Which 50 People turned Ireland into the fecked-up country she is today? Bono? Haughey? Louis Walsh? de Valera? It's time to name and shame the great, the good and the gobshites... Conventional wisdom has it that Ireland, after a violent and tragic history, had began to get things right. But when the ill wind of recession cruelly snatched that self-satisfied achievement away, it all seemed like exceedingly back luck. In his 50 brilliantly acerbic portraits Waters reveals a consistent pattern of self-delusion, myopia, inferiority complex, bravado, defeatism, cynicism, sentimentalism and conceit. He traces Ireland's story from the paranoid insularism and cultural myopia that followed national Independence, though the post-Sixties obsession with a faux 'self-confidence', to the final, salutary meltdown of the Celtic Tiger, and strangely lacking either Celts or tigers. Once among the oldest civilization in Europe, Ireland has ended up as a second-rate version of the England it tried to discard. It threw out not merely the bathwater and the baby, but also the bathtub, the sponge and the rubber duck...

Which 50 People turned Ireland into the fecked-up country she is today? Bono? Haughey? Louis Walsh? de Valera? It's time to name and shame the great, the good and the gobshites.

This book is about the role that the imperfect, the disquieting and the dystopian are currently playing in the construction of Irish identities. All the essays assess identity issues that require urgent examination, problematize canonical definitions of Irishness and, above all, look at the ways in which the artistic output of the country has been altered by the Celtic Tiger phenomenon and its subsequent demise. Recent narrative from Ireland, principally published in the twenty-first century and/or at the end of the 1990s, is dealt with extensively. The authors examined include Eavan Boland, Mary Rose Callaghan, Peter Cunningham, Emma Donoghue, Anne Enright, Emer Martin, Lia Mills, Paul Muldoon, Eiléan Ní Chuilleanáin, Bernard O’Donoghue, Peter Sirr and David Wheatley.

A long, long time ago… Fadó Fadó: More Tales of Lesser Known Irish History is the sequel to Fadó: Tales of Lesser Known Irish History (Matador, 2013). It reveals more episodes from Irish history throughout the ages. The Irish abroad are not neglected in this collection of tales, many of which are not widely known or have been long forgotten about. The author makes no attempt to heroise or demonise the figures, though some of the characters do not deserve the obscurity to which the passage of time has condemned them, while others are probably best forgotten. Their stories illustrate the rich tapestry that forms Irish history… Who was the walking gallows of Wicklow? What was it about a cave in Donegal that attracted visitors from all over Europe? What happened to the priest who evoked the ire of the Irish government? How did an Irish civil servant defy the Nazis at a time when appeasement was popular? Whose corpse in Galway created wonder and fear? Why did a Monaghan man eat his fellow convicts? And how did a Dublin woman try to assassinate Mussolini? Laid out in chapters long enough to cover what is important and still retain the reader’s interest, this book can be started from anywhere. Just like its prequel, Fadó Fadó is a must-have book for anyone interested in Irish history.

Ireland today stands at a defining moment. The prosperity of the Celtic Tiger years has given way to the sudden crash, the turbulence of the euro crisis, and the loss of our sovereignty to the faceless technocrats of Europe and the IMF. Our leaders seem impotent and rage, bewilderment and despair have swept through Irish society. Was It For This...? delves into the Irish psyche to answer the questions: What happened to our hopes and dreams? What is at the heart of the sense of betrayal that we feel? In the rush to modernity, did we throw away everything of true value? Have we lost the ideals of nationhood and patriotism set out by those who dreamt of the Irish Republic? John Waters’ remarkable new book sweeps through the pages of our recent history to get to the heart our political, social and existential identity crisis. Ranging across a vast canvas, Was It For This...? argues that the Celtic Tiger was built on a collective delusion, and that the seeds of its destruction were sown many years before it even began, when we exchanged our colonial shackles for a no-less destructive dependency for short-term gain. Ireland’s sovereignty was given up long before the IMF came to town. Along the way, Waters ponders our love/hate relationship with Fianna Fáil; the undercurrents that ran through the 2011 presidential election; why our political leaders and commentators have clung onto the remnants of 1960s revolutionary fervour long after the revolution was won; how our denial of an authoritative father figure has led to a leaderless ‘sibling society’; the emptiness of our ‘youth culture’ and the suppression of real thought and discussion through cynicism and irony; and why we have lost the very language that once enabled us to speak of ‘Ireland’ with pride.

