I glanced up but he'd already jumped, a dark blur plummeting, wings folded against the drag like some starving hawk out of the noon sun, some angel betrayed. He punched through the cab's roof so hard he sent metal shearing into the petrol tank. All it took was one spark. Boom . . ."Harry Rigby is right there, an eye-witness when Finn Hamilton walks out into the big nothing nine stories up, but no one wants to believe Finn is just the latest statistic in Ireland's silent epidemic. Not Finn's mother, Saoirse Hamilton, whose property empire is crumbling around her; and not Finn's pregnant fiancé, Maria, or his sister Grainne; and especially not Detective Tohill, the cop who believes Rigby is a stone-cold killer, a slaughter's hound with a taste for blood . . . Welcome to Harry Rigby's Sligo, where death comes dropping slow. Studded with shards of black humour and mordant wit, Slaughter's Hound is a gripping noir from one of the most innovative voices in Irish crime fiction.
Harry Rigby likes a smoke, the easy life, and Robert Ryan playing the bad guy in late night black-and-whites. Sweet. But when the wife of a prominent politician is murdered in her best nightie, Rigby finds himself caught in a crossfire between rogue paramilitaries, an internal police inquiry and the heaviest blizzard of coke ever to hit the Northwest. If all this wasn't bad enough, his relationship with girlfriend Denise is on the rocks and he's hitting the bottle. Then there's Rigby's psychotic brother Gonzo, back on the streets and meaner than a jilted shark.
A mystery in modern-day rural Ireland may have roots in World War II, in this thriller by a “fine dramatic writer and storyteller” (Booklist). The elderly German, Karl Uxkull, was either senile or desperate for attention. Why else would he concoct a tale of Nazi atrocity on the remote island of Delphi, off the coast of Donegal? And why now, sixty years after the event, just when Irish-American billionaire Shay Govern has tendered for a gold prospecting license in Lough Swilly? Journalist Tom Noone doesn’t want to know. With his young daughter Emily to provide for, and a new ghostwriting commission for Shay Govern’s biography, the timing is all wrong. Besides, can it be mere coincidence that Karl Uxkull’s tale bears an uncanny resemblance to a thriller written by spy novelist Sebastian Devereaux, the reclusive English author who has spent the past fifty years holed up on Delphi? But when a body is discovered drowned, Tom and Emily find themselves running for their lives in pursuit of the truth that is their only hope of survival. “Burke has a real knack for dialogue and phrasing.” —Publishers Weekly “Readers . . . will be rewarded with an unholy Chinese box of a thriller. Make that an Irish-German box.” —Kirkus Reviews
Synge was the victim of a cruel paradox: those who loved his works knew no Irish and those who loved Irish despised his works. This book aims to show that Synge's command of Irish was extensive and that this knowledge proved invaluable in the writing of his major plays.
Effeminate Years: Literature, Politics, and Aesthetics in Mid-Eighteenth-Century Britain investigates the gendered, eroticized, and xenophobic ways in which the controversies in the 1760s surrounding the political figure John Wilkes (1725-97) legitimated some men as political subjects, while forcefully excluding others on the basis of their perceived effeminacy or foreignness. However, this book is not a literary analysis of the Wilkes affair in the 1760s, nor is it a linear account of Wilkes’s political career. Instead, Effeminate Years examines the cultural crisis of effeminacy that made Wilkes’s politicking so appealing. The central theoretical problem that this study addresses is the argument about what is and is not political: where does individual autonomy begin and end? Addressing this question, Kavanagh traces the shaping influence of the discourse of effeminacy in the literature that was generated by Wilkes’s legal and sexual scandals, while, at the same time, he also reads Wilkes’s spectacular drumming up of support as a timely exploitation of the broader cultural crisis of effeminacy during the mid century in Britain. The book begins with the scandals and agitations surrounding Wilkes, and ends with readings of Edmund Burke’s (1729-1797) earliest political writings, which envisage political community—a vision, that Kavanagh argues, is influenced by Wilkes and the effeminate years of the 1760s. Throughout, Kavanagh shows how interlocutors in the political and cultural debates of the mid-eighteenth-century period in Britain, such as Tobias Smollett (1721-1771) and Arthur Murphy (1727-1805), attempt to resolve the problem of effeminate excess. In part, the resolution for Wilkes and Charles Churchill (1731-1764) was to shunt effeminacy onto the sexually non-normative. On the other hand, Burke, in his aesthetic theorization of the beautiful privileges the socially constitutive affects of feeling effeminate. Through an analysis of poetry, fiction, social and economic pamphlets, aesthetic treatises, journalism and correspondences, placed within the latest queer historiography, Kavanagh demonstrates that the mid-century effeminacy crisis served to re-conceive male heterosexuality as the very mark of political legitimacy. Overall, Effeminate Years explores the development of modern ideas of masculinity and the political subject, which are still the basis of debate and argument in our own time.
