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.

Richard Tillinghast writes vividly and evocatively about the land and people of his adopted home, its culture, its literature, and its long, complex history.

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.

When the Irish nationalist Michael Collins signed the Anglo-Irish Treaty in December 1921, he observed to Lord Birkenhead that he may have signed his own death warrant. In August 1922 that prophecy came true when Collins was ambushed, shot and killed by a compatriot, but his vision and legacy lived on. Tim Pat Coogan's biography presents the life of a man whose idealistic vigor and determination were matched by his political realism and organizational abilities. This is the classic biography of the man who created modern Ireland.

Historian and IRA leader Florence O'Donoghue describes his experiences as head of intelligence in Cork city during the Irish War of Independence (1919-1921). He candidly assesses the leaders of this period, including Tomas MacCurtain, Sean O'Hegarty, Terence MacSwiney and Michael Collins and critically examines the evolution of the Irish Volunteer citizen-soldiers. He also details his wife Josephine's role as the top IRA spy in Cork's British Army headquarters, working for the rebels in exchange for the return of her eldest son, lost in a bitter custody battle with her in-laws. After O'Donoghue kidnapped the child and reunited him with his mother, the two collaborators eventually fell in love and were secretly married in the spring of 1921. Forty years later, the couple presented their story to their children in order to explain the family secret that had haunted their domestic lives. The first part of the book is O'Donoghue's and his wife's account of their activities in the Anglo-Irish War, written in 1961; the second part is composed of 47 letters in diary form, written by O'Donoghue to his wife while he was 'on the run' during the last ten weeks of the Anglo-Irish War, from May to July 1921. They provide a rare snapshot of the daily life of fugitive IRA guerrillas.

A celebration of the tenacious life of the enduring Irish classics, this book by one of Irish writing's most eloquent readers offers a brilliant and accessible survey of the greatest works since 1600 in Gaelic and English, which together have shaped one of the world's most original literary cultures. In the course of his discussion of the great seventeenth- and eighteenth-century Gaelic poems of dispossession, and of later work in that language that refuses to die, Declan Kiberd provides vivid and idiomatic translations that bring the Irish texts alive for the English-speaking reader. Extending from the Irish poets who confronted modernity as a cataclysm, and who responded by using traditional forms in novel and radical ways, to the great modern practitioners of such paradoxically conservative and revolutionary writing, Kiberd's work embraces three sorts of Irish classics: those of awesome beauty and internal rigor, such as works by the Gaelic bards, Yeats, Synge, Beckett, and Joyce; those that generate a myth so powerful as to obscure the individual writer and unleash an almost superhuman force, such as the Cuchulain story, the lament for Art O'Laoghaire, and even Dracula; and those whose power exerts a palpable influence on the course of human action, such as Swift's Drapier's Letters, the speeches of Edmund Burke, or the autobiography of Wolfe Tone. The book closes with a moving and daring coda on the Anglo-Irish agreement, claiming that the seeds of such a settlement were sown in the works of Irish literature. A delight to read throughout, Irish Classics is a fitting tribute to the works it reads so well and inspires us to read, and read again.