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Brendan Behan wrote over one hundred articles for Irish newspapers between 1951 and 1956 as he rose to international fame, with most of them written in a weekly column in the Irish Press. The articles reveal a serious writer capable of great comic set pieces and amusing yarns as well as thoughtful reflections on cultural and historical issues. They reflect his passion for working-class Dublin life and the history and folklore of the city, as well as his travels in Ireland and Europe. A Bit of a Writer: Brendan Behan's Complete Collected Short Prose gathers all the articles and essays that Behan published in newspapers from 1951 to his death in 1964. Selections of Behan's articles have been published since his death (Hold Your Hour and Have Another, 1965; After the Wake, 1981; The Dubbalin Man, 1997). However, there has been no complete edition of Behan's prose, and no edition has provided a detailed biographical and literary introduction, explanatory notes and suggestions for further reading. This volume is publishing during the centenary celebrations of Behan's birth in 2023, with his birthday being 9 February.
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She is Maud Gonne, the muse of writer William Butler Yeats. Yeats here returns as a ghost, after having been buried in southern France in January 1939 at Roquebrune-Cap-Martin. Ten years later his remains are repatriated to Ireland. He emerges from his grave to recount his thwarted love with Maud, a story blending with the movement for Irish independence in which they each played an integral part. Yeats' ghost has suddenly appeared as diplomatic documents have come to light, casting doubt on the contents of the coffin brought back to Sligo for a state funeral. Where did the poet's body go? Does he still hover 'somewhere above the clouds'? What remains of our loves and our deaths, if not their poetry? Maylis Besserie's exciting new work follows on from Yell, Sam, If You Still Can (Le tiers temps), translated by Clíona Ní Ríordáin. In Besserie's second novel, she turns her attention from Samuel Beckett to another Irish writer, W. B. Yeats. The connection between Ireland and France is forged once again in the smithy of art, culture and the days at the end of life.
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Yell, Sam, If You Still Can by Maylis Besserie, the first of her Irish trilogy, shows us Samuel Beckett at the end of his life in 1989, living in Le Tiers-Temps retirement home. It is as if Beckett has come to live in one of his own stage productions, peopled with strange, unhinged individuals, waiting for the end of days.This novel is filled with voices. From diary notes to clinical reports to daily menus, cool medical voices provide a counterpoint to Beckett himself, who reflects on his increasingly fragile existence. He remains playful, rueful, and aware of the dramatic irony that has brought him to live in the room next door to Winnie, surrounded by grotesques like Hamm or Lucky, abandoned by his wife Suzanne who died before him.Besserie delights in Beckett's bilingualism and plays back and forth between the francophone and anglophone properties of language, summoning James Joyce as Beckett reminisces about evenings the two spent together singing, talking and drinking. Largely written in the library of the Centre Culturel Irlandais, Besserie has kept the hum of Irish voices throughout this work.Yell, Sam, If You Still Can won the "Goncourt du premier roman", the prestigious French literary prize for first time novelists, just before the country went into lockdown. Besserie is now planning a further two novels that will explore the links between Ireland and France and is touted as the new star of the French literary world.
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The Appleman and the Poet, the fifth volume of Hubert Butler's essays, completes a thirty-year odyssey embarked upon by The Lilliput Press in 1984. Our flagship author has finally come home, welcomed by Fintan O'Toole in his foreword: One of the great joys of these essays is the discovery of sentences as sharp and lithe as a Toledo rapier.' Beginning with Russian Dispatches 1932-1946,' Butler gives an evocative description - from the viewpoint of a bourgeois teacher - of a society in dissolution, before the onset of Stalin's Great Purge, as show farms give way to show trials, the iron curtain descends across Europe, and Communism and Christianity lock horns. Part Two, Peace News Papers 1948-1958,' largely derives from the weekly Peace News, in which Butler debates and defends with steely precision Ireland's neutrality, pacifism, and the integrity of Yugoslavia, where we know that in 1941 and 1942 one very pious government [Croatia's] perpetrated the greatest massacre in the history of Christendom.' Autobiographies' contains some of Butler's most affecting work. It describes his parents and home at Maidenhall; details his education in England; reflects on a universal sexuality; has a poignant piece about deafness; and concludes with the Virgilian essay of the book's title. Part Four, Musings of an Irish Protestant,' expresses