Search results for ""lilliput press""

The College Historical Society has been a microcosm of the politics of Ireland since the first discussions in Edmund Burke's Club in 1747. As a student debating society it has always debated the burning issues of the day, sometimes being expelled from the College in consequence. 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. The opinions expressed by the key figures in Irish Society in their time are reflected, both in youth and in maturity. The Bicentenary in 1970 saw one of the great occasions of the Society. Statesmen and politicians debated Burke's philosophy, freedom and order, and Northern Ireland. Their speeches are still relevant. Past members have contributed their memories of their own time in the Hist. And the records of the Society have been mined for material which illustrates its development. These include part of the minutes of Burke's Club, the topics for debate over the years, and some Sub-committee reports, which tackle even very small issues with the full rigour of a Judicial Tribunal Report.

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Part One of this large format book will enable you to collect information for your family tree simply by talking to people, and provides a series of beautiful fill-in charts to permanently record a family tree of up to five generations. Part Two contains information on Irish family history and includes advice for those who want to proceed further with this fascinating hobby. The Ancestor Album is the ideal book for the beginner. If you don’t want to do the family tree yourself give it to the kids and get them to do it.

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In the final of Maylis Besserie's Irish-French trilogy, her preoccupation with the art and lives of artists who crossed borders between France and Ireland has a fitting climax as Bacon confronts the boundaries between the real and the imagined.

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Road to Repeal: 50 Years of Struggle in Ireland for Contraception and Abortion opens in 1970 when the Irish Women's Liberation Movement burst onto the streets and screens of a society bewildered by women demanding equal status in the home and in the workplace. It tracks the bitter backlash to their successes that culminated in the Eighth Amendment's fixture in the Irish Constitution in 1983. Over five decades, Road to Repeal describes and depicts individual tragedy, referendums, court cases, the actions of a misogynist Church and State. It shines a light on the journey of thousands of women and girls who braved stigma and hardship, often travelling alone and anonymously for medical treatment they were denied in Ireland. Road to Repeal closes with the visually dazzling Together For Yes campaign whose determination and grit finally got rid of Article 40.3.3 on May 25th, 2018.

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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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This, the fifth and final volume in the Trinity Tales series, completes a cycle that began with tales from the 1960s. It invites readers to step into the world of Trinity College as it was in the first decade of this century through the reflections of students who attended the university during those years. Within its pages lie the stories of twenty-eight graduates from a mix of diverse backgrounds whose experiences may dispel the myths of what it means to be a ‘Trinity student’. The collection reveals the rapidly changing world of the early 2000s. This was a time of the internet revolution, when social media first affected student life, when mobile phones and laptops became ubiquitous, when handwritten work was passing into history, when The Buttery closed its doors – and all this coming against the backdrop of an overheating then imploding Irish economy. This kaleidoscope of recollections captures a student body in transformation and features stories of personal discovery and achievement against the odds. For some it proved a life-changing era when sexual, racial or class barriers were confronted. This volume concludes a remarkable half-century journey, portraying the lives of others, and of ourselves.

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In August 1939 the Irish travel writer Richard Hayward set out on a road trip to explore the Shannon region just two weeks before the Second World War broke out. His evocative account of that trip, Where the River Shannon Flows, became a bestseller. The book, still sought after by lovers of the river, captures an Ireland of small shops and barefoot street urchins that has long since disappeared. Eighty years on, inspired by his work, Paul Clements retraces Hayward's journey along the river, following - if not strictly in his footsteps - then within the spirit of his trip. From the Shannon Pot in Cavan, 344 kilometres south to the Shannon estuary, his meandering odyssey takes him by car, on foot, and by bike and boat, discovering how the riverscape has changed but is still powerful in symbolism. While he recreates Hayward's trip, Clements also paints a compelling portrait of twenty-first century Ireland, mingling travel and anecdote with an eye for the natural world. He sails to remote islands, spends times in rural backwaters and secluded riverside villages where the pub is the hub, and attempts a quest for the Shannon connection behind the title of Flann O'Brien's novel At Swim-Two-Birds. The book gives a voice to stories from water gypsies, anglers, sailors, lock keepers, bog artists, 'insta' pilgrims and a water diviner celebrating wisdom through her river songs and illuminates cultural history and identity. It focuses on the hardship faced by farmers and householders caused by the flooding of the river, which in recent winters left fields and towns under siege by water. Wildlife, nature, and the built heritage, including historic bridges, all play a part. The Shannon Callows, which used to be 'corncrake central', is explored for birdlife, along with the wildflower secrets of roadside hedges and riverbanks. On a quixotic journey by foot, boat, bike and car, Paul Clements produces an intimate portrait of the hidden countryside, its people, topography and wildlife, creating a collective memory map, looking at what has been lost and what has changed. Through intermittent roaming, he maps the geography of the river in stories, testimonies and recollections, intercutting the past and the present in an eternal rhythm. Beyond the motorways and cities, you can still catch the pulse of an older, quieter Ireland of hay meadows and bogs, uninhabited islands and remote towpaths. This is the country of the River Shannon that runs through literature, art, cultural history and mythology with a riptide pull on our imagination. This is a tribute to Ireland's longest river reflecting the deep vein flowing through the culture of the country

