The writer, essayist, biographer, and diplomat Sir Shane Leslie (1885-1971) is a remarkable, although little known and even less researched personality of Anglo-Irish culture. Although his many publications rarely reached a second edition, they are highly valued as cultural-historical documents. His novel Doomsland (1923) has received critical praise as 'a bildungsroman of exceptional interest which has been most unfairly neglected.' This monograph aims to compensate for this unjustified neglect by trying to rediscover Leslie through his fictional and essayistic work. The research for this thesis included a visit to Castle Leslie in Ireland, Co. Monaghan, explorations of the family archives in Dublin and Belfast, and, as well as interviews with the writer's son, Sir John Leslie.

As a volatile meeting point of personal and public experience, autobiography exists in a mutually influential relationship with the literature, history, private writings, and domestic practices of a society. This book illuminates the ways evolving class and gender identities interact with these inherited forms of narrative to produce the testimony of a culture confronting to its own demise. Elizabeth Grubgeld places Irish autobiography within the ever-widening conversation about the nature of autobiographical writing and contributes to contemporary discussions regarding Irish identity. Her emphasis on women's autobiographies provides a further reexamination of gender relations in Ireland. While serving as the first critical history of its subject, this book also offers a theoretical and interpretive reading of Anglo-Irish culture that gives full attention to class, gender, and genre analysis. It examines autobiographies, letters, and diaries from the late eighteenth century through the present, with primary attention to works produced since World War I. By examining many previously neglected texts, Grubgeld both recovers lost voices and demonstrates how their work can revise our understanding of such major literary figures such as George Bernard Shaw, W. B. Yeats, John Synge, Elizabeth Bowen, and Louis MacNiece.

THE WILEY BLACKWELL COMPANION TO CONTEMPORARY BRITISH AND IRISH LITERATURE An insightful guide to the exploration of modern British and Irish literature The Wiley Blackwell Companion to Contemporary British and Irish Literature is a must-have guide for anyone hoping to navigate the world of new British and Irish writing. Including modern authors and poets from the 1960s through to the 21st century, the Companion provides a thorough overview of contemporary poetry, fiction, and drama by some of the most prominent and noteworthy writers. Seventy-three comprehensive chapters focus on individual authors as well as such topics as Englishness and identity, contemporary Science Fiction, Black writing in Britain, crime fiction, and the influence of globalization on British and Irish Literature. Written in four parts, The Wiley Blackwell Companion to Contemporary British and Irish Literature includes comprehensive examinations of individual authors, as well as a variety of themes that have come to define the contemporary period: ethnicity, gender, nationality, and more. A thorough guide to the main figures and concepts in contemporary literature from Britain and Ireland, this two-volume set: Includes studies of notable figures such as Seamus Heaney and Angela Carter, as well as more recently influential writers such as Zadie Smith and Sarah Waters. Covers topics such as LGBT fiction, androgyny in contemporary British Literature, and post-Troubles Northern Irish Fiction Features a broad range of writers and topics covered by distinguished academics Includes an analysis of the interplay between individual authors and the major themes of the day, and whether an examination of the latter enables us to appreciate the former. The Wiley Blackwell Companion to Contemporary British and Irish Literature provides essential reading for students as well as academics seeking to learn more about the history and future direction of contemporary British and Irish Literature.

This is a magisterial narrative of the most turbulent decade in Anglo-Irish history: a decade of unleashed passions that came close to destroying the parliamentary system and to causing civil war in the United Kingdom. It was also the decade of the cataclysmic Great War, of an officers' mutiny in an elite cavalry regiment of the British Army and of Irish armed rebellion. It was a time, argues Ronan Fanning, when violence and the threat of violence trumped democratic politics. This is a contentious view. Historians have wished to see the events of that decade as an aberration, as an eruption of irrational bloodletting. And they have have been reluctant to write about the triumph of physical force. Fanning argues that in fact violence worked, however much this offends our contemporary moral instincts. Without resistance from the Ulster Unionists and its very real threat of violence the state of Northern Ireland would never have come into being. The Home Rule party of constitutionalist nationalists failed, and were pushed aside by the revolutionary nationalists Sinn Fein. Bleakly realistic, ruthlessly analytical of the vacillation and indecision displayed by democratic politicians at Westminster faced with such revolutionary intransigence, Fatal Path is history as it was, not as we would wish it to be.

The Anglo-Irish War has often been referred to as the war 'the English have struggled to forget and the Irish cannot help but remember'. Before 1919, the issue of Irish Home Rule lurked beneath the surface of Anglo-Irish relations for many years, but after the Great War, tensions rose up and boiled over. Irish Nationalists in the shape of Sinn Féin and the IRA took political power in 1919 with a manifesto to claim Ireland back from an English 'foreign' government by whatever means necessary. This book explores the conflict and the years that preceded it, examining such historic events as the Easter Rising and the infamous Bloody Sunday.

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century This book provides a robustly theorised and thoroughly historicised account of the 'beginnings' of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance.

Through studies of individual writers, this book reveals the inextricable connection between naturalism and literary modernism.

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.