Colby Quarterly Volume 37 Issue 4 December Article 4 December 2001 Irish Women Poets 1929-1959 Some Foremothers Susan Schreibman Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.4, December 2001, p.309-326 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. Schreibman: Irish Women Poets 1929-1959 Some Foremothers Irish Women Poets 1929-1959 Some Foremothers By SUSAN SCHREIBMAN that which ... is always passed off as 'the' tradition... is always active and adjusting. Raymond Williams N HER 1971 ESSAY, "When We Dead Awaken," Adrienne Rich writes of the I "psychic geography" explored by her generation of women poets "as we try to find language and images for a consciousness we are just coming into, and with little in the past to support us" (168). For Irish women poets who have come of age in the closing decades of the twentieth century, the exploration of that psychic geography has been conducted within the widely held belief that theirs was the first generation to break into the male-dominated Irish literary scene. A reading of the anthologies and critical studies of Irish poetry which have proliferated since the 1970s only confirms that belief. 1 The "vital texts" (167) written by Irish poets in post-Independence Ireland have been profoundly, one might even be tempted to say systematically, buried, denied, repressed, and discounted. In more recent years, it has been, on the one hand, the source of fierce literary debate, such as that sparked by the publication of the Field Day Anthology of Irish Writing in 1991, and on the other hand, of woeful neglect. But surely the most marginalized of this mar­ ginalized community are the poets who had first collections published between 1921 and 1950, such as Rhoda Coghill, Irene Haugh, Temple Lane, Dorothy M. Large, May Morton, Mary Devenport O'Neill, Lorna Reynolds, Blaniad Salkeld, Elizabeth Shane, and Sheila Wingfield. An investigation of the Irish journals and newspapers that regularly pub­ lished poetry from the 1920s to the 1950s tells another story. In this version of events, women were an integral part of the Irish literary scene. There is evi­ dence that they supported each other's work, had the support of male editors, and their collections, published both in Ireland and the United Kingdom, were regularly reviewed in Irish publications. This article, therefore, is an exercise in recovery: in doculnenting a chain of literary events that has contributed sig- 1. I gratefully thank Rhoda Coghill for permission to reproduce her poetry, and Blanaid Beehan Walker and Pauge Beehan for permission to reproduce the work of Blaniad Salkeld. Although several attempts were made to locate the copyright holders of the works of Mary Devenport O'Neill and Temple Lane, I was unsuc­ cessful in locating them. Any information regarding copyright holders for these poets would be much appre­ ciated. 309 Published by Digital Commons @ Colby, 2001 1 Colby Quarterly, Vol. 37, Iss. 4 [2001], Art. 4 310 COLBY QUARTERLY nificantly to their marginalization, and in exploring of the work of three poets, Rhoda Coghill, Mary Devenport O'Neill, and Blanaid Salkeld, whose work may be read as a palimpsest which emerges through the ink stains of present-day Irish poets. **** THE FIRST MAJOR ACT of exclusion was in the 1970s with Michael Smith's New Writers Press project. Smith's attempted revival of Irish modernist poetry was predicated on the idea that a body of work comprising an alterna­ tive Irish tradition lay fallow. This alternative tradition, as Smith writes in volume 4 of The Lace Curtain, "has been completely ignored as if it didn't exist" (3). In issue after issue of The Lace Curtain Smith restored to the Irish reading public poetry long out of print by writers such as Brian Coffey, Denis Devlin, Lyle Donahgy, Patrick MacDonogh, Thomas MacGreevy, and indeed, Samuel Beckett. His seemingly exhaustive research into this alterna­ tive Irish tradition, however, was overwhelmingly gendered male. Nearly all of the poetry by women represented in the journal are either not part of the thirties' generation (as Smith calls them), such as Maire Mhac an tSaoi, or are not Irish, such as Ingeborg Bachmann. In fact, the only Irish women poet of the thirties to find her way into The Lace Curtain was Lorna Reynolds, who was active in the 1970s as an academic in the field of Anglo-Irish literature. In the 1980s, a decade in which an unprecedented interest in Irish poetry was tangibly manifested in the publication of several literary studies as well as major anthologies, these women fared no better. The perceived absence of not only any notable Irish women poet, but any female poet post-Katharane Tynan and pre-Eavan Boland was evident fron1 anthologies such as Maurice Harmon's Irish Poets After Yeats (1979; reprint 1981) and Thomas Kinsella's The New Oxford Book