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In the summer of 1964, twenty-one-year-old Gillies MacBain arrives in Dublin off the ferry from England with only his bicycle, a suitcase and a tent to his name. Young, handsome and charismatic, he begins work as a footman in one of the houses of the `dying aristocracy'. Thus begins his foray into the upper echelons of Irish society. The Adventures of an Irish Footman is an irresistible narrative which describes a fading part of Irish society that MacBain subverts with wry humour. MacBain finds himself in a precarious niche: the borderland in between `upstairs' and `downstairs'. Here, he rubs shoulders with a cast of characters from the bohemian socialites to the chancer `Sketchly' and the hippes with their dewy-eyed `morals'. MacBain's memoirs run the gamut of Irish social classes, from his friendship with County Monaghan small farmers and tenants, to working with a dubious cast of actors and producers on a film set at Castle Leslie, to eventually marrying into the circle of the `idle rich'. An irresistible story told by a charming storyteller, this memoir sheds light on an era of Irish domestic industry, and Irish social history, that has all but been forgotten.

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Strictly No Poetry, Mathews’ fourth volume of poetry, follows upon Windfalls (Dolmen 1977), Minding Ruth (Gallery 1983) and According to the Small Hours (Cape 1998), and has been long awaited. In these forty-eight remarkable individual poems and sequences, Mathews lays out his witness to the travails and joys of youth and age, to the passing political parade and the intimacies of nature, to the exigencies of parenthood, of frailty and endurance. Informed by a Dublin sensibility, he holds fast to spiritual traditions while testing the parameters and indulgences of the modern world. His voice, by times Keatsian in its lyric penetration, is humanist in its instincts, universal in its reach, and exerts a singularity that leaves no shadow.

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William Dargan’s career began in Wales on the Holyhead Road, working under the famous Scottish engineer, Thomas Telford. He went on to build roads, railways, canals and reservoirs, developed hotels and the resort towns of Bray and Portrush, laid out Belfast harbour, ran flax and thread mills and reclaimed vast tracts of farmland in Derry and Wexford. He operated canal boats and cross-channel steamers, constructed several canals and railways in England and in 1834 built Ireland’s first railway from Dublin to Dun Laoghaire. There is hardly a town in Ireland untouched by William Dargan. Alone he funded and constructed the 1853 Art-Industry Exhibition on Dublin’s Merrion Square as a boost to a country recovering slowly from the effects of the Great Famine just five years before. The National Gallery, raised largely in tribute to him, has a Dargan Wing and his statue stands in its grounds. Despite these achievements Dargan was a modest man. Several times he declined a peerage, a seat in parliament and even the baronetcy offered by Queen Victoria when she came to take tea at Mount Anville, his south Dublin mansion. This fascinating book, complete with over thirty archival photographs, draws on a range of original material and sources, much never seen in print before, to present an all-round portrait of a dynamic and engaging figure showing how his energy and abilities laid the foundations for Ireland’s later prosperity. The story of Dargan and his era will inform and uplift, evoking wider appreciation of a true patriot and an honourable man who did so much for his country.

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For lovers of the often dark and troubled poetry of Louis MacNeice, his father is a reassuring presence: solid, sober, pious yet tolerant, a Church of Ireland clergyman who was not afraid to reject the Ulster Covenant of 1912, denounce sectarianism, and even espouse Irish nationalism. This book originated in the discovery of one inconvenient fact. Frederick MacNeice (1866–1942) was not a Home Ruler but an all-Ireland Unionist, who for many years was an enthusiastic Orangeman in Dublin and then Ulster. In later life, especially as Bishop of Down after 1934, he set aside these connections in order to pursue intercommunal peace and tolerance in Belfast and beyond. Louis colluded with his father in reinterpreting his earlier career, as part of a process of personal reconciliation which profoundly affected his later poetry and autobiographical writings. The relationship between father and son is discussed in two chapters, and several well-known poems are reinterpreted in the light of fresh evidence. Above all, this is the biography of a visionary who never despaired of spreading salvation through the often derided Church of Ireland. Using unfamiliar archives and local newspapes as well as the writings of both father and son, this book reconstructs the disparate worlds in which Frederick MacNeice lived and worked. It also explores his muted responses to the suffering of his parents and siblings, the early death of his deeply depressed first wife, the benefits resulting from his second marriage and its consequences for his children. The figure that emerges is complex, guarded, astute, and remarkably effective in using religion to spread enlightenment. His life demonstrates that salvation deserves to be taken seriously as a motive force in modern Irish history.

