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Robertson Davies Fifth Business Fifth Business Definition: Those Roles Which, Being Neither Those of Hero Nor Heroine, Confidant
Robertson Davies Fifth Business Fifth Business Definition: Those roles which, being neither those of Hero nor Heroine, Confidante nor Villain, but which were nonetheless essential to bring about the Recognition or the denouement, were called the Fifth Business in drama and opera companies organized according to the old style; the player who acted these parts was often referred to as Fifth Business. —Tho. Overskou, Den Daaske Skueplads I. Mrs. Dempster 1 My lifelong involvement with Mrs. Dempster began at 8 o’clock p.m. on the 27th of December, 1908, at which time I was ten years and seven months old. I am able to date the occasion with complete certainty because that afternoon I had been sledding with my lifelong friend and enemy Percy Boyd Staunton, and we had quarrelled, because his fine new Christmas sled would not go as fast as my old one. Snow was never heavy in our part of the world, but this Christmas it had been plentiful enough almost to cover the tallest spears of dried grass in the fields; in such snow his sled with its tall runners and foolish steering apparatus was clumsy and apt to stick, whereas my low-slung old affair would almost have slid on grass without snow. The afternoon had been humiliating for him, and when Percy as humiliated he was vindictive. His parents were rich, his clothes were fine, and his mittens were of skin and came from a store in the city, whereas mine were knitted by my mother; it was manifestly wrong, therefore, that his splendid sled should not go faster than mine, and when such injustice showed itself Percy became cranky. -
Chronologically Lewis Joel D
Chronologically Lewis Joel D. Heck All notes are done in the present tense of the verb for consistency. Start and end dates of term are those officially listed in the Oxford calendar. An email from Robin Darwall-Smith on 11/26/2008 explains the discrepancies between official term dates and the notes of C. S. Lewis in his diary and letters: “Term officially starts on a Thursday, but then 1st Week (out of 8) starts on the following Sunday (some might say Saturday, but it ought to be Sunday). The week in which the start of term falls is known now as „0th Week‟. I don‟t know how far back that name goes, but I‟d be surprised if it wasn‟t known in Lewis‟s day. The system at the start of term which I knew in the 1980s - and which I guess was there in Lewis‟s time too - was that the undergraduates had to be in residence by the Thursday of 0th Week; the Friday was set aside for start of term Collections (like the ones memorably described in Lewis‟s diary at Univ.!), and for meetings with one‟s tutors. Then after the weekend lectures and tutorials started in earnest on the Monday of 1st Week.” Email from Robin Darwall-Smith on 11/27/2008: “The two starts to the Oxford term actually have names. There‟s the start of term, in midweek, and then the start of „Full Term‟, on the Sunday - and is always Sunday. Lectures and tutorials start up on the following day. -
Gothic and Noir: the Genres of the Irish Contemporary Fiction of “Containment”
Études irlandaises 42-2 | 2017 Varia Gothic and Noir: the Genres of the Irish Contemporary Fiction of “Containment” Sylvie Mikowski Electronic version URL: http://journals.openedition.org/etudesirlandaises/5332 DOI: 10.4000/etudesirlandaises.5332 ISSN: 2259-8863 Publisher Presses universitaires de Caen Printed version Date of publication: 29 November 2017 Number of pages: 93-104 ISBN: 978-2-7535-7388-8 ISSN: 0183-973X Electronic reference Sylvie Mikowski, « Gothic and Noir: the Genres of the Irish Contemporary Fiction of “Containment” », Études irlandaises [Online], 42-2 | 2017, Online since 29 November 2017, connection on 13 September 2019. URL : http://journals.openedition.org/etudesirlandaises/5332 ; DOI : 10.4000/ etudesirlandaises.5332 © Presses universitaires de Rennes Gothic and Noir: the Genres of the Irish Contemporary Fiction of “Containment” Sylvie Mikowski Université de Reims Champagne-Ardenne Abstract This article argues that the trauma of sexual abuse, particularly child abuse, was repre- sented as early as 1965 in John McGahern’s The Dark, but was only recognized as a major theme in Irish fiction with the publication of Anne Enright’s The Gathering in 2007. Both works, together with Eimear McBride’s A Girl is a Half-Formed Thing, display the kind of avant-garde aesthetics that critics generally associate with the representation of trauma. However, other recent Irish novels have represented the trauma of sexual abuse and of insti- tutional containment through tropes and themes proper to two traditional genres, gothic and crime fiction. Such is the case for Patrick McCabe’s The Butcher Boy, Sebastian Barry’s The Secret Scripture, and John Banville’s Benjamin Black novels. -
