In her novels and short stories, May Laffan Hartley (1849?1916) depicts the religious and political controversies of late nineteenth-century Ireland. Eire's own Helena Kelleher Kahn reintroduces us to Laffan's vivid, witty fiction, rich in political and social commentary. Laffan did not offer clear-cut approval to one side or the other of the social and religious divide but weighed both and often found them wanting. She adds a missing dimension to the Irish world of Wilde, Shaw, and Joyce. A woman of the age subtly embroiders the acute challenges and divisions of middle-class Ireland. As Kahn says, ?she chose to write about the alcoholic ex-student, the impecunious solicitor, the farmer or merchant turned politician, and their often resentful wives and children. On the whole her world view was pessimistic. Rural Ireland was a beautiful intellectual desert. Dublin was a place to leave, not to live in.' This account of her life and work will be of interest to students of Anglo-Irish literature and history, as well as women's studies. On the ELT Press website we will simultaneously publish an e-book version of Laffan's novel, Hogan MP, available free of charge.

In her novels and short stories, May Laffan Hartley (1849?1916) depicts the religious and political controversies of late nineteenth-century Ireland. Eire's own Helena Kelleher Kahn reintroduces us to Laffan's vivid, witty fiction, rich in political and social commentary. Laffan did not offer clear-cut approval to one side or the other of the social and religious divide but weighed both and often found them wanting. She adds a missing dimension to the Irish world of Wilde, Shaw, and Joyce. A woman of the age subtly embroiders the acute challenges and divisions of middle-class Ireland. As Kahn says, ?she chose to write about the alcoholic ex-student, the impecunious solicitor, the farmer or merchant turned politician, and their often resentful wives and children. On the whole her world view was pessimistic. Rural Ireland was a beautiful intellectual desert. Dublin was a place to leave, not to live in.' This account of her life and work will be of interest to students of Anglo-Irish literature and history, as well as women's studies. On the ELT Press website we will simultaneously publish an e-book version of Laffan's novel, Hogan MP, available free of charge.

This is the first comprehensive study of the Irish writers of the Victorian age, some of them still remembered, most of them now forgotten. Their work was often directed to a British as well as an Irish reading audience and was therefore disparaged in the era of W.B. Yeats and the Irish Literary Revival with its culturally nationalist agenda. This study is based on a reading of around 370 novels by 150 authors, including still-familiar novelists such as William Carleton, the peasant writer who wielded much influence, and Charles Lever, whose serious work was destroyed by the slur of 'rollicking', as well as Joseph Sheridan LeFanu, George Moore, Emily Lawless, Somerville and Ross, Bram Stoker, and three of the leading authors from the new-woman movement, Sarah Grand, Iota, and George Egerton. James H. Murphy examines the work of these and many other writers in a variety of contexts: the political, economic, and cultural developments of the time; the vicissitudes of the reading audience; the realities of a publishing industry that was for the most part London-based; the often difficult circumstances of the lives of the novelists; and the ever changing genre of the novel itself, to which Irish authors often made a contribution. Politics, history, religion, gender and, particularly, land, over which nineteenth-century Ireland was deeply divided, featured as key themes for fiction. Finally, the book engages with the critical debate of recent times concerning the supposed failure of realism in the nineteenth-century Irish novel, looking for more specific causes than have hitherto been offered and discovering occasions on which realism turned out to be possible.

This book offers the first comprehensive survey of writing by women in Ireland from the seventeenth century to the present day. It covers literature in all genres, including poetry, drama, and fiction, as well as life-writing and unpublished writing, and addresses work in both English and Irish. The chapters are authored by leading experts in their field, giving readers an introduction to cutting edge research on each period and topic. Survey chapters give an essential historical overview, and are complemented by a focus on selected topics such as the short story, and key figures whose relationship to the narrative of Irish literary history is analysed and reconsidered. Demonstrating the pioneering achievements of a huge number of many hitherto neglected writers, A History of Modern Irish Women's Literature makes a critical intervention in Irish literary history.

