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Journal articles on the topic 'Irish women's literary fiction'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Workman, Simon. "Maeve Kelly: Women, Ireland, and the Aesthetics of Radical Writing." Irish University Review 49, no. 2 (November 2019): 304–21. http://dx.doi.org/10.3366/iur.2019.0408.

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This article considers the work of Irish writer and feminist Maeve Kelly arguing that she has been not only a radical and, to some extent, seminal voice within modern Irish writing, but an author whose work self-consciously reflects upon the production and mediation of Irish women's writing within British and Irish culture. While Kelly is not unique in adopting a feminist approach in her writing, aspects of her fiction are somewhat discrete within modern Irish literature in terms of how they express, delineate, and resolve the challenges – material, psycho-cultural, aesthetic – attendant upon the representation of feminist political thought and occluded Irish female experience. Particularly within an Irish context, Kelly's writing provides a significant case study of the aesthetic problematics of politically radical fiction. Her oeuvre represents a vital contribution to Irish writing of the twentieth century as well as to the history of women in post-war Ireland.

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2

Sullivan, Kelly. "Elizabeth Bowen and the Politics of Consent." Irish University Review 51, no. 1 (May 2021): 24–39. http://dx.doi.org/10.3366/iur.2021.0493.

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As a novelist preoccupied with the sexualized gothic conventions haunting Irish fiction since the eighteenth century, Bowen persistently turns to the fraught concept of British and Irish women's consent during periods of twentieth-century political violence. This article considers Bowen's use of gothic tropes of consent in The Last September (1929) as well as a more sustained engagement with the Irish gothic, citizen-subjecthood, and the political valence of consent in her WWII thriller, The Heat of the Day (1948). It argues that in formulating consent in relation to knowledge, and in articulating the necessarily contractual nature of consent, Bowen seeks to define the ethics of individual rights and responsibility during and after World War Two.

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3

Aaron, J. "Contemporary Irish and Welsh Women's Fiction: Gender, Desire and Power. Linden Peach." Contemporary Women's Writing 2, no. 2 (December 1, 2008): 183–84. http://dx.doi.org/10.1093/cww/vpn017.

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4

Meaney, Gerardine. "Regendering modernism: the woman artist in Irish women’s fiction." Women: A Cultural Review 15, no. 1 (March 2004): 67–82. http://dx.doi.org/10.1080/0957404042000197198.

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5

Poloczek, Katarzyna. "Women’s Power To Be Loud: The Authority of the Discourse and Authority of the Text in Mary Dorcey’s Irish Lesbian Poetic Manifesto “Come Quietly or the Neighbours Will Hear”." Text Matters, no. 1 (November 23, 2011): 153–69. http://dx.doi.org/10.2478/v10231-011-0012-9.

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The following article aims to examine Mary Dorcey's poem "Come Quietly or the Neighbours Will Hear," included in the 1991 volume Moving into the Space Cleared by Our Mothers. Apart from being a well-known and critically acclaimed Irish poet and fiction writer, the author of the poem has been, from its beginnings, actively involved in lesbian rights movement. Dorcey's poem "Come Quietly or the Neighbours Will Hear" is to be construed from a perspective of lesbian and feminist discourse, as well as a cultural, sociological and political context in which it was created. While analyzing the poem, the emphasis is being paid to the intertwining of various ideological and subversive assumptions (dominant and the implied ones), their competing for importance and asserting authority over one another, in line with, and sometimes, against the grain of the textual framework. In other words, Dorcey's poem introduces a multilayered framework that draws heavily on various sources: the popular culture idiom, religious discourse (the references to the Virgin Mary and the biblical annunciation imagery), the text even employs, in some parts, crime and legal jargon, but, above all, it relies upon sensuous lesbian experience where desire and respect for the other woman opens the emancipating space allowing for redefining of one's personal and textual location. As a result of such a multifarious interaction, unrepresented and unacknowledged Irish women's standpoints may come to the surface and become articulated, disrupting their enforced muteness that the controlling heteronormative discourse has attempted to ensure. In Dorcey's poem, the operating metaphor of women's silence (or rather—silencing women), conceived of, at first, as the need to conceal one's sexual (lesbian) identity in fear of social ostracism and contempt of the "neighbours," is further equated with the noiseless, solitary and violent death of the anonymous woman, the finding of whose body was reported on the news. In both cases, the unwanted Irish women's voices of either agony, during the unregistered by anybody misogynist bloodshed that took place inside the flat, or the forbidden sounds of lesbian sexual excitement, need to be (self) censored and stifled, not to disrupt an idealized image of the well-established family and heteronormative patterns. In the light of the aforementioned parallel, empowered by the shared bodily and emotional closeness with her female lover, and already bitterly aware that silence in discourse is synonymous with textual, or even, actual death, the speaker in "Come Quietly or the Neighbours Will Hear" comes to claim her own agency and makes her voice heard by others and taken into account.

