Search results for ""Author Clíona ní Riordáin""

'She came in like a shadow. She slid and bore herself into my eye, between my eyelids which blinked against the dust.' She is Maud Gonne, the muse of writer William Butler Yeats. Yeats here returns as a ghost, after having been buried in France in 1939 in the cemetery of Roquebrune-Cap-Martin, to be returned to Ireland a decade later. He emerges from his grave to recount his thwarted love with Maud, a story that merges with that of the independence movement of Ireland, of which they were both emblematic actors. Yeats' ghost has suddenly arisen because diplomatic documents long kept secret have resurfaced, casting doubt on the contents of the coffin brought back into Ireland for a state funeral. Where did the poet's body go? Does he still hover, as he wrote, 'somewhere above the clouds'? What remains of our loves and our deaths, if not their poetry? Besserie's exciting new novel follows on from Yell, Sam, If You Still Can (Le Tiers Temps), translated by Cliona Ni Riordain. In Maylis Besserie's second novel, she turns her attention from Samuel Beckett to another iconic Irish writer, W. B. Yeats. The connection between France in Ireland is once again explored in the context of art, culture and the days at the end of life.

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This novel by Maylis Besserie, the first of her Irish trilogy, shows us Samuel Beckett at the end of his life in 1989, living in Le Tiers-Temps retirement home. It is as if Beckett has come to live in one of his own stage productions, peopled with strange, unhinged individuals, waiting for the end of days. Yell, Sam, If You Still Can is filled with voices. From diary notes to clinical reports to daily menus, cool medical voices provide a counterpoint to Beckett himself, who reflects on his increasingly fragile existence. He remains playful, rueful, and aware of the dramatic irony that has brought him to live in the room next door to Winnie, surrounded by grotesques like Hamm or Lucky, abandoned by his wife Suzanne who died before him. Besserie delights in Beckett’s bilingualism and plays back and forth between the francophone and anglophone properties of language, summoning James Joyce as Beckett reminisces about evenings the two spent together singing, talking and drinking. Largely written in the library of the Centre Culturel Irlandais, Besserie has kept the hum of Irish voices throughout this work. Yell, Sam, If You Still Can won the “Goncourt du premier roman”, the prestigious French literary prize for first time novelists, just before the country went into lockdown. Besserie is now planning a further two novels that will explore the links between Ireland and France and is touted as the new star of the French literary world. Financial Times Book of the Year 2022

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These reflective essays about Déon’s life and experiences in the west of Ireland describe the colourful and varied personalities that the French novelist has come across since he and his family moved there in the mid 1970s. From his friendship with John McGahern and Ulick O’Connor to Tim, the sturdy old postman who prefers his wind-blown country round to retirement in sunny California, Horseman, Pass By! is peopled with fascinating characters and encounters. Taking its title from Yeats, this work is an affectionate portrait of the Irish and a lament for a fading country that has been changed by new wealth and altered values. Déon’s Horseman, Pass By! is an elegant memoir about a beautiful landscape and its inhabitants and forms a touching and amusing tribute to his adopted country.

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What is a cultural error? What causes it? What are the consequences of such an error? This volume enables the reader to identify cultural errors and to understand how they are produced. Sometimes they come about because of the gap between the source culture and the target culture, on other occasions they are the result of the cultural inadequacies of the translator, or perhaps the ambiguity arises because of errors in the reception of the translated text. The meta-translational problem of the cultural error is explored in great detail in this book. The authors address the fundamental theoretical issues that underpin the term. The essays examine a variety of topics ranging from the deliberate political manipulation of cultural sources in Russia to the colonial translations at the heart of Edward FitzGeralds famous translation The Rubáiyát of Omar Khayyám. Adopting a resolutely transdisciplinary approach, the seventeen contributors to this volume come from a variety of academic backgrounds in music, art, literature, and linguistics. They provide an innovative reading of a key term in translation studies today.

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This collection is a multi-author volume of essays examining the work of over twenty poets from South Western Ireland, who write in both English and Irish. Offering overviews of each of the poets work, the chapters also focus on significant features of their respective oeuvres. Among the poets studied are Eiléan Ní Chuilleanáin, Seán Ó Tuama, John Montague, Gerry Murphy, Thomas McCarthy, Trevor Joyce, and Doireann Ní Ghríofa. The multifaceted volume addresses the different currents that are significant in the work of these poets, from the Modernism of MacGreevy to the politico-historical approach adopted by Thomas McCarthy. It places poetry in English and Irish side by side and creates a system of echoes that become apparent when the poets work is read in conjunction with that of their fellow writers. The contributors to the volume come from Ireland, the US, and Europe and include confirmed and emerging academics.

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