One of the most important Irish novelists of the twentieth century, Kate O’Brien (1897–1974) was also a pioneer of women’s writing. In a career that spanned almost fifty years, nine novels, nine plays, two travelogues, and copious criticism, O’Brien rebelled against the narrow nationalism and restrictive Catholicism prevalent in independent Ireland. In this highly original approach to O’Brien’s work, Davison traces the influence of three leading Spanish writers—Jacinto Benavente, Miguel de Cervantes, and Teresa of Avila. O’Brien’s lifelong fascination with Spanish literature and culture offered an oblique way of resisting the Catholic and conservative imperatives of the Irish Free State. In a series of close comparative readings, Davison identifies the origin of O’Brien’s creative disinhibition and ultimately situates her within a tradition of dissident Irish women writers.

This original study focusing on four Irish writers – Leslie Daiken, Charles Donnelly, Ewart Milne and Michael Sayers – retrieves a hitherto neglected episode of Thirties literary history which highlights the local and global aspects of Popular Front cultural movements. From interwar London to the Spanish Civil War and the USSR, the book examines the lives and work of Irish writers through their writings, their witness texts and their political activism. The relationships of these writers to George Orwell, Samuel Beckett, T.S. Eliot, Nancy Cunard, William Carlos Williams and other figures of cultural significance within the interwar period sheds new light on the internationalist aspects of a Leftist cultural history. The book also explores how Irish literary women on the Left defied marginalization. The impetus of the book is not merely to perform an act of literary salvage but to find new ways of re-imagining what might be said to constitute Irish literature mid-twentieth century; and to illustrate how Irish writers played a role in a transforming political moment of the twentieth century. It will be of interest to scholars and students of cultural history and literature, Irish diaspora studies, Jewish studies, and the social and literary history of the Thirties.

Literary depictions of drowning or burial at sea provide fascinating glimpses into the often-conflicted human relationship with memory. For many cultures and religious traditions, properly remembering the dead involves burial, a funeral, and some kind of grave marker. Traditional rituals of memorialization are disturbed by the drowned body, which may remain lost at sea or be washed up unrecognized on a distant shore. The first book of its kind, Literary Drowning explores depictions of the drowned body in twentieth-century Irish and Caribbean postcolonial literature, uncovering a complex transatlantic conversation that reconsiders memory, forgetfulness, and the role that each plays in the making of the postcolonial subject and nation. Faced with fissures in cultural memory, postcolonial writers often identify their situation—and their nation’s—with that of the drowned body. Floating aimlessly without a grave, unmemorialized and perhaps unremembered, the drowned corpse embodies the troubled memory of the postcolonial nation or individual. Boeninger follows a trail of drowned bodies and literary influence from the turn-of-the-century Irish playwright J. M. Synge, through the poems and plays of St. Lucian Nobel laureate Derek Walcott, to the lesser-known work of Guyanese British novelist and poet David Dabydeen, and finally to the contemporary Irish plays of Marina Carr. Each author, while borrowing from those who came before, changes the image of the drowned body to reflect different facets of the project of remembering postcolonially.

In a 1984 interview with longtime friend Edna O’Brien, Philip Roth describes her writing as "a piece of fine meshwork, a net of perfectly observed sensuous details that enables you to contain all the longing and pain and remorse that surge through the fiction." The phrase "fine meshwork" can apply not only to O’Brien’s writing but also to the connective threads that bind her work to others’, including, most illuminatingly, Roth’s. Since the publication of their first controversial novels in the 1950s and 1960s, Roth and O’Brien have always argued against the isolation of mind from body, autobiography from fiction, life from art, and self from nation. In Fine Meshwork, Dan O’Brien investigates the shared concerns of these two authors, now regarded as literary icons in their home countries. He traces their fifty-year literary friendship and the striking parallels in their books and reception, bringing together what, at first glance, seem to be quite disparate milieus: the largely feminist and Irish scholarship on O’Brien with Jewish and American perspectives on Roth. In doing so, and in considering them in a transnational context, he argues that the intertwined nature of their writing symbolizes the far-ranging symbiosis between Irish literature and its American—particularly Jewish American—counterpart.

Since W. B. Yeats wrote in 1890 that “the man of science is too often a person who has exchanged his soul for a formula,” the anti-scientific bent of Irish literature has often been taken as a given. Science, Technology, and Irish Modernism brings together leading and emerging scholars of Irish modernism to challenge the stereotype that Irish literature has been unconcerned with scientific and technological change. The collection spotlights authors ranging from James Joyce, Elizabeth Bowen, Flann O’Brien, and Samuel Beckett to less-studied writers like Emily Lawless, John Eglinton, Denis Johnston, and Lennox Robinson. With chapters on naturalism, futurism, dynamite, gramophones, uncertainty, astronomy, automobiles, and more, this book showcases the far-reaching scope and complexity of Irish writers’ engagement with innovations in science and technology. Taken together, the fifteen original essays in Science, Technology, and Irish Modernism map a new literary landscape of Ireland in the twentieth century. By focusing on writers’ often-ignored interest in science and technology, this book uncovers shared concerns between revivalists, modernists, and late modernists that challenge us to rethink how we categorize and periodize Irish literature.

The Irish and the Jews are two of the classic outliers of modern Europe. Both struggled with their lack of formal political sovereignty in the nineteenth-century. Simultaneously European and not European, both endured a bifurcated status, perceived as racially inferior and yet also seen as a natural part of the European landscape. Both sought to deal with their subaltern status through nationalism; both had a tangled, ambiguous, and sometimes violent relationship with Britain and the British Empire; and both sought to revive ancient languages as part of their drive to create a new identity. The career of Irish politician Robert Briscoe and the travails of Leopold Bloom are just two examples of the delicate balancing of Irish and Jewish identities in the first half of the twentieth century. Irish Questions and Jewish Questions explores these shared histories, covering several centuries of the Jewish experience in Ireland, as well as events in Israel–Palestine and North America. The authors examine the leading figures of both national movements to reveal how each had an active interest in the successes, and failures, of the other. Bringing together leading and emerging scholars from the fields of Irish studies and Jewish studies, this volume captures the most recent scholarship on their comparative history with nuance and remarkable insight.

Religion, Secularism, and the Spiritual Paths of Virginia Woolf offers an expansive interdisciplinary study of spirituality in Virginia Woolf's writing, drawing on theology, psychology, geography, history, gender and sexuality studies, and other critical fields. The essays in this collection interrogate conventional approaches to the spiritual, and to Woolf’s work, while contributing to a larger critical reappraisal of modernism, religion, and secularism. While Woolf’s atheism and her sharp criticism of religion have become critical commonplaces, her sometimes withering critique of religion conflicts with what might well be called a religious sensibility in her work. The essays collected here take up a challenge posed by Woolf herself: how to understand her persistent use of religious language, her representation of deeply mysterious human experiences, and her recurrent questions about life's meaning in light of her disparaging attitude toward religion. These essays argue that Woolf's writing reframes and reclaims the spiritual in alternate forms; she strives to find new language for those numinous experiences that remain after the death of God has been pronounced.