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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Now available for the first time in Ireland and the UK - more than half a century after it was written - is the memoir of Michael Dillon/Lobzang Jivaka (1915-62), the Anglo-Irish doctor and Buddhist monastic novice chiefly known to scholars of sex, gender, and sexuality for his pioneering transition from female to male between 1939 and 1949, and for his groundbreaking 1946 book Self: A Study in Ethics and Endocrinology. Here at last is Dillon/Jivaka's extraordinary life story told in his own words. Out of the Ordinary captures Dillon/Jivaka's various journeys - to Oxford, into medicine, across the world by ship - within the major narratives of his gender and religious journeys. Moving chronologically, Dillon/Jivaka was from Lismullin House, County Meath, but spent his childhood in Folkestone, England, where he was raised by spinster aunts, telling of his days at Oxford immersed in theology, classics, and rowing. He recounts his hormonal transition while working as an auto mechanic and fire watcher in Bristol during World War II and describes his surgical transition under Sir Harold Gillies while Dillon himself attended medical school at Trinity College, Dublin (1945-51). He details his travels as a ship's surgeon in the British Merchant Navy with extensive commentary on his engagement with colonial and postcolonial subjects in Asia, followed by his 'outing' by the British press while he served aboard The City of Bath. Out of the Ordinary is not only a unique record of early gender affirmation but also a compelling account of religious conversion in the mid-twentieth century. Dillon/Jivaka chronicles his gradual shift from Anglican Christianity to the esoteric spiritual systems of George Gurdjieff and Peter Ouspensky, to Theravada and finally Mahayana Buddhism. He concludes his memoir with the contested circumstances of his Buddhist monastic ordination in India and Tibet. Ultimately, while Dillon/Jivaka died before becoming a monk, his novice ordination was significant: it made him the first white European man to be ordained in the Tibetan Buddhist tradition. This first-person narrative, written in the early 1960s and first published more than a generation later in the US by Fordham University Press, is both ahead of its time and distinctly of its time and class, with Dillon's views being sometimes enlightened, sometimes colonial. A Foreword by Susan Stryker from the Fordham University Press edition describes Dillon as 'a seeker after truth, who traveled wherever his queries led him'. An Afterword, 'A Mapless Journey', by London-based literary agent Andrew Hewson - unique to the Lilliput Press edition - traces the typescript memoir's provenance and preservation prior to its eventual publication. An introductory biographical essay by consultant psychologist Aidan Collins gives an overview of the timeline of this remarkable individual's history. Out of the Ordinary is a landmark publication that sets free a singular voice from within the history of the transgender movement.

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Padraig O'Malley's Perils & Prospects of a United Ireland presents the definitive study of the questions around the future of Northern Irish politics, including the idea of reunification. Focusing on the topics of the Northern Ireland Protocol, the Good Friday Agreement, Brexit, Unionism, Nationalism, the economics of potential reunification or continued partition, and the wide range of Northern Irish identities, this work encompasses the most up-to-date and considered review of political actions so far. A must-read for those interested in the future of Northern Ireland.

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It’s the thought that counts. So, while society has changed, the need for thoughtfulness, courtesy and good manners has not. What is the etiquette for internet use, emails and mobile phone calls? How does one handle the delicate politics of flat-sharing? What are the rules for meeting through a dating agency? Mind Your Manners provides effective answers to these and many more dilemmas of modern decorum. Covering all situations – weddings, work, throwing a party, visits to a restaurant or theatre, driving – Robert O’Byrne gives witty and urbane advice on how best to behave with style in the twenty-first century. Here are practical tips for getting though Christmas with a smile on your face; being a good host ( how do you introduce Susan self-Effacing to Aileen Assured?); and dealing with a funeral (not a good time to network). Combing humorous but indispensable advice with hilarious cartoons from Merrily Harper, knowing correct conduct has never been easier

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This collection of essays examines core authors and texts. Written by scholars from a range of Irish third-level institutions, these essays provide introductions to less familiar authors and open up critical readings of established texts.

