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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 Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
The Great War in Irish Poetry
Durham E-Theses Creation from conict: The Great War in Irish poetry Brearton, Frances Elizabeth How to cite: Brearton, Frances Elizabeth (1998) Creation from conict: The Great War in Irish poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5042/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Creation from Conflict: The Great War in Irish Poetry The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. Frances Elizabeth Brearton Thesis submitted for the degree of Ph.D Department of English Studies University of Durham January 1998 12 HAY 1998 ABSTRACT This thesis explores the impact of the First World War on the imaginations of six poets - W.B. -
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 . -
HEANEY, SEAMUS, 1939-2013. Seamus Heaney Papers, 1951-2004
HEANEY, SEAMUS, 1939-2013. Seamus Heaney papers, 1951-2004 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Heaney, Seamus, 1939-2013. Title: Seamus Heaney papers, 1951-2004 Call Number: Manuscript Collection No. 960 Extent: 49.5 linear feet (100 boxes), 3 oversized papers boxes (OP), and AV Masters: 1 linear foot (2 boxes) Abstract: Personal papers of Irish poet Seamus Heaney consisting mostly of correspondence, as well as some literary manuscripts, printed material, subject files, photographs, audiovisual material, and personal papers from 1951-2004. Language: Materials entirely in English. Administrative Information Restrictions on access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. -
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). -
From Celtic Twilight to Revolutionary Dawn: the Irish Review, 1911-14
From Celtic Twilight to Revolutionary Dawn The Irish Review 1911-1914 By Ed Mulhall The July 1913 edition of The Irish Review , a monthly magazine of Irish Literature, Art and Science, leads off with an article " Ireland, Germany and the Next War" written under the pseudonym " Shan Van Vocht ". The article is a response to a major piece written by Arthur Conan Doyle, the author of the Sherlock Holmes books and a noted writer on international issues, in the Fortnightly Review of February 1903 called "Great Britain and the Next War". Shan Van Vocht takes issue with a central conclusion of Doyle's piece that Ireland's interests are one with Great Britain if Germany were to be victorious in any conflict. Doyle writes: "I would venture to say one word here to my Irish fellow- countrymen of all political persuasions. If they imagine that they can stand politically or economically while Britain falls, they are woefully mistaken. The British Fleet is their one shield. If it be broken, Ireland will go down. They may well throw themselves heartily into the common defense, for no sword can transfix England without the point reaching Ireland behind her." However The Irish Review author proposes to show that "Ireland, far from sharing the calamities that must necessarily fall on Great Britain from defeat by a Great Power, might conceivably thereby emerge into a position of much prosperity." The contents page of the July 1913 issue of The Irish Review In supporting this provocative stance the author initially tackles two aspects of the accepted British view of Ireland's fate under these circumstances: that Ireland would remain tied with Britain under German rule or that she might be annexed by the victor.