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The Writing Irish of New York by Colin Broderick,Colum Mccann,Luanne Rice Pdf
23 of today's top Irish-American authors provide personal accounts of how they found their voices in the Big Apple, and editor Colin Broderick provides background essays on Brendan Behan, Maeve Brennan, Frank McCourt, and other Irish-American writers of the past.
The Writing Irish of New York by Colin Broderick,Colum Mccann,Luanne Rice Pdf
23 of today's top Irish-American authors provide personal accounts of how they found their voices in the Big Apple, and editor Colin Broderick provides background essays on Brendan Behan, Maeve Brennan, Frank McCourt, and other Irish-American writers of the past.
We Don't Know Ourselves: A Personal History of Modern Ireland by Fintan O'Toole Pdf
NEW YORK TIMES BESTSELLER NEW YORK TIMES • 10 BEST BOOKS OF THE YEAR NATIONAL BESTSELLER The Atlantic: 10 Best Books of 2022 Best Books of the Year: Washington Post, New Yorker, Salon, Foreign Affairs, New Statesman, Chicago Public Library, Vroman's “[L]ike reading a great tragicomic Irish novel.” —James Wood, The New Yorker “Masterful . . . astonishing.” —Cullen Murphy, The Atlantic "A landmark history . . . Leavened by the brilliance of O'Toole's insights and wit.” —Claire Messud, Harper’s Winner • 2021 An Post Irish Book Award — Nonfiction Book of the Year • from the judges: “The most remarkable Irish nonfiction book I’ve read in the last 10 years”; “[A] book for the ages.” A celebrated Irish writer’s magisterial, brilliantly insightful chronicle of the wrenching transformations that dragged his homeland into the modern world. Fintan O’Toole was born in the year the revolution began. It was 1958, and the Irish government—in despair, because all the young people were leaving—opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don’t Know Ourselves, O’Toole, one of the Anglophone world’s most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary “backwater” to an almost totally open society—perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O’Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland’s main export was beef and it was still not unknown for herds of cattle to clatter down Dublin’s streets. Yet the Westerns were a sign of what was to come. O’Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O’Toole’s telling, America became a lodestar, from John F. Kennedy’s 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O’Toole in coruscating prose captures the peculiar Irish habit of “deliberate unknowing,” which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don’t Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.
While the Irish Literary Revival began around 1885 and ended somewhere between 1925 and 1940, the Irish Renaissance has continued to the present day and shows no sign of abating. The period has produced some of the most important and influential figures in Irish literature, some of whom are counted among the world's greatest authors. The Revival saw a reestablishment of Ireland's literary connections with its Celtic heritage, and writers such as William Butler Yeats and Lady Gregory drew heavily on the myths and legends of the past. James Joyce boldly reshaped the novel and wrote short fiction of enduring value. Contemporary Irish writers continue to be leading figures and include such authors as Brian Frigl, Seamus Heaney, and Eavan Boland. Included in this reference book are alphabetically arranged entries for more than 70 modern Irish writers, including Samuel Beckett, William Trevor, Patrick Kavanagh, Medbh McGuckian, Sean O'Casey, J. M. Synge, and Nuala Ni Dhomhnaill. Entries are written by expert contributors and reflect a broad range of perspectives. Each entry contains a brief biography that summarizes the author's career, a discussion of major works and themes, an overview of the author's critical reception, and a bibliography of primary and secondary works. An introductory essay reviews the large and growing body of scholarship on modern Irish literature, while an extensive bibliography concludes the volume.
The international sensation that illuminates the experiences women are supposed to hide—from addiction, anger, sexual assault, and infertility to joy, sensuality, and love. WINNER OF THE AN POST IRISH BOOK OF THE YEAR • “Emilie Pine’s voice is razor-sharp and raw; her story is utterly original yet as familiar as my own breath.”—Glennon Doyle, #1 New York Times bestselling author of Love Warrior In this dazzling debut, Emilie Pine speaks to the events that have marked her life—those emotional disruptions for which our society has no adequate language, at once bittersweet, clandestine, and ordinary. She writes with radical honesty on the unspeakable grief of infertility, on caring for an alcoholic parent, on taboos around female bodies and female pain, on sexual violence and violence against the self. This is the story of one woman, and of all women. Devastating, poignant, and wise—and joyful against the odds—Notes to Self is an unforgettable exploration of what it feels like to be alive, and a daring act of rebellion against a society that is more comfortable with women’s silence. Praise for Notes to Self “Notes to Self begins as a deceptively simple catalogue of the injustices of modern female life and slyly emerges as a screaming treatise on just what it means to make your own rules, turning the hand you’ve been dealt into the coolest game in town. Emilie Pine is like your best friend—if your best friend was so sharp she drew blood.”—Lena Dunham, #1 New York Times bestselling author of Not That Kind of Girl “To read these essays is to understand the human condition more clearly, to reassess one’s place in the world, and to reclaim one’s own experiences as real and valid.”—Sunday Independent “Harrowing, clear-eyed . . . Everyone should consider [this] priority reading.”—Sunday Business Post “Incredible and insightful—an absolute must-read.”—The Skinny “Agonizing, uncompromising, starkly brilliant. . . . [A] short, gleamingly instructive book, both memoir and psychological exploration—a platform for that insistent internal voice that almost any woman . . . wishes they had ignored.”—Financial Times “Do not read this book in public. It will make you cry.”—Anne Enright
New York University's Glucksman Ireland House opened a quarter-century ago to foster the study of Ireland and Irish America, and since then has led and witnessed tremendous changes in Irish and Irish-American culture. Alice McDermott writes about her son's Irish awakening; Colum McCann's Joycean essay is a brilliant call to action in defence of immigrants and social justice; Colm Tóibín's first visit to New York coincided with the first St Patrick's Day parade led by a woman; Dan Barry reflects on Frank McCourt's Angela's Ashes; and a new poem by Seamus Heaney written not long before his death. Through deeply personal essays that reflect on their own experience, research and art, some of the best-known Irish writers on both sides of the Atlantic commemorate the House's anniversary by examining what has changed, and what has not, in Irish and Irish-American culture, art, identity, and politics since 1993.