Since the signing of the Good Friday Agreement in 1998 — the formal end-point of the thirty-year modern ‘Troubles’ — contemporary visual artists have offered diverse responses to post-conflict circumstances in Northern Ireland. In Ghost-Haunted Land — the first book-length examination of post-Troubles contemporary art — Declan Long highlights artists who have reflected on the ongoing anxieties of aftermath. This wide-ranging study addresses developments in video, photography, painting, sculpture, performance and more, offering detailed analyses of key works by artists based in Ireland and beyond — including 2014 Turner Prize winner Duncan Campbell and internationally acclaimed filmmaker and photographer Willie Doherty. ‘Post-Troubles’ contemporary art is discussed in the context of both local transformations and global operations — and many of the main points of reference in the book come from broader debates about the place and purpose of contemporary art in today’s world.
Ellmann's sensitivity to what it meant to be an artist shaped his work from the outset: "The life of an artist ... differs from the lives of other persons in that its events are becoming artistic sources even as they command his present attention. Instead of allowing each day, pushed back by the next, to lapse into imprecise memory, he shapes again the experiences which have shaped him." Richard Ellmann died in 1987. His life and work have touched the lives of many. Some of the essays in this collection commemorate Richard Ellmann and his committment to Twentieth Century literature: most provide a continuing investigation of the Twentieth Century literature to which he devoted his carrer. Contributors include: Alison Armstrong, Daniel Albright, Christopher Butler, Carol Cantrell, Jonathan Culler, Elizabeth Butler Cullingford, Andonis Decavelles, Rupin Desai, Susan Dick, Terence Diggory, Terry Eagleton, Rosita Fanto, Charles Feidelson, James Flannery, Charles Huttar, Bruce Johnson, John Kelleher, Brendan Kennelly, Frank Kermode, Declan Kiberd, Peter Kuch, Bruce Johnson, James Laughlin, A. Walton Litz, Dominic Manganiello, Ellsworth Mason, Christie McDonald, Dougald McMillan, Sean O'Mordha, Vivian Mercier, Mary T. Reynolds, William K. Robertson, Joseph Ronsley, S.P. Rosenbaum, Ann Saddlemyer, Sylvan Schendler, Daniel Schneider, Fritz Senn, Jon Stallworthy, Lonnie Weatherby, Thomas Whitaker, and Elaine Yarosky.
A celebration of the tenacious life of the enduring Irish classics, this book by one of Irish writing's most eloquent readers offers a brilliant and accessible survey of the greatest works since 1600 in Gaelic and English, which together have shaped one of the world's most original literary cultures. In the course of his discussion of the great seventeenth- and eighteenth-century Gaelic poems of dispossession, and of later work in that language that refuses to die, Declan Kiberd provides vivid and idiomatic translations that bring the Irish texts alive for the English-speaking reader. Extending from the Irish poets who confronted modernity as a cataclysm, and who responded by using traditional forms in novel and radical ways, to the great modern practitioners of such paradoxically conservative and revolutionary writing, Kiberd's work embraces three sorts of Irish classics: those of awesome beauty and internal rigor, such as works by the Gaelic bards, Yeats, Synge, Beckett, and Joyce; those that generate a myth so powerful as to obscure the individual writer and unleash an almost superhuman force, such as the Cuchulain story, the lament for Art O'Laoghaire, and even Dracula; and those whose power exerts a palpable influence on the course of human action, such as Swift's Drapier's Letters, the speeches of Edmund Burke, or the autobiography of Wolfe Tone. The book closes with a moving and daring coda on the Anglo-Irish agreement, claiming that the seeds of such a settlement were sown in the works of Irish literature. A delight to read throughout, Irish Classics is a fitting tribute to the works it reads so well and inspires us to read, and read again.