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In the summer of 2000 a young Irish journalist returned from New York to launch a magazine about life in boomtown Dublin. The Dubliner was an instant failure, and within a few months it was close to bankruptcy. For the next seven years Trevor White struggled to keep the magazine afloat. Along the way he managed to alienate nearly everyone in Ireland. The Dubliner Diaries is an awkward history of the Celtic Tiger by a man who tried to capture it, and ended up being mauled.

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A monograph of duotone photographs, taken in the Palm House at the National Botanic Gardens in Glasnevin, Dublin, beautifully illustrate this building as it was prior to its restoration. The photographs capture the cluttered green jungle, worn by time and held high in affection by the enchanted visitors who stepped inside its lofty paradise. By bringing the reader around the house as it was, drawing the eye to detail upwards, along its unique metal walkway and into the smaller treasure, the orchid house; to look at the intricate glass panels, metal structure, the wooden frames with their own unique patina of the passage of time, The Palm House tells its story visually. Meanwhile, in an accompanying text, Brendan Sayers relates how a visitor felt on entering and exploring this exotic world, the history and the origin of the planting, the unique pot and tub culture, and the importance of the collection.

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Dublin's writers rarely remain solemn for long: their wicked sense of humour has travelled the world. This is an irresistible new anthology of what used to be called ‘comic and curious verse’ about the city, written by some of her most entertaining poets and songwriters. Fashions in verse come and go. Too often we forget – paradoxically – the most memorable works of wit, sarcasm or absurdity. The ones gathered here were written over four centuries, and were inspired by many things – among them love, injustice, history, politics, animals and alcohol, but most of all by the citizens of Dublin themselves. Whether the lines are satirical, sentimental, subversive, sexy or just plain silly, you will find that many of them show a rare seriousness as well. Each poem comes with background information about where it originated, and each page is illuminated by Hector McDonnell’s wonderful, witty drawings.

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In a disused railway tunnel lives Pollyhester, dressmaker to the stars. Celebrities dream of Pollyhester’s designs, teased out of ancient recycled fabrics and her wonderous imagination. But when Fashion Dictators change the fashion, celebrity Iverna makes extraordinary demands on poor Pollyhester. She summons her loyal helpers, who include a fallen dancing angel, a lovesick Viking motorcycle courier and a host of sinister spiders, to save the day. Beautifully illustrated, and simply told, this enchanting tale will captivate both young and old.

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The Shannon Navigation traces the history of the River Shannon as a navigation up to the present day from the 1750s when the early works were commenced under the Commissioners of Inland Navigation and subsequently under the Directors General of Inland Navigation from 1800 to 1831. These works, which took many years to complete, were not very successful and were badly maintained. In the 1830s the arrival of steamers focussed attention on the poor state of the navigation, which coincided with the efforts of the government to initiate public works to relieve distress by providing employment. During the 1840s a major scheme was carried out creating the fine navigation that is enjoyed today. The works were designed to address the combined issues of navigation and drainage but only partially improved the extensive problems of flooding. The age of the steamers was cut short by the coming of the railways and a second attempt to provide passenger boats in the early 1900s did not live up to expectations. The subsequent history of the navigation is traced including the harnessing of the river as a hydro-electric scheme, which had a substantial impact on the navigation. The gradual decline in the use of the river for commercial trade saw it entering a trough until recent years, which have seen the growth in the use of the river for tourism and recreation, with the great works of the mid-nineteenth century utilized to their full potential for the first time. This magnificent documentary history is illustrated by over two hundred and fifty photographs, engravings, posters, maps and drawings, and contains invaluable appendices detailing the Acts and parliamentary papers, the works, the tonnage carried, and information about steamers and other boats.

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It is autumn 1942, and young Balbriggan teacher Matt Duggan arrives on his first posting at the small town of Rathisland in the Irish midlands, barely alive to the global war raging outside. Lawn tennis alternates with Church and classroom politics, as rehearsals take place for a staging of Hamlet. Beneath the surface are pockets of support for Germany, and plans afoot to link up with the Wehrmacht. Matt has a mesmerizing first encounter with nineteen-year-old Madelene Coll and, as she edges her way out from the watchful eyes of her aunts, she and Matt enter a world they will remember for the rest of their lives. When a Messerschmitt crash-lands in the locality that world is knocked from its axis. Before long the inherent contradictions of Emergency Ireland boil to the surface, involving Matt and Madelene in a misadventure with deeply tragic consequences. This nuanced coming-of-age story rehearses the inner narrative of neutral Ireland as public perception contends with private experience in a series of convergent tableaux. Beautifully evoked and implosive, divided personal loyalties mirror the wider dramas of the wider European stage. South of the Border is a gem of narrative that brings the reader into the heart of a reality that was wartime Ireland.

