Search results for ""lilliput press""

The four volumes of spokesman and strategist Alastair Campbell’s diaries were a publishing sensation.As British Prime Minister Tony Blair’s right-hand man, former journalist and political analyst Campbell played a critical role in every aspect of New Labour strategy. Charting the course of British government from July 1994 to August 2003, Campbell¹s relentlessly honest, often controversial, occasionally brutal, and always razor-sharp commentary has drawn critical acclaim from around the world. This newly edited one-volume edition focuses on one of the Blair government’s biggest successes, the Northern Ireland peace process. From the high of the Good Friday agreement and devolution in Northern Ireland, to the deadly lows of the Manchester and Omagh bombings, The Irish Diaries explores the tensions, all-night talks, adrenalin-fuelled negotiations and heady personality clashes that are such an intrinsic part of democratic politics. Newly annotated and fully revised by Campbell and featuring commissioned material by key figures in the Irish peace process such as former Taoiseach Bertie Ahern,Tony Blair and Alastair Campbell himself, The Irish Diaries is invaluable for readers with an interest in Irish history.

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The people who talk about their lives in this book represent a creative, dissident Ireland. They are artists, writers, map-makers, weavers, water-diviners, teachers, environmentalists, farmers, wood-cutters, gardeners, travellers and monks. Some continue ways of life that have existed for generations; others have chosen to live and work in ways that are experimental, exploratory, and always singular. The choices they have made prompt us to reflect on our own choices. These thirty-two portraits in word and image provide an alternative view of the possibilities of life in Ireland, and a bracing antidote to the banalities of the consumer society.

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Inspired by his passionate interest in Ireland's architectural heritage and concern for its preservation, The Irish Aesthete culminates the writings and photography of Robert O'Byrne to showcase Ireland's historic architecture.

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Habitat follows seven neighbours over the course of a surreal and life-changing week as their mid-century apartment building in Oslo begins to inexplicably break down around them.

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Pure Filth, Aidan Mathews’ fifth volume of poetry, follows upon Windfalls (Dolmen, 1977), Minding Ruth (Gallery, 1983), According to the Small Hours (Cape, 1998) and Strictly No Poetry (Lilliput, 2017). At its heart, the collection is about reflections on a career and sustained loves for people, God and art, with themes threaded throughout such as the pandemic, suburban Dublin, Irish landscape and history and the Holocaust. His critic and biographer David Wheatley says: ‘It is no exaggeration to say that Mathews does not have themes so much as obsessions. If his Catholic faith provides the ground base for all his work, sexuality, mental illness and the Holocaust recur in poem after poem, stitching together the quotidian and the extreme … Synthesizing the sexual, the sacred, and the secular, Mathews’ poetry is a testament of great personal power, answerable to the cloister and the locked ward, the social lepers and the captains of the ship of state.’ (Irish Poetry, Wake Forest 2017)

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Fierce Love is a compelling and candid biography of Cork-born theatre pioneer (1918-2006) Mary O’Malley, founder-director of Belfast’s Lyric Players Theatre from 1951 to 1981. Neé Hickey, Mary went to Loreto Secondary School in Navan, Co. Meath, writing and directing her first play, The Lost Princess, before living with her mother in Dublin. There she became a key member of the New Theatre Group, immersed in the city’s social and cultural life and joining the Irish Society for Intellectual Freedom. On 14 September 1947 Mary married Armagh-born psychiatrist Pearse O’Malley, later moving to Belfast’s Derryvolgie Avenue off the Malone Road. There she formed a fifty-seat studio theatre above the stables and created Belfast Lyric Players Theatre, a company of actors and artists who were to put on 140 plays over seventeen years on a stage only ten-foot wide, asserting a broad Irish and European culture. W.B Yeats, twenty-six of whose plays were performed, was her standard-bearer. In 1952 she was elected to Belfast Corporation as an Irish Labour Party councillor, and in 1957 she founded the literary magazine Threshold, which enjoyed a thirty-year lifespan. Her other activities included running a drama school, an art gallery and music academy, while raising a family of three. As she battled conservatism, a socialist and nationalist in a Unionist city, this courageous and tenacious woman transformed Belfast with her playhouse — Liam Neeson and Ciarán Hinds were among her protégées — expanding her repertoire and bridging the political quagmire of the sixties to build a permanent 300-seater Lyric Players theatre, which opened with Yeats’s Cuchulain Cycle in October 1968. Her fierce will survived the Troubles, ensuring that her broad-based community theatre never had to close its doors. Her vision was posthumously crowned by the 2011 Lyric Theatre building overlooking the Lagan. Fierce Love celebrates these achievements, chronicling a resourceful and controversial individual, who swam against the tide of populism and sectarianism to establish an independent academy for actors and artists in a tireless quest for imaginative freedom and excellence. Mary O’Malley’s life was complex, and her legacy enduring.

