The Language of Irish Literature is the first book on the market to discuss Irish Literature in terms of the history of, and the linguistic contacts in, the island. It provides a description of the development of the varieties of English in Ireland, concentrating on the input from Irish Gaelic and Scots as well as English. It examines the history of English in Ireland; the nature of Irish and of Irish Englishes; oral traditions: songs and stories; and the three main literary genres: drama, poetry and prose.

This book argues that the sudden decline of old rural vernaculars – such as French patois, Italian dialects, and the Irish language – caused these languages to become the objects of powerful longings and projections that were formative of modernist writing. Seán Ó Ríordáin in Ireland and Pier Paolo Pasolini in Italy reshaped minor languages to use as private idioms of poetry; the revivalist conception of Irish as a lost, perfect language deeply affected the work of James Joyce; the disappearing dialects of northern France seemed to Marcel Proust to offer an escape from time itself. Drawing on a broad range of linguistic and cultural examples to present a major reevaluation of the origins and meaning of European literary modernism, Barry McCrea shows how the vanishing languages of the European countryside influenced metropolitan literary culture in fundamental ways.

'Can we not build up a national tradition, a national literature, which shall be none the less Irish in spirit from being English in language?' W. B. YeatsThis anthology traces the history of modern Irish literature from the revolutionary era of the late eighteenth century to the early years of political independence. From Charlotte Brooke and Edmund Burke to Elizabeth Bowen and Louis MacNeice, the anthology shows how, in forging a tradition of theirown, Irish writers have continually challenged and renewed the ways in which Ireland is imagined and defined. The anthology includes a wide-ranging and generous selection of fiction, poetry, and drama. Three plays by W. B. Yeats, Augusta Gregory, and J. M. Synge are printed in their entirety, along with the opening episode of James Joyce's Ulysses. The volume also includes letters, speeches, songs,memoirs, essays, and travel writings, many of which are difficult to obtain elsewhere.'Stephen Regan's anthology vividly and valiantly presents a nation, and a national literature, coming into being.' Paul Muldoon

In critical opinion and popular polls, Máirtín Ó Cadhain’s Graveyard Clay is invariably ranked the most important prose work in modern Irish. This bold new translation of his radically original Cré na Cille is the shared project of two fluent speakers of the Irish of Ó Cadhain’s native region, Liam Mac Con Iomaire and Tim Robinson. They have achieved a lofty goal: to convey Ó Cadhain’s meaning accurately and to meet his towering literary standards. Graveyard Clay is a novel of black humor, reminiscent of the work of Synge and Beckett. The story unfolds entirely in dialogue as the newly dead arrive in the graveyard, bringing news of recent local happenings to those already confined in their coffins. Avalanches of gossip, backbiting, flirting, feuds, and scandal-mongering ensue, while the absurdity of human nature becomes ever clearer. This edition of Ó Cadhain’s masterpiece is enriched with footnotes, bibliography, publication and reception history, and other materials that invite further study and deeper enjoyment of his most engaging and challenging work.

Máirtín Ó Cadhain’s irresistible and infamous novel The Dirty Dust is consistently ranked as the most important prose work in modern Irish, yet no translation for English-language readers has ever before been published. Alan Titley’s vigorous new translation, full of the brio and guts of Ó Cadhain’s original, at last brings the pleasures of this great satiric novel to the far wider audience it deserves. In The Dirty Dust all characters lie dead in their graves. This, however, does not impair their banter or their appetite for news of aboveground happenings from the recently arrived. Told entirely in dialogue, Ó Cadhain’s daring novel listens in on the gossip, rumors, backbiting, complaining, and obsessing of the local community. In the afterlife, it seems, the same old life goes on beneath the sod. Only nothing can be done about it—apart from talk. In this merciless yet comical portrayal of a closely bound community, Ó Cadhain remains keenly attuned to the absurdity of human behavior, the lilt of Irish gab, and the nasty, deceptive magic of human connection.

This groundbreaking book shatters historical stereotypes, demonstrating that, in the century before 1870, Ireland was not an anglicized kingdom and was capable of articulating modernity in the Irish language. It gives a dynamic account of the complexity of Ireland in the nineteenth century, developments in church and state, and the adaptive bilingualism found across all regions, social levels, and religious persuasions.

The 1871 census came to the stark conclusion that 'within relatively few years' Irish would cease to exist. Yet, over a century later, Irish became the twenty-third officially recognized language of the European Union in 2007. To believe the census returns of recent years, Irish is in a state of rude health. But is this true when half a million people claim to speak Irish, but seldom actually speak it? In the traditional Gaeltacht areas, Irish is in peril - whilst it flourishes in Gaelscoileanna, in urban areas and in cyberspace. What do these dramatic shifts mean for the language's future?A New View of the Irish Language covers issues such as language and national identity; the impact of emigration and immigration; music, literature and the media; the importance of place-names; teaching and learning Irish; attitudes towards Irish; and the state of the Gaeltacht - and probes beyond the statistics and rhetoric to explore the true situation of Irish in the contemporary world.Contributors: Ruair hUiginn, Pdraig Riagin, Liam Mac Mathna, Mirn Nic Eoin, Liam Muirthile, Gearid Tuathaigh, John Harris, Breandn Delap, Conchr Giollagin & Seosamh Mac Donnacha, Caoilfhionn Nic Phidn, Pdraig Laighin, Lillis Laoire, Anna N Ghallachair, Ciarn Mac Murchaidh, Brian Conchubhair, Aidan Doyle, Aidan Punch, Suzanne Romaine, Dnall Mac Giolla Easpaig and Iarfhlaith Watson.

In this book, Aidan Doyle traces the history of the Irish language from the time of the Norman invasion at the end of the 12th century to independence in 1922, combining political, cultural, and linguistic history. The book is divided into seven main chapters that focus on a specific period in the history of the language; they each begin with a discussion of the external history and position of the Irish language in the period, before moving on to investigate theimportant internal changes that took place at that time. A History of the Irish Language makes available for the first time material that has previously been inaccessible to students and scholars whocannot read Irish, and will be a valuable resource not only for undergraduate students of the language, but for all those interested in Irish history and culture.

This book tells the dramatic and often surprising story of the learning of the Irish language by Irish Republican prisoners held in the infamous H-block cells during the bloody political conflict in Northern Ireland. Using research methods and techniques, the author closely analyses the emergence of the Irish language amongst republican prisoners and ex prisoners in Northern Ireland from the 1970s up until the present. This pioneering study shows how the language was used exclusively in parts of the prison, despite the efforts of the prison authorities to suppress the language, and the dramatic impact this had on Irish society. Drawing on interviews with the prisoners, and various other materials, Mac Giolla Chriost shows how these developments gave rise to the popular coinage of the term ‘Jailtacht’, a deformation of ‘Gaeltacht’ - the official Irish-speaking districts of the Republic of Ireland, to describe this unique linguistic phenomenon.