Exploration of the life and work of Irish playwright, George Fitzmaurice

An appraisal of the career and major works of the modern Irish dramatist emphasizes the influence of his North Kerry upbringing on the rural-life the and language of his plays.

"This superb collection of eighteen plays has long been needed. It provides a sound and solid introduction to the rich field of modern Irish drama, and should be as delightful to the private reader as it will be useful for university classes."--Journal of Irish Literature Contents: Spreading the News and The Gaol Gate-- Lady Gregory; On Baile's Strand and the Only Jealousy of Emer--W.B. Yeats; The Land--Padraic Colum; The Playboy of the Western World--J.M. Synge; Maurice Harr--T. C. Murray; The Magic Glasses--George Fitzmaurice; Juno and the Paycock- -Sean O'Casey; The Big House--Lennox Robinson; The Old Lady Says "No "--Denis Johnston; As the Crow Flies--Austin Clarke; The Paddy Pedlar--M. J. Malloy; The Vision of Mac Conglinne--Padraic Fallon; The Quare Fellow--Brendan Behan; All that Fall--Samuel Becket; Da--Hugh Leonard; Translations--Brian Friel

George Fitzmaurice is best known for his comedy, The Country Dressmaker, produced at the Abbey Theatre in 1907, although he wrote plays for the next fifty years. It is the aim of this critical study of Fitzmaurice not only to make his work better know, but to assess the value of his literary achievement.

Survey and anecdotal interviews with 5 masters — Arthur Miller, Hal Mohr, Hal Rosson, Lucien Ballard, and Conrad Hall. 105 photographs. Filmographies.

The adventures of a group who survived a poisonous cloud that turned everyone else into stone.

Austin Clarke is widely regarded as one of 20th-century Ireland's most important poets. In this selection of nearly fifty essays and reviews written over Clarke's long career, he demonstrates that he is an astute and provocative literary critic as well. Having grown up in Dublin when the excitement of the Irish Literary Revival was still running high, Clarke knew many of the principal figures of that movement personally, and his readings of Yeats, Joyce, Synge, O'Casey, Lady Gregory, George Moore, and others enjoy the advantages of an insider's point of view. A selection of Clarke's writings on Yeats is followed by his writings on other Irish writers and the Irish Literary Revival, and on Modern English and American literature. Included as an appendix is an exhaustive list of Clarke's literary criticism published in periodicals.

This book explores the drama of John B. Keane and focuses on his best-known play, The Field, in an examination of the cultural and psychological resonances present in his work. From the changing social, political, and economic contexts of the play’s genesis, to present-day austerity and malaise, The Field remains a popular and relevant piece of theatre, and in this publication possible motivations behind such popularity and relevance are posited. Unconscious resonant processes of identification at play within The Field are explored through the application of psychological and post-colonial filters, and the analysis of Keane’s representations of gender, both masculine and feminine, with strong reference to socio-historical contexts throughout. By doing so, further ways of re-reading Keane’s works are suggested, thereby encouraging a re-appraisal of an often critically overlooked Irish playwright. The examination of the concept of ‘resonance’, which is at the core of this book, provides a unique insight into Keane’s drama and how it interacts with the public at large. Through the modes of analysis of The Field employed in this work, further methods of reading Keane’s other dramas are suggested, and thus, this book is essential reading for anyone with an interest in Keane, Irish drama, or for that matter, the field of Irish studies itself.