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

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Professor Eda Sagarra, born in 1933, has been significant and influential figure in Irish and European academic policy-making, contributing to the early development of the Erasmus scheme. Now, aged nearly 88, this memoir gives striking evidence of her self-discipline and formidable energy. This substantial memoir by one of the foremost female academics in Ireland starts with Sagarra's own perspective on committing her life story to history during the pandemic lockdown of 2020: The following memoir recalls for those born in the present century and schooled without the strong sense of Irish history, which defined our people from the Great Famine of the 1840s until recent times, what it was like to grow up as a woman in the twentieth century and seek a career in a man's world. It tries to re-capture as much what it felt like to the person experiencing it as what was happening in society. Younger people today who read of the restrictions to which women were subject in the 1930s, 1940s and 1950s, will find it difficult to comprehend why our generation and the one that followed ours didn't challenge them. But probably the greatest contrast between the Ireland of then and now was the room for manoeuvre - or rather the absence of it. Today our lives are premised on a constantly changing world. Ireland is more connected across the globe than ever it was. Today most people are mobile. The Ireland when I was young was in almost every respect a static, hierarchical and paternalist society, one in which the accident of your birth would generally determine your whole life. No life is representative, but every person's experience is unique and worth recording for those who come after us. A south Dublin convent girl, Sagarra probes childhood and family, schooling, and UCD -with a perceptive commentary on the Ireland of the 1930s and 1940s. Her remarkable memory and shrewd eye for detail present at times a painfully honest account of family and in the upper middle-class world of Catholic south Dublin, revealing the profound influence of Europe during her postgraduate years in post-war Germany, Switzerland and Austria. Running through this forensic account of her academic life is a bitter awareness of the constant if subtle barriers to female advancement. For contemporary critics reconstructing the history of gender equality in Ireland and for readers of feminist history, this makes for essential reading. Her description of retirement since 1997 is colourful, poignant and revealing, and her reflections on old age and youth resonate.

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As I step out of the conservatory facing North, supported by my pusher, the first that catches my eye is the dying Sycamore which escapes death every year by producing a healthy crop of leaves, but it looks so decrepit that surely it can't pull that trick yet again. -1 April, 2020 In his eighty-eighth year, John Boorman uses his time in lockdown to reflect on the splendour of the surrounding nature of County Wicklow. Coccooning with his daughter and son among the hills of Annamoe, Boorman chronicles his daily walks and observations of the trees on his estate, writing with heightened appreciation of the beauties of his eyrie using only one eye and one finger. Poetry flows from his pen as he sits chairbound among his trees and flora: sycamores, limes, beech, oak, redwood, shrubs and flowers, birdsong and shifting skies are luminously recorded as the world falls silent. With illustrations by Susan Morley, this slim but meditative volume is a remarkable narrative by the creator of The Emerald Forest, Excalibur and Deliverance - a swansong like no other.

