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The Australasian Journal Irish Studies THE AUSTRALASIAN JOURNAL OF IRISH STUDIES VOLUME 17 2017 The publication of this journal is supported by College of Arts and Education, Victoria University, Melbourne and THE GERRY HIGGINS CHAIR OF IRISH STUDIES The University of Melbourne The Australasian Journal of Irish Studies is published annually by the Irish Studies Association of Australia and New Zealand (ISAANZ). ABN 85 733 647 765. For subscription enquires or to order single copies, contact: ISAANZ/Australasian Journal of Irish Studies c/o College of Arts and Education Footscray Park Campus Victoria University PO Box 14428, Melbourne 8001 Australia www.isaanz.org [email protected] ISSN 1837–1094 Layout: Molly Lukin Printing: McPhersons Printing, Victoria CONTENTS NOTES ON CONTRIBUTORS 4 ARTICLES Prisoners of War? Evoking an Anglo-Irish Perception of the Conflict of 1914–19 6 Ian d’Alton The Dramaturgy of Embeddings: Übermarionettes in W. B. Yeats’s and Luigi 23 Pirandello’s Meta-Theatres Zsuzsanna Balázs The Flawed Return: A Study of the Homecoming Theme in John Banville’s 46 The Sea Pier Paolo Piciucco ‘A Native Style Springing from a People Possessed of Original Power and 59 Mind’: The Irish Round Tower in Australian Architecture Jonathan M. Wooding The Sacred and Profane Songs of Cecilia Curtin in Mannix’s Melbourne, 1909–36 80 Aileen Dillane The Wartime Journalism of Tom Glynn, 1914–16 105 John Cunningham 2017 ISAANZ POSTGRADUATE JOINT PRIZE WINNING ESSAYS ‘To know this, and in shame turn away’: Institutional Abuse and the Ethics of 128 Witnessing in Paul Murray’s Skippy Dies Brandi Byrd ‘No Escape’: The Irish Diaspora, the November 1915 Conscription Crisis and 146 the Origins of Wartime British Passport Controls Jimmy Yan BOOK REVIEWS 166 NOTES ON CONTRIBUTORS Zsuzsanna Balázs has completed a Bachelor of Arts Degree Programme in Italian Literatures and Cultures in June 2015 at Pázmány Péter Catholic University (PPCU), Budapest, Hungary. Currently, she is a postgraduate student, attending a Master of Arts Degree Programme in English Literature with a specialisation in Postcolonial Studies at PPCU. Her primary research area involves the influences of Italian literature and culture (especially the works of Dante, Baldassare Castiglione, and Luigi Pirandello) on twentieth-century Irish literature with special focus on W. B. Yeats’s work. She is a student-member of the International Yeats Society and the Society for Pro Scientia Medalists (SPSM). Brandi Byrd is a final year PhD student at University College Dublin, studying memory in contemporary Irish fiction under the supervision of Emilie Pine. Her research investigates the ways that contemporary Irish fiction, in its responsiveness to particular social and cultural anxieties, negotiates ethical narrative strategies for remembering the recent past. John Cunningham is a lecturer in history at National University of Ireland, Galway, a former editor of Saothar: Journal of Irish Labour History, and the author of several works on Irish local history and labour history. He is currently working on a biography of Tom Glynn. Ian d’Alton is a Visiting Research Fellow at Trinity College, Dublin. He has spoken and published widely on southern Irish Protestantism from the eighteenth to the mid- twentieth centuries. He is the author of Protestant Society and Politics in Cork, 1812–44 (1980). Aileen Dillane is an ethnomusicologist, musician, and lecturer in music at the Irish World Academy of Music and Dance, University of Limerick, Ireland. Her research interests include explorations in ethnicity, identity, nationalism and cosmopolitanism in vernacular and popular musics of Ireland and of the Irish Diaspora. She also publishes on popular musics of the UK, North America and Australia. Aileen was the 2016 O’Donnell Irish Studies Research Fellow at Newman College, University of Melbourne. She has held visiting positions at University Notre Dame, King¹s College London and University of Chicago, Pier Paolo Piciucco took a PhD from the University of Bologna in 1999 working on contemporary Indian fiction in English. His area of reseach includes postcolonial literatures, including Indian fiction and South African drama. His monograph, The Two Souls, analyses Black South African Theatre under the apartheid regime. AUSTRALASIAN JOURNAL OF IRISH STUDIES 5 Jonathan M. Wooding is the Sir Warwick Fairfax Professor of Celtic Studies at the University of Sydney. A graduate of the University of Sydney, he has taught at universities in Australia and the United Kingdom. He has published widely on medieval Irish as well as modern Irish–Australian topics. Jimmy Yan is a PhD candidate in the School of Historical and Philosophical Studies at the University of Melbourne. His research focuses on political responses to the Irish revolution (1916–23) by the Australian and New Zealand labour movements. He holds an honours degree from the University of Melbourne and completed his honours