BIBLIOGRAPHY and CRITICISM Volumes

Total Page:16

File Type:pdf, Size:1020Kb

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. Translated by Medbh McGuckian and Eiléan Ní Chuilleanáin. Oldcastle, Co. Meath: The Gallery Press, 1999; Winston-Salem, NC: Wake Forest University Press, 2004. Ranchetti, Michele. Verbale. Translated by Eiléan Ní Chuilleanáin and others. Dublin: Instituto Italiano di Cultura, 2005. Malancioiu, Ileana. After the Raising of Lazarus. Translated by Eiléan Ní Chuilleanáin. Cork: Southword Editions, 2005. Interviews Consalvo, Deborah McWilliams. “An Interview with Eiléan Ní Chuilleanáin.” Irish Literary Supplement 12.1 (1993): 15–17. Ray, Kevin. “Interview with Eiléan Ní Chuilleanáin.” Eire-Ireland 32.1–2 (1996): 62–73. Criticism on Ní Chuilleanáin Allen, Nicholas. “‘Each Page Lies Open to the Version of Every Other’: History in the Poetry of Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 22–36. Batten, Guinn. “‘The World Not Dead after All’: Eiléan Ní Chuilleanáin’s Work of Revival.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 1–22. Bourke, Angela, et. al., eds. The Field Day Anthology of Irish Writing, Vols. 4 & 5. Cork: Cork University Press, 2002; New York: New York University Press, 2002. Clutterbuck, Catriona. “Good Faith in Religion and Art: The Later Poetry of Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 131–156. Coughlan, Patricia. “‘No Lasting Fruit at All’: Containing, Recognition, and Relinquishing in The Girl Who Married the Reindeer.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 157–177. Conboy, Sheila C. “‘What You Have Seen is Beyond Speech.’ Female Journeys in the Poetry of Eavan Boland and Eiléan Ní Chuilleanáin.” Canadian Journal of Irish Studies 16 (1990): 65–72. Davis, Wes. An Anthology of Modern Irish Poetry. Cambridge, MA: Harvard UP, 2010. Faragó, Borbála. “‘Alcove in the Wind’: Silence and Space in Eiléan Ní Chuilleanáin’s Poetry.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 68–83. Fogarty, Anne. “Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 1–250. Foster, John Wilson. “‘The Second Voyage’ by Eiléan Ní Chuilleanáin.” Eire-Ireland 13.4 (1978): 147–51. Gilsenan Nordin, Irene. “‘Between the Dark Shore and the Light’: The Exilic Subject in Eiléan Ní Chuilleanáin’s The Second Voyage.” In Michael Böss, Irene Gilsenan Nordin and Britta Olinder, eds. Exile: Realities and Metaphors in Irish History and Literature. Århus: Dolphin Press, 2005. 178–94. ___. “‘Betwixt and Between’: The Body as Liminal Threshold in the Poetry of Eiléan Ní Chuilleanáin.” In Irene Gilsenan Nordin, ed. The Body and Desire in Contemporary Irish Poetry. Dublin and Portland, OR: Irish Academic Press, 2006. 226–43. ___. “Like a Shadow in Water’: Phenomenology and Poetics in the Work of Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 98–114. Grennan, Eamon. “Real Things.” Poetry Ireland Review 46 (Summer 1995): 44–52. Haberstroh, Patricia Boyle. “Eiléan Ní Chuilleanáin.” Women Creating Women. Syracuse: Syracuse University Press, 1996. 93–120. ___. “The Architectural Metaphor in the Poetry of Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 84–97. Holdridge, Jefferson. “‘A Snake Pouring over the Ground’: Nature and the Sacred in Eiléan Ní Chuilleanáin.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 115–30. Johnston, Dillon. “‘Hundred-Pocketed Time’: Ní Chuilleanáin’s Baroque Spaces.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 53–67. ___. “‘Our Bodies’ Eyes and Writing Hands’: Secrecy and Sensuality in Ní Chuilleanáin’s Baroque Art.” In Anthony Bradley and Maryann Gialanella Valiulis, eds. Gender and Sexuality in Modern Ireland. Amherst: University of Massachusetts Press, 1997. 187–211. Kerrigan, John. “Hidden Ireland: Eiléan Ní Chuilleanáin and Munster Poetry.” Critical Quarterly 40.4 (Winter 1998): 76–100. McCarthy, Thomas. “‘We Could Be in Any City’: Eiléan Ní Chuilleanáin and Cork.