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Trevor, a film-school dropout from Dublin, signs on as companion to Ed, a rich, wheelchair-bound New Yorker. A bizarre, mutual-dependency pact is ignited and an odyssey into the mind of an off-kilter, rambunctious Irishman begins. The Companion tells a story of obsession and control in which the dynamics of love and patience are tested to breaking point and beyond. Upbeat, defiant, dark and morally ambiguous, it sifts through family secrets and lies, and discloses the survival codes of Manhattan. This Irish take on One Flew Over the Cuckoo’s Nest develops into one of those rare, perversely elegiac novels that lodge in the mind. Long after the last page has been turned.

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Limited edition of 100 numbered copies, signed by the author, clothbound and slipcased with a 1904 penny inset on the cover. In 1904, the sending, receiving and collecting of postcards had become an essential part of life in Edwardian Dublin. In an age of few private telephones, the postcard was a popular and reliable form of communication – in Dublin there were six mail deliveries a day, and one on Sunday. To celebrate James Joyce and the centenary of Bloomsday, Niall Murphy has assembled a dazzling selection of 240 postcards, all of them posted in the Dublin area during 1904, four of them sent on 16 June that year. Here are the messages of ordinary people who walked the streets of Dublin side-by-side with the characters of Ulysses, with their words eerily mirroring the novel’s events. There is a rescue from drowning in Kingston; crime and punishment in Grafton Street; the Great Storm of 1903; King Edward’s visit; and memories of a ‘departed day’ spent in Howth. Among the many tales of love, three are enacted in varying degrees of intimacy: Millicent and Francisque de Boissieu, Jack Miller and Maud Tighe, and Ina and John McGregor – echoing Joyce’s use of postcards to establish the blossoming romance between Milly Bloom and Alec Bannon. Published in association with the National Library of Ireland, ‘A Bloomsday Postcard’ features the work of the legendary postcard artists – Louis Wain’s strange human cats; Lance Thackery’s satires of upper-class life; and C. Dana Gibson’s exquisite drawings of beautiful women. Here also are cards depicting the Russo-Japanese War, Yukon gold miners, the Dublin Horse Show, and life in Connemara – creating a mesmerizing full-colour mosaic that brings to life the world of Bloomsday, 1904 like never before.

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Dr RB McDowell is a legend. To graduates of Trinity College, Dublin, he is a symbol of their years at university, the enduring source of endless amusing anecdotes and memories. Now, for the first time, reminiscences by graduates and friends, recording entertaining encounters with ‘RB’ over a period of some seventy years, appear in book form, enlivened by comments from Dr McDowell himself and illustrated with evocative sketches of College circa 1950 by Bryan de Grineau, archival photographs, many hitherto unseen, and a Derek Hill painting in full colour. The result is an intriguing portrait of the traditions and the way of life at Ireland’s oldest university during the greater part of the twentieth century and the part played by the charismatic and unique RB McDowell. RB MCDOWELL is an Emeritus Fellow of Trinity College, Dublin. His works include Irish Public Opinion 1750-1800, The Church of Ireland 1869-1969, Ireland in the Age of Imperialism and Revolution 1760-1801, Land and Learning: Two Irish Clubs, Crisis and Decline: The Fate of the Southern Unionists, and Grattan: A Life.

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These books are being reissued as they appeared in the first Dolmen Press editions in one composite volume, with a valuable, contexual introduction by 18th-century Swift scholar Andrew Carpenter. He assesses the reaction of Swift's serious biographers and commentators to the original publication. "Cadenus" is primarily concerned with the relationship between Swift and Vanessa (Esther Van Homrigh), "Swift's Most Valuable Friend" with that between Swift and Stella (Esther Johnson). Both help to determine the precise nature of this triangle, and the impact it had on his writing and career.

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These books are being reissued as they appeared in the first Dolmen Press editions in one composite volume, with an invaluable, contextual introduction by eighteenth-century Swift scholar Andrew Carpenter. He assesses the reaction of Swift’s serious biographers and commentators to the original publications: ‘… two remarkable books, driven by sympathetic and intuitive enquiry, which made an important contribution to Swift studies when they appeared in the 1960s and which still remain significant for all those interested in Swift’s life and works’. Cadenus is primarily concerned with the relationship between Swift and Vanessa (Esther Van Homrigh), Swift’s Most Valuable Friend with that between Swift and Stella (Esther Johnson). Both help to determine the precise nature of this triangle, and the impact it had on his writing and career.