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Kevin Boyle (1943–2010) was one of the world’s great human rights lawyers. In a career that lasted decades and spanned continents, he tackled issues ranging from freedom of the press to terrorism to minority rights. This compelling account of Kevin Boyle’s life and work is a remarkable tale of how a taxi driver’s son from Northern Ireland inspired the human rights movement around the world. Born in Newry in 1943, Boyle attended Queen’s University Belfast in the early 1960s, beginning to teach law in 1966. He was a co-founder of the Northern Ireland Civil Rights Association (NICRA) and the People’s Democracy, mediated during the 1981 hunger strikes and helped forge the basis for the agreement that ended the Troubles. His ideas, endorsed in a previously unrevealed conversation Margaret Thatcher had with Taoiseach Garret Fitzgerald, provided much of the intellectual underpinning for the 1985 Anglo-Irish Agreement. He was the lead lawyer in the case that decriminalized homosexuality in Northern Ireland, which then led to its decriminalization in the Irish Republic and other countries. Through a series of landmark cases at the European Court of Human Rights, he left an enduring mark on international human rights law, campaigning against apartheid in South Africa and repression in Turkey. He also played a critical role as the senior advisor to Mary Robinson, UN High Commissioner for Human Rights, during 9/11 and was involved in shaping the international response. He also led the campaign to support Salman Rushdie after the writer was targeted by Iran’s ayatollahs in 1989. Kevin Boyle was central in founding human rights law centres at universities from Ireland and Britain to Brazil and Japan. Though he was a towering figure, his personal story is not well known. Now, based on years of research, thousands of documents, and scores of interviews, former CNN correspondent Mike Chinoy has crafted the compelling life story of a remarkable Irishman.

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Ethna MacCarthy (1903-59) was a Scholar and a First-Class Moderator at Trinity College Dublin where she taught languages in the thirties and forties before studying medicine. Perhaps best known to posterity for her relationship with Samuel Beckett and appearance in several of his writings, including the play Krapp's Last Tape, she also had a remarkable influence on a number of writers such as Denis Johnston and Con Leventhal, who she later married. Found among Leventhal's papers when he died were MacCarthy's overlooked work, revealing a highly intelligent and culturally sophisticated poet. This collection, published here for the first time, unearths an exceptionally rich and intriguing body of work by a remarkable woman who was ahead of her time. MacCarthy played an important and creative part of a cosmopolitan and free-thinking post-Independence Dublin, publishing translations from Spanish and German poets before developing a highly distinctive style of her own. Her poetry contains exposed lunar and death-haunted landscapes, tales of multifaceted women, and subversive ideas around femininity. Her work highlights a gifted translator who artfully captures the feeling evoked by the original languages. According to Denis Johnston `she has never been shy, can be frank, and outspoken to a degree, is absolutely fearless, intolerant of mediocrity and finds it difficult to suffer fools gladly'. MacCarthy merits reappraisal as an intellectual presence in an age that did not often promote, if acknowledge at all, the woman's voice. This unique collection of Ethna MacCarthy's poems is published as an innovative first step in establishing her as one of the outstanding Irish poets of the mid-20th century.

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In From Lucifer to Lazarus: A Life on the Left, Mick O'Reilly shares his experiences as a politician and trade unionist and his unwavering thoughts and insights on controversial, complex issues. O'Reilly discovered socialism and militant trade unionism in the early 1960s when he joined the National Union of Vehicle Builders. He went on to join the committee of the Irish Communist Party in 1967 and the Dublin Housing Action Committee, and helped establish Connolly Youth. He took part in strikes against the European Economic Community and negotiated for protection for car workers. This book explores the power struggles and negotiations that O'Reilly has faced throughout his career, without generalities or truisms. After a party dispute in 1977, O'Reilly was employed by the Transport and General Workers' Union, and in 1979 negotiated a huge equal pay claim. Later, O'Reilly's Labour Left group sparked reform within the Labour Party, establishing that its leader must be elected by its members. O'Reilly was even suspended from the Party for a time before the charges against him were proven to be untrue, and he was reinstated in 2004. Despite navigating a career filled with adversity, O'Reilly remains decent, honest and humble. The authenticity of From Lucifer to Lazarus: A Life on the Left emphasises these often overlooked values, setting itself apart as a unique, intimate read. The foreword is written by Gene Kerrigan of The Independent.

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Paddy Rossmore: Photography records half a century of the travels made by Lord Rossmore and his companions the Knight of Glin, Desmond FitzGerald, and Mariga Guinness of the Irish Georgian Society. The visual record made by Rossmore provides a unique archive dedicated to preserving the landscape of a bygone era. With accompanying essays by fine art historian Robert O'Byrne, Rossmore's photographs capture the bittersweet beauty of an uncertain era for Ireland's architectural heritage, with many of his subjects now fallen to ruin, and others enjoying restoration and new life in modernized Ireland.

