 She Mends an Ancient Wireless 27 Two in a Boat 28 Anna Swanton 28 Wife Who Smashed Television Gets Jail 29 Teresa's Bar 3O Polycarp 32 Lord Mayo 33 The Drover's Path Murder 34 Before the Celtic Yoke 35 What is a Protestant, Daddy? 36 The Weeping Headstones of the Isaac Becketts 37 In Memory of Those Murdered in the Dublin Massacre, May 1974 38 Mr Newspapers 39 The Baker 40 The Archbishop Dreams of the Harlot of Rathkeale 40 The Friary Golf Club 41 The Hat Factory 42 The Crown of Widowhood 45 Protestant Old Folks' Coach Tour of the Ring of Kerry 45 Goodbye Tipperary 46 The Kilfenora Teaboy 47 SAM'S CROSS (1978) -
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 -
Competing Traditions: the Twentieth and Twenty-First Century Irish Literatures Between Realism and Experimentation Katarzyna Ojrzyńska and Wit Pietrzak ______HJEAS
Competing Traditions: The Twentieth and Twenty-First Century Irish Literatures between Realism and Experimentation Katarzyna Ojrzyńska and Wit Pietrzak ________________________________________________________HJEAS It will barely be an overstatement to claim that the Irish novel arrived on the international scene in the aura of experiment, as Ulysses (1922), after initially slogging in the doldrums of the Western literary consciousness, quickly came to be mentioned in the same breath with Virginia Woolf’s Mrs. Dalloway (1924), Marcel Proust’s In Search of Lost Time (1913), and Thomas Mann’s Magic Mountain (1924). The fact that Joyce faced enormous difficulty publishing each of his novels seems testament to the trenchant tastes of Ireland’s literati but also shows that realism was and, to a large degree, is the mode of choice among Irish audiences. The case with poetry is largely similar, as W. B. Yeats quickly realized. It was his early, broadly Romantic poetry that popular audiences cherished; so much so that by the early 1920s he declined to read his all-time favorite “The Lake Isle of Innisfree” (Foster 418), which was a staple of Poems 1889-1908, a collection that remained his most reissued and remunerative volume throughout his life. Yeats, however, is now best known for his post-1908 work, especially for the myth-infused poems of The Tower (1928) and The Winding Stair and Other Poems (1933). For a literature born in the fires of formal experiment, the Irish novel, more so perhaps than poetry, was dominated in the years after World War II by realism and formal conservatism. Writing of contemporary Irish fiction, Eve Patten has suggested that “[f]or the most part, it remained formally conservative: beyond a prevalent social realism, its chief stylistic hallmark was a neo-Gothic idiom which signalled a haunted or traumatised Irish society and deep-seated disturbances in the national psyche” (259). -
'Jumping Off Shadows'
'Jumping off Shadows' SELECTED CONTEMPORARY IRISH POETS Edited by Greg Delanty and Nuala Ni DhomhnaiU with a preface by Philip O'Leary CORK UNIVERSITY PRESS CONTENTS Acknowledgements xiv Preface by Philip O'Leary xvi Roz COWMAN Influenza/2 The Twelve Dancing Princesses/2 Dandelion/5 Annunciation/4 The Goose Herd/5 Logic/6 Apple Song/6 Compulsive/7 Fascist/7 The Old Witch Sings of Lost Children/5 Lot's Wife/9 Meanings/10 EILEAN Ni CHUILLEANAIN The Absent Girl//2 Swineherd/12 Pygmalion's Image/13 Ransom//.? The Second Voyage/74 Looking at the Fall//5 J'ai Mai a nos Dents/16 Odysseus Meets the Ghosts of the Women//7 Old Roads//* The Hill-town//<9 London//9 St Mary Magdalene Preaching at Marseilles/20 Dreaming in the Ksar es Souk Motel/20 The Informant/25 AINE MILLER Going Home/25 Da/26 Visitation/27 The Undertaker Calh/28 Woman Seated under the Willows/29 The Day is Gone/30 Seventeen/5/ ClARAN O'DRISCOLL Smoke Without Fire/55 The Poet and his Shadow/55 Great Auks/55 Little Old Ladies/56 Sunsets and Hernias/57 Epiphany in Buffalo/57 from The Myth of the South/5* ROBERT WELCH Rosebay Willowherb/42 Memoirs of a Kerry Parson/42 For Thomas Henry Gerard Murphy/ 46 DERRY O'SULLIVAN Roimh Thitim Amach/5/ Mianadoir Albanach os cionn Oilean Bhearra/5/ Marbhghin 1943: Glaoch ar Liombo/52 Teile-Smacht/54 PAUL DURCAN The Death by Heroin of Sid Vicious/57 Sally/57 Raymond of the Rooftops/5<9 Sport/59 On Pleading Guilty to Being Heterosexual/ 60 Wife Who Smashed Television Gets Jail/62 The Perfect Nazi Family is Alive and Well and Prospering in Modern Ireland/ -
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. -
The Complex Past the Door: a Life of James Liddy