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This ‘new journalism’ by Irish Times women writers originally appeared on the Women First pages during the 1970s. Together, the pieces reflect the enormous social and political upheaval of the years when, as the first woman’s page editor Mary Maher put it, “Irish women were invented”. The voices of this exciting anthology, diverse, sparkling, irreverent, record with wit and intelligence an Ireland on the brink of transformation. Changing The Times showcases the best of this writing, by Maeve Binchy, Mary Leland, Gabrielle Williams, Christina Murphy, Geraldine Kennedy, Maev Kennedy, Eileen O’Brien, Caroline Walsh, Theodora FitzGibbon, Nell McCafferty, Renagh Holohan, Elgy Gillespie and others. Issues of the day are articulated and explored: pregnancy, fashion, first loves, sexuality, a burgeoning feminism, an imploding Catholic Church, an exploding North. Nell McCafferty profiles a young Ian Paisley, visits New York and talks to the family of a girl tarred and feathered in Derry; Maeve Binchy interviews Samuel Beckett and Iris Murdoch; Mary Holland follows the North, while Renagh Holohan is caught in its explosions; Elgy Gillespie encounters Muhammed Ali, Tyrone Guthrie and Robert Lowell; while Mary Cummins interviews Bernadette Devlin about having her first baby. As the mirror of a confident young nation, and a window onto one of the most eventful decades in recent Irish history, Changing the Times gives these writings the afterlife they richly deserve.

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Trinity student Charles Stanihurst, the son of a Dublin merchant and a Roscommon chambermaid, flees his native city after assaulting an English officer and heads for the West of Ireland, where he encounters a culture virtually unknown within the pale. Beyond the Shannon much of the old Gaelic way of life is still intact, though under growing threat from the political power and land greed of the ‘foreigners’. Charles is forced to confront divisions between his Anglo-Irish and Gaelic loyalties, while seeking his spiritual father, Bishop William Bedell, who is translating the Old Testament into Irish. Set in post-Flight of the Earls, pre-Cromwellian Ireland of 1641, this novel tells the gripping story of a struggle between two opposing cultures that set the scene for the rebellion sealing the fate of Gaelic Ireland.

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In south Kilkenny, where Duiske stream joins the river Barrow at Graiguenamanagh, lies one of Ireland’s many Norman-Cistercian abbeys. Song of Duiske is a novella set amongst this monastic community in the year 1304, a century after the abbey’s foundation. It evokes the textures and rhythms of a medieval religious settlement, its peaceful routines as well as occasional trials, and celebrates with quiet lyricism the seasons and their solaces, ‘the open sky, the fields and the woods’.

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Using a play by Karl and Josef Capek as source, Flann O’Brien locates his insect drama in Dublin, his most familiar stalking- territory. His adaptation is a vehicle for ridicule and invective, targeting race, religion, greed, identity and purpose. With his extraordinary ear for dialogue, O’Brien creates his own fantastical world, and the outcome is a hilarious satire of Irish stereotypes – as Orangemen, Dubliners, Corkagians and culchies become warring ants, bees, crickets, dung-beetles, and other small-minded invertebrae. The lost text of this play, Hilton Edwards’ prompt copy from the 1943 Gate Theatre performance, was discovered in the archives at Northwestern University, Illinois.

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In mid-1970s rural Wicklow, John Hughes, a once-feted journalist/author with writer’s block, reflects on recent events. When English author William Cromer and his German lover Ingrid move to the Old Rectory nearby, their lives are transformed and an alcohol-fuelled affair begins. Hughes puts at risk everything he has ever loved – his wife Laura, teenage daughter Rachael and the bucolic ease of their quiet corner of Ireland. Nationalist resentment of this tax-free haven enjoyed by foreigners is sparked by events in Northern Ireland, and John finds himself in the middle of extortion, blackmail, marital betrayal and a suicide. As old and new friendships unravel, even lunchtime visits to the local pub become points of attrition. Losing his friends and mistress, John is forced to take responsibility for his actions in order to save his family and his integrity, and to find release as a writer.

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Anarchy and Authorityfollows the Irish men and women who ventured forth into the Russian Empire during the long centuries from the reign of Peter the Great until the end of Romanov rule in the early twentieth century.

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Youth 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 YouTube fame can deliver on their promises. Princess is battling to escape her claustrophobic surroundings and go to university and Dean is ready to come out from under his famous father's shadow, while 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 seemingly insurmountable expectations of adolescence, our protagonists are desperate to find anything that helps them belong. Oblivious to one another's presence, potential and struggles, they pass each other on the street as strangers. But when their paths cross, 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 landscape, this book is a love song to the possibilities of youth. Using insights gained from the young people he works with, Curran's evocative writing yields the authenticity this novel demands. With instinctive affection and admiration for his characters' strengths and complexities, Youth is a journey through streets less travelled.