Butler's potent sense of an Anglo-Irish identity and community: from the right of private judgment' proclaimed at the 1782 Dungannon Convention, in a line of descent from Charlemont, Henry Grattan, Wolfe Tone and Emmet, via Thomas Davis, Standish O'Grady, Parnell and Arthur Griffith, to Yeats and the men of 1916 - all independent spirits. Family Matters' addresses the Butler clan at home and abroad, with essays taken from the Journal of the Butler Society. History and Literature under Review' assembles newspaper and journal pieces on diverse subjects: Swift, Yeats, Horace Plunkett, Enid Starkie, Rebecca West (in Yugoslavia), the Holocaust, Early Irish saints, Hans Küng, Teilhard de Chardin, and Ronald Reagan and the American Wall of Separation (between Church and State) in the 1980s. The Appleman and the Poet places a capstone upon a project begun with Escape from the Anthill in 1985. Butler's essays, written over six decades, establish him as one of Ireland's great twentieth- century prose writers and thinkers. Whether he is writing about wartime atrocities or local history, the slaughter of the Jews or Celtic hagiography, he speaks with authenticity ... one of the great essayists in the English language, the peer of Hazlitt, Robert Louis Stevenson and George Orwell.' John Banville A unique distillation of the Anglo-Irish spirit, as idiosyncratic, mellow and stimulating as poteen matured in a brandy-cask ... His book inspires hope for the twenty-first century.' Dervla Murphy , The Irish Times Like Milosz from Poland or Holub from Czechoslovakia, Butler is a true cosmopolitan, and his writing has something of their unruffled astringency and meditative humour.' John Bayley, The Times Literary Supplement [A] most surprising and exhilarating hamper of essays, full of wit, wisdom, and luminous insights.' Robert Kee , Independent on Sunday Butler is an eloquently moral, enlightened and intellectually militant Irishman who uses incisive words as his weapons ... in a modest yet considerable way his name might now begin to take its place in the tradition of such solitary' Irish libertarians as Swift and Burke, Davitt and O'Casey, Sheehy-Skeffington, O'Faolain, O'Donnell, MacBride and Noel Browne.' David Krause, Irish Literary Supplement To follow Hubert Butler is to enjoy the hair-raising frisson of history passing by.' Eoghan Harris, Image Opening the contents page, one has an impression of disparateness; closing the book, of having discovered an oeuvre ... Butler's unadorned style expresses atmosphere with extraordinary clarity.' Roy Foster
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The five volumes of journalist and political analyst Alastair Campbell's diaries were a publishing sensation. As British Prime Minister Tony Blair's right-hand man, Campbell played a critical role in every aspect of New Labour strategy. Charting the course of British government from July 1994 to august 2003, Campbell's relentlessly honest, often controversial, occasionally brutal and always razor-sharp commentary has drawn critical acclaim around the world. This one-volume edition focuses on Ireland and the Northern Irish peace process. From the high of the Good Friday agreement and devolution in Northern Ireland to the deadly lows of the Manchester and Omagh bombings, The Irish Diaries explores the tensions, all-night talks, adrenalin-fuelled negotiations and heady personality clashes that are such an intrinsic part of democratic politics. Newly annotated and fully revised by the author with fresh linking commentary, featuring commissioned material by key figures in the Irish peace process, former Taoiseach Bertie Ahern, Tony Blair and Alastair Campbell himself, The Irish Diaries provides an invaluable historical record for future generations, both in Ireland and beyond.
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In this expanded edition of his original privately published book of twelve stories published in December 2020, Harry Crosbie adds a further sixteen tales from the Dublin of his youth. Begun during lockdown, Harry harvested his formidable memory and imagination to recreate city life during the early 1960s, told through tales of the Dublin and Dubliners who made up his hard-scrabble world. John Banville wrote of the original volume, 'These wonderfully direct and vivid tales catch the essence of Dublin life half a century ago. They are by turns rambunctious and touching, clear-eyed and accepting, warm though never sentimental, and frequently hilarious.' Richard Ford compared his work to the writings of Mark Twain, Ring Lardner and Nelson Algren. Crosbie has now fulfilled this promise with these fresh, sparkling stories, each propelled by character, ambition, need and greed, and suffused with humanity and wit. They are peopled by family, down-at-heel aristocrats, antique dealers and auctioneers, their background the river and streetlife of mid-century Dublin, its pubs and cafes, homes and institutions. Warm as coddle on a winter's night. Each tale is nuanced, spare and perfectly pitched. Part chamber music, part ballad and folktale, Undernose Farm Revisited bears the stamp of literature in the making.