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2011 The omplexC Past the Door: a Life of James Liddy Tyler Farrell Marquette University, [email protected] Published version. "The ompC lex Past the Door: a Life of James Liddy," in Selected Poems. Eds. James Liddy and John Redmond. Dublin: Arlen House, 2011: 135-143. Permalink. © 2011 Arlen House. Used with permission. THE COMPLEX PAST THE DOOR A LIFE OF JAMES LIDDY Tyler Farrell Louis Zukofsky wrote, "As a poet I have always felt that the work says all there needs to be said of one's life". This more than aptly fits when describing the life of James Liddy. If a reader of Liddy wants to discover James, all he needs to do is examine the poetry, the letters, the essays; and the short biographies at the back of poetry magazines, books and anthologies. Liddy's life is scattered in his extensive body of work. He was a generous person who invited many into his world. He lived long and, because he honoured youth, never became cynical. He worked hard at the conviction that poetry and the self were sacrosanct. Who is James Liddy? Since James wrote many of his own biographical notes, as well as two late-life autobiographies, we can hear his voice and humour, feel his undying sense of art. Here is the small biographical note on the back cover of A White Thought in a White Shade, his first selected poems, published in 1987: 135 - James Liddy was born on the night of the long knives and learnt to live in Dublin, Kilkee and Co. -
SAMPLER a Line of Tiny Zeros in the Fabric
A Line of Tiny Zeros in the Fabric SAMPLER SAMPLER A Line of Tiny Zeros in the Fabric Essays on the Poetry of Maurice Scully SAMPLER edited by Kenneth Keating Shearsman Books First published in the United Kingdom in 2020 by Shearsman Books Ltd PO Box 4239 Swindon SN3 9FN Shearsman Books Ltd Registered Office 30–31 St. James Place, Mangotsfield, Bristol BS16 9JB (this address not for correspondence) ISBN 978-1-84861-729-2 Copyright © 2020 by the authors. The right of the persons listed on page 5 and 6 to be identified as the authors of this work has been asserted by them in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. Acknowledgements ‘A Line of Tiny Zeros in the Fabric’ is from ‘Song’, in Humming, p. 93. An earlier version of the essay by Kit Fryatt was published as ‘“AW.DAH.”: an allegorical reading of Maurice Scully’s Things That Happen’ in POST: A Review of Poetry Studies 1 (2008). Many thanks to the editors of this journal for permitting theSAMPLER reproduction of this text here. Note Page numbers of poetic texts referenced parenthetically in the essays herein refer to editions of the texts as identified in the respective lists of Works Cited. On occasion however, the texts presented here may vary slightly from their earlier appearances. These revisions reflect minor changes made by Maurice Scully in the new complete edition of Things That Happen, which is published simultaneously with this collection of essays. The decision was made to reflect these corrections in the essays, but to retain the original citations and acknowledge the original publishers of the texts in question. -
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 -
UCC Library and UCC Researchers Have Made This Item Openly Available
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Revisiting Irish poetic modernisms Author(s) Whittredge, Julia Katherine Publication date 2011-03 Original citation Whittredge, Julia Katherine, 2011. Revisting Irish Poetic Modernisms. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b2006564~S0 version Access to the full text of the published version may require a subscription. Rights © 2011, Julia Katherine Whittredge http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information Pages 25-346 have been restricted Item downloaded http://hdl.handle.net/10468/324 from Downloaded on 2021-10-01T07:01:51Z Revisiting Irish Poetic Modernisms Dissertation submitted in candidacy for the degree of doctor of philosophy at the School of English, College of Arts, National University of Ireland, Cork, by Julia Katherine Whittredge, MA Under the Supervision of Professor Patricia Coughlan and Professor Alex Davis Head of Department: Professor James Knowles March 2011 Over years, and from farther and nearer, I had thought, I knew you— in spirit—I am of Ireland. Thomas MacGreevy, “Breton Oracles” 2 For John 3 ACKNOWLEDGEMENTS Thanks to my parents for their encouragement, endless support, love, and for sharing their own love of books, art and music, for being friends as well as amazing parents. And for understanding my love for a tiny, rainy island 3,000 miles away. Thank you to my sister, Em, for her life-long friendship. Her loyalty and extraordinary creative and artistic talent are truly inspiring. -
Stan Smith – Irish Poetry and the Construction