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This is a writer’s journal of his friendships, encounters and observations during the 1950s and 60s, describing relationships with Cork author Frank O’Connor, Patrick Kavanagh, Charles Cape (onetime governor of Strangeways Prison) and the remarkable Margaret Radford, baglady and acquaintance of Shaw, Lawrence and Ford Madox Ford, with her vivid experiences of the Great War. Peopled by the colourful characters met in his profession, Naughton also gives an intimate portrait of a marriage and the onset of death as he survives a coronary thrombosis. Limpid, candid and tellingly written, it delineates the struggles and triumphs of a migrant Irish writer living in the English provinces, with sharp insights into human behaviour.

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This work, whose full title is Life of Colman, son of Luachain, or Betha Colmain maic Luachain, is a thirteenth-century Life of a seventh-century saint Colman (who first gave Mullingar its name, ‘the wry mill’, An Muileann gCearr), written originally in Irish at Lynn monastery south of Mullingar, preserved at the Rennes Municipal Library in Brittany, and translated and published by Kuno Meyer in 1911. This Life provides one of the most important sources for the ecclesiastical, topographical, social and political history of life in the midlands during the Early Christian era. Next to the Tripartite Life of Patrick and the biographies of Colum Cille, it is the richest and fullest among the lives of Irish saints that have come down to us, replete with details of the daily life of the monasteries, their royal patrons and subjects, dwelling among miracle-workers, saints and demons in a land subject to the vagaries of plague, famine and war. Meyer’s translation and introduction to the Life form the core of the book, added to which is a preface by Leo Daly, an original essay review by J.C. MacErlean from Studies, and commentary by Father Paul Walsh and others, correcting and amending the original document. A glossary, an index of personal names, places and tribes, and bibliographic essay make up the text. Pages from the original manuscript, topographical photographs showing monastic remains and associated sites, as well as more recent iconography, furnish illustrations.

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The 12 stories collected here represent some of the best work of Martin Healy's short career. They are set in the city, the suburbs and the country, and they are peopled by the young, the middle-aged and the old.

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‘The devil was going around again and everyone knew because it was in the papers. An usherette in the Metropole saw him at An Apartment for Peggie, eating oranges in a brown trilby; two women in Clery’s Bargain Basement came upon him fingering cups in a highly suspicious manner; and The Evening Mail said pretty draper’s assistant, Lily Shine, nineteen, from Cabra West, was dancing with a fellow in a brown suit when she felt something funny, looked down, and fainted.’ In these unsettling tales of late 1940s Dublin, young Eily Doolin encounters the gentle foot-fetishist next door, the ‘Argentinian tango-dancer’ from Ballybough, the Jewish couple who introduce her to the delights of carrot cake and Chopin, the ‘simple’ boy who carries a secret hatred, and, in the climactic closing story, the devil himself. Along the way there are two murders, a suicide, and more illicit sex than Eily can comprehend. Ena May’s post-Emergency Dublin is at once recognizable and utterly unlike all previous literary versions of the city. Her gimlet-eyed narrator inhabits secret childhood places as well as the grown-up kitchens and parlours of ‘Blarney Park’, twitching the veil between public and private, street and home. Ena May has created a remarkable narrative voice, perfectly pitched between the knowing and the naïve, the compassionate and the sarcastic, the intrepid and the bewildered. A Close Shave with the Devil, fables of adults at play in a child’s world, is a tour de force of storytelling, and a remarkable début collection.

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This edition gathers all the articles and essays that Behan published in newspapers from 1951 to his death in 1964.The articles reveal a serious writer capable of great comic set pieces and amusing yarns as well as thoughtful reflections on cultural and historical issues.

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This handsome volume presents more than twenty images of book covers, poems and other works that reflect Sligo's presence in the work of W.B. Yeats and his family.