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In her best-selling first volume of autobiography, Cowslips and Chainies, Elaine Crowley remembered her childhood in 1930s Dublin with great warmth and poignance. In this delightful sequel she recalls her years as a young woman serving in the British army ATS after the Second World War. This is a memoir of leaving disease-ridden Dublin for a world she imagined to be a Tír na nOg of the young and healthy; of being a 'Paddy' in England; and of passionate friendships and romances. With her inimitable novelist's eye for detail, Crowley weaves a fascinating tapestry of her years as a 'technical virgin', coloured by vivid descriptions of army rations (inedible), fashion (Maidenform bras, the miseries of the ATS uniform), social trends and sexual mores. Crowley re-creates a vanished world that will touch a chord in all who were once young. 'The secret of her success lies in the unaffected Irish warm-heartedness of her writing' - The Irish Times
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Youth / Kevin Curran. - [miejsce nieznane] : The Lilliput Press : Legimi, 2023.
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Youth by Kevin Curran dives into the lives of four teenagers in Ireland's most diverse town, Balbriggan. Angel is about to finish school and discover if Drill music and his YouTube fame can deliver on their promises. Princess is battling to escape her claustrophobic surroundings and go to university. Dean is ready to come out from under his famous father's shadow. Tanya, struggling with the spotlight of internet infamy, is still posting her dream life for all of her faithful followers. Isolated and disorientated by the white noise and insurmountable expectations of adolescence, our protagonists are desperate to find anything that helps them belong. Oblivious to each other's presence, potential and struggles, they pass on the street as strangers. But when they do intersect, the connections they make will change the course of their lives. Twenty-first century life – hyper-sexualized, social media saturated, anxiety-plagued – is here. Living inside its characters' heads, and negotiating their interior landscapes, this book is a love song to the possibilities of youth. Curran's evocative writing yields the authenticity this novel demands. An instinctive affection and admiration for the characters portrayed in Youth takes the reader on a journey through streets less travelled.
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Edith / Martina Devlin. - [miejsce nieznane] : The Lilliput Press : Legimi, 2022.
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Martina Devlin, an award-winning columnist for the Irish Independent and podcaster for Dublin City of Literature #CityofBooks, has delivered a new novel based on the life of Edith Somerville of 'Somerville and Ross' fame – authors of The Irish R.M.In this work, set during the turbulent period of Irish Independence 1921–22, Somerville finds herself at a crossroads. Her position as a member of the Ascendancy is perilous as she struggles to keep her family home, Drishane House in West Cork, while others are burned out. After years in a successful writing partnership with Violet Martin, Edith continues to write after her partner's death, comforted in the belief they continue to connect through automatic writing and séances.Against a backdrop of Civil War politics and lawlessness erupting across the country via IRA flying columns, people across Ireland are forced to consider where their loyalties lie.In Edith, Devlin limns a vivid historical context in this story of proto-feminist Edith Somerville courageously trying to keep home and heart in one piece.The story of Somerville and Ross is unique in the history of Irish women writers. Academic Shawn R. Mooney described these best-selling authors as 'undeniably New Women: single, educated and economically independent writers whose lives and literary collaboration were unique manifestations of late-nineteenth century feminist strivings toward political and sexual equality'. Devlin depicts Edith in the round, suffering from loss, striving for safety, and keeping hold of hope in this captivating narrative set in the early years of a nascent state – a triumph of ventriloquism rooted in a society on the cusp of change.
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Bungalow Bliss, first published in 1971, was a book of house designs that buyers could use to build a home for themselves affordably. It first appeared two years before Ireland was to join the EEC as a self-published catalogue by Jack Fitzsimons from his Kells Art Studios in County Meath. He and his wife designed and collated it and printed it locally. Fitzsimons sold these books out of his car to newsagents, petrol garages and bookshops.Over the course of thirty years, Fitzsimons sold over a quarter of a million copies of his catalogue. The first edition contained twenty designs – the final edition contained two hundred and sixty.This guidebook of how to build your own home radically transformed housing in Ireland. Now, for the first time, author and structural engineer Adrian Duncan looks at the cultural impact that Bungalow Bliss and the accessible bungalow design had on the housing market, the Irish landscape, and on the individual families who made these bungalows their homes.