139 Book Reviews: Writers at Work in Ireland and England Irish Poetry and the Construction of Modern Identity: Ireland between Fantasy and History. By Stan Smith. Dublin: Irish Academic Press, 2005. x + 238 pp. $65.00 cloth, $29.50 paper. The world is not wanting in histories of Irish poetry, or even of twen- tieth-century Irish poetry in particular: I know of at least ten since 1988. Nevertheless, Stan Smith’s Irish Poetry and the Construction of Modern Identity represents an important accomplishment. Smith’s color title, “Ire- land between Fantasy and History,” suggests precisely what he’s after—the ways in which poetry has functioned in the self-conscious shaping of mod- ern Irish identities. Smith’s interest in what he calls, while discussing Pa- draic Fallon, “the compounding and interpretation of story and history” (39), develops from the work he’s undertaken in such books as Inviolable Voice: History and 20th-Century Poetry (1982) or The Origins of Mod- ernism: Eliot, Pound, Yeats and the Rhetorics of Renewal (1994). Smith has always attended to how ideology yokes together signifier and signified. In this book, however, perhaps because questions of tradition and nation have been more overtly a part of nation-building in Ireland than in Britain, post-structuralist and post-colonial theory have inflected Smith’s atten- tion in ways rather more dramatic than I have seen in his earlier work. Theory is rarely Smith’s overt topic; it shows up rather in his ability to see organization rather than organicism, history subjected to question rather than nature subjecting us. -
'Muting the Klaxon: Poetry, History, and Irish Modernism'1
1 Tim Armstrong 1 ‘Muting the Klaxon: Poetry, History, and Irish Modernism’ This is an uncorrected and reset version of the original article which appeared as: ‘Muting the Klaxon: Poetry, History, and Irish Modernism,’ in Modernism and Ireland: The Poetry of the 1930s , ed. Patricia Coughlan and Alex Davies (Cork: Cork University Press, 1995), pp.43-74. In the winter of 1923-24 a periodical called The Klaxon appeared in Dublin. It was the only issue of what was hopefully announced as a ‘seasonal’ quarterly. The table of contents makes interesting reading: 2 Confessional . L. K. E. Beauty Energised . F. R. H. The Midnight Court (from the Irish). Percy Ussher North. H. Stuart Cheese . .John W. Blaine The Will of God. Sechilienne The Ulysses of Mr. James Joyce . Lawrence K. Emery Cleopatra. F. R. Higgins An Inghean Dubh. G. Coulter Picasso, Mamie Jellett and Dublin Criticism. Thomas McGreevy Seeking, as its editorial note suggests, to link itself to International Modernism, The Klaxon has a Brancusi-like cover device and a ‘Negro sculpture in wood’ as frontispiece. The ‘Confessional’ by Lawrence Emery which opens this Irish Blast has a fine ranting tone: ‘We railed against the psychopedantic parlours of our elders and their old maidenly consorts, hoping the while with an excess of Picabia and banter, a whiff of Dadaist Europe to kick Ireland into artistic wakefulness.’ The aggressive Modernism of the doomed journal, and the harshness of the context it expects to insert itself into, is evident in its defense of Joyce and Picasso against philistine taste. The inclusion of Ussher’s translation of ‘The Midnight Court’ also carries a political weight – its bawdy invoking a different Irish tradition from that of the Celtic Twilight (it was to be republished in 1926 with an polemical introduction by Yeats). -
James Joyce and His Influences: William Faulkner and Anthony Burgess
James Joyce and His Influences: William Faulkner and Anthony Burgess An abstract of a Dissertation by Maxine i!3urke July, Ll.981 Drake University Advisor: Dr. Grace Eckley The problem. James Joyce's Ulysses provides a basis for examining and analyzing the influence of Joyce on selected works of William Faulkner and Anthony Bur gess especially in regard to the major ideas and style, and pattern and motif. The works to be used, in addi tion to Ulysses, include Faulkner's "The Bear" in Go Down, Moses and Mosquitoes and Burgess' Nothing Like the Sun. For the purpose, then, of determining to what de gree Joyce has influenced other writers, the ideas and techniques that explain his influence such as his lingu istic innovations, his use of mythology, and his stream of-consciousness technique are discussed. Procedure. Research includes a careful study of each of the works to be used and an examination of var ious critics and their works for contributions to this influence study. The plan of analysis and presentation includes, then, a prefatory section of the dissertation which provides a general statement stating the thesis of this dissertation, some background material on Joyce and his Ulysses, and a summary of the material discussed in each chapter. Next are three chapters which explain Joyce's influence: an introduction to Joyce and Ulysses; Joyce and Faulkner; and Joyce and Burgess. Thus Chapter One, for the purpose of showing how Joyce influences other writers, discusses the ideas and techniques that explain his influences--such things as his linguistic innovations, his use of mythology, and his stream-of consciousness method.