The Oxford Handbook of Modern Irish Fiction presents authoritative essays by thirty-five leading scholars of Irish fiction. They provide in-depth assessments of the breadth and achievement of novelists and short story writers whose collective contribution to the evolution and modification of these unique art forms has been far out of proportion to Ireland's small size. The volume brings a variety of critical perspectives to bear on the development of modern Irish fiction, situating authors, texts, and genres in their social, intellectual, and literary historical contexts. The Handbook's coverage encompasses an expansive range of topics, including the recalcitrant atavisms of Irish Gothic fiction; nineteenth-century Irish women's fiction and its influence on emergent modernism and cultural nationalism; the diverse modes of irony, fabulism, and social realism that characterize the fiction of the Irish Literary Revival; the fearless aesthetic radicalism of James Joyce; the jolting narratological experiments of Samuel Beckett, Flann O'Brien, and Máirtín Ó Cadhain; the fate of the realist and modernist traditions in the work of Elizabeth Bowen, Frank O'Connor, Seán O'Faoláin, and Mary Lavin, and in that of their ambivalent heirs, Edna O'Brien, John McGahern, and John Banville; the subversive treatment of sexuality and gender in Northern Irish women's fiction written during and after the Troubles; the often neglected genres of Irish crime fiction, science fiction, and fiction for children; the many-hued novelistic responses to the experiences of famine, revolution, and emigration; and the variety and vibrancy of post-millennial fiction from both parts of Ireland. Readably written and employing a wealth of original research, The Oxford Handbook of Modern Irish Fiction illuminates a distinguished literary tradition that has altered the shape of world literature.

The story of John O’Connor Power is the story of Ireland’s struggle for nationhood itself. Born into poverty in Ballinasloe in 1846, O’Connor Power spent much of his childhood in the workhouse. From here he rose rapidly through the ranks of the Fenian Movement to become a leading member of the Supreme Council of the Irish Republican Brotherhood. In 1874 he was elected Member for Mayo to the British House of Commons where he was widely acknowledged to be one of the outstanding orators of his day. His speeches, both in Parliament and to the US House of Representatives, secured crucial concessions and support for the Irish cause. O’Connor Power campaigned tirelessly for the rights of tenant farmers, and pioneered the policy of obstructionism to this end. Following his address to a tenants’ rights meeting in Mayo, a protest was launched which would quickly become the powerful political force that was the Land League. He was, in short, one of a distinguished company, that indomitable Irishry of Charles Stewart Parnell, Michael Davitt and Isaac Butt, who made the dream of an independent Ireland a reality.

Dublin has experienced great—and often astonishing—change in its 1,400 year history. It has been the largest urban center on a deeply contested island since towns first appeared west of the Irish Sea. There have been other contested cities in the European and Mediterranean world, but almost no European capital city, David Dickson maintains, has seen sharper discontinuities and reversals in its history—and these have left their mark on Dublin and its inhabitants. Dublin occupies a unique place in Irish history and the Irish imagination. To chronicle its vast and varied history is to tell the story of Ireland. David Dickson’s magisterial history brings Dublin vividly to life beginning with its medieval incarnation and progressing through the neoclassical eighteenth century, when for some it was the “Naples of the North,” to the Easter Rising that convulsed a war-weary city in 1916, to the bloody civil war that followed the handover of power by Britain, to the urban renewal efforts at the end of the millennium. He illuminates the fate of Dubliners through the centuries—clergymen and officials, merchants and land speculators, publishers and writers, and countless others—who have been shaped by, and who have helped to shape, their city. He reassesses 120 years of Anglo-Irish Union, during which Dublin remained a place where rival creeds and politics struggled for supremacy. A book as rich and diverse as its subject, Dublin reveals the intriguing story behind the making of a capital city.