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1 January 2018 will be the 250th anniversary of Maria Edgeworth's birth. Valerie Pakenham's sparkling new selection of over four hundred letters, many hitherto unpublished, will help to celebrate her memory. Born in England, she was brought to live in Ireland at the age of fourteen and spent most of the rest of her life at the family home at Edgeworthstown, Co. Longford. Encouraged by her remarkable father, Richard Lovell Edgeworth, whose memoirs she edited, she became, in turn, famous for her children's stories, her practical guides to education and her novels - or, as she preferred to call them, `Moral Tales'. By 1813, when visiting London, she was, as Byron testified, as great a literary lion as he had been the season before, and she was hugely admired by fellow novelists Sir Walter Scott and Jane Austen. Maria Edgeworth's posthumous fame has dwindled and only her first novel, Castle Rackrent (1800), a brilliant burlesque account of the Irish squirearchy, is still widely read. She was, however, a prolific and fascinating letter writer. She insisted that her letters were for private consumption only, but after her death, her stepmother and half-sisters produced a private memoir for friends using carefully selected extracts. Their literary quality was spotted by Augustus Hare, whose shortened version, The Life and Letters of Maria Edgeworth, appeared in 1894. In the 1970s Maria's great great niece, Christina Colvin edited Maria Edgeworth's Letters from England and Maria Edgeworth in France & Switzerland. No one, however, has revisited fully Maria's original letters from the place she loved and knew best: Ireland. From 1825, Maria's letters reflect sixty years of Irish history, from the heady days of Grattan's Parliament, through the perils of the 1798 Rebellion to the rise of O'Connell and the struggle for Catholic Emancipation. In old age, she worked actively to alleviate the Great Famine and wrote her last story to raise money aged 82. A treasure trove of stories, humour, local and high-level gossip, her letters show the extraordinary range of her interests: history, politics, literature and science. Maria almost single-handedly took over the management of her family estate and restored it to solvency. Her later letters brim with delight at these practical undertakings and her affection for the local people she worked with. Two of her half-sisters and her stepmother were gifted artists, and Valerie Pakenham has been able to use many of their unpublished drawings and sketches to illustrate this book.

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

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The original Seven Deadly Sins are still among us, wearing modern dress. In this lavish, stunningly illustrated modern interpretation, the victims take revenge on their tormentors. The weak become strong and the powerful weak. The stories are humorous, violent and erotic; a celebration of the joy of sinning and of taking revenge. Each story, each sin, is different in setting, character and mood. Each sin in turn is inspected, tested and described in spare and unsparing prose. In each, the sin and the sinner are shown as malevolent, the victim undeserving of their state. This graphic fable is conceived as a collection illustrating Envy, Pride, Avarice, Sloth, Gluttony, Anger and Lust. The drawings and collages illuminate the foibles and wickedness described; from perpetrator to victim, no-one can hide

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In this lyrical and compelling collection of tales of the quotidian, John A. Ryan paints a sincere picture of Ireland, it’s environment and people. His delicate awareness of the world around him is reflected in every paragraph of these poetic and contemplative pieces. Each is infused with a sense of mindfulness, slowness and the almost divine nature of the small and the commonplace, reminding the reader of the sacredness of life at the heart of the universe. Some of these twenty prose pieces, scattered across rural and small-town Ireland, France and the Mediterranean littoral, have already appeared in the pages of the Irish Press. Most are hitherto unseen. They partake of Benedict Kiely, Donal Ryan and the deep traditions of Irish traditional rural literature.

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These twelve masterful short stories are by one of Ireland’s leading practitioners of the art (previous collections include Adventures in a Bathyscope, 1998, and Lipstick on the Host, 1992). Mathews is a writer worthy of Joyce, whose condensed language conveys learning, sophistication, true feeling and poignancy. The range of subject matter is conveyed in the story titles: ‘Charlie Chaplin’s Wishbone’, ‘Access’, ‘Barber-Surgeons’, ‘Waking a Jew’, ‘Cuba’, ‘The Seven Affidavits of Saint-Artaud’, ‘A Woman from Walkinstown’, ‘In the Form of Fiction’, ‘The Logos of the Zoo’, and ‘Information for the User’. The stories are set in Ireland and principally in Dublin of the 1960s. Characterisation is rich and the dialogue lively and expressive, while the understated dramas and emotions of the tales themselves subtly washing over the reader. The verbal flair of Aidan Mathews is second to none, and the seriousness and the gravity of his contemplations a welcome counterweight to our desiccated, Anglo-American digital culture. This gathering marks a welcome return of a major voice in Irish literature, unpublished since the 1990s.