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No Better Boy tells the story of a master of traditional Irish music: the legendary East Clare fiddler Paddy Canny, whose haunting music was remarkable for its virtuosity and sophistication. In the 1950's, when he was in his thirties, and at the pinnacle of his career, Paddy Canny became an international radio star, played solo in Carneige Hall, toured England with the renowned Tulla Ceili Band, and made a much-loved recording. All were extraordinary achievements for a man raised on a marginal farm, where the gramophone records that inspired him were accessible only through the good grace of neighbours. In richly evocative prose, Helen O'Shea distils stories of success and adversity that Paddy Canny told to family and friends, to radio interviews and historians. These stories illuminate the rural life in mid-twentieth-century Ireland, major social and economic changes, and the decline and revival of traditional music and dancing. A compelling story told with passion and insight, this is a book for readers with an interest in Ireland's social history and for music lovers everywhere. No Better Boy includes annotated transcriptions of music played by Paddy Canny and his contemporaries, sourced from archives and personal collections as well as commercial recordings.

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SET IN DUBLIN'S LIBERTIES, Estelle Birdy's explosively original debutRavellingchannels the energies and agonies of young men let loose in the city, where they balance their hopes with the harsh realities of their present. Hurtling between friendships, feuds, drug-deals, family and brushes with the law, this is modern Dublin as never before portrayed.

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Emer Martin’s is a radical, vital voice in Irish writing, as she challenges the history of silence, institutional lies, evasion and the mistreatment of women across mid-to-late twentieth-century Ireland. Two families inhabit this immersive polyvocal work, an intergenerational saga announced with The Cruelty Men (2018) and continued here as punk rockers and Magdalene laundries spiral into a post-colonial Ireland still haunted by its tribal undertow. Scenes surface from Ireland’s mythological past, Tudor plantations, workhouses and industrial schools, the Troubles laid bare, the transformative pre-digital decades playing out in this propulsive narrative. Thirsty Ghosts is epic in scope while intimate in focus. The Lyons, professionals in a newly independent state, are attacked by paramilitaries in their family home in Tyrone. The eccentric O’Conaills of Kerry, traumatized by displacement, find themselves in leafy Dublin 4. We encounter a servant who meets Henry VIII, a Lithuanian Jewish family who become part of the fabric of Dublin, and a wild young girl who escapes the laundry only to stumble into a psycho pimp. Related with dark humour, verve and high literary style, Thirsty Ghosts is a revelatory exploration of Ireland combining themes of power, class, fertility, violence and deep love, forces as universal as the old stories that permeate and illuminate each character’s life.

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Bungalow Bliss, first published in 1971, was a book of house designs that buyers could use to build a home for themselves affordably. It first appeared two years before Ireland was to join the EEC as a self-published catalogue by Jack Fitzsimons from his Kells Art Studios in County Meath. He and his wife designed and collated it and printed it locally. Fitzsimons sold these books out of his car to newsagents, petrol garages and bookshops. Over the course of thirty years, Fitzsimons sold over a quarter of a million copies of his catalogue. The first edition contained twenty designs – the final edition contained two hundred and sixty. This guidebook of how to build your own home radically transformed housing in Ireland. Now, for the first time, author and structural engineer Adrian Duncan looks at the cultural impact that Bungalow Bliss and the accessible bungalow design had on the housing market, the Irish landscape, and on the individual families who made these bungalows their homes.