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By 1848 all peaceful means of giving Ireland an equal place within the British Empire seemed exhausted and William Smith O’Brien found himself a reluctant revolutionary leader. An aristocratic Protestant landlord, O’Brien nevertheless commanded unrivalled respect amonst all Irish classes. This scion of an ancient dynasty and tireless campaigner for Catholic Emancipation and Repeal of the Union had advocated a host of improving laws and policies in a parliamentary and political career spanning more than twenty years. Disilllusioned by parliament, dismayed at Ireland’s imminent disintegration during the Great Famine, and pressured by Young Irelanders of the Irish Confederation, O’Brien strove to reunite with fellow-nationalists loyal to the memory of Daniel O’Connell. The first full biography of the leader of the 1848 Rebellion paints a convincing picture of O’Brien’s private nature and public personality. Davis provides an in-depth anlysis of his long and varied political career and argues that O’Brien was a far more consistent political thinker and active nationalist than previously understood.

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In 1800 Daniel O’Connell, a young Kerry barrister who had just made his first forays into national politics, began a clandestine correspondence with his distant cousin Mary O’Connell of Tralee. Two years later Daniel secretly married the dowerless Mary in Dublin, jeopardizing his inheritance and forging a bond that would last until Mary’s death in 1836. Husband and wife corresponded voluminously from the beginning of their courtship until Mary’s death, and over a thousand letters between them have survived. The World of Mary O’Connell, based on examination of these letters and of Mary’s correspondence with other family members and friends, is more than a portrait of the Liberator’s wife. Through the life and letters of Mary O’Connell, Erin I. Bishop has produced a fascinating study of social and domestic life in Ireland in the early nineteenth century. In chapters dealing with love and marriage, motherhood, domesticity, family and kin, sickness and health, and religion Bishop paints both an intimate picture of the life of one woman and a panoramic view of a time and a social stratum – the Catholic middle class – that have hitherto received inadequate scholarly attention.

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This is the first comprehensive study of the works of one of Ireland’s most significant contemporary poets. Thomas Kinsella, who first became well known in Ireland in the 1950s, now ranks among the most important of his generation of Irish poets. Although he is considered by many to be the most serious and the most experimental of the contemporary Irish poets, his work has received little critical attention. Kinsella is often credited with bringing the techniques of international modernism to Irish verse. Jackson presents a rounded critique of the later poems, whose art engages, analyses and morally restructures the content of the poet’s world. What emerges from The Whole Matter is a picture of Kinsella’s astonishingly far-reaching evolution, culminating in an art deeply engaged with the culture around it and with the entire human predicament.

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Riverdance exploded across the stage at Dublin's Point Theatre one spring evening in 1994 during a seven-minute interval of the Eurovision Song Contest hosted by Ireland. It was a watershed moment in the cultural history of a country embracing the future, a confident leap into world music grounded in the footfall of the choreographed kick-line. It was a moment forty-five years in the making for its composer. In this tenderly unfurled memoir Bill Whelan rehearses a lifetime of unconscious preparation as step by step he revisits his past, from with his Barrington Street home in 1950s Limerick, to the forcing ground of University College Dublin and the Law Library during the 1960s, to his attic studio in Ranelagh. Along the way the reader is introduced to people and places in the immersive world of fellow musicians, artists and producers, friends and collaborators, embracing the spectrum of Irish music as it broke boundaries, entering the global slipstream of the 1980s and 1990s. As art and commerce fused, dramas and contending personalities come to view behind the arras of stage, screen and recording desk. Whelan pays tribute to a parade of those who formed his world. He describes the warmth and sustenance of his Limerick childhood, his parents and Denise Quinn, won through assiduous courtship; the McCourts and Jesuit fathers of his early days, the breakthrough with a tempestuous Richard Harris who summoned him to London; Danny Doyle, Shay Healy, Dickie Rock, Planxty, The Dubliners and Stockton's Wing, Noel Pearson, Sean O Riada; working with Jimmy Webb, Leon Uris, The Corrs, Paul McGuinness, Moya Doherty, John McColgan, Jean Butler and Michael Flatley. Written with wry, inimitable Irish humour and insight, Bill Whelan's self deprecation allows us to to see the players in all their glory, vulnerability and idiosyncracy. This fascinating work reveals the nuts, bolts, sheer effort and serendipities that formed the road to Riverdance in his reinvention of the Irish tradition for a modern age. As the show went on to perform to millions worldwide, Whelan was honoured with a 1997 Grammy Award when Riverdance was named the 'Best Musical Show Album.' Richly detailed and illustrated, The Road to Riverdance forms an enduring repository of memory for all concerned with the performing arts.