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6

McCrory, Moy. "Crossings." Short Fiction in Theory & Practice 12, no. 2 (October 1, 2022): 239–47. http://dx.doi.org/10.1386/fict_00065_7.

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Creative non-fiction about a personal experience of early miscarriage, which is a largely hidden loss. Reflecting on experiences in the early 1990s, a background of Northern Irish Catholicism, where women’s fertility is rigorously controlled, both informs attitudes and gives way to an earlier memory in the late seventies, where I felt I was in control of my fertility. However, the present reflection now considers reproductive control as something further than contraception; including those difficult times, when a body edges beyond our wills. Despite all our gains for autonomy and reproductive rights, involuntary miscarriage is a devastating loss, which we do not control.

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7

Boumans, Phyllis, and Elke D'hoker. "‘Perfect in her own perfection’: Women Writers in The Bell." Irish University Review 52, no. 2 (November 2022): 200–217. http://dx.doi.org/10.3366/iur.2022.0563.

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This essay examines the role played by magazine culture in the exclusion of women writers from the traditional Irish short story canon by looking at the presence and representation of women writers in The Bell (1940–1954), Ireland’s most influential mid-twentieth century literary periodical. The magazine did much to promote aspiring short story writers, but was less willing to perform their role as cultivator of new talent typical of periodical publication when it came to women apprentices. The first part of the essay gives a general picture of women’s presence in the magazine. The second part probes the underlying assumptions with have led to the systematic curtailment of women writers, and the final section maps the wider impact of these processes on the short story canon in Ireland. Despite The Bell’s progressive and inclusive credentials, the magazine proved to be an uncongenial place for women writers: with its masculine rhetoric, its representation of authorship as a male preserve, its persistent othering of women writers, its foregrounding of male experience in its fiction, and the effects of male gatekeeping, The Bell uncritically reflected and reproduced the rigid binary divisions that separated male and female spheres in Irish society at large, and ultimately contributed to the marginalization of women writers in the short story canon in Ireland.

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8

Wray, Theresa. "Irish women's fiction: from Edgeworth to Enright." Irish Studies Review 23, no. 1 (August 18, 2014): 116–17. http://dx.doi.org/10.1080/09670882.2014.951510.

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9

Kelleher, Margaret. "Writing Irish Women's Literary History." Irish Studies Review 9, no. 1 (April 2001): 5–14. http://dx.doi.org/10.1080/09670880020032654.

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10

Kennard, Jean E., Rachel Blau DuPlessis, and Lee R. Edwards. "Form in Women's Fiction." Contemporary Literature 27, no. 3 (1986): 396. http://dx.doi.org/10.2307/1208352.

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11

Shelton, Marie-Denise. "Haitian Women's Fiction." Callaloo 15, no. 3 (1992): 770. http://dx.doi.org/10.2307/2932019.

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12

Peterson, Shirley. "Brian Cliff, Irish Crime Fiction." Irish University Review 49, no. 2 (November 2019): 391–93. http://dx.doi.org/10.3366/iur.2019.0414.

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13

Knapp, Bettina L., and Elizabeth Fallaize. "French Women's Writing: Recent Fiction." World Literature Today 68, no. 3 (1994): 530. http://dx.doi.org/10.2307/40150382.

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14

Duffy, E. "The Irish Voice in America: 250 Years of Irish-American Fiction." American Literature 73, no. 2 (June 1, 2001): 433–34. http://dx.doi.org/10.1215/00029831-73-2-433.

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15

Shiach, Morag, and Glenwood Irons. "Feminism in Women's Detective Fiction." Modern Language Review 93, no. 3 (July 1998): 815. http://dx.doi.org/10.2307/3736540.