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Maria Edgeworth (1768-1849), one of the most celebrated authors of her day both in Ireland and England, is best known for her novels 'Castle Rackrent' (1800) and 'The Absentee' (1812). A contemporary of Jane Austen, Sir Walter Scott and Lord Byron, her prolific correspondence, penned largely from her home at Edgeworthstown, County Longford, is filled with her vibrant personality, warmth and wit. Marking the 250th anniversary of her birth, this is the first time Maria Edgeworth's letters from Ireland, many hitherto unpublished, have been revisited in any depth. Her letters span sixty years of momentous political change in Ireland -- the heady time of Grattan's Parliament and the perils of the 1798 Rebellion, the rise of O'Connell, the struggle for Catholic Emancipation, and the Great Famine for which she provided relief. Her storytelling and descriptive powers reveal an extraordinary personal understanding of the era. The wealth of detail in these letters is astonishing. They engage with science and literature, history and high-level European gossip, and the domestic concerns of life at Edgeworthstown itself. Maria, a proto-feminist, helped educate her siblings and became sole manager of the family estate. Humphrey Davy, William Rowan Hamilton, Madame de Stael, Francis Beaufort, Wordsworth and the Duke of Wellington stroll through these pages as the Edgeworth story unfolds. The reader is also granted privileged access to her ever-expanding family circle of three stepmothers and twenty-two siblings – most of whom Maria outlived. Among these were gifted artists, whose previously unseen drawings and sketches embellish this volume, while the editor's extensive commentary lends crucial context to this cultural treasure trove.
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First published in Irish by An Gúm in 1965, Seosamh Mac Grianna's magnificent autobiographical novel Mo Bhealach Féin is translated here for the first time into English by Mícheál Ó hAodha. With notes of Dead as Doornails and The Ginger Man in its absurd comedy, Seosamh Mac Grianna pens his reaction to an anglicised, urbanised, post-revolution Ireland, demonstrating his talents at their peak. This Road of Mine relates a humorous, picaresque journey through Wales en route for Scotland, an Irish counterpart to Three Men in a Boat with a twist of Down and Out in Paris and London. The protagonist follows his impulses, getting into various absurd situations: being caught on the Irish Sea in a stolen rowboat in a storm; feeling guilt and terror in the misplaced certainty that he had killed the likeable son of his landlady with a punch while fleeing the rent; sleeping outdoors in the rain and rejecting all aid on his journey. What lies behind his misanthropy is a reverence for beauty and art and a disgust that the world doesn't share his view, concerning itself instead with greed and pettiness. The prose is full of personality, and Ó hAodha has proved himself adept at capturing the life and spark of the writer's style. His full-spirited translation has given the English-reading world access to this charming and relentlessly entertaining bohemian poet, full of irrepressible energy for bringing trouble on himself. As well as the undoubted importance of this text culturally, Mac Grianna is able to make rank misanthropy enjoyable – making music out of misery. The voice is wonderful: hyperbolic but sincere.
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"Hassett's combination of literary insight and legal dexterity...makes his book ...an original and subtly entertaining contribution to the history of modernist culture.' -Roy Foster The publishers of Ulysses by James Joyce were brought to trial and convicted of obscenity in the USA in 1921. The immortal prose, ultimately recognized as the greatest English language novel of the twentieth century, was first published by the pioneering literary magazine The Little Review. Its founder Margaret Anderson along with her publishing partner and lover, Jane Heap, were famously convicted of a crime for their extraordinary contribution to society. From then until its eventual publication in the US in 1934 the book ran the gamut of legal obstruction. The Ulysses Trials chronicles that progress and adds not only to the understanding of Joyce but also to the history of the laws of obscenity, censorship and freedom of speech. Its appeal is to Joyceans, all those interested in modernism and to the legal community and students of literature and law.
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W. B. Yeats believed that lyrics can 'take on a second beauty, passing as it were out of literature and becoming life'. By focusing on Yeats's most memorable lines of poetry, Joseph Hassett reveals new ways of enjoying a body of work that speaks to the twenty-first century. For example, 'The Stare's Nest by my Window' is informed by the circumstances in which it was written. Locked in his tower amid the violence and uncertainty of civil war, Yeats felt 'an overmastering desire not to grow unhappy or embittered, not to lose all sense of the beauty of nature'. Finding the perfect metaphor for a necessary balm, he spotted an empty bird's nest and 'began to smell honey in places where honey could not be'. The poem's plea – 'O honey-bees, / Come build in the empty house of the stare' – addresses readers in any state of physical or emotional isolation. This book is an enriching companion to the work of one of the world's great poets. Its iconography – portraits, photographs, book designs, manuscript letters – illuminates the poems and the life. Its continuing dialogue with writers past and present, from Joyce to Beckett, Heaney and others, offers up an enduring harvest of wisdom for our age.