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Judith Mok was born in the Netherlands, to Jewish survivors of the Holocaust. She trained as a classical singer and travelled the world performing as a soloist, while publishing a novel and poetry collection there. For the last twenty years she has been based in Ireland, where she has become the country's leading voice coach, working with classical singers and many international pop stars. In recent years she started to write in English, publishing a novel and poetry collection and contributing to publications like the Irish Times. The State of Dark is a memoir and detective story. Like many children of Holocaust survivors, she was raised with the emotional trauma of having no other family members, while her parents tried to rebuild their lives in postwar Europe. Despite the constant and occasionally intrusive presence of the past - Anne Frank's father Otto makes an emotional visit to her father to hand over some letters - she had little concrete information about the hundreds of members of her family who died. All the same, the Holocaust and its consequences continued to haunt her life. At one point in her career she worked with the great German soprano Elisabeth Schwarzkopf. It was only years later that she discovered the full extent of Schwarzkopf 's collaboration with the Nazi regime. Not only was she a full member of the National Socialist Party, but was also the mistress of Hans Frank, the notorious 'Butcher of Poland'. Later, Mok would discover that Schwarzkopf had entertained the German troops in Poland at around the same time her family were being murdered there. A chance phone call made from her Dublin home in search of more information unleashes a whole process whereby Mok disovers, in shocking and intimate detail, the terrible fate of her family. The State of Dark is a highly original, moving and beautifully written memoir of the so-called Second Generation trauma, which documents how the Holocaust continues to be a living issue in European life and culture, including in Ireland.

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In this slim, attractive collection of short stories, Harry Crosbie colourfully describes life in Dublin in the 1960s. These funny and poignant pieces are told from the perspective of a teenage boy working in Dublin’s docklands and illuminate an older Dublin that will be familiar to many readers. Written during the lockdown of 2020, writes from the heart and will charm and delight with tales of docklands life.

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Available for the first time in paperback, Robert O’Byrne’s landmark biography of Hugh Lane remains the essential work on this enigmatic art dealer and patron. From his birth in Cork in 1875, to London, South Africa and Dublin, Hugh Lane is primarily remembered for establishing Dublin’s Municipal Gallery of Modern Art, the first known public gallery of modern art in the world. He never married and, though rumoured to have been homosexual, never had a documented relationship with a man. He was also a person of great social energy who befriended and sometimes crossed swords with the leading cultural figures of his day: Yeats, Gregory, Orpen, Augustus John, Rodin, Beerbohm, and many others. Robert O’Byrne writes with clarity and insight about a man who, since his untimely death on R.M.S. Lusitania in 1915, has been something of a mystery.

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According to Thomas Kilroy, his captivating memoir materialized in response to a cataract operation in 2006, shocking his memory into being and imparting him with a uniquely tactile and sensuous perception of his own past. Over the Backyard Wall describes a coming of age embodied by escape, self-discovery and a struggle to contend with the rigid culture of a small Irish town in Co. Kilkenny during WWII, with parents representing both sides of the civil war conflict of the 1920s. He describes encounters with fellow Kilkenny artists Tony O’Malley and Hubert Butler, and writers such as Flannery O’Connor during his tour of the southern US states in the 1950s. In keeping with Kilroy’s previous works, Over the Backyard Wall utilizes the silences of the past to liberate the imagination, making use of social and political history to reinvigorate the shard-like nature of his own narrative memory.

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What is the sound of a voice that is alienated from itself? How can one truthfully represent the creative process of an artist? Oona, an artist-in-the-making, lives in an affluent suburban culture of first-generation immigrants in New Jersey where conspicuous consumption and white privilege prevail, and the denial of death is ubiquitous. The silence surrounding death extends to the family home where Oona is not told while her mother lies dying of cancer upstairs. Afterwards, a silence takes hold inside her: her inner life goes into a deep freeze. Emotionally hobbled, she has her first encounters with sex, drugs and other trials of adolescence. Lyons’ first novel gives voice to a female character on her fraught journey into adulthood and charts her evolution as an artist, as her adolescent dissociation is thawed through contact with the physical world, the materials of painting and her engagement with Irish community, culture and landscape. Set during the era of the Celtic Tiger and its aftermath, this is a resonant story conveyed in an innovative form. Written entirely without the letter ‘o’, the tone of the book reflects Oona’s inner damage and the destruction caused by hiding, omitting and obliterating parts of ourselves.

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This full-colour kaleidoscope of over 150 photographs by one of North America's leading photographers evokes a pre-Celtic Tiger Ireland, recording a world on the cusp of radical change: a time-capsule of personalities and landscapes, professions and activities, caught in the amber of the camera's eye. Beginning with an Irish assignment from British Vogue in 1969, Woods' interest deepened with marriages to two Irish husbands, and she developed an abiding love for the people and places documented in subsequent decades. This Valentine to Ireland is now gathered into one resonant volume of images and visual epiphanies. The work ranges across the Irish countryside. Departing from Dublin and Wicklow, it extends to Roscommon and the Shannon estuary, recording street scenes, Travellers, the hunt, cattle marts and pub, cottage and country-house interiors. Six of the eight photo-essays focus on leading personalities: Garech Brown of Luggala, founder of Claddagh Records; the late Desmond FitzGerald, last knight of Glin; Marina Guinness, chatelaine; the late J.P. Donleavy, novelist, at home in County Westmeath; Hector McDonnell, artist, at home in Glenarm; and Tim Pat Coogan, historian.