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16

Thompson, Ewa M., and Helena Goscilo. "Russian and Polish Women's Fiction." Modern Language Review 82, no. 2 (April 1987): 539. http://dx.doi.org/10.2307/3728531.

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17

Howard, Richard. "Faeries, Aliens, and Leviathans: Science and Fantasy in Ian McDonald's King of Morning, Queen of Day." Irish University Review 49, no. 2 (November 2019): 290–303. http://dx.doi.org/10.3366/iur.2019.0407.

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Irish science fiction is a relatively unexplored area for Irish Studies, a situation partially rectified by the publication of Jack Fennell's Irish Science Fiction in 2014. This article aims to continue the conversation begun by Fennell's intervention by analysing the work of Belfast science fiction author Ian McDonald, in particular King of Morning, Queen of Day (1991), the first novel in what McDonald calls his Irish trilogy. The article explores how McDonald's text interrogates the intersection between science, politics, and religion, as well as the cultural movement that was informing a growing sense of a continuous Irish national identity. It draws from the discipline of Science Studies, in particular the work of Nicholas Whyte, who writes of the ways in which science and colonialism interacted in late nineteenth and early twentieth-century Ireland.

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18

Levine, Madeline G., and Helena Goscilo. "Russian and Polish Women's Fiction." Slavic and East European Journal 30, no. 3 (1986): 441. http://dx.doi.org/10.2307/307900.

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19

Kelleher, Margaret. ""The Field Day Anthology" and Irish Women's Literary Studies." Irish Review (1986-), no. 30 (2003): 82. http://dx.doi.org/10.2307/29736106.

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20

Heinrich, Amy Vladeck, and Yukiko Tanaka. "Unmapped Territories: New Women's Fiction from Japan." World Literature Today 66, no. 4 (1992): 784. http://dx.doi.org/10.2307/40148818.

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21

Hirsh, Elizabeth, Ellen G. Friedman, and Miriam Fuchs. "Utopia Here and Now: Women's Experimental Fiction." Contemporary Literature 30, no. 4 (1989): 578. http://dx.doi.org/10.2307/1208617.

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22

Eagleton, Mary. "Mapping Contemporary Women's Fiction after Bourdieu." Women: A Cultural Review 19, no. 1 (April 2008): 5–20. http://dx.doi.org/10.1080/09574040801919930.

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23

Klepuszewski, Wojciech. "“Addiction is a strange bastard”: Alcohol(ism) in Irish Fiction." Acta Universitatis Lodziensis. Folia Litteraria Polonica 61, no. 2 (June 30, 2021): 25–37. http://dx.doi.org/10.18778/1505-9057.61.02.

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Although it is hard to challenge the claim that alcohol can be considered inherent in Irish culture, the common perception of the fact often feeds on clichés. What helps understand this question is Irish literature. On the one hand, it portrays jubilant festivity to be found in many literary works; on the other, it renders the drama behind alcohol dependency, shifting the focus from joviality towards the more murky aspects of drink consumption, mostly thematised in contemporary literature. This article takes a closer look at how Irish literature renders alcohol use and abuse, and how the literary representations offer a broader perspective, allowing to reconsider some of the stereotypical notions of the proverbial Irish propensity for drink.

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24

Sen, Malcolm. "Risk and Refuge: Contemplating Precarity in Irish Fiction." Irish University Review 49, no. 1 (May 2019): 13–31. http://dx.doi.org/10.3366/iur.2019.0376.

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Financial speculation and capitalist accumulation leave spatial and temporal traces. When the waves of the global financial collapse reached Ireland and culminated in the extreme measure of the comprehensive state guarantee, the receding excesses of the Celtic Tiger revealed a landscape that was gentrified and alienating. The spectrality of the ghost estates of Ireland became a synecdochal signifier of Ireland's ignominious fall from the podium of neoliberal grace and the focus of both popular lament and critical intervention. This essay provides a deferred assessment of the uncanniness of dwelling in post-Celtic Tiger Ireland by concentrating on the socioecological fallout of ruins and the longterm casualties of land speculation: that is, transformations of landscape into real estate, and of place into property. Reading Ireland's ghost estates as ‘imperial formations’ that ‘register the ongoing quality of processes of decimation, displacement, and reclamation’ – to use Ann Laura Stoler's term – the essay brings to the fore questions of dwelling and homeliness that suggest more protracted imperial processes which ‘saturate the subsoil of people's lives and persist, sometimes subjacently, over a longer durée’. To demonstrate these arguments the essay will analyse works by Kevin Barry, Sara Baume, and Claire Keegan.