Opening Speech at Christ Church Cathedral, Dublin on 10Th June 2009 by Sebastian Barry
Opening speech at Christ Church Cathedral, Dublin on 10th June 2009 by Sebastian Barry. Until last Monday, I don´t think I was ever in here. I came in to see Ludmila´s work, so I could respond to it, and talk about it here. This ´here´ that is fabled in Dublin, and everywhere. How well we know from the outside this great stone ship beached safely above the flood level of the Liffey. The old ship of perfecting Protestantism. Mysterious vessel. Of course, as a little child coming into Dublin with my grandfather to see the Disney films in Grafton Street, I was told the soles of my shoes would catch fire if I stepped in here, my very soul would shrink and cry out. Dark bastion of Protestantism. Mysterious vessel. Turning on its anchor in the ever-flooding river of Irish history. I had never been in here…. But family whisper has it that my great great grandmother, Lizzy Finn, a music hall dancer from England, married a Robert Gibson in here, dying later in childbirth, and the unwanted child given away, to become in due course my other grandfather´s mother a matter she kept as a great secret; and it was he himself my grandfather, who came here years ago, looking for a marriage license, which he attested to have found. I don´t know….. Maybe. So my DNA was here maybe, in the shape of a music hall dancer – and my own mother, an actress in the Abbey theatre, loved, oh loved, the possibility of this forebear, who had shown her legs to the Saturday crowd in Bexhill as may be, then had stood solemnly under this solemn roof – my own mother celebrated her forebear´s entry here – my mother, who died two years ago. -
The Remembrance Project 2018 the Barnham Broom and Upper Yare
The Remembrance Project 2018 The Barnham Broom and Upper Yare Group of Parishes consists of the following Churches & Villages: Wramplingham Barford Barnham Broom Carleton Forehoe Kimberley Hardingham Cranworth Southburgh Letton Reymerston Garvestone Thuxton Whinburgh Westfield Runhall Coston Across the villages there are several war memorials, put up to honour the fallen in WWI, and added to after WWII. As the centenary of the end of WWI approaches in November 2018, there are many events organised within our villages and county. As part of this, in collaboration with other events organised, is a plan to gather together the stories of the lives of the men named on these war memorials, to refresh the memory, and remember the sacrifice they gave so that we could live in the freedom and peace we have today. To do this, volunteers are invited to research one or more names on the attached list of all those named on all of the village memorials, to gather together their stories for publication, and hopefully to enter into memorial books in each of the churches for posterity. We aim to learn from each other as we do this, sharing our findings with others in our community, to create a living memorial. If you wish to take part, please select a name from the list below and research that person using the attached guide to help. If a name is ‘greyed out’ in means it has already been selected for research. Please gather your research together in a short biography of the soldier (approx. 200 words), for publication. Once selected, please let the co-ordinator know so that the name can be marked as being researched. -
Sebastian Barry and the Religio Medici
“His veritable gospel”: Sebastian Barry and Religio Medici A Bloomsday Lecture by Bruce Stewart UFRN The Secret Scripture (2008) Barry has captured the Costa Book Award twice Browne’s Religio Medici — in 2008 & 2017 … (1643; 1736 Edn.) Days Without End (2016) —Epigraphs in The Secret Scripture (2008) Q: Roseanne McNulty, the central character in The Secret Scripture (2008), owns a copy of the Religio Medici (1643) by Sir Thomas Browne a sentence from whose works provides an epigraph for that novel. Why? Q: The second epigraph is from the Preface to Maria Edgeworth’s Castle Rackrent (1800). Why? Photos of Barry by David Meehan (Independent, UK) and Bruce Stewart (UFRN) Sir Thomas Browne (1605-1682) “I am of Ireland …” The Abbey Theatre, founded in 1904, has staged Trinity most of Barry’s new plays. College, Dublin Nelson’s Column at the centre of Dublin city was blown up in protest against such remnants of British Rule 50 years after the Easter Rising of 1916. “I love my country because I know my country. I’m not loving unconditionally St Brigid’s, Ballinasloe, Go or blindly. I’ve tried to look into the Galway, was Ireland’s whole matter, and I remain in love with biggest lunatic asylum – this strange land and its people.” (Barry, Ireland broke with the past and the model for Roscommon in interview, NPR, 27 Feb. 2017. voted in favour of Gay Marriage Mental Hospital in The on 22 May 2015 Secret Scripture (2008). In April 2017 a mass grave for 750 children—buried without ceremony— was discovered at a Catholic ‘care’ home. -