This edition provides updates on methodological discussions and includes new sections on case study material and information on supporting action research.

In 1991, Ireland was in the midst of a devastating recession; thousands of young Irish men and women had emigrated over the previous decade, and divisive social and moral debates on abortion and divorce had rocked Irish society. The great pillars of society - politics and religion - were beginning to crumble, a process that continued in subsequent years as both institutions were hit by scandal. A questioning of the values on which Ireland had been built had begun, with an apparently unbridgeable divide opening between "traditionalists" and "modernizers". At the start of the decade, the modernizers appeared to have won, with the election as President of the iconic Mary Robinson. Irish Times columnist John Waters captured the zeitgeist of the time with the hugely successful Jiving at the Crossroads, which sold over 50,000 copies. A defining book of the era, its success was partly due to its remarkable blending of social/cultural commentary with personal memoir. At the emotional core of the book was the relationship between John and his father, and the story of Ireland was intricately woven into this powerful narrative. It was the first in a long line of books to question the very notion of modern Irish identity, and to examine the deep-rooted tensions at the heart of the Irish psyche. Twenty years later, much has changed in Ireland, and yet Jiving at the Crossroads remains a deeply resonant book, particularly in the light of the remarkable rise and precipitous fall of the Celtic Tiger, and the fresh questioning of how we got where we are now. This twentieth anniversary reissue of a landmark book, with a new Afterword, will be welcomed by those who remember it, and will be a fascinating insight for a new generation of Irish people.

Since the first edition of this established text was published in 1988, action research has gained ground as a popular method amongst educational researchers, and in particular for practising teachers doing higher-level courses. In this new edition Jean McNiff provides updates on methodological discussions and includes new sections of case study material and information on supporting action research. The book raises issues about how action research is theorised, whether it is seen as a spectator discipline or as a real life practice, and how practitioners position themselves within the debate. It discusses the importance for educators of understanding their own work and showing how their educative influence can lead to the development of good orders in formal and informal learning settings and in the wider community. This second edition comes at a time when, after years of debate over what counts as action research, it is now considered an acceptable and useful part of mainstream research practice.

The films of John Waters (b. 1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Buñuel and Salvador Dali's Un Chien Andalou. In attempting to reinvigorate the experience of movie-going with his shock comedy, Waters has been willing to take the chance of offending nearly everyone. His characters have great dignity and resourcefulness, taking what's different or unacceptable or grotesque about themselves, heightening it and turning it into a handmade personal style. The interviews collected here span Waters's career from 1965 to 2010 and include a new one exclusive to this edition. Waters began making films in his hometown of Baltimore in 1964. Demonstrating an innate talent at capturing the hideous and crude and elevating it to art, he reached international acclaim with his outrageous shock comedy Pink Flamingos. This landmark film redefined cinema and became a cult classic. Appearing in this and many of Waters's early films, his star Divine would consistently challenge gender definitions. With Polyester, Waters entered the mainstream. The film starred Divine as an unhappy housewife who romances a former teen idol played by Tab Hunter. Waters's commercial breakthrough, Hairspray, told the story of Baltimore's televised sock-hop program, The Corny Collins Show, and how one brave girl (Ricki Lake) used her platform as a dancer to end segregation in her town. From Serial Mom and Pecker to Cecil B. Demented, Waters continued to infiltrate the mainstream with his unique approach to filmmaking. As a visual artist, he was given a retrospective at the New Museum of Contemporary Art in 2004, which was shown at galleries around the world.

The short; cryptic prophecies of St. Malachy; the Primate of Ireland; made circa 1140 while on a visit at Rome; about each Pope from his time till the End of Time--all based on visions he had at the time. From what we know of recent Popes; these prophecies are accurate; based on interior evidence alone. What is so very sobering is the fact there are only 2 Popes left after Pope John Paul II!!