Kate O'Brien's work is now widely considered canonical in the English language, and the author herself an icon for Ireland seeking to reinvent itself. O'Brien's novel Mary Lavelle, banned upon publication in 1936, is a key work of the twentieth century that has suffered from critical neglect despite its wider popularity with readers. This book reexamines Mary Lavelle, exploring its role in the modernist canon and its importance to political and queer activism. The novel's biographical and autobiographical experimentation is of particular note. Through the lens of this crucial novel, the oeuvre of Kate O'Brien is recontextualized and reassessed.

AN AWARD-WINNING AND REMARKABLE IRISH NOVELIST 'This subtle and beautifully constructed novel deals with the conflict between human and divine love' SUNDAY TIMES 'If novels can be music, this is a novel with perfect pitch' CLARE BOYLAN 'A fuller appreciation of modern literature and a greater understanding of twentieth century Ireland' IRISH TIMES Mere Marie-Helene once turned her back on life, sealing up her heart in order to devote herself to God. Now the formidable Mother Superior of an Irish convent, she has, for some time, been experiencing grave doubts about her vocation. But when she meets Anna Murphy, the youngest-ever boarder, the little girl's solemn, poetic nature captivates her and she feels 'a storm break in her hollow heart'. Between them an unspoken allegiance is formed that will sustain each through the years as the Reverend Mother seeks to combat her growing spiritual aridity and as Anna develops the strength to resist the conventional demands of her background.

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.

The Mother Superior of an Irish convent reviews her life in flashbacks and makes a psychological study of herself.

Space and Irish Lesbian Fiction offers an original and much-needed study of Irish Lesbian fiction. Evaluating a wide body of Irish lesbian fiction ranging from the Victorian era to the contemporary age, this book advocates for women writers who have been largely ignored in Irish literary history and criticism. This volume examines the use and applications of space in Irish lesbian fiction. In recent years, it can be argued that Irish society has created a new ‘space’ for LGBT or queer people. The concept of space is, thus, important both symbolically and physically for lesbian literature. In asking, if Irish women writers have moved ‘out of the shadows’ so to speak, what space is open to the Irish lesbian author? How is spatiality reflected in lesbian representation throughout Irish literary history? Space and Irish Lesbian Fiction examines a diverse range of writers from the nineteenth century to the contemporary age, evaluating the contributions of largely unknown authors who have been overlooked alongside more established voices within Irish literature. The concept of liminality that this volume takes as its theme and focus engage with notions of intersectionality, thresholds, crossings and transitions. In suggesting the overlap between the indeterminate threshold of the liminal space and its ambiguously queer potentiality to examine the dynamics of space and its relationship to lesbianism, this ground-breaking project both locates and charts spaces of queer liminality in Irish lesbian fiction.

Girl, Edna O’Brien’s hotly anticipated new novel, envisages the lives of the Boko Haram girls in a masterpiece of violence and tenderness. I was a girl once, but not anymore. So begins Girl, Edna O’Brien’s harrowing portrayal of the young women abducted by Boko Haram. Set in the deep countryside of northeast Nigeria, this is a brutal story of incarceration, horror, and hunger; a hair-raising escape into the manifold terrors of the forest; and a descent into the labyrinthine bureaucracy and hostility awaiting a victim who returns home with a child blighted by enemy blood. From one of the century's greatest living authors, Girl is an unforgettable story of one victim’s astonishing survival, and her unflinching faith in the redemption of the human heart.

During much of the twentieth century, Irish women's position was on the boundaries of national life. Using Julia Kristeva's theories of nationhood, often particularly relevant to Ireland, this study demonstrates that their marginalization was to women's, and indeed the nation's, advantage as Irish women writers used their voice to subvert received pieties both about women and about the Irish nation. Kristevan theories of the other, the foreigner, the semiotic, the mother, and the sacred are explored in authors as diverse as Elizabeth Bowen, Kate O'Brien, Edna O'Brien, Mary Dorcey, Jennifer Johnston, and Eilis Ni Dhuibhne, as well as authors from Northern Ireland like Deirdre Madden, Polly Devlin, and Mary Morrissy. These writers, whose voices have frequently been sidelined or misunderstood because they write against the grain of their country's cultural heritage, finally receive their due in this important contribution to Irish and gender studies.