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 230–43. Meaney, Geraldine. “History Gasps: Myth in Contemporary Irish Women’s Poetry.” In Michael Kenneally, ed. Poetry in Contemporary Irish Literature. Gerrard’s Cross: Colin Smythe, 1995. 99–113. O'Malley, Aidan. “Praeterito: (Non-)Possession and the Translational Impulse in Ní Chuilleanáin’s Work.” Irish University Review: A Journal of Irish Studies 37.1 (2007): 178–96. Sarbin, Deborah. “‘Out of Myth into History’: The Poetry of Eavan Boland and Eiléan Ní Chuilleanáin.” Canadian Journal of Irish Studies 19.1 (July 1993): 86–96. Sirr, Peter. “‘How Things Begin to Happen’: Notes on Eiléan Ní Chuilleanáin and Medbh McGuckian.” The Southern Review 31.3 (Summer 1995): 450–67. EAVAN BOLAND Volumes of Poetry New Territory. Dublin: Allen, Figgis & Co., 1967. The War Horse. Dublin: Arlen House; London: Victor Gollancz, 1975. In Her Own Image. Dublin: Arlen House, 1980. Introducing Eavan Boland: Poems. Princeton: The Ontario Review Press, 1981. Night Feed. Dublin: Arlen House; London and Boston: Marion Boyars, 1982; Manchester: Carcanet Press, 1994. The Journey and Other Poems. Dublin: Arlen House, 1986; Manchester: Carcanet, 1987. Selected Poems. Manchester: Carcanet Press; Dublin: Arlen House, 1989. Outside History. Manchester: Carcanet Press, 1990. Outside History: Selected Poems 1980–1990. New York: Norton, 1990. In a Time of Violence. Manchester: Carcanet; New York: Norton, 1994. An Origin Like Water: Collected Poems 1967–1987. New York and London: Norton, 1997. The Lost Land. New York and London: Norton, 1998. Against Love Poetry. New York: Norton, 2001. Code. Manchester: Carcanet Press, 2001. New Collected Poems. Manchester: Carcanet Press, 2005. Domestic Violence. Manchester: Carcanet Press, 2007; New York: Norton, 2007. Other Works “The Woman Poet: Her Dilemma.” Midland Review 3 (1986): 40–47. Also in Krino (Spring, 1986); Stand Magazine (Winter 1986–87): 43–49; and American Poetry Review 16.1 (Jan./Feb. 1987): 17–20. “An Un-Romantic American.” Parnassus: Poetry in Review 14.2 (1988): 73–92. “The Woman Poet in a National Tradition.” Studies 76: 148–158. Also published as “A Kind of Scar: The Woman Poet in a National Tradition.” Dublin: Attic LIP Pamphlet, 1989. “Outside History.” American Poetry Review 19.2 (March/April 1990): 32–38. “The Woman, The Place, The Poet.” Georgia Review 44.1–2 (1990): 97–109. “In Defense of Workshops.” Poetry Ireland Review 31 (1991): 40–48. “Writing in the Margin.” Irish Times 18 April 1992: 12. “Writing the Political Poem in Ireland.” The Southern Review (July 1995): 485–98. Object Lessons: The Life of the Woman and the Poet in Our Time. New York and London: Norton, 1995. “New Wave 2: Born in the ’50’s; Irish Poets of the Global Village.” In Theo Dorgan, ed. Irish Poets since Kavanagh. Blackrock, Co. Dublin: Four Courts Press, 1996. “Daughters of Colony.” Eire-Ireland, 32.2–3 (1997): 7–20. The Making of a Poem: A Norton Anthology of Poetic Forms. Eavan Boland and Mark Strand, eds. New York: Norton, 2000. Three Irish Poets: An Anthology: Eavan Boland, Paula Meehan, Mary O’Malley. Eavan Boland, ed. Manchester: Carcanet Press, 2003. After Every War: Twentieth-Century Women Poets. Translated by Eavan Boland. Princeton, NJ: Princeton UP, 2004. Irish Writers on Writing. Eavan Boland, ed. San Antonio, TX: Trinity University Press, 2007. The Making of a Sonnet: A Norton Anthology. Eavan Boland and Edward Hirsch, eds. New York: Norton, 2008. Interviews Consalvo, Deborah McWilliams. “An Interview with Eavan Boland.” Studies: An Irish Quarterly Review 181.321 (Spring 1992): 89–100. O’Connell, Patty. “Eavan Boland: An Interview.” Poets & Writers (November–December 1994): 32–45. Reizbaum, Marilyn. “An Interview with Eavan Boland.” Contemporary Literature 30.4 (1989): 470–90. Tall, Deborah. “Q&A with Eavan Boland.” Irish Literary Supplement 7.2 (1988): 39–40. Wright, Nancy Means and Dennis Hannan. “Q&A with Eavan Boland.” Irish Literary Supplement (Spring 1991): 10–11. Criticism on Boland Allen Randolph, Jody, ed. Eavan Boland: A Critical Companion. New York: W.W. Norton & Co., 2008. ___. “Eavan Boland.” In Bill McCormack, ed. Blackwell Companion to Modern Irish Culture. Oxford: Blackwell, 2001. ___. “Écriture Feminine and the Authorship of Self in Eavan Boland’s In Her Own Image.” Colby Quarterly 27.1 (March 1991): 48–59. ___. “Finding a Voice where She Found a Vision.” PN Review 2.1 (September–October 1994): 13–17.
