I am no good at letters. John McGahern, 1963 John McGahern is consistently hailed as one of the finest Irish writers since James Joyce and Samuel Beckett.This volume collects some of the witty, profound and unfailingly brilliant letters that he exchanged with family, friends and literary luminaries - such as Seamus Heaney, Colm Tóibín and Paul Muldoon - over the course of a well-travelled life. It is one of the major contributions to the study of Irish and British literature of the past thirty years, acting not just as a crucial insight into the life and works of a much-revered writer - but also a history of post-war Irish literature and its close ties to British and American literary life. 'One of the greatest writers of our era.' Hilary Mantel 'McGahern brings us that tonic gift of the best fiction, the sense of truth - the sense of transparency that permits us to see imaginary lives more clearly than we see our own.' John Updike
John McGahern (1934–2006) believed that fiction could act as a window on the world. Such windows, however, frame our fields of vision, alter and shape our perspectives. Far from being static, the artist’s perspective must continually evolve. This book provides a literary analysis of John McGahern’s artistic and poetic vision – his ‘ways of looking’, examining the shifting focus of this vision: how and why it develops, what effects such developments have on the work’s forms and how these forms evolve, at what times and in response to what stimuli. This volume demonstrates that such developments mirror an analogous social expansion during the latter half of the twentieth century and argues that McGahern’s literary spaces relate to his efforts to realise a more accommodating form to envelop the structureless society. While the number of critical studies on McGahern has increased markedly in recent years, research still tends to fall into the well-established camps of social realism or literary aestheticism. This text aims to explore the common ground between the material context and social worlds of each work and the hermeneutics of a ‘traditional’ literary investigation. It traverses such divides through close readings of McGahern’s work, with attention to the topopoetical production of images of the house, the home and the family unit. The book ultimately shows how attention to McGahern’s literary spaces provides a greater understanding of the aesthetic, vision and form of each novel and allows us to understand those aspects relative to the social, cultural and political undercurrents of the works individually and collectively.
These 34 funny, tragic, bracing, and acerbic stories represent the complete short fiction of one of Ireland's finest living writers. On struggling farms, in Dublin's rain-drenched streets, or in parched exile in Franco's Spain, McGahern's characters wage a confused but touching war against the facts of life.
John McGahern's astounding memoir of his childhood: 'A glowing masterpiece.' Hilary Mantel 'The one Irish writer everyone should read.' Colm Tóibín As wise and compelling a book as any of his elegiac and graceful novels.' David Mitchell 'I have admired, even loved, McGahern's work since his first novel ... Memoir strips the skin off his fiction as he faces a desperate early life with great force and tenderness.' Melvyn Bragg This is the story of John McGahern's childhood, his mother's death, his father's anger and violence, and how, through his discovery of books, his dream of becoming a writer began. At the heart of Memoir is a son's unembarrassed tribute to his mother. His memory of walks with her through the narrow lanes to the country schools where she taught and his happiness as she named for him the wild flowers on the bank remained conscious and unconscious presences for the rest of his life. A classic family story, told with exceptional restraint and tenderness, Memoir cannot fail to move all those who read it. 'Magnificent ... Stand[s] supreme in the Irish canon.' Irish Times 'Profoundly beautiful.' Daily Telegraph 'Extraordinary, spellbinding, spiritual.' Irish Independent ' 'In a tremendously distinguished career, he has never written more movingly, or with a sharper eye.' Andrew Motion, Guardian
From award-winning author John McGahern, a memoir of his childhood in the Irish countryside and the beginnings of his life as a writer. McGahern describes his early years as one of seven children growing up in rural County Leitrim, a childhood was marked by his father’s violent nature and the early death of his beloved mother. Tracing the memories of home through both people and place, McGahern details family life and the beginnings of a writing career that would take him far from home, and then back again. Haunting and illuminating, All Will Be Well is an unforgettable portrait of Ireland and one of its most beloved writers.
