Flann O'Brien & Modernism brings a much-needed refreshment to the state of scholarship on this increasingly recognised but still widely misunderstood 'second generation' modernist. Rather than construe him as a postmodernist, it correctly locates O'Brien's work as the product of a late modernist sensibility and cultural context. Similarly, while there should be no doubt of his Irishness, and his profound debts to Irish language, history and culture, this collection seeks to understand O'Brien's nationally sensitive achievement as the work of an internationalist whose preoccupations reflect global modernist trends. The distinct themes and concerns tracked in Flann O'Brien & Modernism include characterization in branching narrative forms; the ethics and paradoxes of naming; parody and homage; lies and deception; theatricality; sexuality; technology and transport; and the inevitable matter of drink and intoxication. Taken together, these specific topics construct a mosaic image of O'Brien as an exemplary modernist auteur, abreast of all the most salient philosophical and technical concerns affecting literary production in the period immediately before and after World War Two.

Flann O'Brien & Modernism brings a much-needed refreshment to the state of scholarship on this increasingly recognised but still widely misunderstood 'second generation' modernist. Rather than construe him as a postmodernist, it correctly locates O'Brien's work as the product of a late modernist sensibility and cultural context. Similarly, while there should be no doubt of his Irishness, and his profound debts to Irish language, history and culture, this collection seeks to understand O'Brien's nationally sensitive achievement as the work of an internationalist whose preoccupations reflect global modernist trends. The distinct themes and concerns tracked in Flann O'Brien & Modernism include characterization in branching narrative forms; the ethics and paradoxes of naming; parody and homage; lies and deception; theatricality; sexuality; technology and transport; and the inevitable matter of drink and intoxication. Taken together, these specific topics construct a mosaic image of O'Brien as an exemplary modernist auteur, abreast of all the most salient philosophical and technical concerns affecting literary production in the period immediately before and after World War Two.

With the publication of The Third Policeman, Dalkey Archive Press now has all of O'Brien's fiction back in print.

The essays collected in this volume draw unprecedented critical attention to the centrality of politics in Flann O'Brien's art. The organising theme of Gallows humour focuses these inquiries onto key encounters between the body and the law, between death and the comic spirit in the author's canon. These innovative analyses explore the place of biopolitics in O'Brien's modernist experimentation and popular writing through reflections on his handling of the thematics of violence, justice, capital punishment, eugenics, prosthetics, skin, prostitution, syphilis, rape, reproduction, illness, auto-immune deficiency, abjection, drinking, Gaelic games and masculinist nationalism across a diverse range of genres, intertexts, contexts.

Flann OBriens The Third Policeman, completed in 1940, was initially rejected by his publishers for being "too fantastic," and only appeared posthumously in 1967. Since then OBrien has achieved cult status, although critical appraisal of his work has focused almost exclusively on his first novel, At Swim Two Birds (1939). By 1940 OBrien was confronted with two towering traditions: the jaded legacy of Yeatss Celtic Twilight and the problematic complexities of Joyces modernism. With The Third Policeman, OBrien forges a powerful synthesis between these two traditions, and the paraliterary path he chooses marks the historical transition from modernism to post-modernism. This groundbreaking study, first published in 1995 and now substantially revised, reconfigures OBrien as a highly subversive writer within a rich and fertile literary landscape: indisputably Irish yet distinctly post-modern. It identifies The Third Policeman as a subversive

Flann O'Brien - also known as Brian O'Nolan or Myles na gCopaleen - is now widely recognised as one of the foremost of Ireland's modern authors. Assembling Flann O'Brien explores the author's innovative and experimental work by reading him in relation to some of the 20th century's most important theorists, including Derrida, Agamben, Freud, Lacan and Žižek. Assembling Flann O'Brien offers a detailed study of O'Brien's five major novels – including At Swim-Two-Birds and The Third Policeman – as well as his plays, short stories, journalistic output and unpublished archival material. The book presents new theoretical perspectives on his works, exploring his compelling engagements with questions of the proper name, the archive, law, and desire, and the problems of identity, language, sexuality and censorship which acutely troubled Ireland's new state. Combining a wide range of contemporary theory with a sensitivity to the cultural and political context in which the author wrote, Maebh Long opens up entirely new aspects of Flann O'Brien's writings, and explores the ingenious and the problematic within his oeuvre.

"This book investigates how Irish cultural debate informed O'Nolan's early fiction and journalism, in both Irish and English. This is the first thorough assessment of his work in its Irish context, arguing that his self-reflexive comic writing betrays a crisis of literary identity that is rooted in the cultural dynamics of post-Independence Ireland." "The book demonstrates in detail what O'Nolan's varying blend of parody, satire and surreal humour owed to the peculiar cultural climate of the mid-twentieth-century Ireland. By exploring the links between comedy and culture, it exposes the curiously ambivalent response to the culture of the new state, and particularly to the position of the writer within it."--BOOK JACKET.