Recommended publications
  • Open Sroka Ginnelle Thegraniteceiling
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH “THE GRANITE CEILING”: DISCOURSES OF GENDER AND OPPRESSION IN THE POETRY OF PAULA MEEHAN GINNELLE SROKA Spring 2012 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in English with honors in English. Reviewed and approved* by the following: Jessica O’Hara Lecturer in English, Director of LA 101H Thesis Supervisor Jack Selzer Barry Director of the Paterno Fellows Program Professor of English Second Reader Lisa Sternlieb Professor of English Honors Adviser * Signatures are on file in the Schreyer Honors College i ABSTRACT This thesis strives to provide contextual and critical analysis of a selection of Irish poet Paula Meehan’s poetry in light of her personal and canonical struggles with oppression and exclusion. The project is divided into two separate sections under which the poems are categorized: motherhood and influence, and the creation of poetry. The poems chosen in these sections offer insight into Meehan’s views on these subjects and how those views are directly linked to the oppressions surrounding the female voice in Irish poetic canon. This thesis argues that the resistance to outwardly repressive forces is an integral part of Meehan’s creative process and analyzes how this resistance has shaped her poetry. Examination of these influences and their link to her development as a poet also has significant implications for a minority in any poetic canon by revealing the effects of repression and exclusion. Though this project observes that oppression certainly affects poetry, it also proves that the poet has the ability to affect oppression.
    [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]
  • 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.
    [Show full text]
  • Women Writers of the Troubles
    Women Writers of The Troubles Britta Olinder, University of Gothenburg Abstract During the thirty years of the Troubles in Northern Ireland, writing by women was difficult to find, especially concerning the conflict and its violence. The publication of the first three heavy volumes of The Field Day Anthology of Irish Writing towards the end of that period demonstrated the blindness of its male editors to female writing, leading to another two volumes focusing on women and also presenting more than expected on the conflict itself. Through looking at a selection of prose, poretry and drama written by women, this article wishes to illuminate a number of relevant issues such as: How have female writers reacted to the hate and violence, the social and political insecurity in their writing of poetry, plays and fiction? Is Robert Graecen’s question ‘Does violence stimulate creativity?’—in a letter to the Irish Times (18 Jun. 1974)—relevant also for women? In this very partial exploration, I have chosen to discuss a novel by Jennifer Johnston (Shadows on Our Skin, 1977) and one by Deirdre Madden (One by One in the Darkness, 1996), a well-known short story by Mary Beckett (‘A Belfast Woman,’ 1980), together with plays by Anne Devlin (Ourselves Alone, 1986) and Christina Reid (Tea in a China Cup, 1987), as well as poetry, by, among others, Meta Mayne Reid, Eleanor Murray, Fleur Adcock and Sinéad Morrissey. Keywords: women writers; violence; conflict; The Troubles; Jennifer Johnston; Deirdre Madden; Mary Beckett; Anne Devlin; Christina Reid; Meta Mayne Reid; Eleanor Murray; Fleur Adcock; Sinéad Morrissey The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
    [Show full text]
  • 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 .