An enlightening collection of essays, reviews and speeches by 'one of the greatest writers of our era' (Hilary Mantel) and 'the Irish novelist everyone should read' (Colm Tóibín). 'Wise and compelling ... Elegiac and graceful.' David Mitchell 'I have admired, even loved, John McGahern's work since his first novel .' Melvyn Bragg McGahern did not spread himself thinly as a writer. Nearly all of his creative energy went into what was central for him: the great novels and stories that are now part of the canon of Irish and world literature. Yet he spoke out when he felt he had something worth saying and his non-fiction writings are of great interest to anyone who loves his work, and to all those interested in the recent history of Ireland. This book brings together all of McGahern's surviving essays, reviews and speeches. In them his canon of great writers - Tolstoy, Chekhov, James, Proust and Joyce - is cited many times, with deep and subtle appreciation. His discussions of Irish writers who influenced him are generous and brilliant - among them Michael McLaverty, Ernie O'Malley and Forrest Reid. His interventions on issues he felt strongly about - sectarianism, women's rights, the power of the church in Ireland - are lucid and far-sighted.
A haunting novel by 'one of the greatest writers of our era' (Hilary Mantel) and 'the Irish novelist everyone should read' (Colm Tóibín). A day, crucial and cathartic, in the life of a young Catholic schoolteacher who has returned to Ireland after a year's sabbatical in London where he married an American divorcee. As a result he now faces certain dismissal by the school authorities. Moving from the earliest memories of both the man and the woman, the novel recreates their breaking of the shackles of guilt and duty into the acceptance of a fulfilling adult love. 'A beautiful, irresistible work of imagination. Sunday Telegraph 'Wise and compelling ... Elegiac and graceful.' David Mitchell 'I have admired, even loved, John McGahern's work since his first novel .' Melvyn Bragg
Sinclair; The Sisters; Swallows; The Rockingham Shoot; The Power of DarknessJohn McGahern, the leading Irish novelist of his generation, wrote a substantial number of compelling scripts for radio and television. This volume brings together five of his produced works, at the heart of which sits the previously unpublished The Rockingham Shoot, a dark and powerful play for television that concerns a Nationalist teacher whose attempt to prevent his pupils beating at a pheasant shoot held in honour of the British Ambassador leads to a shockingly violent incident. Collectively, these dramatic works offer an evocative and often stark account of a deeply troubled and divided nation.
With this magnificently assured new novel, John McGahern reminds us why he has been called the Irish Chekhov, as he guides readers into a village in rural Ireland and deftly, compassionately traces its natural rhythms and the inner lives of its people. Here are the Ruttledges, who have forsaken the glitter of London to raise sheep and cattle, gentle Jamesie Murphy, whose appetite for gossip both charms and intimidates his neighbors, handsome John Quinn, perennially on the look-out for a new wife, and the town’s richest man, a gruff, self-made magnate known as “the Shah.” Following his characters through the course of a year, through lambing and haying seasons, market days and family visits, McGahern lays bare their passions and regrets, their uneasy relationship with the modern world, their ancient intimacy with death.
Michael Moran is an old Irish Republican whose life was forever transformed by his days of glory as a guerrilla leader in the Irish War of Independence. Moran is till fighting—with his family, his friends, and even himself—in this haunting testimony to the enduring qualities of the human spirit.
The provocative novel by 'one of the greatest writers of our era' (Hilary Mantel) and 'the Irish novelist everyone should read' (Colm Tóibín). Michael, a writer of pornographic fiction, creates an ideal world of sex through his two stock athletes, Colonel Grimshaw and Mavis Carmichael, while he bungles every phase of his entanglement with an older woman who has the misfortune to fall in love with him. But his insensitivity to this love is in direct contrast to the tenderness with which he attempts to make his aunt's slow death in hospital tolerable, while his employer, Maloney, failed poet and comic king of pornographers, comes gradually to preside over this broken world. Everywhere in this rich novel is the drama of opposites, but, above all, sex and death are never far from each other. 'Wise and compelling ... Elegiac and graceful.' David Mitchell 'I have admired, even loved, John McGahern's work since his first novel .' Melvyn Bragg 'A marvellous novel, deep, moving, rich and resonant, about love, lust, life and death.' Sunday Express 'A novel that succeeds beautifully in doing what it sets out to do; to record and illuminate varieties of disenchantment.' Times Literary Supplement 'An admirable book, one of the finest I have read for a long time ... I cannot recommend Mr McGahern too strongly.' Sunday Telegraph
