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'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/ -
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. -
Borstal Boy Free
FREE BORSTAL BOY PDF Brendan Behan | 384 pages | 27 Feb 1994 | Cornerstone | 9780099706502 | English | London, United Kingdom Borstal Boy by Brendan Behan Borstal Boy is a autobiographical book by Brendan Behan. Ultimately, Behan demonstrated by his skillful dialogue that working class Irish Borstal Boy and English Protestants actually had more in common with one Borstal Boy through class than they had supposed, and that alleged barriers of religion and ethnicity were merely superficial and imposed by a fearful middle class. The book was banned in Ireland for unspecified reasons in ; the ban expired in The play was a great success, winning McMahon a Tony Award for his adaptation. The play remains popular with both Irish and American audiences. The UK electropop group Chew Lips take their name from a character Borstal Boy the book. The novel was reissued by David R. Godine, Publisher in From Wikipedia, the free encyclopedia. For other uses, see Borstal Boy disambiguation. Main articles: Borstal Boy play and Borstal Boy film. The Glasgow Herald. October 23, Borstal Boy : novels Irish autobiographical novels Book censorship in the Republic of Ireland Irish novels adapted into films Novels by Brendan Behan Novels set in England Irish Borstal Boy novels 20th-century Irish novels Censored books. Namespaces Article Talk. Views Read Edit Borstal Boy history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Borstal Boy (film) - Wikipedia Goodreads helps you keep track Borstal Boy books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. -
The Poem-Book of Gael. Translations from Irish Gaelic Poetry Into English
THE POEM-BOOK OF THE GAEL Mil ,|| líi £ £ O £ Iflíl iiil í 2- ?: Ji JP^ c ^ ^ r:u ^^ ilfil lílU' ^ llfÍJ ^íí Printed bj' Ballantyne, Hanson &>» Co. At the Uallantyne Press, Edinburgh THE POEM-BOOK OF THE GAEL Translations from Irish Gaelic Poetry into English Prose and Verse SELECTED AND EDITED BY ELEANOR HULL AUTHOR OF "THE CUCHULLIN SAGA IN IRISH LITERATURE" "A TEXT-BOOK OF IRISH LITERATURE," ETC. WITH A FRONTISPIECE LONDON CHATTO (^ WINDUS 1912 K^ r [A// rights reservci{\ CONTENTS ( Where not otherwise indicated, the translation or poetic setting is by the ciithor.) PAGE Introduction xv THE SALTAIR NA RANN, OR PSALTER OF THE VERSES í I. The Creation of the Universe . 3 II. The Heavenly Kingdom . II III. The Forbidden Fruit 20 IV. The Fall and Expulsion from Paradise 22 V. The Penance of Adam and Eve 31 VI. The Death of Adam .... 43 ANCIENT PAGAN POEMS The Source of Poetic Inspiration (founded on transla- tion by Whitley Stokes) 53 Amorgen's Song (founded on translation by John MacNeill) 57 25719? viii THE POEM-BOOK OF THE GAEL PAGE The Song of Childbirth . 59 Greeting to the New-born Babe 6i What is Love ? . 62 Summons to Cuchulain . Laegh's Description of Fairy-land 65 The Lamentation of Fand when she is about to leave Cuchulain 69 Mider's Call to Fairy- land 71 The Song of the Fairies . A. H. Leahy 73 The great Lamentation of Deirdre for the Sons of Usna 74 OSSIANIC POETRY First Winter-Song . Alfred Perciv al Graves 81 Second Winter-Song 82 In Praise of May . -
A Seed Is Sown 1884-1900 (1) Before the GAA from the Earliest Times, The
A Seed is Sown 1884-1900 (1) Before the GAA From the earliest times, the people of Ireland, as of other countries throughout the known world, played ball games'. Games played with a ball and stick can be traced back to pre-Christian times in Greece, Egypt and other countries. In Irish legend, there is a reference to a hurling game as early as the second century B.C., while the Brehon laws of the preChristian era contained a number of provisions relating to hurling. In the Tales of the Red Branch, which cover the period around the time of the birth of Christ, one of the best-known stories is that of the young Setanta, who on his way from his home in Cooley in County Louth to the palace of his uncle, King Conor Mac Nessa, at Eamhain Macha in Armagh, practised with a bronze hurley and a silver ball. On arrival at the palace, he joined the one hundred and fifty boys of noble blood who were being trained there and outhurled them all single-handed. He got his name, Cuchulainn, when he killed the great hound of Culann, which guarded the palace, by driving his hurling ball through the hound's open mouth. From the time of Cuchulainn right up to the end of the eighteenth century hurling flourished throughout the country in spite of attempts made through the Statutes of Kilkenny (1367), the Statute of Galway (1527) and the Sunday Observance Act (1695) to suppress it. Particularly in Munster and some counties of Leinster, it remained strong in the first half of the nineteenth century. -
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 . -
Covid-19) – Community Groups Providing Support