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From COVID-19 we have been reminded through tragedy and suffering that we have a shared, globalised vulnerability that is common to all humanity, one that knows no borders. … The lessons of necessity and solidarity learned during the pandemic must now inform a European-led transition to a just and ecologically sustainable society in its aftermath. I am hopeful that, within an enlightened eco-social framework, we may respond together in a transformative, inclusive way to the COVID-19 pandemic, climate change, the impact of digitalisation, rising inequality and the unaccountable, and, in doing so, address the democratic crisis facing so many societies in Europe and beyond.' With a Foreword written in August 2020, this timely and important intervention in the debates concerning Europe in Ireland illuminates President Michael D. Higgins' standpoint on a range of important issues. From the 1916 Centenary celebration to the Brexit decision of June 2016, interest in European matters in public debates has exponentially increased. The present Covid-19 crisis further moves the European Union into the limelight, in particular its role in helping member states cope with the consequences of this unprecedented disaster. Yet, public discussions regarding Ireland's closer links with the European Union often remain purely utilitarian and economic, or take place solely within academia. The most extensive interventions on these issues in recent years have come from the President of Ireland. This edition collects all of the major speeches on the topic of Europe since 2016 and includes an introduction by the editors which situates the book within the context of wider Irish and European intellectual history. The speeches encompass interventions on historical aspects, bilateral cultural links, citizens' involvement in the European project, workers' rights and ecological concerns. These speeches are marked by the President's particular and personal stamp, while also expressing central concerns on behalf of Irish citizens. The volume will include translations into Irish, French and German.
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'I've lived in this place for three years after returning from England. There was an echo in the landscape at night that no one had patience with, a voice trying to tell you something, trying to tell a story.' (From 'The 'Metlar') Here are twelve scintillating fresh tales by one of Ireland's leading writers, who has extended and redefined the tradition of the Irish short story with inimitable verbal force. Embedded in Hogan's uniquely glancing poetic style, they form capsule character studies and micro-histories of society's underbelly, variously located in the streets and back alleys of Edinburgh, London, Zagreb, Cork, Dublin, and in the small rural townscape provinces: Kerry to Limerick, Kinsale, Athlone and beyond, each refracted in compressed jewels of painterly prose that explodes in kaldeiscopic bursts of colour and imagery. These stories are vividly peopled by young homosexuals, Travellers and priests, borstal boys and joyriders, prisoners on remand, hostel dwellers, drinkers and addicts, artisans and the unemployed, and treat their marginalized lives with celebratory dispassion. The story titles alone speak for their milieu: 'The Big River,' 'Café Remember,' 'Through the Town,' "Brimstone Butterfly,' 'Thornback Ray,' 'The Spindle Tree,' 'The Metlar,' 'Walking Through Truth Land,' and 'Famine Rain.' Here is a writer at the top of his game, documenting an Ireland where few have dared to tread.
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'To seek the beginning is to go back a long time ago, when the town in which I am writing was a little different and trees hung at the end of the town, trees hung obsessively, many trees, much green at the end of the street come summer, come the arrival of leaves and sun and buttercup blaze.' It is the late 1940s, and Sean and Liam, middle-class boys in a small West of Ireland town, share a powerful bond of love and rivalry: each long for the same women. At university together in Dublin, Sean and Liam's burgeoning sexuality leads them to a deeper, almost mystical level of involvement. They befriend Christine, rich, vulnerable and desperate for affection, and Sarah, glamorous, spoiled, intoxicating; her body is a seductive bridge between the pair, which they ultimately cross with painful and profound consequences. The Leaves on Grey is the story of Ireland, maker of wounds, tormentor of youth, ultimately breaker of all that was sensitive and enriched by sun, rain, wind. Sean and Liam, and the men and women who become part of their lives, are both the creators and victims of their birthright. This sensitive, passionate story is Desmond Hogan's second novel, originally published in 1980. It is reissued here with a new afterword by the author. 'Lost innocence, the young and the bright and the beautiful shining and dancing before dusk, is the theme ... Hardly new material, but to it Mr Hogan - one of the most talented writers lately to come out of Ireland or anywhere else - brings a light so brilliant that almost every word dazzles.' JANICE ELLIOTT, SUNDAY TELEGRAPH 'Desmond Hogan establishes himself among the best novelists with The Leaves on Grey. He has a lot to say, which he does with elegance and maturity ... his language is succinct and utterly fresh. He wishes fiction to be a moral force, and his could be.' MYRNA BLUMBERG, THE TIMES 'A free-ranging, ambitious and poetic talent ... whose intensity and individuality of vision, though learned and strengthened in Ireland, will give him a significance of a wholly universal kind.' PAUL BINDING, BOOKS AND BOOKMEN