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Here, name by name, parish by parish, province by province, Kevin Myers details Ireland’s intimate involvement with one of the greatest conflicts in human history, the First World War of 1914 to 1918, which left no Irish family untouched. With this gathering of his talks, unpublished essays and material distilled from The Irish Times and elsewhere, Myers lays out the grounds of his research and findings in Connaught, Leinster, Munster and Ulster. He revisits the main theatres of war in Europe – The Somme, Ypres and Verdun, the war at sea and Gallipoli. He documents these bloody engagements through the lives of those involved, from Dublin to Cork, Sligo to Armagh, to the garrison towns of Athy, Limerick, Mullingar and beyond. In Ireland’s Great War Myers uncoils a vital counter-narrative to the predominant readings in nationalist history, revealing the complex and divided loyalties of a nation coming of age in the early twentieth century. This remarkable historical record pieced together the neglected shards of Ireland’s recent past and imparts a necessary understanding of the political process that saw Sinn Féin’s electoral victory in 1918 and the founding of the Irish Free State. By honouring Ireland’s forgotten dead on the centenary of the Great War. Myers enables a rediscovery of purpose that will speak to future generations.

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A collection of stunning images of the everyday birds of Dublin City. Cormorants, ducks, gulls, swans, herons, pigeons. Caught on the wing, at rest, in play, feeding and preening. From the Malahide Estuary to the Blessington Basin and Dublin’s parks and canals: each one rendered in exhilirating detail. Nature on display here in its wonder and glory by a master of the lens, Ray Beggan.

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The family firm, once regarded as a transitory phenomenon on the way to a more sophisticated model of business organization, is now recognized internationally as an enduring element in modern industrial capitalism. Collen offers an informed and accessible discussion of a significant family-run institution which has operated throughout the island of Ireland since its foundation. The author makes use of untapped archival sources to analyse the fortunes of the company and illuminate the changing political, economic and social realities that shaped the context for its development. He explores how a family enterprise adapted to the far-reaching transformation of politics and society in Ireland over a period of two centuries. The Collen family business has survived economic depression, two World Wars, and the Troubles in Northern Ireland with a combination of resilience and business acumen. This book presents a distinctive Irish perspective on the evolution and persistence of family business, while casting new light on the commercial development of Dublin during the last two hundred years. Collen will be of use to scholars of modern Irish history, economic development, architecture, civil engineering, business and public policy and will be invaluable for all those with a professional interest in Irish business and family enterprise.

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These eleven stories by Desmond Hogan, his first publication since Larks’ Eggs: New and Selected Stories (2005), collect newly minted shards of experience focused on the lives of the dreamers and marginalized who populate his imagined worlds. They range in time and place from France, Germany and Italy in the nineteenth century to Ireland of the 1950s and the present day. Their concerns are fragility and identity expressed through the outer semblances of dress and deportment, and inner realities of involuntary memory and the retrieval of shared pasts. Close observation of nature combines with psychological unveilings, much of it in the form of erotic reverie. This bricolage of melded history and a fragmented modernism renders truth-to-experience like no other contemporary voice.

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This volume sheds new light on the life and works of Jack B. Yeats, the talented painter and poet too often overshadowed by his older brother William, through a collection of previously published and unpublished letters from John Butler Yeats to his son Jack, and from Jack to his father, John Quinn, 'The Man from New York', and Sarah Purser. Introduced by Bruce Stewart of the University of Coleraine, the work includes essays on Jack B. Yeats by editor and Sligo-man Declan J. Foley, organizer of three John Butler Yeats seminars in Chestertown, upstate New York (JBY's burial ground), as well as by other scholars of Jack B. Yeats.