    [Show full text]
  • Get PDF ~ Something Beginning with P: New Poems from Irish Poets
    UW8YGV4IJMBX » eBook » Something Beginning with P: New Poems from Irish Poets Read PDF SOMETHING BEGINNING WITH P: NEW POEMS FROM IRISH POETS O Brien Press Ltd, Ireland, 2008. Paperback. Book Condition: New. Corrina Askin, Alan Clarke (illustrator). 3rd Revised edition. 231 x 193 mm. Language: English . Brand New Book. A beautiful collection of specially-commissioned new poems for children of all ages. Includes poems from leading Irish poets: Seamus Heaney, Thomas Kinsella, Maighread Medbh * Paula Meehan * Brendan Kennelly * Michael Longley * Rita Ann Higgins * Matthew Sweeney * Biddy Jenkinson * Desmond O Grady * Richard Murphy * Nuala... Read PDF Something Beginning with P: New Poems from Irish Poets Authored by Seamus Cashman Released at 2008 Filesize: 1.6 MB Reviews This ebook is definitely not effortless to get going on looking at but quite entertaining to read. It really is rally exciting throgh reading period. Its been developed in an exceptionally easy way and is particularly simply following i finished reading through this ebook through which basically changed me, alter the way i believe. -- Piper Gleason DDS Without doubt, this is actually the best function by any article writer. It is probably the most amazing ebook i have got go through. Your lifestyle period will likely be enhance once you complete reading this article publication. -- Brody Parisian TERMS | DMCA IYI57TVCBOTI » Kindle » Something Beginning with P: New Poems from Irish Poets Related Books Any Child Can Write Who am I in the Lives of Children? An Introduction to Early Childhood Education The Well-Trained Mind: A Guide to Classical Education at Home (Hardback) The First Epistle of H.
    [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]
  • English Literature 2005
    School of English lecture series Hilary semester 2015 Engaging Poems Mar 17 ---- In this ten-week lecture series members of the School of English and invited guests will Mar 24 Stephen Matterson: Emily Dickinson, ‘There’s a certain slant of light’ introduce a poem and provide a close reading/analysis of it. The poems will be chosen Nicholas Grene: W. B. Yeats, ‘The Song of Wandering Aengus’ from a wide range of styles, periods and places, and will provide the audience with fresh insights into the poem as well as an understanding of how poetry analysis works: the Mar 31 Philip Coleman: Dennis O’Driscoll, ‘Dear Life’ lecture will be followed by audience discussion. Julie O'Callaghan, TBA Course Directors: Nicholas Grene, Stephen Matterson How to apply: Return the application form with the fee to: The Secretary (Evening Venue: Jonathan Swift Theatre, Arts Building TCD at 7 p.m. Lectures), Oscar Wilde Centre, 21 Westland Row, Trinity College Dublin, Dublin 2. Phone: 01-896 2885 email: [email protected] Jan 20 Introduction (Nicholas Grene and Stephen Matterson) Paula Meehan: W. B. Yeats, ‘The Cat and the Moon’ Fee: €50 for the entire series. Individual lectures are €6 each. Concessionary rates for the full series will be €35 or individual lecture €5 each. Cheques/Bank Drafts should be made Jan 27 David O’Shaughnessy: Percy Bysshe Shelley, ‘The Mask of Anarchy’ payable to TCD No. 1 Account. Darryl Jones: Samuel Taylor Coleridge, ‘Kubla Khan’ Application for Evening Lecture Series Feb 3 Amanda Piesse: Thomas Wyatt, ‘They flee from me that sometime
    [Show full text]