Kiberd - one of Ireland's leading critics and a central figure in the FIELD DAY group with Brian Friel, Seamus Deane and the actor Stephen Rea - argues that the Irish Literary Revival of the 1890-1922 period embodied a spirit and a revolutionary, generous vision of Irishness that is still relevant to post-colonial Ireland. This is the perspective from which he views Irish culture. His history of Irish writing covers Yeats, Lady Gregory, Synge, O'Casey, Joyce, Beckett, Flann O'Brien, Elizabeth Bowen, Heaney, Friel and younger writers down to Roddy Doyle.
Ireland is suffering from a crisis of authority. Catholic Church scandals, political corruption, and economic collapse have shaken the Irish people’s faith in their institutions and thrown the nation’s struggle for independence into question. While Declan Kiberd explores how political failures and economic globalization have eroded Irish sovereignty, he also sees a way out of this crisis. After Ireland surveys thirty works by modern writers that speak to worrisome trends in Irish life and yet also imagine a renewed, more plural and open nation. After Dublin burned in 1916, Samuel Beckett feared “the birth of a nation might also seal its doom.” In Waiting for Godot and a range of powerful works by other writers, Kiberd traces the development of an early warning system in Irish literature that portended social, cultural, and political decline. Edna O’Brien, Frank O’Connor, Seamus Heaney, and Michael Hartnett lamented the loss of the Irish language, Gaelic tradition, and rural life. Nuala Ní Dhomhnaill and Eavan Boland grappled with institutional corruption and the end of traditional Catholicism. These themes, though bleak, led to audacious experimentation, exemplified in the plays of Brian Friel and Tom Murphy and the novels of John Banville. Their achievements embody the defiance and resourcefulness of Ireland’s founding spirit—and a strange kind of hope. After Ireland places these writers and others at the center of Ireland’s ongoing fight for independence. In their diagnoses of Ireland’s troubles, Irish artists preserve and extend a humane culture, planting the seeds of a sound moral economy.
The Irish Writer and the World is a major new book by one of Ireland's most prominent scholars and cultural commentators. Declan Kiberd, author of the award-winning Irish Classics and Inventing Ireland, here synthesises the themes that have occupied him throughout his career as a leading critic of Irish literature and culture. Kiberd argues that political conflict between Ireland and England ultimately resulted in cultural confluence and that writing in the Irish language was hugely influenced by the English literary tradition. He continues his exploration of the role of Irish politics and culture in a decolonising world, and covers Anglo-Irish literature, the fate of the Irish language and the Celtic Tiger. This fascinating collection of Kiberd's work demonstrates the extraordinary range, astuteness and wit that have made him a defining voice in Irish studies and beyond, and will bring his work to new audiences across the world.
The material included in this volume comes from a variety of sources, including the archives of the diocese of Clonfert and that which was gathered in 1931 by an t-Athair Eric McFhinn, a noted polyglot and scholar of the diocese. Taken in conjunction with the Schools Folklore Commission's work a few years later, this material now has a value beyond even that which was foreseen at the time. In June of 1922, in a singularly unhelpful exercise, some doughty Irishmen set off a landmine in the Public Records Office of the Four Courts. Thousands of old documents were destroyed, including the remaining censi from the nineteenth century and many of the Church of Ireland registers. Happily, just before this happened, Thomas T. O'Farrell had taken the time to type out extracts from the censi taken in Loughrea in 1821 and 1841 and they are also reproduced here in print for the first time. What emerges from this parish history, covering the areas of Cappatagle/ Kilrickle, Carrabane, Leitrim/Kilmeen, Loughrea, Mullagh/Killoran, New Inn/Bullaun, Killeenadeema/Aille and Kiltullagh/Killimordaly/Attymon is a curate's egg of information which we hope will hold something for everyone in the diocese, and which will add in its own way to the process of preserving a record of our past.