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The Land Question has always been predominant in Ireland. According to forecasts, there will be as few as 15,000 farmers in twenty years’ time. As the Irish rural image undergoes radical transformation, this timely, informative, vigorously argued book will be necessary reading for those working in rural development, food production, housing, transport, heritage and conservation, to say nothing of those who simply care about Ireland’s future. Land Matters concerns social and ecological change, the underlying results of structural and policy decisions made in Brussels or Dublin and their impact on the ground. It addresses the following themes: globalization and the forces that shape society; the CAP (Common Agricultural Policy), and why it has been reformed; social inequality; REPS (the Rural Environment Protection Scheme) and its impact; survival strategies in everyday life (farm households and diversification); green capitalism; landscape, heritage and the ‘politics of perception’; nitrate pollution; migration; contrasting rural visions (housing in the country, ‘clean’ food); and views of a region – west Cork – in which competing claims are made by farmers, hoteliers, conservationists and second-home owners. Key organizations such as Teagasc, the IFA, An Taisce and Organic Trust are also examined and profiled. Land matters permeate all our lives, from our supermarket shelves to our television screens and studies, from our boardrooms to our streets, dwellings, communities and belief systems. No one will be untouched by the issues raised in this pioneering, analytic work.

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Controversies are high drama: in them people speak lines as colourful and passionate as any recited on stage. In the years before 1916, public battles were fought in Ireland over French paintings, Dublin slum children, and theatrical censorship. Controversy was ‘popular,’ wrote George Moore, especially ‘when accompanied with the breaking of chairs’. In her new book, Lucy McDiarmid gives a lively account of these and other controversies. They offered to everyone direct or vicarious involvement in public life: the question they articulated was not ‘Irish Ireland or English Ireland’ but whose ‘Irish Ireland’ would dominate when independence was finally achieved. The Irish Art of Controversy recovers the histories of ‘the man who died for the language,’ Father O’Hickey, who defied the bishops in his fight for the Irish language; Lady Gregory and Bernard Shaw’s defence of the Abbey Theatre against Dublin Castle; the 1913 ‘Save the Dublin Kiddies’ campaign, in which priests attacked socialists over custody of Catholic children; and the contested Hugh Lane Bequest to Dublin of thirty-nine Impressionist masterpieces. Roger Casement forms the subject of the last chapter, which offers the definitive commentary on the long-lasting controversy over his diaries. In its original treatment of what Yeats called ‘intemperate speech’, The Irish Art of Controversy suggests new ways of thinking about modern Ireland and about controversy’s bluff, bravado and improvisational flair.

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PEGGY O’BRIEN grew up in western Massachusetts, where she now lives with her husband. She teaches at the University of Massachusetts, Amherst. After graduating from Mount Holyoke College, she moved to Ireland and studied at University College Dublin and Trinity College, where she taught for the better part of twenty years. Her poems have appeared in publications on both sides of the Atlantic, including The Yale Review, The Southwest Review and Poetry Ireland Review. As well as being the editor of The Wake Forest Book of Irish Women’s Poetry 1967-2000, she is the author of Writing Lough Derg: from Carleton to Heaney. She travels often in Ireland, where she has a daughter and three granddaughters.

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This superbly incisive, comprehensive history of the Irish women’s movement from the 1860s to the twenty-first century – appearing for the first time in paperback – shows how a network of constituent organizations and individuals was transformed into an engine of social change. While feminism is a major intellectual and political tradition in Ireland, it has been misrepresented and misunderstood in mainstream Irish studies. This survey of key historical and contemporary perspectives redresses that imbalance. It demonstrates how the women’s movement fundamentally challenged established interpretations of the way in which modern Irish society has evolved over time, creating new theoretical directions in Irish studies.

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Born in Dublin in 1798 and educated at Trinity College, James Henry was a controversially humane doctor, a passionate scholar of Virgilian manuscripts, and a lifelong interrogator of Christianity. More than a century after James Henry’s death, Christopher Ricks came upon his poems – printed but unpublished – in the Cambridge University Library. Within these volumes Ricks discovered poetry ‘unaffectedly direct, sinewy, seriously comic. And brave.’ Henry’s convictions and his humour, his idiosyncrasies and his courage, come through in work that, Ricks writes, ‘has an integrity, a consistency, for all its engaging diversity of topic and tone’. With the publication of the Selected Poems of James Henry, the world at large can hear the voice of a remarkable poet.

