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Writing from the Margins Writing from the Margins Writing from the Margins The Aesthetics of Disruption in the Irish Short Story Edited by Catriona Ryan Writing from the Margins: The Aesthetics of Disruption in the Irish Short Story Edited by Catriona Ryan This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Catriona Ryan and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7085-4 ISBN (13): 978-1-4438-7085-6 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Catriona Ryan Part One: Samuel Beckett Chapter One ............................................................................................... 11 A Rupture of Communication: Texts for Nothing Hana Khasawneh Chapter Two .............................................................................................. 23 Samuel Beckett: The Last Naturalist Andrew Fox Chapter Three ............................................................................................ 37 Historical Trauma and Imprisonment in Samuel Beckett’s Short Prose Timi O’Neill Chapter Four .............................................................................................. 47 Reconstituted Pathos: “Love” From the Periphery H. L. Michelle Chiang Part Two: Aidan Higgins Chapter Five .............................................................................................. 63 Aidan Higgins: A Chance Meeting Outside the Irish Tourist Board Dermot Healy Chapter Six ................................................................................................ 67 Aidan Higgins’s Fabulous Fictions: Revisiting Felo De Se Neil Murphy vi Table of Contents Chapter Seven ............................................................................................ 77 Shadows on a Cold Pass: Aidan Higgins’s “Asylum” Grace Tighe Ledwidge Part Three: Tom Mac Intyre Chapter Eight ............................................................................................. 95 Tom Mac Intyre’s The Harper’s Turn Seamus Heaney Chapter Nine .............................................................................................. 97 Madness in Mac Intyre’s “Sweeney Among the Branches”: A Paleo-Postmodern Perspective Catriona Ryan Chapter Ten ............................................................................................. 115 ‘With a Schwarmerei that Barely Escaped Self-Parody’: The Written Voice in Tom Mac Intyre’s Short Fiction Barry Sheils Contributors ............................................................................................. 129 Index ........................................................................................................ 133 ACKNOWLEDGEMENTS I would like to thank my partner, Dr Emily Franks-Ryan, for all her love and support over the last few years. She has transformed my life in every way and for that I am forever grateful. This book is dedicated to her. I am grateful to close friends such as Ann Shabbaz whose indomitable strength has been very inspiring. This tribute extends to Tereli Askwith who has been such a positive influence in my life over the last number of years. I am grateful to them for their encouragement. Other more recent friends such as Timi O’Neill have been very supportive and thank you for that. This book is also dedicated to my family Michael, John, Mary, Anne, Helen, Francis, Valerie, Mel, Tony, Cathy Aidan Daisy Mae and Willow. It is also dedicated to my parents, Catherine and Jack Ryan. I want to thank Professor Mike Phillips who been very supportive of my career development and I owe him much for giving me the opportunity to continue my research at University of Wales Trinity Saint David, Swansea. I am also grateful to Professor Andrea Liggins and Dr Ian Walsh for their support. I would also like to thank Mike Swanson for his invaluable IT skills. I would also like to thank all the academic contributors for submitting their work for this collection that is the first of its kind on the Irish experimental short story. Thanks to Dermot Healy who granted permission for his essay to be published in this book. Unfortunately Dermot passed away recently. I am grateful and honoured to include his work here. Seamus Heaney very kindly granted me permission to publish his critical piece and I have followed his requirements regarding certain recommended changes to his essay. I was sad to hear he passed away soon after our contact but am honoured that he granted permission to include his work. Last, but not least, this book is also dedicated to Daisy. INTRODUCTION CATRIONA RYAN The title of this book concerns the work of a group of Irish writers whose writing has been marginalised in the mainstream Irish short story tradition. Due to their innovative approaches to the short story form they have struggled to gain full acceptance within the mainstream Irish literary canon. The essays in this book focus on some of the writers who make up this counter-tradition in Irish short story writing. One of the main questions that need to be considered is why, in the context of the Irish short story, writers such as Aidan Higgins and Tom Mac Intyre have been sidelined by critics. Beckett has an established reputation, yet his short prose work is considered very much at odds with the Irish short story tradition. One of the most significant publications to date concerning the history of the Irish short story is Heather Ingman’s A History of the Irish Short Story. She tracks the history of the genre in Ireland from the nineteenth century to modern times. Ingman briefly refers to Aidan Higgins’s and Samuel Beckett’s contribution (ignoring Tom Mac Intyre) and there is an absence of any detailed analysis of a counter-tradition that involves an aesthetics of disruption. This anthology seeks to address that critical gap in contemporary Irish studies. In the history of Irish literature the Irish short story is considered to be a pre-eminent Irish prose form. This is due to the Irish oral folktale tradition of which the Irish form of the literary short story is a descendant. In the nineteenth century the form found its key development in William Carleton who combined influences from the culture of oral Irish folk tales and models from the English literary tradition. As Declan Kiberd notes, “The short story is the natural result of the fusion between the ancient form of the folk tale and the preoccupations of modern literature” (2002: 42). In the nineteenth century the short story genre was developed by Anglo Irish writers whose various political and religious identities were reflected in a tradition that tended to stereotype the Irish Catholic masses. Towards the end of the nineteenth century a growing Catholic bourgeoisie began to make an impact on the development of the Irish short 2 Introduction story. According to Frank O’Connor the modern Irish short story began with the work of the writer George Moore whose realist portrayal of Irish life influenced the subsequent tradition, especially the work of Joyce. The naturalist short story style of Joyce and Moore also had a subversive dimension in their criticisms of the influence of Catholicism in Irish culture. Through the influence of Kantian philosophy and the work of other philosophers, Moore developed an atheistic stance and in his classic collection of short stories, The Untilled Field, where he expressed his contempt for the Catholic Church and the power it had over Irish society. In the nineteen twenties, thirties and forties Moore and Joyce influenced the second generation of Irish short story writers such as Frank O’Connor and Sean O’Faolain, who, by continuing in the same vein as Moore and Joyce, were victims of the Catholic-run Irish censorship board. Though the modern Irish short story tradition has its own history of subversion, the question remains as to why the short stories of Beckett, Higgins and Mac Intyre were never fully accepted. The marginalized status of the avant-garde writer in Irish literature has been well documented in other genres. In relation to the neo-modernist tradition of poetry in Ireland John Goodby makes the point that the reason experimental poetry has not been embraced by the aesthetic ideologues of mainstream Irish poetry is that as well as using experimental forms “the neo-modernists specifically reject the issue of family, nation and tradition” (2000: 301-302). Generally the mainstream aesthetics of a post-colonial twentieth century Irish culture was centred on attempts to articulate the nature of Irish identity in the face of a repressive Catholic state. The representation of that struggle was often mediated through realism. The neo-modernist project therefore remained marginalized. Similar arguments may be attributed to the Irish experimental short story writers; but it is more complex. It would be easy to group the work of Beckett, Higgins and Mac Intyre into the rejectionist avant-garde mind- set like the Irish neo-modernist poets but what characterizes, in the
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