This humorous take on Irish erotic art is a book of completely blank pages. The spine and cover are also blank.

Luck has nothing to do with it! Of course you want to be Irish. Look what it did for Daniel Day-Lewis, Sinead, Maeve Binchy, Roddy Doyle, JFK, Seamus Heaney, Angela's Ashes, and all those Riverdancers. But until now, the secrets of how to be Irish have been hidden in a Celtic Twilight of blather and blarney. Now this easy-to-read (with plenty o' pictures) handbook dares to tell you: How to have an Irish name How to talk, look, and act Irish How to vote Irish How to have thin skin, a terrible temper, and the gift of gab Whether you're proudly Irish, anti-Irish, fallen-away Irish, or would-be Irish--that is to say, if you're a living, breathing human being--How to Be Irish is for you. Learn (to your surprise) who's really Irish and who's only passing! Discover (to your astonishment) your own underground Irish roots! And brace yourself, Bridget, for the shocking (if brief) history of Irish-American sex! From the Trade Paperback edition.

Art? Erotica? Or Pornography? Discussions of what actually constitutes erotic art are incredibly complex and usually highly controversial. The naked body in art has been with us since the earliest examples of Greek art and sculpture. The creation and display of such works of art has always inflamed opinion and today, even withour supposed relaxation of the codes of behaviour surrounding nudity, such images are considered provocative, dangerous, and are often unwelcome in the public sphere.Now - focusing on the last 150 years of western art, these debates are finally explored in an imaginative and engaging way using the latest research and analysis into this and related subject areas - by a woman.

Addressing a strangely neglected key issue in the history of art, this volume engages the variety and complexity of medieval representations of the unclothed human body. The Meanings of Nudity in Medieval Art breaks ground by offering a variety of approaches to explore the meanings of both male and female nudity in European painting, manuscripts and sculpture ranging from the late antique era to the fifteenth century.

Irish artists have, over a century and a half, produced art of a quality that matches any in the international arena, yet their work remains largely unknown. This book provides a highly readable introduction to the history and development of Irish art to the end of the twentieth century.

Maeve Binchy's heartwarming tales of love, life, and loss made her one of America's best-loved storytellers. Her novels, which sold more than 40 million copies worldwide, captured imaginations on both sides of the Atlantic in a way that most authors only dream of. Seared with a truth and honesty that leapt from the page, her stories capture the imagination and continue to win her legions of loyal fans. In this extraordinary biography, Piers Dudgeon reveals that the inspiration for many of her stories came from Maeve's own hard-won experience growing up in Ireland. In the land of her birth and what would become the setting of her novels, Maeve suffered through a difficult adolescence and famously lost her faith before coming to terms with who she was and expressing at last the qualities that would come to define her as both a writer and a person. Drawing on extensive research and humorous personal anecdotes, Maeve Binchy: The Biography celebrates the life of a compassionate, down-to-earth and charming woman who touched hearts around the world and left behind an incredible legacy.

We Are But Women sets the history of Irish women in the context of the broad sweep of Irish history, dealing even-handedly with the diverse traditions of unionism and nationalism. Through an examination of exemplar individuals and organisations, the book traces the growth of Irish awareness of such `women's issues' as emancipation, divorce and abortion. Above all, it acknowledges the key role played by women in finding a solution to the Irish Question.