Mulligan's is more than a Dublin pub; it is an Irish cultural phenomenon. It has a unique and colourful history, spanning over two hundred years. Mulligan's has hosted the famous - Judy Garland, Seamus Heaney, Con Houlihan, James Joyce, John F. Kennedy - and, indeed, the infamous - police arrested a kidnapper there. Quirkiness pervades its atmosphere. The ashes of a US tourist are interred in its clock. Barmen have seen ghosts on the premises. For decades, performers at the Theatre Royal thronged to Mulligan's, mingling with journalists from 'The Irish Press' who smoked, fumed and interviewed celebrities in it. This fascinating book captures the atmosphere and essence of an Irish institution, loved by both natives and tourists alike.
Even the best private eye needs more than a name to find a missing person, but that's all that Father Vincent Tyrrell, the brother of prominent racehorse trainer FX Tyrrell, will offer Loy when he comes to him for help. A dwindling bank account convinces Loy to delve into the deadly underworld of horse racing, but fortune soon smiles on him: while working another case, he discovers a phone number linked to FX on a badly beaten body left at an illegal dump. Loy's been around long enough to know that there's more to the Tyrrell family than meets the eye - and then a third body appears. At Christmastime, on the eve of one of Ireland's most anticipated racing events, the intrepid investigator bets his life on a longshot: finding answers in a shady network of trading and dealing, gambling and breeding.
Who says crime doesn't pay? The perpetrators of a botched kidnap make their getaway in this hilarious sequel to The Big O Karen and Ray are on their way to the Greek islands to rendezvous with Madge and split the fat bag of cash they conned from her ex-husband Rossi when they kidnapped, well, Madge. But they’ve reckoned without Stephanie Doyle, the cop who can’t decide if she wants to arrest Madge, shoot Rossi, or ride off into the sunset with Ray. And then there’s Melody, the wannabe movie director, who’s pinning all her hopes on Sleeps, the narcoleptic getaway driver who just wants to go back inside and do some soft time. A European road-trip screwball noir, Crime Always Pays features cops and robbers, losers and hopers, villains, saints – and a homicidal Siberian wolf called Anna. The Greek islands will never be the same again.
What's in a name? Apparently everything for Ed Loy, because that's the only information Father Vincent Tyrrell, brother of prominent racehorse trainer F. X. Tyrrell, offers when he asks for Ed's help in finding a missing person. Even the best private eye needs more than just a name, but hard times and a dwindling bank account make it difficult for Loy to say no. He is not without luck, however. While working another case, Loy discovers a phone number that seems linked to F.X. found on an unidentified body. Thinking it more than a coincidence, he begins digging into the history of the Tyrrells—a history consumed with trading and dealing, gambling and horse breeding—and soon realizes there is more to the family than meets the eye, a suspicion confirmed when two more people with connections to the Tyrrells are killed. On the eve of one of Ireland's most anticipated sporting events, the four-day Leopardstown Race-course Christmas Festival, all bets are off as Loy pursues a twisted killer on the final leg of a reckless master plan. In The Price of Blood, Declan Hughes once again paints an arresting portrait of an Ireland not found in any guidebooks. Deadly passions beget dark secrets in a chilling story that will have readers on edge right up to its shocking conclusion.
KittylandA classic and hilarious coming of age tale of college life in the Irish university town of Galway follows a group of West of Ireland students in the mid 1980s, in the days before hope and the Celtic Tiger. Follow them on their journey through three years of baked beans, debauchery, emigration, drink, sex, and rock and roll. No student should ever go to college in Galway without first reading Kittyland.
Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers they reveal a picture of sustained vitality and development that justifies Belfast’s prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.
Tony 10 was the online betting username of Tony O'Reilly, the postman who became front-page news in 2011 after he stole €1.75 million from An Post while he was a branch manager in Gorey. He used the money to fund a gambling addiction that began with a bet of €1 and eventually rose to €10 million, leading to the loss of his job, his family, his home – and winning him a prison sentence. From the heart-stopping moments in a hotel room in Cyprus with his wedding money riding on the Epsom Derby, to the euphoria of winning half a million over a weekend, to the late goals and the horses falling at the last fence, Tony 10 is the story of an ordinary man's journey from normality to catastrophe. At times, he vowed to get out while he was ahead, only to be taken by another surge of adrenaline, falling deeper and deeper into a compulsion that consumed his life. His disappearance on the morning the fraud was discovered led to a surreal three days on the run in Northern Ireland, and ultimately his arrest, conviction and sentencing to four years in jail. Tony 10 is the mesmerising story of the secret life of a pathological gambler – as well as the most compelling account yet of the damage wrought by the online gambling industry.
