Published to celebrate the 70th birthday of acclaimed Irish poet Eavan Boland, this book brings together many of Boland's best-known poems with her own striking photographs of her native city, Dublin. Through juxtaposition of text and image, place and memory, the book creates a unique portrait of the city. This book also includes an introduction by Jody Allen Randolph and a conversation between Eavan Boland and Paula Meehan in which the two poets reflect on their shared city and the central role it has played in their lives and in their work.

Richard Tillinghast writes vividly and evocatively about the land and people of his adopted home, its culture, its literature, and its long, complex history.

“Boland offers encouragement to women poets of the future. . . . Her vivid imagery will beguile many.”—Publishers Weekly, starred review These inspiring essays from the celebrated poet Eavan Boland are both critical and deeply personal, revealing the adventure, passion, and struggle of becoming a woman poet. In this thematic sequel to her classic Object Lessons, Boland traces her own experiences as a woman, wife, and mother and their effect on her poetry, and she looks to a world where she can change the poetic past as well as the present.

Irish poetry presents various routes into which readers can delve: some depend on gender and questions of the place of women, while others use myth, folklore, and religion; landscape eco-criticism and etymologies of place; and concerns of nation-states, regions, and empire. The work of certain members of the younger generation of Irish poets contains what might be termed a post-national, trans-historical urge, or at least a post-Ireland one. The essays herein, written by established and emerging scholars, recognize both the perpetual search for a sustaining national concept of Ireland, as well as a sense that long-established definitions no longer necessarily apply. The poets discussed herein include those who write in the shadow of Irish history cast by the Northern Troubles and those who feel that connections to a wider culture (poetic and political) are equally, or more, significant. Migration (immigration and emigration, internal and external) continues to be an issue. If Ireland is post-nation, does it look toward Europe? America? Boston or Belgium? As Irish society has changed and continues to change, so too has Irish poetry entered into a time of transition. This volume of essays charts these transitions and sets coordinates for future critical endeavors.

Juxtaposing verse and image, A Poet’s Dublin is a study of origin and influence from “a major Irish poet” (Edward Hirsch). Written over years, the transcendent and moving poems in A Poet’s Dublin seek out shadows and impressions of a powerful, historic city, studying how it forms and alters language, memory, and selfhood. The poems range from an evocation of the neighborhoods under the hills where the poet lived and raised her children to the inner-city bombing of 1974, and include such signature poems as “The Pomegranate,” “The War Horse,” and “Anna Liffey.” Above all, these poems weave together the story of a self and a city—private, political, and bound by history. The poems are supported by photographs of the city at all times and in all seasons: from dawn on the river Liffey, which flows through Dublin, to twilight up in the Dublin foothills.

Do our passions control us or us them? These poems find themselves asking such questions in hospitals, in cellars, in Parisian parks and American laundromats, inside our screens and beyond them. Poems of blood and birdsong, of rain and desire, of aftermath and ambivalence, each spoken by a voice, which - like the starlings - sings, at once, both past and present. "Looking into the dark sky of history, Doireann Ní Ghríofa calls up an illuminating fire, a night constellated into images of passion and destruction. An astrologer of the body, its endurance and its vulnerability, Ní Ghríofa is a poet of daring skill. Lyrical, searching and enchanted, To Star the Dark is a blazing, brave collection." - Seán Hewitt "Like [Eavan] Boland, Ní Ghríofa constructs a mysterious world for her readers from the matter of ordinary life. The poems of this collection impress upon us that magic and depth can be found in the minutiae of the everyday." - Poetry Ireland Review, on Lies

Winner of the Costa Poetry Award 2020 A Times Literary Supplement Book of the Year 2020 A forceful and moving final volume from one of the most masterful poets of the twentieth century. Throughout her nearly sixty-year career, acclaimed poet Eavan Boland came to be known for her exquisite ability to weave myth, history, and the life of an ordinary woman into mesmerizing poetry. She was an essential voice in both feminist and Irish literature, praised for her 'edgy precision, an uncanny sympathy and warmth, an unsettling sense of history' ( J.D. McClatchy). Her final volume, The Historians, is the culmination of her signature themes, exploring the ways in which the hidden, sometimes all-but-erased stories of women's lives can powerfully revise our sense of the past. Two women burning letters in a back garden. A poet who died too young. A mother's parable to her daughter. Boland listens to women who have long had no agency in the way their stories were told; in the title poem, she writes: 'Say the word history: I see / your mother, mine. / ... Their hands are full of words.' Addressing Irish suffragettes in the final poem, Boland promises: 'We will not leave you behind', a promise that animates each poem in this radiant collection. These extraordinary, intimate narratives cling to the future through memory, anger, and love in ways that rebuke the official record we call history.

Forty chapters, written by leading scholars across the world, describe the latest thinking on modern Irish poetry. The Handbook begins with a consideration of Yeats's early work, and the legacy of the 19th century. The broadly chronological areas which follow, covering the period from the 1910s through to the 21st century, allow scope for coverage of key poetic voices in Ireland in their historical and political context. From the experimentalism of Beckett, MacGreevy, and others of the modernist generation, to the refashioning of Yeats's Ireland on the part of poets such as MacNeice, Kavanagh, and Clarke mid-century, through to the controversially titled post-1969 'Northern Renaissance' of poetry, this volume will provide extensive coverage of the key movements of the modern period. The Handbook covers the work of, among others, Paul Durcan, Thomas Kinsella, Brendan Kennelly, Seamus Heaney, Paul Muldoon, Michael Longley, Medbh McGuckian, and Ciaran Carson. The thematic sections interspersed throughout - chapters on women's poetry, religion, translation, painting, music, stylistics - allow for comparative studies of poets north and south across the century. Central to the guiding spirit of this project is the Handbook's consideration of poetic forms, and a number of essays explore the generic diversity of poetry in Ireland, its various manipulations, reinventions and sometimes repudiations of traditional forms. The last essays in the book examine the work of a 'new' generation of poets from Ireland, concentrating on work published in the last two decades by Justin Quinn, Leontia Flynn, Sinead Morrissey, David Wheatley, Vona Groarke, and others.