This collection is the first to examine how the city is written in modern Irish fiction. Focusing on the multi-faceted, layered, and ever-changing topography of the city in Irish writing, it brings together studies of Irish and Northern Irish fictions which contribute to a more complete picture of modern Irish literature and Irish urban cultural identities. It offers a critical introduction to the Irish city as it represented in fiction as a plural space to mirror the plurality of contemporary Irish identities north and south of the border. The chapters combine to provide a platform for new research in the field of Irish urban literary studies, including analyses of the fiction of authors including James Joyce, Roddy Doyle, Kate O’Brien, Hugo Hamilton, Kevin Barry, and Rosemary Jenkinson. An exciting and diverse range of fictions is introduced and examined with the aim of generating a cohesive perspective on Irish urban fictions and to stimulate further discussion in this emerging area.

One of Ireland's most celebrated writers, musicians, and poets, Ciaran Carson was born in Belfast and has spent his life there. In The Star Factory, he makes himself the cartographer of his home city's spaces, symbolic and literal, the scribe of its byways and avenues, from Abbey Road to Zetland Street. Belfast has seen transformation: once the fifth-greatest industrial city in the world, the home of the S. S. Titanic, it has more recently been a battleground of sectarian slaughter. To conjure up the lives lived there, Carson plunges down the "wormhole of memory" - admiring along the way the strata and roots beneath the surface. Though it has experienced more than its share of urban decay - the Star Factory of the title is an abandoned mill - Carson's Belfast teems with stories, stories that can spring from a telephone directory, a cigarette case, a postcard, a book about tramways, a stamp.

Presents essays by thirty-five leading scholars of Irish fiction that provide authoritative assessments of the breadth and achievement of Irish novelists and short story writers.

The Oxford Handbook of Modern Irish Fiction presents authoritative essays by thirty-five leading scholars of Irish fiction. They provide in-depth assessments of the breadth and achievement of novelists and short story writers whose collective contribution to the evolution and modification of these unique art forms has been far out of proportion to Ireland's small size. The volume brings a variety of critical perspectives to bear on the development of modern Irish fiction, situating authors, texts, and genres in their social, intellectual, and literary historical contexts. The Handbook's coverage encompasses an expansive range of topics, including the recalcitrant atavisms of Irish Gothic fiction; nineteenth-century Irish women's fiction and its influence on emergent modernism and cultural nationalism; the diverse modes of irony, fabulism, and social realism that characterize the fiction of the Irish Literary Revival; the fearless aesthetic radicalism of James Joyce; the jolting narratological experiments of Samuel Beckett, Flann O'Brien, and Máirtín Ó Cadhain; the fate of the realist and modernist traditions in the work of Elizabeth Bowen, Frank O'Connor, Seán O'Faoláin, and Mary Lavin, and in that of their ambivalent heirs, Edna O'Brien, John McGahern, and John Banville; the subversive treatment of sexuality and gender in Northern Irish women's fiction written during and after the Troubles; the often neglected genres of Irish crime fiction, science fiction, and fiction for children; the many-hued novelistic responses to the experiences of famine, revolution, and emigration; and the variety and vibrancy of post-millennial fiction from both parts of Ireland. Readably written and employing a wealth of original research, The Oxford Handbook of Modern Irish Fiction illuminates a distinguished literary tradition that has altered the shape of world literature.

Cassidy presents a history of the Irish influence on American slang in a colourful romp through the slums, the gangs of New York and the elaborate scams of grifters and con men, their secret language owing much to the Irish Gaelic imported with many thousands of immigrants. With chapters on How the Irish Invented Poker and How the Irish Invented Jazz, Cassidy stakes a claim for the Irishness of American English. Includes a preface by Peter Quinn and an Irish - American Vernacular Dictionary.

Returning to the working-class Irish-Catholic community of her childhood in South Buffalo to care for her ailing policeman father, Absalom Kearney joins the police department and begins receiving cryptic messages from a twisted serial killer only to find her investigation stymied by her own colleagues. A first novel by the best-selling author of Empire of Blue Water. 12,000 first printing.

WINNER OF THE BAILEYS' WOMEN'S PRIZE FOR FICTION 2016 WINNER OF THE DESMOND ELLIOT PRIZE 2016 We all do stupid things when we're kids. Ryan Cusack's grown up faster than most - being the oldest of six with a dead mum and an alcoholic dad will do that for you. And nobody says Ryan's stupid. Not even behind his back. It's the people around him who are the problem. The gangland boss using his dad as a 'cleaner'. The neighbour who says she's trying to help but maybe wants something more than that. The prostitute searching for the man she never knew she'd miss until he disappeared without trace one night . . . The only one on Ryan's side is his girlfriend Karine. If he blows that, he's all alone. But the truth is, you don't know your own strength till you need it.

Literary Urban Studies and How to Practice It is the first textbook in literary urban studies (LUS). It illuminates and investigates this exciting field, which has grown since the humanities’ ‘spatial turn’ of the 1990s and 2000s. The book introduces city literature, urban methods of reading, classics in LUS and new directions in the field. It outlines the located qualities of literary narratives, texts and events through three units. First, the concept of the city and the main methods and terms needed as tools for investigating city literatures are introduced. A second section, ordered historically, shows how notions like pre-modern, realist, modernist, postcolonial and planetary actually work in nuanced explorations of actual writers, texts and places. The third unit covers literary urban modes: fictional and non-fictional prose in multiple genres; poetry and the idea of the city; dramatic city representation and the theatre as urban place. Multiple key categories of place are explored: the sacred spaces of religion; entry points such as railway stations and junctions; residential areas such as the ‘slum’, suburb and mass housing district; hubs of publishing and performance; categories of city such as the port and resort. In each chapter key terms, reflection questions and tasks labelled ‘Research It’ support reference and learning. Some Research It tasks enable readers to enter new areas of LUS by engaging with neighbouring disciplines like human geography, cultural history, sociology and urban studies. Others equip users by sharpening particular skills of writing or documentation. A thorough glossary of key terms and concepts aids the reader. Literary Urban Studies and How to Practice It is designed for application to literatures and cities in any period and part of the world. Armed with it, humanities researchers at any career stage can develop their interdisciplinary skills and ability to participate in activism and public debates while becoming specialised in LUS. The book is a gateway to practicing LUS and spatial literary research.

Time, the City, and the Literary Imagination explores the relationship between the constructions and representations of the relationship between time and the city in literature published between the late eighteenth century and the present. This collection offers a new way of reading the literary city by tracing the ways in which the relationship between time and urban space can shape literary narratives and forms. The essays consider the representation of a range of literary cities from across the world and consider how an understanding of time, and time passing, can impact on our understanding of the primary texts. Literature necessarily deals with time, both as a function of storytelling and as an experience of reading. In this volume, the contributions demonstrate how literature about cities brings to the forefront the relationship between individual and communal experience and time.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.