Now a major motion picture: the Booker-shortlisted author's last novel: a 'masterpiece' ( Observer) by 'one of the greatest writers of our era' (Hilary Mantel) Joe and Kate Ruttledge have come to Ireland from London in search of a different life. In passages of beauty and truth, the drama of a year in their lives and those of the memorable characters that move about them unfolds through the action, the rituals of work, religious observances and play. We are introduced, with deceptive simplicity, to a complete representation of existence - an enclosed world has been transformed into an Everywhere. 'McGahern brings us that tonic gift of the best fiction, the sense of truth - the sense of transparency that permits us to see imaginary lives more clearly than we see our own.' John Updike
Marvellous.' Susan Hill, The Times Elizabeth Reegan, after years of freedom - and loneliness - marries into the enclosed Irish village of her upbringing. The children are not her own; her husband is straining to break free from the servile security of the police force; and her own life, threatened by illness, seems to be losing the last vestiges of its purpose. Moving between tragedy and savage comedy, desperation and joy, John McGahern's first novel is one of haunting power. 'The details are evoked with a scrupulous yet enhancing accuracy that reminds one of the young Joyce. He is astonishingly successful in penetrating the mind of a mature woman confronted with pain and death. Mr McGahern is the real thing.' Spectator
John McGahern is considered by many to be the most important Irish prose writer of the last fifty years. McGahern's short stories equal his finest novels, reflecting both the richness of the ordinary, and the extraordinary, in the lives of a variety of individuals: the jilted lover waiting with would-be writers in a Dublin pub on a summer evening; the bitter climax between a father and son as a marriage begins; the fortunes and misfortunes of the Kirkwood family; and many more. For this revised edition, completed shortly before his death, John McGahern edited and deleted a number of stories from the Collected Stories that first appeared in 1992. This is the authorised edition of a modern classic. 'He writes with authority and gravity, and with an instinct for the most appropriate detail . . . His terse narrative seems free and full. He has the gift of being able to move fluently and unselfconsciously between a simple and a heightened style.' Times Literary Supplement 'One of the greatest writers of our era.' Hilary Mantel, New Statesman
The stories in High Ground are set in ordinary places, in the streets and suburbs and dancehalls of Dublin, the small towns and fields of the midlands, the big houses of the beleaguered Anglo-Irish in the aftermath of their ascendancy, the whole changing country propelled in a generation from the nineteenth into the late twentieth century.
A landmark event: the collected stories of 'one of the greatest writers of our era' (Hilary Mantel) and 'the Irish novelist everyone should read' (Colm Tóibín). 'Wise and compelling ... Elegiac and graceful.' David Mitchell 'I have admired, even loved, John McGahern's work since his first novel .' Melvyn Bragg 'Gentle, lyrical, an amorist of language, a natural historian of the soul.' Irish Times 'Exquisite stories . . . Here is a Dublin of tatty dancehalls and uneasy courtships, of kisses in damp doorways and unfulfilled hungerings . . . Writing of extraordinary beauty.' Guardian
This remarkable volume brings together all of John McGahern's short fiction, fully revised, in a definitive text. McGahern has long been recognized as a contemporary master of the short story; The Collected Stories confirms his reputation as Ireland's leading prose writer.
Those who have called John McGahern a modern Chekhov are struck by his ability to transform commonplace experiences into moments of epiphany. In “Parachutes,” the narrator reels in the aftermath of a breakup with the woman he loves; “Oldfashioned” isthe story of Johnny, a country boy oddly drawn to the elderly English couple for whom he represents the son they lost in the War; and in “Eddie Mac” and “The Conversion of William Kirkwood,” a wealthy family and its hired help learn that the relationship of master and servant is the most enduring relationship of all. In High Ground, John McGahern displays all of his acclaimed mastery, and both deepens and extends the world of his generous imagination.
Elizabeth Reegan, after years of freedom - and loneliness - marries into the enclosed Irish village of her upbringing. The children are not her own; her husband is straining to break free from the servile security of the police force; and her own life, threatened by illness, seems to be losing the last vestiges of its purpose.
The stories in High Ground are set in ordinary places, in the streets and suburbs and dancehalls of Dublin, the small towns and fields of the midlands, the big houses of the beleaguered Anglo-Irish in the aftermath of their ascendancy, the whole changing country propelled in a generation from the nineteenth into the late twentieth century.
Paul King, an Irish landowner, is dying; his wife is half his age. He has not allowed his wealth to spread ease or comfort. When he dies, his handsome young workman Paul is urged by a cunning mother to move in on the vulnerable young widow. The Power of Darkness reflects a fallen world. The title is a description of the force that drives it; sexual ignorance and the old fear of famine lead to irrational greed, coupled with the need for redemption.
