This collection of essays from scholars based in Ireland, England, Canada and the United States addresses the symbolic representation of nationalist history in words, pictures and the plastic arts.

This collection of essays from scholars based in Ireland, England, Canada and the United States addresses the symbolic representation of nationalist history in words, pictures and the plastic arts.

After civil war, can the winners commemorate their victory, hailing their conquering heroes with the blood of their former comrades still fresh on their boots? Or should they cover themselves in shame and hope that the nation soon forgets? In this book, Anne Dolan explores the tensions between memory and forgetting in twentieth-century Ireland. By examining the memory of winning the Irish Civil War, she discusses the extent to which it has been used to serve party political ends, where private grief finds consolation when the dead have fallen from political favour, and how the dead are remembered when no one wanted to fight the war. The book addresses the Irish Civil War at its most public point: at the statues and crosses, and in the ritual and rhetoric of commemoration. It will be of central interest to all students and scholars of European history and politics.

From majestic Celtic crosses to elaborate knotwork designs, visual symbols of Irish identity at its most medieval abound in contemporary culture. Consdering both scholarly and popular perspectives this book offers a commentary on the blending of pasts and presents that finds permanent visualization in these contemporary signs.

All about Skin features twenty-seven stories by women writers of color whose short fiction has earned them a range of honors, including John Simon Guggenheim Fellowships, the New York Public Library Young Lions Fiction Award, the Flannery O'Connor Award, and inclusion in the Best American Short Stories and O. Henry anthologies.The prose in this multicultural anthology addresses such themes as racial prejudice, media portrayal of beauty, and family relationships and spans genres from the comic and the surreal to startling realism. It demonstrates the power and range of some of the most exciting women writing short fiction today. The stories are by American writers Aracelis Gonzalez Asendorf, Jacqueline Bishop, Glendaliz Camacho, Learkana Chong, Jennine Capo Crucet, Ramola D., Patricia Engel, Amina Gautier, Manjula Menon, ZZ Packer, Princess Joy L. Perry, Toni Margarita Plummer, Emily Raboteau, Ivelisse Rodriguez, Metta Sama, Joshunda Sanders, Renee Simms, Mecca Jamilah Sullivan, Hope Wabuke, and Ashley Young; Nigerian writers Unoma Azuah and Chinelo Okparanta; and Chinese writer Xu Xi. Best Books for General Audiences, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers "

During and immediately after the First World War, there was a merging of Christian and nationalist traditions of martyrdom, expressed in the design of war cemeteries and war memorials, and the state funeral of the Unknown Warrior in 1920. John Wolffe explores the subsequent development of these traditions of 'sacred' and 'secular' martyrdom, analysing the ways in which they operated - sometimes in parallel, sometimes merged together and sometimes in conflict with each other. Particular topics explored include the Protestant commemoration of Marian and missionary martyrs, and the Roman Catholic campaign for the canonization of the 'saints and martyrs of England'. Secular martyrdom is discussed in relation to military conflicts especially the Second World War and the Falklands. In Ireland there was a particularly persistent merging of sacred and secular martyrdom in the wake of the Easter Rising of 1916 although by the time of the Northern Ireland 'Troubles' in the later twentieth-century these traditions diverged. In covering these themes, the book also offers historical and comparative context for understanding present-day acts of martyrdom in the form of suicide attacks.

Versions of Ireland brings a refined postcolonial theoretical optic to bear on many of the most urgent questions within contemporary Irish cultural studies. Drawing on, and extending, the most advanced critical work within the discipline, the book offers a subtle critical genealogy of the development of Ireland’s diverse postcolonial projects. Furthermore, it reflects on the relevance and the effectiveness of postcolonial and subaltern historiographical methodologies in an Irish context, interrogating the ethical and political problematics of such discursive importation. Flannery’s work highlights the operative dynamics of imperial modernity, together with its representational agents, in Ireland, and also divines moments of explicit and implicit resistance to modernity’s rationalising and accumulative urges. The book is pioneering in the facility and ease with which it navigates the interdisciplinary terrain of Irish studies. Flannery provides enabling and challenging new readings of the poetry of the bi-lingual poet, Michael Hartnett; the politically imaginative vistas of the republican mural tradition in the North of Ireland; the gothic anxieties inherent in the fiction of Eugene McCabe and the semi-fictional writing of Seamus Deane, and the differential codes of visual surveillance apparent in Irish tourist posters and late nineteenth century photography in Ireland. Versions of Ireland does not dwell on the exclusively theoretical, but offers rich critical analyses of a range of Irish cultural artefacts in terms of Ireland’s protracted colonial history and contested postcolonial condition.