Search results for ""The Lilliput Press Ltd""

'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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When pop Svengali Max of Big In Japan Records discovers Cara in a shop in Temple Bar, he immediately signs her up to his stable of young wannabees. Her friends cannot believe her luck. However little does Cara realize what’s in store for her. Overnight, he transforms her into Colleen: the Celtic popstar with strawberry-blonde extensions and snow-white teeth. Soon she discovers that Max’s plans don’t really include her voice. Whatever! But there are compensations, such as falling for the lead singer of another band and living it up in London. Max decides his protégée is ready to be launched onto the Irish-American circuit. Catapulted onto a mad tour tinged with shamrocks, sex and drugs, Colleen soon ends up on a Senate election bandwagon, and just as she becomes a ‘hit’, she finds that being a pop idol isn’t all it’s cracked up to be …

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In 1846 the Crokers, a Presbyterian landlord family, flee famine-stricken West Cork aboard the Henry Clay, survive shipwreck and land in New York. There they are confronted with the grim realities of the teeming city – poverty, prostitution, and street gangs. In this world their youngest son, Richard Eyre ‘Boss’ Croker (1841-1922) thrives. Through sheer ambition, the barely literate Croker – engineer, prize-fighter, fixer, union organizer -battles his way from the backstreets to seize control of Tammany Hall, the very seat of power in New York. Charming but corrupt, Croker manipulates all who fall within his sphere, becoming one of the city’s most influential citizens in the late nineteenth century. Boss Croker also captures the drama of his later years – his move to Dublin, where he rebuilds Glencairn in Sandyford; how in 1907, his horse Orby becomes the first Irish horse to win the Epsom Derby; and his support for rebellion in Ireland through his contacts with Clan na Gael and Michael Collins. After the death of his first wife, heiress Elizabeth Frazer, he defies the disapproval of his children by marrying Bula Edmondson, a beautiful young Cherokee Indian. He is finally carried to his grave in 1922 by Oliver Gogarty and Arthur Griffith. Boss Croker is a gripping novel that unleashes all the extravagant energy of its subject. Telling Croker’s story in full for the first time – and brings New York and Irish America into vivid focus through the prism of one extraordinary, flamboyant, life.

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This is the first biography of Denis Johnston, barrister, theatre director, film-maker, pioneering television producer, war correspondent, essayist and celebrated playwright. Johnston was of Ulster Presbyterian stock, born into Edwardian Dublin, where he was briefly held hostage in his family home at Lansdowne Road during the 1916 Rising. Son of a Supreme Court judge, he was schooled at St Andrew’s in Dublin, in Edinburgh and Christ’s College, Cambridge, and at Harvard University. He made the name of the Gate Theatre in 1929 with his astonishing first play The Old Lady Says ‘No!’, created the radio epic ‘Lillibulero’ for the BBC in Belfast, and earned an OBE for his war reporting from North Africa, Yugoslavia and Buchenwald. In 1950 he decamped to New York and taught for many years at colleges in Massachusetts, founding the Poets’ Theatre in Boston. An Irishman of wide horizons and wit, and a prodigal dissenter, his multi-faceted life illuminates the cultural history of the past century. He was turbulently married to the actresses Shelah Richards and Betty Chancellor, and had four children, among them the novelist Jennifer Johnston. In this masterly biography, Adams draws upon Johnston’s copious and intimate diaries, letters and uncompleted autobiography deposited in Trinity College, Dublin, cataloguing the ‘untidy museum’ of his subject’s past. The result is an enthralling narrative of the extraordinary secret life of a complex, self-doubting individual, which brings new light to bear on one of the twentieth century’s most original Irish writers.

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This collection of essays has been specially commissioned in order to mark the quite exceptional contribution that Louis Cullen has made to historical studies in Ireland and abroad over the last forty-five years, spanning economic, social, cultural and political history. Introduction and Bibliography of L.M. Cullen David Dickson (TCD)

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Two young brothers in Lvov, separated by war. Henryk, imprisoned by theNazis with his mother in the family home, flees with her ahead of the advancing Soviets, eventually settling in Ireland. Stanislav takes refuge with an aunt in Krakow, where he lives out the decades of his life. Half a century later, after the fall of communism, Stanislav receives a letter: Henryk, who now styles himself Henry Foley, is coming for a visit. Malinski is a novel of memory and loss, an exploration of the ways in which human beings invent themselves and imagine other people’s lives. It is written with a concentrated grace that announces Siofra O’Donovan as a major new talent in Irish fiction.

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Another first in my life: at the age of thirty-one I brought a girlfriend home. Kathleen sat on the chaise longue, small legs crossed, one tiny toe resting on my mother’s lime-green pouffe, her petite nose wrinkling with distaste as she looked about our family den. Through her eyes I regarded the rusticated fireplace, the crenellation of photos above, the grey cloth donkey – creels full of real turf crumbs from the West – propped against the ormolu clock.’ The Family Business is many things: journal of a frustrated young writer and lover; portrait of bohemian social life in 1970s Dublin; intimate history of the rising Catholic middle class and of a family in flux. Kenny writes autobiography with the eye and ear of a novelist, evoking a time, a place and a welter of emotions through vividly remembered scenes, snippets of dialogue, small epiphanies. Unlike most memoirs, which place so much weight on the act of remembering itself, and are thus more about the writer’s present than his past, The Family Business has the immediacy of a diary, and an almost excruciating honesty. It is, above all, an extraordinarily accomplished piece of writing.