The London Gazette. Auttjontp
28314. 9217 The London Gazette. auttjontp. This Gazette has now Item registered at the General Post Office for transmission by Inland Pott at a newspaper. As regards copies sent by post within the United Kingdom, unless despatched in proper course from a Metropolitan Government Office, or from the Publishing Office of the Gazette, the pottage should in. future be prepaid at the rate of a halfpenny for each copy. Copies sent abroad should be prepaid at the rate-. of a halfpenny for every 2 ounces, except in the case of copies sent to Canada, which tmtt be transmissible ojj, the Canadian Magazine Post at the rate of a penny for every pound or fraction of a pound. For Table of Contents, see last page. * * FRIDAY, DECEMBER 3, 1909. By The KING. named, to declare and notify the Royal Assent to A PEOCLAMATION. the said Acts, was read accordingly, and the Royal Assent given to EDWARD R. & I. Housing, Town Planning, &c., Act, 1909. Whereas by an Act of Parliament passed in Asylum Officers' Superannuation Act, 1909* the ninth year of Our Reign, intituled " AP Act Irish Land Act, 1909. to constitute the Union of South Africa," it is Revenue Act, 1909. enacted that it shall be lawful for the King, with Development and Road Improvement Funds the advice of the Privy Council, to declare by Act, 1909. Proclamation that, on and after a day therein Isle of Man (Customs) Act, 1909. appointed, not being later than one year after Expiring Laws Continuance Act, 1909. the passing of the Act, the Colonies of the Cape Assurance Companies Act, 1909. -
The Performance of Critical History in Contemporary Irish Theatre and Film
The Performance of Critical History in Contemporary Irish Theatre and Film by Natalie Dawn Harrower A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto © Copyright by Natalie Dawn Harrower 2009 The Performance of Critical History in Contemporary Irish Theatre and Film Natalie Dawn Harrower Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto 2009 ABSTRACT This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. ii The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. -
New Writing from Ireland Ireland Literature Exchange – Promoting Irish Literature Abroad PREVIOUS GO to CONTENTSRETURN to CONTENTS NEXT
GO TO CONTENTS NEXT New Writing from Ireland Ireland Literature Exchange – Promoting Irish literature abroad PREVIOUS GO TO CONTENTSRETURN TO CONTENTS NEXT NEW IRISH WRITING 2011 In this, the centenary year of the birth of Flann O’Brien, Ireland’s writers have the Forward Prize in Britain last year. We look forward to seeing Heaney’s Selected had a remarkably fruitful year. Important books such as The Forgotten Waltz by Poems in Russian, following a visit to Ireland by the translator, Grigory Kruzhkov. Anne Enright, Mistaken by Neil Jordan and A Death in Summer by Benjamin Black have enthralled readers around the world. Sebastian Barry’s On Canaan’s With the support of Culture Ireland and the Arts Council, Ireland Literature Side is eagerly awaited by his discerning readership, while John Boyne’s The Exchange continues to promote Irish literature internationally. In co-operation Absolutist, Kevin Barry’s City of Bohane and John Butler’s The Tenderloin are with our publishing partners, Irish writing has appeared in Tamil and Spanish, receiving positive reaction from readers and critics alike. French and Chinese. In addition to participation at the Frankfurt and London fairs, we attended the Beijing and Moscow book fairs in 2010. Dublin’s designation as a UNESCO City of Literature has drawn further attention to our capital city as a centre of literary creativity. Murder in the City, It was with great sadness that, shortly after the Frankfurt book fair 2010, we learnt a celebration of crime writing, is one of the many events that has taken place of the death of the great independent Irish publisher Steve Mac Donogh, who since the city received the designation. -
Sebastian Barry