thesis on the internationalist journalism of James Connolly. His research interests include Irish political transnationalism and the global history of borders. THE FLAWED RETURN: A STUDY OF THE HOMECOMING THEME IN JOHN BANVILLE’S THE SEA Pier Paolo Piciucco ABSTRACT: John Banville’s 2005 Man Booker Prize winning novel The Sea is, among other reasons, a remarkable work of fiction for the whimsicality of the homecoming journey engaged in by the protagonist Max Morden. If traditionally the return describes a homeward trip where departure and arrival points overlap, in this novel the narrator’s uneasiness with his self makes this trajectory shadowy in such a way that his travelling does not depict a circle but a spiral, where the curving line comes very close to the departure point, without touching it. In my essay I examine the peculiarities of this uncommon route that is mainly originated by the protagonist’s rejection of his original family—located too low in the social ladder for his expectations—and his dogged resolve to replace it with a fake one, more in keeping with his haughty temperament. My work is basically split into two sections: in the first one, psychology has become the tool of analysis to study the ways in which Max’s journey may be considered to conform to the general norm of subjects engaged in a homeward trip. In the second, a mythological approach has been used in order to offer supplementary clarifications to Morden’s bizarre return home. The theme of one’s return to the place of origin has always been a favourite topic in literature with authors constantly focussing their attention on both the real and the metaphorical journey engaged in by their characters. Over the years, the homecoming theme has also become a sort of cliché in the fictional production of John Banville who, this paper argues, contributes to a discussion of the topic in a fresh and original way. His interest in the subject dates back to Birchwood1 but its centrality is confirmed in his more recent fiction, most notably inThe Untouchable¸2 The Book of Evidence3 and Eclipse,4 as well as The Sea. His 2005 Man Booker Prize winning novel The Sea5 is recognisably among his best achievements to date and his treatment of the homeward journey of the protagonist Max Morden, who is, according to what Banville himself Pier Paolo Piciucco, ‘The Flawed Return: A Study of The Homecoming Theme in John Banville’s The Sea’, Australasian Journal of Irish Studies 17 (2017), pp. 46–58. AUSTRALASIAN JOURNAL OF IRISH STUDIES 47 has inferred from the novel’s reception, ‘more sympathetic, more warm, than my other narrators,’6 is a key factor not only in determining the success of the literary work but also, and most importantly, in the shaping of the narrator’s particularly disorderly identity. Briefly speaking, the homecoming voyage generally involves a convoluted tour that drives the subject from a departure point towards a destination that is in most cases reached during maturity: the homeward journey therefore brings the protagonist back toward his/her place of origin, describing a circular motion in which departing station and arrival point correspond. In John Banville’s The Sea, Max Morden’s uneasiness with his own self makes this trajectory obscure in such a way that we may discuss his travelling not exactly in terms of drawing a circle but a spiral, where the curving line comes very close to the departure point, without touching it. The present study purports to investigate the near-perfect back-circling course undertaken by Max Morden in The Sea, as well as the crafty rhetorical strategies he employs in order to claim that his return to his origins describes a perfect ring. On a parallel level, in fact, the (incoherent) homecoming journey entertained by Max may also help us demonstrate his failed acceptance of his social identity. Basically, the present work attempts to throw light on the multiple oddities that Max Morden’s homeward journey shows by analysing Banville’s novel from two perspectives: in the first case, psychology has become the tool of analysis to view the way in which Max’s action may or may not be considered to conform to the general case of subjects engaged in a homeward trip. Since however Banville’s treatment of the trope displays a considerable number of coincidences with mythical accounts, in the second part of the essay a mythological approach has been used in order to offer additional explanations for the bizarre quality of Morden’s voyage back home. Two main texts have been employed in order to provide evidence for the proposed interpretations: in the first part, psychologist Jerry Burger’s Returning Home: Reconnecting with Our Childhoods (2011) has played a relevant role, while Joseph Campbell’s The Hero with a Thousand Faces (1949) has become the reference point in the last section. Like many other (male) protagonists in the fiction of John Banville, Max Morden is a very authoritarian and proud character.
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