  • Contents Poetry Ireland Review 133
    Contents Poetry Ireland Review 133 Colette Bryce 5 editorial Vona Groarke 7 under a tree, parked 8 daily news round-up 9 for now Ella Duffy 10 rumour Edward Larrissy 11 london, june 2016 Majella Kelly 13 the secret wife of jesus 15 fig Mícheál McCann 16 immanence 17 big city types Kimberly Reyes 18 stain in creases Kerry Hardie 20 insomnia in talbot street Damian Smyth 21 keats’s bed Tamara Barnett-Herrin 22 soft play 24 hi! is this for me? Thomas McCarthy 25 a meadow in july Bernard O’Donoghue 26 l’aiuola 27 the impulsator Siobhán Campbell 28 the outhouse Tim MacGabhann 29 morelia ghosts Grace Wilentz 32 essay: towards a first collection Katie Donovan 34 review: matthew sweeney, michael gorman, geraldine mills Hugh Haughton 38 essay: derek mahon Frank Farrelly 45 essay: towards a first collection Niamh NicGhabhann 47 review: pádraig j daly, eamon grennan, kerry hardie, julie o’callaghan Stephen Sexton 52 essay: towards a first collection Declan Ryan 54 review: alan gillis, justin quinn Proinsias Ó Drisceoil 58 review: seán ó ríordáin / greg delanty, fearghas macfhionnlaigh / simon ó faoláin Seosamh Ó Murchú 61 cogar caillí Bríd Ní Mhóráin 62 ialus Áine Ní Ghlinn 63 droim mo mháthar Ceaití Ní Bheildiúin 64 saolú mhongáin Simon Ó Faoláin 65 as an corrmhíol Máirtín Coilféir 66 ping Seán Lysaght 67 review: cathal ó searcaigh Maria Stepanova 70 from the body returns Maurice Riordan 74 gravel 75 mould 76 lumps David McLoghlin 77 independent commission for the location of victims’ silence Emily Middleton 78 misloaded Bryony Littlefair 80 typo
    [Show full text]
  • "An Island Once Again: the Postcolonial Aesthetics of Contemporary Irish Poetry"
    Colby Quarterly Volume 37 Issue 2 June Article 8 June 2001 "An Island Once Again: The Postcolonial Aesthetics of Contemporary Irish Poetry" Jefferson Holdridge Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.2, June 2001, p.189-200 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. Holdridge: "An Island Once Again: The Postcolonial Aesthetics of Contemporar IIAn Island Once Again: The Postcolonial Aesthetics of Contemporary Irish Poetry" By JEFFERSON HOLDRIDGE World is the ever nonobjective to which we are subject as long as the paths of birth and death, blessing and curse keep us transported into Being. Martin Heidegger, The Origin ofthe Work ofArt Flames have only lungs. Water is all eyes. The earth has bone for muscle.... But anxiety can find no metaphor to end it. A.K. Ramanujan, "Anxiety" HE POSITION OF THE SUBJECT, of history and landscape are the central Tthemes of any essay on the aesthetics of contemporary Irish poetry and often provoke as many questions as answers. To give specific weight to some broad theoretical analysis, this essay shall closely examine a selection of works. Before detailed discussion of the texts, the idea of a postcolonial aes­ thetic should be defined. The two important frames are provided first by a correlation between Fanon and Kant and second by various ideas of the psy­ choanalytical sublime. Politically, there are three Fanonite/Kantian stages to what is here termed the postcolonial sublime; it is an aesthetic that aligns Fanon's dialectic of decolonization, from occupation, through nationalism, to liberation with Kant's three stages of sublimity, that is, from balance between subject and object, through aesthetic violence upon the internal sense, to tran­ scendent compensation.
    [Show full text]