Sebastian Barry: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Barry, Sebastian, 1955- Title: Sebastian Barry Papers Dates: 1939-2004, undated Extent: 68 document boxes (28.56 linear feet), 4 oversize folders (osf), 5 serial boxes, 2 oversize boxes (osb) Abstract: The Sebastian Barry papers consist of the personal and professional papers of Irish poet, novelist, and playwright Sebastian Barry. The papers document Barry's diverse writing career and range of creative output which includes drawings, poetry, short stories, novels, essays, and scripts. Call Number: Manuscript Collection MS-4878 Language: English, Arabic, French, Greek, Hungarian, Irish, and Romanian Access: Open for research Administrative Information Acquisition: Purchase, 2001-2005 (R14839, R15350) Processed by: Hope Rider, Gabriela Redwine, Amy E. Armstrong, 2013 Repository: The University of Texas at Austin, Harry Ransom Center Barry, Sebastian, 1955- Manuscript Collection MS-4878 Biographical Sketch Sebastian Barry was born on July 5, 1955, in Dublin, Ireland. His father, Francis, was an architect by profession but also a poet who published poems in literary journals such as Icarus and Broadsheet. His mother, Joan O'Hara, was an actress who frequently performed on stage at the Abbey Theatre in Dublin and in later years appeared on British television. Barry has a younger sister, Siuban, and brother, Guy. As a child, Barry's grandfather taught him to draw and paint, but his interests shifted toward writing poetry and fiction in his late teens, and the Irish Times published Barry's first poem when he was nineteen years old. Barry read Latin and English at Trinity College, Dublin, and served as editor for the 1977 edition of the Trinity College literary journal Icarus. -
The Poetic Drama of Sebastian Barry
Colby Quarterly Volume 27 Issue 4 December Article 8 December 1991 "Such a Sense of Home": The Poetic Drama of Sebastian Barry Christopher Murray Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.4, December 1991, p.242-248 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. Murray: "Such a Sense of Home": The Poetic Drama of Sebastian Barry IISuch a Sense of Home": The Poetic Drama of Sebastian Barry by CHRISTOPHER MURRAY ebastian Barry, born in Dublin in 1955, is a new voice in the Irish theatre. His Sfirst play ofany consequence, Boss Grady's Boys, was staged at the Peacock Theatre'in August 1988 and quickly established his reputation as poet in the theatre, an adversarial voice to the postmodemismofTom MacIntyre and others. Prior to 1988 Barry had established himself as a poet of Mahon-like elegance. The title ofhis first volume, The Water-Colourist (1983), declares his avocation. His sensibility responds to place, to figures in a landscape, to sensuous experi ence. But behind the lyric grace there is, to cite Eliot on Marvell, a tough reasonableness, an ability to confront with intelligence the ebb and flow of history. "Poetry is history's companion," he remarks; "we are all defined/and half-created by poetry."} That "half-created" betrays Barry's romantic, Wordsworthian roots; one must speculate how the other halfis created. Blake is also important for Barry, who is something of a visionary. -
The Whereabouts of Eneas Mcnulty (1998) Sebastian Barry
The Whereabouts of Eneas McNulty Book Discussion (1998) Irish Cultural Center By Saturday, February 23, 2019 Sebastian Barry 10:30 AM – 12:30 PM (b. July 5, 1955) Norton Room Laureate for Irish Fiction 2018-2021 Discussion Guide: ► Character analysis is essential to this novel in light of the narrative point of view. What do you discern about Eneas McNulty (e.g., intelligence, values, personality)? Does the reader have superior knowledge or awareness at times? Is there significance to his name and references to ancient Greece and Rome? What about Cuchulain and Ferdia? ► “Home,” “friend,” and “family” resonate in the novel. What do these terms mean to Eneas? To others in the novel? His one friend is Harcourt. How would you characterize this relationship? ► What do you think about Sebastian Barry as a storyteller? How would you characterize this particular narrative (the “shape,” the high and low points, the recurring events and images)? Were you prepared for the ending of the novel? Does it seem appropriate? ► Paul Muldoon, a poet and a member of the Laureate panel, characterized Barry’s prose as “soul- searching, heart-stopping.” What did you think of Barry as a “wordsmith”? (You might want to note some examples to share.) ► This novel is set against the backdrop of WWI, the Easter Rising, Civil War, and WWII. How does Eneas react to events? What political and philosophical positions does he voice? Are these his own views, or is he simply the spokesman for Barry’s views? Additional Reading Options: Sebastian Barry, a very talented writer, has distinguished himself both as a playwright and a novelist.