The Great War in Irish Poetry explores the impact of the First World War on the work of W. B. Yeats, Robert Graves, and Louis MacNeice in the period 1914-45, and on three contemporary Northern Irish poets, Derek Mahon, Seamus Heaney, and Michael Longley. Its concern is to place their work, andmemory of the Great War, in the context of Irish politics and culture in the twentieth century. The historical background to Irish involvement in the Great War is explained, as are the ways in which issues raised in 1912-20 still reverberate in the politics of remembrance in Northern Ireland,particularly through such events as the Home Rule cause, the loss of the Titanic, the Battle of the Somme, the Easter Rising. While the Great War is perceived as central to English culture, and its literature holds a privileged position in the English literary canon, the centrality of the Great War to Irish writing has seldom been recognised. This book shows first, that despite complications in Irish domestic politicswhich led to the repression of memory of the Great War, Irish poets have been drawn throughout the century to the events and images of 1914-18. This engagement is particularly true of those writing in the 'troubled' Northern Ireland of the last thirty years. The second main concern is the extent towhich recognition of the importance of the Great War in Irish writing has itself become a casualty of competing versions of the literary canon.
Michael Longley has been called 'one of the finest lyric poets of our century' (John Burnside). This ground-breaking study is the first full-length assessment of his work, and looks in turn at all the major collections he has published over the past 40 years, and at the extraordinary growth of his reputation and influence. Fran Brearton's reading of Longley's work relates the development of his poetry to the recent literary and political history of Northern Ireland, and to the Irish poetic tradition from Yeats to the present day. In placing Longley's poetry in a network of cultural influences, and evaluating its critical reception, her study also engages with key debates in the criticism of modern poetry in English. She offers a broadly chronological reading of Longley's work from the 1960s to the present day, tracing thematic continuities across his collections. Longley's long silence between "The Echo Gate" (1979) and "Gorse Fires" (1991), she argues, helped him to re-shape and strengthen his poetry, so that his later work is in some ways a re-reading of his earlier poetry, but taken in new and unexpected directions. In this highly readable book, Fran Brearton draws on letters, manuscripts, published and personal interviews with Michael Longley, as well as on his memoir, "Tuppenny Stung", and his recent researches into his father's military career. She shows how his poetry is shaped by the dislocations and tensions of his English parentage and Irish upbringing, making him one of the most imaginatively various and formally inventive poets writing today.
The Great War in Irish Poetry explores the impact of the First World War on the work of W. B. Yeats, Robert Graves, and Louis MacNeice in the period 1914-45, and on three contemporary Northern Irish poets, Derek Mahon, Seamus Heaney, and Michael Longley. Its concern is to place their work, and memory of the Great War, in the context of Irish culture and politics in the twentieth century. The historical background to Irish involvement in the Great War is explained, as are the ways in which some of the events of 1912-1920--the Home Rule crisis, the loss of the Titanic, the Battle of the Somme, the Easter Rising--still reverberate in the politics of remembrance in Northern Ireland. While the Great War is perceived as central to English culture, and its literature holds a privileged position in the English literary canon, the centrality of the Great War to Irish writing has seldom been acknowledged. This book is concerned with the extent to which recognition of the importance of the Great War in Irish writing has become a casualty of competing versions of the literary canon. It shows that, despite complications in Irish domestic politics which led to the repression of "official memory" of the Great War in Ireland, Irish poets, particularly those writing in the "troubled" Northern Ireland of the last thirty years, have been drawn throughout the century to the events and images of 1914-18.
What did war look like in the cultural imagination of 1914? Why did men in Scotland sign up to fight in unprecedented numbers? What were the martial myths shaping Scottish identity from the aftermath of Bannockburn to the close of the nineteenth century, and what did the Scottish soldiers of the First World War think they were fighting for? Scotland and the First World War: Myth, Memory and the Legacy of Bannockburn is a collection of new interdisciplinary essays interrogating the trans-historical myths of nation, belonging and martial identity that shaped Scotland’s encounter with the First World War. In a series of thematically linked essays, experts from the fields of literature, history and cultural studies examine how Scotland remembers war, and how remembering war has shaped Scotland.
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