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On Dangerous Ground is the revolutionary period memoir of Republican Máire Comerford (1893–1982). This striking memoir, one of the last of its era, includes Comerford’s original text, written mainly in the 1940s and ’50s, and new material unearthed from her extensive archive that also contains a wealth of photographs and memorabilia from the period. The memoir begins with Comerford’s recollection of Sunday strolls to Avondale, former home of Charles Stewart Parnell, who was a neighbour of her father, the mill owner James Comerford. As a young woman, she experiences a ‘political awakening’ at the hands of a fierce Unionist woman in a secretarial college in London. Máire Comerford (the only Catholic in the class) begins to engage with Irish history books to counterbalance this brush with religious sectarianism. On her return to County Wexford to live with her mother’s people – a move necessitated by the family’s change of fortune – she re-enters the genteel world of fox hunting and luncheon parties. The memoir paints an intriguing picture of rural life of the time heralding the arrival of the motorcar, social and economic conditions, the rise of the Gaelic League, debates about Home Rule, and the First World War. While the description of her surroundings as a young adult is intriguing and often charming, change is in the air in Ireland and a sharp and wide-ranging political analysis is ever present throughout her writing. Following Comerford’s witness account of Dublin during the 1916 Rising, she begins a life of political engagement, joining Cumann na mBan, Sinn Féin and the Gaelic League. In 1919, she moves permanently to Dublin to live with and work for renowned historian and nationalist, Alice Stopford Green. There, she becomes immersed in Republican politics and the War of Independence. Comerford’s memoir gives voice to the experience of Republican women during revolutionary times, highlighting the immense contribution of women in the struggle for an Irish Republic. She works all over the country, moving arms, carrying dispatches, finding safe houses, researching atrocities and working assiduously for Ireland. She experiences raids, prison vigils, funerals of her comrades and dangers of all kinds, but nothing cuts as deep as the sense of utter betrayal following the signing of the Treaty in 1922. Comerford takes the anti-Treaty side, is imprisoned a number of times and endures a 27-day hunger strike. Following her release, she leaves Ireland on a tour of east coast American cities to raise funds for the Republican cause at the behest of de Valera. She returns to a harsh, poverty-stricken and lonely existence, eking out a living on a hilltop poultry farm in Wexford. But while her memoir ends in bleak times, her overarching vision suggests an unquenchable optimism – and that the fight will go on. An epilogue by the editor chronicles the years between 1927 and her death.

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This timely and important intervention in the debates concerning Europe in Ireland begins with the 1916 Centenary celebration. The Brexit decision of June 2016 has fundamentally altered Ireland's relationship with the European Union and has exponentially increased interest in European matters in public debates. Yet, public discussions regarding Ireland's closer links with the European Union often remain purely utilitarian and economic, or take place solely within academia. There is an urgent need to broaden the debate towards the cultural and social spheres, which includes highlighting the inherently European quality of Irish culture and society, in the past as much as the present. The most extensive interventions on these issues in recent years have come from the President of Ireland. This edition collects all of the major speeches on the topic of Europe since 2016. They encompass interventions on historical aspects, bilateral cultural links, citizens' involvement in the European project, workers' rights and ecological concerns. The present Covid-19 crisis will further move the European Union into the limelight, in particular its role in helping member states cope with the consequences of this unprecedented disaster. President Higgins addresses the Great Flu Epidemic of 1918-19 from a speech made in May 2019 and considers the role of European leaders in a letter to the President of the Hellenic Republic in April 2020. These speeches are marked by the President's particular and personal stamp, while also expressing central concerns on behalf of Irish citizens. The speeches are enhanced by a Foreword written by President Michael D. Higgins.

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The new book from critically acclaimed writer, Declan Murphy. ‘As I study the birds, animals and plants around me, I cannot help but see the patterns all living things seem driven to create.’ Declan Murphy’s first encounter with a kingfisher as a young boy was unforgettable. Returning to the rivers years later, he embarks on a quest to study this most brightly-coloured bird during its nesting season, a seemingly straightforward challenge. But the river is slow to reveal the habits and secrets of its residents. Dippers, goosanders, grey wagtails and great spotted woodpeckers all yield their hidden habits to the author’s patient pursuit; yet the kingfisher continues to elude him. In this work of rare calibre in the mould of the great contemporary nature writers Robert Macfarlane, Helen Macdonald and Tim Robinson, the author’s retreat into the natural world is not simply for the sake of knowledge: nature is his remedy for managing the world around him. Since childhood, nature has provided balance, solace and direction. As the search for the kingfisher reaches its culmination, these two spheres, the author’s and the others’, suddenly and unexpectedly collide, forcing him to confront how he sees the world and leading to a resolution where balance is restored through the power and intervention of nature. Writing with hallucinatory clarity and singular powers of observation, he brings the beauty and mystery of the animal kingdom to light. His quest becomes the reader’s in the unfolding drama of his search for harmony and knowledge, from mythography to an acute awareness of people’s fragility.

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