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Margaret Atwood, Derek Walcott, Seamus Heaney and Salman Rushdie feature in this collection of over forty interviews with award-winning authors. This is a genre-crossing collection of interviews and essays that recounts in intimate detail encounters with many of the world’s foremost writers. Interspersed are photos as well as a charismatic commentary, provided by editor and veteran journalist Ciaran Carty, revealing a surprising, often unexpected interconnectedness between these otherwise distinct figures. Individually, these pieces provide a rare glimpse inside some of the world’s most creative minds; collectively, they address topics such as history, politics, sexuality, and class, while also reflecting the distinguished and wide-ranging career of one of Ireland’s leading critics and broadcasters. Filled with laugh-out-loud anecdotes, personal confessions, and passionate declarations, this book is the definitive collection for literature enthusiasts and aspiring writers alike.

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The Tottenham family is falling apart. There is no money to maintain the crumbling house and farm in County Westmeath, so decisions have to be made. Brothers Nick and Tony, with no prospect of a future in rural Ireland, make the long journey to their uncle’s ranch in Australia. As World War Two looms, the entire family signs up to fight: mathematician mother Eleanor calculates flight paths; sister Rose repairs radar masts in Lincolnshire; Nick and Tony, like thousands of others, enlist in Australia; even their ageing father Gerald signs up for duty in the Far East. Little does each foresee what terror, starvation and heartache lay ahead, and what it would take to survive. In a gripping narrative that spans four generations and encompasses the battlefields of Syria and Egypt, the Australian outback, night sorties over Germany, English airfields and the horrors of a Sumatran prison camp, this is a harrowing story of hardship and heroism, based on an Irish family’s experience.

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Intimacy with Strangers offers a dazzlingly original, thought-provoking approach to celebrity interviewing. Ciaran Carty draws upon a career involving many of the world’s leading writers, artists, actors and directors as they explore intimate concerns, ranging from love and rejection to the smallest physical sensations of pleasure and pain, and to the great issues of politics and war, God and atheism – the big and small of the human condition. Interweaving recent cultural and social history, Carty exposes unexpected affinities shared by his eclectic cast of subjects. Through chains of happenstance and six-degrees-of-separation, Intimacy with Strangers mirrors the cinematic cuts, fades and dissolves of its author’s sensibility as film critic and writer. By creating this magical memoir, Ciaran Carty offers an idiosyncratic portrait of a kaleidoscopic Ireland in a global setting.

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After the French and Dutch electorates decisively rejected the EU Constitution at the polls in 2005, the Irish delivered a resounding 'Third No' in June 2008, triggering a political earthquake in the capitals of Europe. Forcing the Irish to vote again in 2009 having given the 'wrong' answer reveals divergent visions of Europe's future. In this defining moment Another Europe? comes as a timely stimulus to debate about the future of the EU. Just as The Federalist papers of 1788 lent the stage to Publius at an equally pivotal time in the history of the United States of America, so his sister 'Publia', with her friend 'Lydia', jointly address the peoples of Europe on the future of their Continent. Their inspired exchanges contain the ideas of over seventy distinguished thinkers and political actors across the European Union. They expose two logically consistent if irreconcilable routes towards a democratically legitimate Europe. Authoritative and highly readable, Another Europe? aims to bridge academic and popular discourse and open up all the key issues, from law to environment, identity, citizenship, finance and foreign policy. It is essential for anyone who wishes to engage in Ireland's – and Europe's – great debate.

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In 1961, MJ Galvin, an Irish building contractor in London, brings over his kid brother, Tom, to join the family business. Educated, sensitive and naive, and destined for the seminary, Tom witnesses a killing, learns about dead men and the start in Camden Town, experiences drunken brawls and the excitement of dancehall nights in the Galtymore. He faces a decision that will shape his future: will he join his successful brother and make a fortune, or follow an inner voice towards the priesthood? The inner voice prevails, Tom enrolls as a seminarian, goes to Rome, becomes a monsignor and is tipped for a bishopric, only to renounce power and prestige, and be relegated to a quiet country parish disillusioned by the betrayal of principles within his Church as a new century dawns. This powerful family saga evokes the tensions and transformations within a new Ireland as traditional values give way to consumerism and one man’s odyssey becomes everyman’s.

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