Irish Children's Literature and Culture by Keith O'Sullivan,Valerie Coghlan Pdf
What constitutes a ‘national literature’ is rarely straightforward, and it is especially complex when discussing writing for young people in an Irish context. Until recently, there was only a slight body of work that could be classified as ‘Irish children’s literature’ (whatever the parameters) in comparison with Ireland’s contribution to adult literature in the twentieth century. This volume looks critically at Irish writing for children from the 1980s to the present, examining the work of many writers and illustrators and engaging with all the major forms and genres. Topics include the gothic, the speculative, picturebooks, poetry, post-colonial discourse, identity and ethnicity, and globalization. Modern Irish children’s literature is also contextualized in relation to Irish mythology and earlier writings, thereby demonstrating the complexity of this fascinating area. The contributors, who are leading experts in their fields, examine a range of texts in relation to contemporary literary and cultural theory, and also in relation to writing for adults, thereby inviting a consideration of how well writing for a young audience can compare with writing for an adult one. This groundbreaking work is essential reading for all interested in Irish literature, childhood, and children’s literature.
As they entered their 600th year of British occupation, the Irish looked to America. By the 1840s, America was the oasis that the Irish sought during a decade of both famine and revolution, and New York City was the main destination. The city would never be the same. Refugees of the famine found leadership in Archbishop “Dagger” John Hughes, who built an Irish-Catholic infrastructure of churches, schools, hospitals, and orphanages that challenged the Protestant power structure of the city. Revolutionaries found a home in NYC, too: Thomas Francis Meagher would later become Lincoln’s favorite Irish war general; John Devoy and Jeremiah O’Donovan Rossa continued their fight from the city after the failed Rising of 1867; two men killed in the Easter Rising, Tom Clarke and James Connolly, spent substantial time in New York. From there, the Irish rose and helped shape New York politics, labor, social activism, entertainment, and art. W. R. Grace was New York’s first Irish-Catholic mayor, followed by Tammany rogue James J. Walker, and then William O’Dwyer of County Mayo. On the labor side, Michael J. Quill, ex-IRA, of the Transport Workers of America, found his perfect foil in WASP mayor John V. Lindsay. Dorothy Day and Margaret Sanger became famed social activists. While the Irish made up much of the NYPD and FDNY, there was also the criminal element of the 1860s. The toughness of the New York underworld caught the eye of Hollywood, and James Cagney would become one of America’s favorite tough-guy movie characters. Irish gangs would be made famous in Martin Scorsese’s Gangs of New York. Today, Eugene O’Neill, Jimmy Breslin, Pete Hamill and Frank McCourt populate our literary canon. These Irish influenced every phase of American society, and their colorful stories make up Real Irish New York.