A reputable dentist from a venerable medical family, Shane Howard wants Loy to find his lost daughter after receiving a set of photographs featuring nineteen-year-old Emily in provocative poses. But a simple missing persons case rapidly devolves into something even more sordid and grisly when two of the players are savagely slain. And it's only the beginning. The Howard family is not what it seems. Beneath a veneer of wealth and respectability is a dark history of corruption and rot and secrets best left unearthed. By entering the Howards' vicious circle, Loy may find himself stained with the most corrosive and lethal type of blood—the kind that even death cannot eradicate.
Karen's easy life as a receptionist and armed robber is about to take a turn for the worse. Rossi, her ex, is getting out of prison any day now. He'll be looking for his motorcycle, his gun, the sixty grand he says is his, and revenge. But he won't be expecting Ray, the new guy Karen's just met, to be in his way. No stranger to the underworld himself, Ray wants out of the kidnapping game now that some dangerous new bosses are moving in. Meanwhile Frank, a disgraced plastic surgeon, hires Ray to kidnap his ex-wife for the insurance money. But the ex-wife also happens to be Karen's best friend. Can Karen and Ray trust each other enough to work together on one last job? Or will love, as always, ruin everything? From a writer hailed as "Elmore Leonard with a hard Irish edge" ("Irish Mail on Sunday"), Declan Burke's "The Big O "is crime fiction at its darkest and funniest.
Thrilling, disturbing, shocking and moving, 'Trouble Is Our Business: New Stories by Irish Crime Writers' is a compulsive anthology of original stories by Ireland's best-known crime writers. Irish crime writers have long been established on the international stage as bestsellers and award winners. Now for the first time ever, the best of contemporary Irish crime novelists are brought together in one volume. Edited by Declan Burke, the anthology embraces the crime genre's traditional themes of murder, revenge, intrigue, justice and redemption. These stories engage with the full range of crime fiction incarnations: from police procedurals to psychological thrillers, domestic noir to historical crime -- but there's also room for the supernatural, the futuristic, the macabre. As Emerald Noir blossoms into an international phenomenon, there has never been a more exciting time to be a fan of Irish crime fiction"--Jacket.
Effeminate Years: Literature, Politics, and Aesthetics in Mid-Eighteenth-Century Britain investigates the gendered, eroticized, and xenophobic ways in which the controversies in the 1760s surrounding the political figure John Wilkes (1725-97) legitimated some men as political subjects, while forcefully excluding others on the basis of their perceived effeminacy or foreignness. However, this book is not a literary analysis of the Wilkes affair in the 1760s, nor is it a linear account of Wilkes’s political career. Instead, Effeminate Years examines the cultural crisis of effeminacy that made Wilkes’s politicking so appealing. The central theoretical problem that this study addresses is the argument about what is and is not political: where does individual autonomy begin and end? Addressing this question, Kavanagh traces the shaping influence of the discourse of effeminacy in the literature that was generated by Wilkes’s legal and sexual scandals, while, at the same time, he also reads Wilkes’s spectacular drumming up of support as a timely exploitation of the broader cultural crisis of effeminacy during the mid century in Britain. The book begins with the scandals and agitations surrounding Wilkes, and ends with readings of Edmund Burke’s (1729-1797) earliest political writings, which envisage political community—a vision, that Kavanagh argues, is influenced by Wilkes and the effeminate years of the 1760s. Throughout, Kavanagh shows how interlocutors in the political and cultural debates of the mid-eighteenth-century period in Britain, such as Tobias Smollett (1721-1771) and Arthur Murphy (1727-1805), attempt to resolve the problem of effeminate excess. In part, the resolution for Wilkes and Charles Churchill (1731-1764) was to shunt effeminacy onto the sexually non-normative. On the other hand, Burke, in his aesthetic theorization of the beautiful privileges the socially constitutive affects of feeling effeminate. Through an analysis of poetry, fiction, social and economic pamphlets, aesthetic treatises, journalism and correspondences, placed within the latest queer historiography, Kavanagh demonstrates that the mid-century effeminacy crisis served to re-conceive male heterosexuality as the very mark of political legitimacy. Overall, Effeminate Years explores the development of modern ideas of masculinity and the political subject, which are still the basis of debate and argument in our own time.