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While an anarchist group blows up the equestrian statue of General Gough in Dublin’s Phoenix Park during the 1950s, the narrator recalls his mother’s Kiplingesque tales of childhood in India, recreating the atmosphere and events of the Irish abroad in the service of the British Empire. The life of John Henry Foley (1818-1874), Queen Victoria’s favourite sculptor, is interwoven with those of some of his principal subjects, Hardinge, Montgomery, Outram and Lawrence, Foyle College boys from Derry, who formed a remarkable constellation of soldier-administrators in northern India during the nineteenth century. The powerful, suggestive sketches of these Irishmen speak for generations gone. Engagements, atrocities and counter-atrocities are colourfully drawn in a language of heroism that conveys that turbulent, chaotic thing that was Britain’s empire in Asia. Gough himself was a hero of the Peninsular War, wheeled out in the 1840s to pursue the punitive Opium War in China and to conquer the Punjab. Ronan Sheehan has created a remarkable imaginative work through these related narratives, shifting between nineteenth-century set-pieces and modern-day Ireland. The statue from which the book derives its name, the vulnerable and defiant figure of Asia below subverting Albert above in the Hyde Park memorial, expresses the conflicted loyalties at the heart of Foley’s finest monuments. By exploring these fractured identities and interrogating the past, Foley’s Asia enriches our understanding of this sculpted world.

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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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Archipelago is one of the most important and influential literary magazines of the last twenty years. Running to twelve editions, it was edited by scholar-poet Andrew McNeillie, with the assistance later of James McDonald Lockhart, and began as an attempt to reimagine the relationships between the islands of Ireland and Britain. Archipelago has brought together established and emerging artists in creative conversations that have transformed the study of islands, coasts and waterways. It journeys from the Shetlands to Cornwall, from the Aran Islands to the coast of Yorkshire, tracing the cultures of diverse zones through some of the best in contemporary writing about place and people. This collection gathers poetry, prose and visual art in clusters grouped around the Irish and British archipelago, with contributions from an array of significant artists. With fifty contributors, Archipelago: A Reader includes: Moya Cannon is an Irish poet with seven published collections, the most recent being Collected Poems (2021). Deirdre Ni Chonghaile is a graduate of the University of Oxford and University College Cork. She is associated with NUI, Galway, and the University of Notre Dame, and is known for her work in music studies. Tim Dee is a naturalist, BBC radio producer and author of The Running Sky (2018). Seamus Heaney (1939-2013) was born in Northern Ireland. His career included teaching at Harvard and Oxford. He received many awards including the Nobel Prize in Literature, 1995. Kathleen Jamie is a Scottish writer whose work has appeared internationally. She has taught poetry at the University of Stirling since 2010. Michael Longley is a Northern Irish poet, and winner of the Whitbread Poetry Prize, the Hawthornden Prize, and the PEN Pinter Prize in 2017. Robert Macfarlane is a Writing Fellow of Emmanuel College, Cambridge. He has won the EM Forster Award for Literature. Derek Mahon (1941-2020) was a Northern Irish poet. He won the David Cohen Prize for Literature and the Poetry Now Award. Andrew McNeillie is a Welsh poet and current Literature Editor at Oxford University Press. His memoir An Aran Keening was published by The Lilliput Press, and he is founder of the Clutag Press and publisher of the Archipelago series. Sinead Morrisey is a Northern Irish winner of the T.S. Eliot Prize and the Forward Poetry Prize. She has taught in Belfast and Newcastle. 'Archipelago met and extended my own strong sense that there was a need to turn the compass-rose of some storytelling and art in Britain and Ireland away from the south and east and towards the north and west; away from the metropolis and towards the margins.' -Robert Macfarlane

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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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The Lilliput Press is proud to reissue this iconic view of Dublin’s northside docks area in the 1980s, which comprises Ronan Sheehan’s text and over 50 black and white photographs by Brendan Walsh. Widely regarded as one of the finest studies of Dublin during this period, The Heart Of The City was taught in UCD and Trinity and to students of Urban Folklore. This edition features a revised introduction by Sheriff Street-born writer and actor Peter Sheridan. Dublin film-director John Carney (Bachelor’s Walk, Once, Begin Again) writes a new foreword. More poignant still in the aftermath of The Celtic Tiger, this is a remarkable portrait of a people and city so badly affected by the catastrophic collapse of employment on the docks in the 1960s and by irresponsible urban planning

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This landmark work contains a remarkable selection of 560 of the thousands of songs and poems created during, and reflecting upon, the most extraordinary decade of Ireland’s history. This opened with the Dublin Lockout of 1913 and ended with the post-independence civil war, embracing World War I, the Rising of 1916, and the Anglo-Irish war. The Indignant Muse also includes 177 musical airs and 136 illustrations.

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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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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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