NEW YORK TIMES BESTSELLER • SOON TO BE AN FX LIMITED SERIES STREAMING ON HULU • NATIONAL BOOK CRITICS CIRCLE AWARD WINNER • From the author of Empire of Pain—a stunning, intricate narrative about a notorious killing in Northern Ireland and its devastating repercussions. "Masked intruders dragged Jean McConville, a 38-year-old widow and mother of 10, from her Belfast home in 1972. In this meticulously reported book—as finely paced as a novel—Keefe uses McConville's murder as a prism to tell the history of the Troubles in Northern Ireland. Interviewing people on both sides of the conflict, he transforms the tragic damage and waste of the era into a searing, utterly gripping saga." —New York Times Book Review "Reads like a novel ... Keefe is ... a master of narrative nonfiction. . .An incredible story."—Rolling Stone A Best Book of the Year: The New York Times, The Washington Post, The Wall Street Journal, TIME, NPR, and more! Jean McConville's abduction was one of the most notorious episodes of the vicious conflict known as The Troubles. Everyone in the neighborhood knew the I.R.A. was responsible. But in a climate of fear and paranoia, no one would speak of it. In 2003, five years after an accord brought an uneasy peace to Northern Ireland, a set of human bones was discovered on a beach. McConville's children knew it was their mother when they were told a blue safety pin was attached to the dress--with so many kids, she had always kept it handy for diapers or ripped clothes. Patrick Radden Keefe's mesmerizing book on the bitter conflict in Northern Ireland and its aftermath uses the McConville case as a starting point for the tale of a society wracked by a violent guerrilla war, a war whose consequences have never been reckoned with. The brutal violence seared not only people like the McConville children, but also I.R.A. members embittered by a peace that fell far short of the goal of a united Ireland, and left them wondering whether the killings they committed were not justified acts of war, but simple murders. From radical and impetuous I.R.A. terrorists such as Dolours Price, who, when she was barely out of her teens, was already planting bombs in London and targeting informers for execution, to the ferocious I.R.A. mastermind known as The Dark, to the spy games and dirty schemes of the British Army, to Gerry Adams, who negotiated the peace but betrayed his hardcore comrades by denying his I.R.A. past--Say Nothing conjures a world of passion, betrayal, vengeance, and anguish.
In this deeply moving and life-affirming tale, a mother must nurture her five-year-old son through an unfathomable situation with only the power of their imagination and their boundless capacity to love. Written for the stage by Academy Award® nominee Emma Donoghue, this unique theatrical adaptation featuring songs and music by Kathryn Joseph and director Cora Bissett takes audiences on a richly emotional journey told through ingenious stagecraft, powerhouse performances, and heart-stopping storytelling. Room reaffirms our belief in humanity and the astounding resilience of the human spirit. This updated and revised edition was published to coincide with the Broadway premiere in Spring 2023.
Best Book of 2020 New York Times |NPR | New York Post "This hushed suspense tale about thwarted dreams of escape may be her best one yet . . . Its own kind of masterpiece." --Maureen Corrigan, The Washington Post "A new Tana French is always cause for celebration . . . Read it once for the plot; read it again for the beauty and subtlety of French's writing." --Sarah Lyall, The New York Times Cal Hooper thought a fixer-upper in a bucolic Irish village would be the perfect escape. After twenty-five years in the Chicago police force and a bruising divorce, he just wants to build a new life in a pretty spot with a good pub where nothing much happens. But when a local kid whose brother has gone missing arm-twists him into investigating, Cal uncovers layers of darkness beneath his picturesque retreat, and starts to realize that even small towns shelter dangerous secrets. "One of the greatest crime novelists writing today" (Vox) weaves a masterful, atmospheric tale of suspense, asking how to tell right from wrong in a world where neither is simple, and what we stake on that decision.
An Post Irish Book Awards Nonfiction Book of the Year • A Guardian Best Book of 2020 • Shortlisted for the 2021 Rathbones Folio Prize • Longlisted for the 2021 Republic of Consciousness Prize • Winner of the James Tait Black Biography Prize • A New York Times New & Noteworthy Title • Longlisted for the 2021 Gordon Burn Prize • A Buzzfeed Recommended Summer Read • A Publishers Weekly Best Book of 2021 • A Book Riot Best Book of 2022 • An NPR Best Book of 2021 • A Chicago Public Library Best Book of 2021 • A Globe and Mail Book of the Year • A Winnipeg Free Press Top Read of 2021 • An Entropy Magazine Best of the Year • A LitHub Best Book of 2021 • A New York Times Critics' Top Book of 2021 • A National Book Critics Circle Award Finalist When we first met, I was a child, and she had been dead for centuries. On discovering her murdered husband’s body, an eighteenth-century Irish noblewoman drinks handfuls of his blood and composes an extraordinary lament. Eibhlín Dubh Ní Chonaill’s poem travels through the centuries, finding its way to a new mother who has narrowly avoided her own fatal tragedy. When she realizes that the literature dedicated to the poem reduces Eibhlín Dubh’s life to flimsy sketches, she wants more: the details of the poet’s girlhood and old age; her unique rages, joys, sorrows, and desires; the shape of her days and site of her final place of rest. What follows is an adventure in which Doireann Ní Ghríofa sets out to discover Eibhlín Dubh’s erased life—and in doing so, discovers her own. Moving fluidly between past and present, quest and elegy, poetry and those who make it, A Ghost in the Throat is a shapeshifting book: a record of literary obsession; a narrative about the erasure of a people, of a language, of women; a meditation on motherhood and on translation; and an unforgettable story about finding your voice by freeing another’s.
"Drawing on sources such as the land, the Church, the past, changing politics, and literary styles, Irish writers ranging from W. B. Yeats, James Joyce, and Augusta Gregory to Roddy Doyle, Kate O'Brien, Colm Toibin, John Banville, and Seamus Heaney explore what it means to be a writer in Ireland"--Provided by publisher.
