"Just as Jack Westcott and Jill Schuler think their past criminal and political ordeals are behind them, a chance for gratifying revenge turns into trouble as they try to start a new life together. Two years ago, a Marxist gang kidnapped Jack Westcott. Jill, one of the gang, was betrayed and knew she would soon be killed. She secretly changed sides and partnered with Jack. Heroically doing so, she nearly lost her life, but won Jack's heart."--Amazon.com.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

Kiberd - one of Ireland's leading critics and a central figure in the FIELD DAY group with Brian Friel, Seamus Deane and the actor Stephen Rea - argues that the Irish Literary Revival of the 1890-1922 period embodied a spirit and a revolutionary, generous vision of Irishness that is still relevant to post-colonial Ireland. This is the perspective from which he views Irish culture. His history of Irish writing covers Yeats, Lady Gregory, Synge, O'Casey, Joyce, Beckett, Flann O'Brien, Elizabeth Bowen, Heaney, Friel and younger writers down to Roddy Doyle.

Discussions of the self in James Joyce's A Portrait of the Artist as a Young Man traditionally have a generic or a generalized quality: the self is modernist or postmodernist, essential or processive, unified or fragmented, etc. Pathologies of Desire takes a different tack: it shifts the ground of discussion, locating the self in relation to particular dispositions or traits of the subject, Stephen Dedalus. More specifically, it foregrounds three pathological states (autoerotic, paranoia, and the shame/guilt syndrome) as primary modes of self-aggregation - the unique power of painful inner splits and divisions to precipitate self-awareness, and to make the self self-reflexive. As challenges to self-understanding, anxiety (autoeroticism), persecution (paranoia), and humiliation (shame/guilt) are prime catalysts of those multi-layered linguistic resources that fortify Stephen's self with the means of comprehending its own angst. The fact that each particular self dissolves to make way for another underscores its purely contingent and transitional quality - it functions as a defense against the singularity of the pain that it generates. Stephen's ultimate prospect of creating new future selves is thus contingent on his power to liberate himself from the old ones' oppressive conditioning.