ofIrish Verse (1986; reprint 1989), in which not a sin­ gle twentieth-century Irish woman poet appears. Brendan Kennelly's The Penguin Book of Irish Verse (1970; reprint 1981) includes women from the revival period (such as Lady Wilde, b. 1820 and Emily Lawless, b. 1845), and poets from the current generation (Eilean Nf Chuilleanain, b. 1942 and Eavan Boland, b. 1945), but no poets in-between. This absence was reinforced by major critical studies, such as Robert F. Garratt's Modern Irish Poetry: Tradition and Continuity from Yeats to Heaney (1986; reprint 1989) and Dillon Johnston's Irish Poetry After Joyce (1985) in which no woman poet except Katharine Tynan, albeit briefly, is mentioned. Given the overwhelming lack of acknowledgement by critics and antholo­ gists it is not surprising that this absence became self-perpetuating. By 2000, however, it becomes harder to understand how these women continued to remain part of hidden Ireland. In 1988 Wolfhound Press published A. A. Kelly's Pillars of the House: An Anthology of Verse by Irish Women from 1690 to the Present. Kelly's anthology was groundbreaking in providing a road map for Irish women's poetry, with a small but representative selection of poems per poet (including the poets mentioned at the outset of this essay), https://digitalcommons.colby.edu/cq/vol37/iss4/4 2 Schreibman: Irish Women Poets 1929-1959 Some Foremothers SUSAN SCHREIBMAN 311 and well-researched biographical notes. Yet, throughout the 1990s the exclu­ sion persisted. John Wilson Foster's Colonial Consequences: Essays in Irish Literature and Culture (1991) gives the impression that no women wrote in Ireland. (None are mentioned in the table of contents or on the back blurb. There is no index.) Not only male critics ignored the poetry of this generation. Patricia Boyle Haberstroh missed an important opportunity, in Women Creating Women: Contemporary Irish Women Poets (1996), to establish a continuous tradition of poetry written by women during the twentieth century as a precedent for the poets of her study, opting instead when discussing the period between the wars, to examine how W. B. Yeats and Patrick Kavanagh portrayed women. Even when Anne Colman took exception to Haberstroh's reading of foremothers in her 1997 review of the book for the Irish Review entitled "Women Forgetting Foremothers," nan1ing predecessors from the seventeenth through nineteenth centuries, she leapt from the twilight poets to those of the present day without identifying a single mid-century foremother. And Eilfs Nf Dhuibhne, in her introduction to Voices on the Wind: Women Poets ofthe Celtic Twilight (1995), an anthology that did a great service to the revival poets, writes that "some immensely gifted women in Ireland wrote in the decades between independence and the 1960s," while also perceiving that there was generally a hiatus: "women in Ireland did not follow the pattern established during the revival. Instead we have waited until the 1960s or 1970s to have another resurgence of writing by Irish women, a second literary revival" (14). Much of the neglect throughout the 1990s is also due, in part, to Eavan Boland's groundbreaking pamphlet, A Kind of Scar: The Woman Poet in a National Tradition (1989) which has been extremely influential in setting the agenda for the ways in which contemporary Irish women's poetry has been understood and studied. Boland's premise exists in the then1es, re-memories, and insights implicit in her poem "The Achill Woman," which serves as a pre­ lude to the essay. The essay itself opens with Boland recalling the incident that inspired the poem: an incident in which Boland had her first inkling of the disparity between the lived world and the seemingly contradictory world of the text. Close on the heels of the prose description of the origins of the poem, Boland states the central theme of her essay: [O]ver a relatively short time-certainly no more than a generation or so-women have moved from being the subjects and objects of Irish poems to being the authors of them. It is a momen­ tous transit. It is also a disruptive one. It raises questions of identity, issues of poetic motive and ethical direction which can seem almost impossibly complex... Most importantly, it changes our idea of the Irish poem; of its composition and authority, of its right to appropriate certain themes and make certain fiats. (6-7) Yet, these themes had already been appropriated, and these fiats had already been made, albeit not always through a voice comn10n to post-World War II writing. While it is clear that in writing this essay, Boland was assimilating the critical thinking of the day, what this oft-quoted passage did was reinforce the idea that there existed a vacuum that conten1porary Irish women poets Published by Digital Commons @ Colby, 2001 3 Colby Quarterly, Vol.