As wise and compelling a book as any of his elegiac and graceful novels.' David MitchellThis is the story of John McGahern's childhood; of his mother's death, his father's anger and bafflement, and his own discovery of literature.'Long before Frank McCourt made an entire industry out of twinkly eyed accounts of the poverty and institutionalised brutality of mid-twentieth-century rural Ireland, John McGahern, Ireland's greatest living novelist, had already shone wise and unsparing light on this same world ... Memoir is the full, unadorned story of his childhood and adolescence in Leitrim ... His finest book yet.' Stephanie Merritt, Observer'In a tremendously distinguished career, he has never written more movingly, or with a sharper eye.' Andrew Motion, Guardian'I have admired, even loved, John McGahern's work since his first novel ... Memoir strips the skin off his fiction as he faces a desperate early life with great force and tenderness.' Melvyn Bragg
I am no good at letters. John McGahern, 1963 John McGahern is consistently hailed as one of the finest Irish writers since James Joyce and Samuel Beckett.This volume collects some of the witty, profound and unfailingly brilliant letters that he exchanged with family, friends and literary luminaries - such as Seamus Heaney, Colm Tóibín and Paul Muldoon - over the course of a well-travelled life. It is one of the major contributions to the study of Irish and British literature of the past thirty years, acting not just as a crucial insight into the life and works of a much-revered writer - but also a history of post-war Irish literature and its close ties to British and American literary life. 'One of the greatest writers of our era.' Hilary Mantel 'McGahern brings us that tonic gift of the best fiction, the sense of truth - the sense of transparency that permits us to see imaginary lives more clearly than we see our own.' John Updike
John McGahern (1934–2006) believed that fiction could act as a window on the world. Such windows, however, frame our fields of vision, alter and shape our perspectives. Far from being static, the artist’s perspective must continually evolve. This book provides a literary analysis of John McGahern’s artistic and poetic vision – his ‘ways of looking’, examining the shifting focus of this vision: how and why it develops, what effects such developments have on the work’s forms and how these forms evolve, at what times and in response to what stimuli. This volume demonstrates that such developments mirror an analogous social expansion during the latter half of the twentieth century and argues that McGahern’s literary spaces relate to his efforts to realise a more accommodating form to envelop the structureless society. While the number of critical studies on McGahern has increased markedly in recent years, research still tends to fall into the well-established camps of social realism or literary aestheticism. This text aims to explore the common ground between the material context and social worlds of each work and the hermeneutics of a ‘traditional’ literary investigation. It traverses such divides through close readings of McGahern’s work, with attention to the topopoetical production of images of the house, the home and the family unit. The book ultimately shows how attention to McGahern’s literary spaces provides a greater understanding of the aesthetic, vision and form of each novel and allows us to understand those aspects relative to the social, cultural and political undercurrents of the works individually and collectively.
One of a series of titles first published by Faber between 1930 and 1990, and in a style and format planned with a view to the appearance of the volumes on the bookshelf. McGahern's tragicomic novel centres on a lonely woman who marries into the enclosed Irish village of her upbringing.
John Butler Yeats was the father of the poet W.B. Yeats and the painter Jack Yeats. This selection of his letters covers the period 1898 to his death in 1922. They are rich in ideas, opinions and gossip, and discuss art, and Irish affairs.
The Distance of Irish Modernism interrogates the paradox through which Irish modernist fictions have become containers for national and transnational histories while such texts are often oblique and perverse in terms of their times and geographies. John Greaney explores this paradox to launch a metacritical study of the modes of inquiry used to define Irish modernism in the 21st century. Focused on works by Samuel Beckett, Elizabeth Bowen, John McGahern, Flann O'Brien and Kate O'Brien, this book analyses how and if the complex representational strategies of modernist fictions provide a window on historical events and realities. Greaney deploys close reading, formal analysis, narratology and philosophical accounts of literature alongside historicist and materialist approaches, as well as postcolonial and world literature paradigms, to examine how modernist texts engage the cultural memories they supposedly transmit. Emphasizing the proximities and the distances between modernist aesthetic practice and the history of modernity in Ireland and beyond, this book enables a new model for narrating Irish modernism.
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