This book examines archetypal motifs related to aspects of human relationships in contemporary Irish women's short stories from the late 1960s to the present. These relationships examined embrace not only relationships between men and women, as married couples and lovers, but also women to women relationships as mothers, daughters, sisters or lovers. This book has uncovered certain recurrent motifs which may be construed as archetypal and are employed as a narrative device to express a certain level of feminist awareness by Irish female writers in their stories against the backdrop of Irish feminism emerged in the late 1960s. This feminist aspect of Irish women's stories appears to address the paradoxes of patriarchal ideology underlying male domination in male/female courtship and marriages, the conflict between patriarchally loyal mothers and rebellious daughters, powerless, but rival, female siblings and peers competing for limited resources and male attention under the Father's law. Motifs of resistance and subversion serve in these stories as metaphors unveiling female protests against an ideology which defines and confines women in the Irish patriarchal context. This book demonstrates a process of transition during which Irish female writers progress from the depiction of women who struggle and fight against unfairness and distortion within an ‘androcentric’ culture to a new direction in which such writers describe a situation where women recognise the internalisation of the ‘false consciousness’ of patriarchy and, out of this recognition, may be eventually able to develop further their sense of self and individuality. The archetypal motifs in Irish women's stories also illustrate a kind of continuity of an ancient female archetype of female rebellious powers which in female literary imagination never ceases to resurface in the face of patriarchal suppression.

This book traces the development of the modern short story in the hands of Irish women writers from the 1890s to the present. George Egerton, Somerville and Ross, Elizabeth Bowen, Mary Lavin, Edna O’Brien, Anne Enright and Claire Keegan are only some of the many Irish women writers who have made lasting contributions to the genre of the modern short story - yet their achievements have often been marginalized in literary histories, which typically define the Irish short story in terms of its oral heritage, nationalist concerns, rural realism and outsider-hero. Through a detailed investigation of the short fiction of fifteen prominent writers, this study aims to open up this critical conceptualization of the Irish short story to the formal properties and thematic concerns women writers bring to the genre. What stands out in thematic terms is an abiding interest in human relations, whether of love, the family or the larger community. In formal terms, this book traces the overall development of the Irish short story, highlighting both the lines of influence that connect these writers and the specific use each individual author makes of the short story form.

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.

Presents a comparative study of fiction by late twentieth and twenty-first century women writers from Ireland, Northern Ireland and Wales. This work is of interest to students interested in women’s studies, gender studies, and cultural studies as well as Welsh, Irish and Celtic studies.

This collection presents international research on the work of Irish women writers at the turn of the twentieth century. These essays make a key contribution to contemporary feminist recovery projects and remapping the landscape of Irish literature of this period.

Compassionate, witty, and unsettling, Antarctica is the debut collection of one of Ireland's most exciting and versatile new talents. Claire Keegan, winner of several prestigious awards including the William Trevor Prize, writes stories that have a razor-sharp narrative style and unembellished tone, and move from the cruel, hard life of rural Ireland to the hot landscape of the southern United States. From the title story about a married woman who takes a trip to the city with a single purpose in mind—to sleep with another man—Antarctica draws you into a world of obsession, betrayal, and fragile relationships. In "Love in the Tall Grass," Cordelia wakes on the last day of the twentieth century and sets off along the coast road to keep a date, with her lover, that has been nine years in the waiting. In "Passport Soup," Frank Corso mourns the curious disappearance of his nine-year-old daughter and tries desperately to reach out to his shattered wife who has gone mad with grief. Keegan's characters inhabit a world where dreams, memory, and chance can have crippling consequences for those involved. Moving in its quiet intensity, the award-winning Antarctica is a rare and arresting debut.

In the mid-1990s, Ireland was experiencing the "best of times". The Celtic Tiger seemed to instil in the national consciousness that poverty was a problem of the past. The impressive economic performance ensured that the Republic occupied one of the top positions among the world’s economic powers. During the boom, dissident voices continuously criticised what they considered to be a mirage, identifying the precariousness of its structures and foretelling its eventual crash. The 2008 recession proved them right. Throughout this time, the Irish contemporary short story expressed distrust. Enabled by its capacity to reflect change with immediacy and dexterity, the short story saw through the smokescreen created by the Celtic Tiger discourse of well-being. It reinterpreted and captured the worst and the best of the country and became a bridge connecting tradition and modernity. The major objective of this book is to analyse the interactions between fiction and reality during this period in Ireland by studying the short stories written by old and emergent voices published between the birth of the Celtic Tiger in 1995 up to its immediate aftermath in 2013.