A groundbreaking examination of the colonial legacy and future of Ireland, showing how Ireland’s story is linked to and informs anti-imperialism around the world. Colonialism is at the heart of making sense of Irish history and contemporary politics across the island of Ireland. And as Robbie McVeigh and Bill Rolston argue, Ireland’s experience is central to understanding the history of colonization and anti-colonial politics throughout the world. Part history, part analysis, Ireland, Colonialism, and the Unfinished Revolution charts the centuries of Irish colonial history, from England’s proto-imperial engagement with Ireland in 1155 to the Union in 1801, and the subsequent struggles for Irish independence and the legacies of partition from 1921. A century later, the plate tectonics of Irishness are shifting once again. The Union is in crisis and alternatives to partition are being seriously considered outside the Republican tradition for the first time in generations. These significant structural changes suggest that the coming times might finally see the completion of the decolonization project – the finishing of the revolution. In the words of the revolutionary Pádraig Pearse: Anois ar theacht an tSamhraidh – now the summer is coming.

'...from time to time a study comes along that truly can be called ‘path breaking,’ ‘seminal,’ ‘essential,’ a ‘must read.’ How the Irish Became White is such a study.' John Bracey, W.E.B. Du Bois Department of Afro-American Studies, University of Massachussetts, Amherst The Irish came to America in the eighteenth century, fleeing a homeland under foreign occupation and a caste system that regarded them as the lowest form of humanity. In the new country – a land of opportunity – they found a very different form of social hierarchy, one that was based on the color of a person’s skin. Noel Ignatiev’s 1995 book – the first published work of one of America’s leading and most controversial historians – tells the story of how the oppressed became the oppressors; how the new Irish immigrants achieved acceptance among an initially hostile population only by proving that they could be more brutal in their oppression of African Americans than the nativists. This is the story of How the Irish Became White.

The first two decades of Irish independence were fraught and the formation of the post-imperial state was a continual controversy. The conditional perception of what Ireland was, should, or might be coincided with a revolution in the arts. Now forgotten cultures flared and disappeared, little magazines, cabaret clubs, riots and theatres erupting in a fluctuating public sphere. Nicholas Allen reads the crisis of Irish independence as formative of newly experimental relations between novels, poems, paintings, artists and audiences. The conditional, unfinished spaces of the modernist artwork were an unfinished civil war. In connecting these texts and times, Allen locates Joyce, Beckett, Jack and W. B. Yeats in the controversies surrounding the Irish state after 1922. With its interdisciplinary perspective on artists and contexts, this book is a major contribution to the study of Irish culture of the 1920s and 30s and of modernism's histories.

Boyce examines the relationship between ideas and political and social reality. A new final chapter considers the development of nationalism in both parts of Ireland, and places the phenomenon of nationalism in a contemporary and European setting

On April 7, 1988, Albie Sachs, an activist South African lawyer and a leading member of the ANC, was car-bombed in Maputo, the capital of Mozambique, by agents of South Africa’s security forces. His right arm was blown off, and he lost sight in one eye. This intimate and moving account of his recovery traces the gradual recuperation of his broken body and his triumphant reentry into the world, where his dream of soft vengeance was realized with the achievement of democracy in South Africa. This book captures the spirit of a remarkable man: his enormous optimism, his commitment to social justice, and his joyous wonder at the life that surrounds him. A new preface and epilogue reflect on the making of Abby Ginzberg’s documentary film titled Soft Vengeance: Albie Sachs and the New South Africa. (For information about the film, see www.softvengeancefilm.org.)