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The Sway of Winter tells the story of Birgit, a young Scandinavian woman who has moved to the island of Inis Breac to paint, and to recover from a suffocating relationship. Geoff, an English widower, shattered by years of hard drinking after his wife’s drowning, runs the local bookshop. Birgit visits Africa in a quest to decide her future in working among the deprived, but finds there only a mirror of an inner poverty. This finely wrought debut novel is a potent revelation of how lives converge in the passage between trauma and resolution, leading to emotional renewal. With a fresh and unusual voice new to Irish fiction, Orla Murphy captivates the reader with her passionate and nuanced narrative.

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The Figure in the Cave selects the prose of one of Ireland’s foremost contemporary poets – part autobiography, part criticism, part self-commentary – a gathering, from the mid-century to the present day, that marks a lifetime’s critical engagement with literature in both Europe and America. In the title essay Montague looks over his career as a writer; in others he describes a coming-of-age in Ulster, explores his own poetics, and appraises Goldsmith, Carleton, George Moore, Joyce and Beckett, MacNeice, Clarke, Kavanagh, Hewitt and MacDiarmid. Pieces on American literature include a vignette of Saul Bellow, a review of Lowell and an intimate sketch of Berryman. To conclude, the author examines the impact of international modern poetry on Irish writing. Humorous, forceful, impressionistic, enriched with personal and political observation, this dialogue between early and later selves traces the development of the boy from Garvaghey to the figure in the cave, and reveals the workings of a fine poet’s mind.

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This essay in autobiography opens in Eyrecourt, east Galway, and describes an early schooling at Rockwell and the experiences of a Jesuit novice at Emo Court, Co. Laois, and Rathfarnham. John O’Meara read classical studies at University College, Dublin, and after a spell of teaching at Clongowes Wood left in 1942 on a travelling studentship to Oxford, where he gained a doctorate three years later. In 1947 he married Odile de Montfort, whom he met in Dublin. The Singing-Masters is written with singular clarity and leaves an abiding impression of Ireland between the wars – the hothouse atmosphere of a diocesan seminary, the lure of the Irish countryside (Eyrecourt in summer, Tullabeg in winter), a fledgling state increasingly dominated by the Church – drawn into perspective by a visit to Lourdes and by the author’s self-questionings. In wartime Oxford, where he met Lutyens, Waugh and Belloc, Dodds and Father D’Arcy, O’Meara comes of spiritual and intellectual age, linking Ireland once more to the traditions of theological Europe, and finding his singing-masters in Augustine, Eriugena and the Neo-Platonists. With this quiet celebration of selfhood, and in its limpid recall of time gone, John O’Meara has created a classic of its kind

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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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Desmond Hogan is one of most remarkable literary talents to have come out of Ireland in the past half-century. Larks’ Eggs affirms that stature. Here, with twenty-two classic stories taken from earlier collections and twelve fresh narratives, Hogan displays anew his lyricism, compassion and sheer prismatic brilliance. His subject is exile and self-image, explored through isolates and eccentrics, brittle lives trapped by poverty, personal histories and restless identities, giving a voice to those on the margins – travellers, the misplaced, the dispossessed. Larks’ Eggs‘ compelling tales of diaspora are both global and local, telling of subsumed identity and allurement, of past merging with present through landscape and mindscape. Desmond Hogan’s fragmented personas are repositories for childhood memory and a collective unconscious that is distinctly Irish and history-burdened, while exhilaratingly and wholly universal and modern. ‘Here’s to the storytellers. They made sense of these lonely and driven lives of ours.’ The Lilliput Press is proud to reintroduce one of Ireland’s most evocative prose writers. Desmond Hogan takes his place alongside Joyce, Plunkett, Trevor, O’Faolain, Kiely and McGahern.

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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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This comprehensive directory lists historic locations in Dublin on a street-by-street basis, describing events during the tumultuous decade from the 1913 Dublin Lockout, through the 1916 Easter Rising and Irish War of Independence, until the end of the Irish Civil War. It is being reissued by The Lilliput Press with an extensively revised and expanded introduction by the author, to better contextualize the events of the period covered. Entries have been supplemented with further research. It is uniquely illustrated from a Dublin City Archive postcard collection.

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'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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