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'After I retired from legal practice, Justin and I were able to spend time in a family house in the Languedoc in France, and while we were there he would devote time to writing in his notebook… Once he began to write, the words seemed to flow for him. He left eight notebooks. The earliest is dated July 2006, the final one October 2009.' (Barbara Hussey) Justin Keating, son of the artist Sean Keating, attended UCD and TCD. He was a Labour Party politician (Minister for Industry 1973-77), academic, journalist, veterinary surgeon, television pioneer (as Head of Agricultural Broadcasting at RTE) and award-winning documentary filmmaker. In later life he served as Member of the European Parliament and became president of the Humanist Association. President Michael D. Higgins called him 'a man who saw socialism as both essential and adaptable to change'. Keating introduced the first substantial legislation for the development of Ireland's oil and gas, set up the National Film Studios of Ireland at Ardmore and gave impetus to Kilkenny Design. He wrote extensively – and with opinions well ahead of his time – on the natural world, including women's health, animal welfare, sustainable energy and ecology. 'A well made, fit thoroughbred really striding out seems to me one of the most beautiful things on earth, on a par with an orchid or porpoise.' Edited posthumously by his wife, Barbara Hussey, Justin Keating's notebooks offer an in-depth, often-impassioned account of the interests, musings and opinions of one of Ireland's most wide-ranging intellectuals. His dealings with J.D Bernal, Noël Browne, Sean McBride, Charles Haughey, Gerry Fitt and Conor Cruise-O'Brien, form part of this absorbing chronicle, aside from myriad friendships with writers and artists. Nothing Is Written in Stone is a brilliant self-portrait of this multi-dimensional man, who did so much to shape twenty-first century Ireland.
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Originally published in 1992, this childhood memoir, revised and augmented, now has the status of a modern Irish classic. 'He brings maturity to bear on the past, without making a parable of it. Most of all he makes the past seem as it really is, swimming about inside us. This is a great book altogether.' –– The Irish Times On his first trip abroad, Adrian Kenny observes that the signs are in one language only. There is no need for translation: there is nothing behind. Not so in his suburban childhood and adolescence, where Mayo is behind Dublin, poor fields behind the bourgeois drawing rooms of Rathmines, wildness behind authority. Attached to both, his attempts to reconcile them take him from close certainty to total collapse in the year of change – America, 1968. 'What was it all for?' his father asks. 'It's like the end of the Aeneid,' whispers his friend. 'You came at the end of that world,' Father Wilmot says. The end of Latin Mass, maids, floggings and charcoal suits. The author's keen eye and clear style lends this portrayal of an individual and a generation the truth and elegance of an enduring work of art.
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Art honours the world, and criticism honours art, even – perhaps especially – when the critic sets out to destroy. The bad review is hardly ever written out of mere spite. In most cases, the motivation is disappointed idealism. Critics are people who love art and who hate to see it traduced. Hence the critic's sempiternal cry: You're doing it wrong. What the critic wants is for you to do it better.Since 2008, acclaimed novelist Kevin Power has reviewed almost three hundred and fifty books. Power declares, 'Even now, cracking open a brand-new hardback with my pencil in my hand, I feel the same pleasure, and the same hope. That's the great secret: every critic is an optimist at heart.'Art that thinks and feels at the same time – 'good art' – requires explication. The writing of criticism in response to such art is an activity that has taken place since Aristotle first sat down to figure out what made tragedy work. It is in the pursuit of this question – what makes good art 'good' – that Kevin Power found his vocation. During a ten-year stint as a regular freelance reviewer for the Sunday Business Post, Power fell in love with the writing of criticism, and with the reading of it, too, particularly by talented novelists who review books on the side. His conclusion is that criticism is absolutely an art. But it is never more so than when practiced by an actual artist.These pieces, ranging from reviews of Susan Sontag to the meaning of Greta Thunberg, apocalyptic politics, and literary theory, represent a decade's worth of thinking about books; a record of the author's attempts to honour art, and through art, the world. In The Written World, Power explains how he became a critic and what he thinks criticism is. It begins and ends with a long personal essays, 'The Lost Decade', written especially for this collection, about his mental and writing block after publishing Bad Day in Blackrock and his decade-long journey to White City. The pieces gathered by Power are connected by a theme – this is a book about writing, seen from various positions, and about growth as an artist and a critic.
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