CORONAVIRUS (COVID-19) – COMMUNITY GROUPS PROVIDING SUPPORT Information correct as of 11th June 2020. This page will be continuously updated as offers of help are received. Primary Area Group Name Contact(s) Telephone Mobile Help available DISTRICT WIDE SUPPORT SWAP (South West Age Alison Forbes 07873 392365 Providing advice for Partnership) – District older people wide Omagh Forum for Rural Mary T Conway 07765658780 Connecting groups Associations across the District – Support and info. Order of Malta Ireland Angela McGoldrick 07593371441 Groceries and Officer in charge prescriptions Omagh unit collected. Telephone befriending Service. Customized Training Maeve Donaghy 07739651536 Offering Health, Social Services- Community Co-ordinator and Employment Family Support support to families Programme based in the District. Rural Support Freephone Helpline 0800 138 1678 Telephone befriending “Across the Or Service for older, Hedgerows” 02886760040 vulnerable and/or isolating members of Email: the farming info@ruralsupp community with ort.org.uk listening support and companionship. Between 9am – 9pm Monday to Friday. TERMON Area TERMON COVID 19 Contact number 07581531854 Collection of (Carrickmore, RESPONSE Between prescriptions; Loughmacrory, 8am and 10pm Grocery/food Creggan) collections and deliveries etc. Telephone calls to combat isolation Mountfield Mountfield Community Shane Tracey 07749111643 Any help required Association Chris Gorman 07857054567 Thomas Goulding 07476301082 Susan Bradley 07742896427 Greencastle An Caisleán Glas agus Collie Tuohey 07970379741 Any help required Sperrin Óg GAA, Fiona Teague 07813935996 Groceries and Tír Eoghain Briege Beggs 07799058273 prescriptions Fr Shields Camogie collected. Leaflets Club dropped. OMAGH Omagh Independent Michael Roddy 2882243252 Advice & supports on Advice Centre [email protected] Government Covid 19 k schemes, benefits, housing, employment laws & debt/money advice. -
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). -
Eoghán Rua Ó Suilleabháin: a True Exponent of the Bardic Legacy
134 Eoghán Rua Ó Suilleabháin: A True Exponent of the Bardic Legacy endowed university. The Bardic schools and the monastic schools were the universities of their day; they bestowed privileges and Barra Ó Donnabháin Symposium: status on their students and teachers, much as the modern university awards degrees and titles to recipients to practice certain professions. There are few descriptions of the structure and operation of Eoghán Rua Ó Suilleabháin: A the Bardic schools, but an account contained in the early eighteenth century Memoirs of the Marquis of Clanricarde claims that admission True Exponent of the Bardic WR %DUGLF VFKRROV ZDV FRQÀQHG WR WKRVH ZKR ZHUH GHVFHQGHG from poets and had within their tribe “The Reputation” for poetic Legacy OHDUQLQJ DQG WDOHQW ´7KH TXDOLÀFDWLRQV ÀUVW UHTXLUHG VLF ZHUH Pádraig Ó Cearúill reading well, writing the Mother-tongue, and a strong memory,” according to Clanricarde. With regard to the location of the schools, he asserts that it was necessary that the place should “be in the solitary access of a garden” or “within a set or enclosure far out of the reach of any noise.” The structure containing the Bardic school, we are told, “was snug, low, hot and beds in it at convenient distances, each within a small apartment without much furniture of any kind, save only a table, some seats and a conveniency for he poetry of Eoghan Rua Ó Súilleabháin (1748-1784)— cloaths (sic) to hang upon. No windows to let in the day, nor any Tregarded as one of Ireland’s great eighteenth century light at all used but that of candles” according to Clanricarde,2 poets—has endured because of it’s extraordinary metrical whose account is given credence by Bergin3 and Corkery. -
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. -
Beckett and His Biographer: an Interview with James Knowlson José Francisco Fernández (Almería, Spain)
The European English Messenger, 15.2 (2006) Beckett and His Biographer: An Interview with James Knowlson José Francisco Fernández (Almería, Spain) James Knowlson is Emeritus Professor of French at the University of Reading. He is also the founder of the International Beckett Foundation (previously the Beckett Archive) at Reading, and he has written extensively on the great Irish author. He began his monumental biography, Damned to Fame:The Life of Samuel Beckett (London: Bloomsbury, 1996) when Beckett was still alive, and he relied on the Nobel Prize winner’s active cooperation in the last months of his life. His book is widely acknowledged as the most accurate source of information on Beckett’s life, and can only be compared to Richard Ellmann’s magnificent biography of James Joyce. James Knowlson was interviewed in Tallahassee (Florida) on 11 February 2006, during the International Symposium “Beckett at 100: New Perspectives” held in that city under the sponsorship of Florida State University. I should like to express my gratitude to Professor Knowlson for giving me some of his time when he was most in demand to give interviews in the year of Beckett’s centennial celebrations. José Francisco Fernández JFF: Yours was the only biography on or even a reply to the earlier biography of authorised by Beckett. That must have been Deirdre Bair. It needs to stand on its own two a great responsibility. Did it represent at any feet. And I read with great fascination the time a burden? Knowing that what you wrote biography of Deirdre Bair and have never said would be taken as ‘the truth’.