A celebration of the tenacious life of the enduring Irish classics, this book by one of Irish writing's most eloquent readers offers a brilliant and accessible survey of the greatest works since 1600 in Gaelic and English, which together have shaped one of the world's most original literary cultures. In the course of his discussion of the great seventeenth- and eighteenth-century Gaelic poems of dispossession, and of later work in that language that refuses to die, Declan Kiberd provides vivid and idiomatic translations that bring the Irish texts alive for the English-speaking reader. Extending from the Irish poets who confronted modernity as a cataclysm, and who responded by using traditional forms in novel and radical ways, to the great modern practitioners of such paradoxically conservative and revolutionary writing, Kiberd's work embraces three sorts of Irish classics: those of awesome beauty and internal rigor, such as works by the Gaelic bards, Yeats, Synge, Beckett, and Joyce; those that generate a myth so powerful as to obscure the individual writer and unleash an almost superhuman force, such as the Cuchulain story, the lament for Art O'Laoghaire, and even Dracula; and those whose power exerts a palpable influence on the course of human action, such as Swift's Drapier's Letters, the speeches of Edmund Burke, or the autobiography of Wolfe Tone. The book closes with a moving and daring coda on the Anglo-Irish agreement, claiming that the seeds of such a settlement were sown in the works of Irish literature. A delight to read throughout, Irish Classics is a fitting tribute to the works it reads so well and inspires us to read, and read again.
Emily Howard is nineteen years old, slim and petite with a pale complexion and a red rose tattoo. She is also missing. She disappeared three days ago, and now her father has been sent photographs of her naked body. He is desperate to find her. So he calls Ed Loy, a private investigator who knows the dark streets of Dublin better than most; a man who will find Emily Howard within twenty-four hours. But locating Emily turns out to be only the beginning. Within hours, Emily's ex-boyfriend is found murdered, and Loy finds himself in a race against time to catch a killer - and to unearth the many dark secrets the Howard family have kept long buried.
Even the best private eye needs more than a name to find a missing person, but that's all that Father Vincent Tyrrell, the brother of prominent racehorse trainer FX Tyrrell, will offer Loy when he comes to him for help. A dwindling bank account convinces Loy to delve into the deadly underworld of horse racing, but fortune soon smiles on him: while working another case, he discovers a phone number linked to FX on a badly beaten body left at an illegal dump. Loy's been around long enough to know that there's more to the Tyrrell family than meets the eye - and then a third body appears. At Christmastime, on the eve of one of Ireland's most anticipated racing events, the intrepid investigator bets his life on a longshot: finding answers in a shady network of trading and dealing, gambling and breeding.
Ed Loy hasn't been back to Dublin for 20 years, but his mother is dead and he has returned home to bury her. He soon realises that the city waiting for him is very different from the one he left behind all those years ago. Loy finds himself thrown into a world of organised crime, corruption and violence.
An Anthology of the College Historical Society, the Student Debating Society of Trinity College, Dublin from It's Origins in Edmund Burke's Club, 1747-1997
An Anthology of the College Historical Society, the Student Debating Society of Trinity College, Dublin from It's Origins in Edmund Burke's Club, 1747-1997
Trinity College Histoirical Society has debated the politics of Ireland since the first discussions in Edmund Burke's Club in 1747. As a student debating society it has discused the issues of the day. This anthology brings together writings on the Hist over a period of 250 years, which convey the essence of the Society - debate on great and small issues within a highly formal, even legalistic, set of procedures, and yet with a leavening of humour. Past members have contributed memories of their own time in the Hist. The records of the Society have been looked at for material illustrating its development, including part of the minutes of Burke's Club, the topics for debate over the years and some Sun-committee reports. It sheds a number of sidelights on Irish history, and the Hist, like Trinity College itself, has sometimes stood in a difficult and fraught relation with the rest of Ireland.
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