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25

Cahalan, James M. "Contemporary Irish Fiction: Themes, Tropes, Theories (review)." Criticism 43, no. 2 (2001): 239–41. http://dx.doi.org/10.1353/crt.2001.0011.

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26

Rose, Ellen Cronan, Rita Felski, Gayle Greene, and Jean Wyatt. "Ringing the Changes on Change in Women's Fiction." Contemporary Literature 33, no. 4 (1992): 736. http://dx.doi.org/10.2307/1208650.

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27

Albertine, S. "Plots and Proposals: American Women's Fiction, 1850-1890." American Literature 73, no. 1 (March 1, 2001): 193–94. http://dx.doi.org/10.1215/00029831-73-1-193.

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28

Cronin, Michael G. "‘Ransack the histories’: Gay Men, Liberation and the Politics of Literary Style." Review of Irish Studies in Europe 5, no. 1 (May 25, 2022): 73–88. http://dx.doi.org/10.32803/rise.v5i1.2971.

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It is now twenty years since the publication of Jamie O’Neill’s At Swim, Two Boys (2001). O’Neill’s novel was not the first Irish novel to depict same-sex passion, and not even the first Irish gay novel of the post-decriminalisation period. However, it did attain a wider and higher level of recognition among mainstream Irish, and international, readers. This may have been at least partly due to O’Neill’s decision to write a historical romance – a genre which still retains its enduring appeal for readers. By adapting this genre, O’Neill uses fiction to unearth, and imaginatively recreate, an archaeology of same-sex passions between men in revolutionary Ireland. As such, his novel speaks powerfully to a yearning to make the silences of history speak and is motivated by the belief that, as Scott Bravmann puts it in a different context, ‘lesbian and gay historical self-representation – queer fictions of the past – help construct, maintain and contest identities – queer fictions of the present.’ Revisiting O’Neill’s novel now – after two decades of remarkable social change for Ireland’s LGBT communities, and after almost a decade of national commemoration of the revolutionary period – is a timely opportunity to reflect on the relationship between history, fiction and how we imagine sexual liberation. Keywords: Gay Men in Irish Culture; Historical Fiction; Jamie O’Neill; Denis Kehoe; ANU Theatre Company

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29

Harris, Mary N. "Beleaguered but Determined: Irish Women Writers in Irish." Feminist Review 51, no. 1 (November 1995): 26–40. http://dx.doi.org/10.1057/fr.1995.31.

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A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as teachers, translators, and writers of children's literature reflected the position of women in Irish society since the achievement of independence in the 1920s. The work of earlier women poets has, for the most part, lain buried in manuscripts and is only recently being excavated by scholars. The problems of writing for a limited audience have been partially overcome in recent years by increased production of dual-language books. The increase in translation has sparked off an intense controversy among the Irish language community, some of whom are concerned that both the style and content of writing in Irish are adversely influenced by the knowledge that the literature will be read largely in translation. Nevertheless, translation also has positive implications. Interest in women's literature is helping to break down the traditional barriers between Irish literature in Irish and in English. The isolation of Irish literature in Irish is further broken down by the fact that women writers in Irish and their critics operate in a wider international context of women's literature.

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30

Gladsky, Thomas S., and Charles Fanning. "The Irish Voice in America: Irish-American Fiction from the 1760s to the 1980s." American Literature 63, no. 3 (September 1991): 581. http://dx.doi.org/10.2307/2927278.

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31

Martinson, Deborah. "Literary Liaisons: Auto/biographical Appropriations in Modernist Women's Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 786–88. http://dx.doi.org/10.1353/mfs.2004.0076.

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32

Henke, Suzette A. "Literary Liaisons: Auto/biographical Appropriations in Modernist Women's Fiction (review)." Biography 27, no. 4 (2004): 874–81. http://dx.doi.org/10.1353/bio.2005.0002.

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33

Hickey, Ian. "Post Celtic Tiger landscapes in Irish fiction." Irish Studies Review 29, no. 1 (January 2, 2021): 127–29. http://dx.doi.org/10.1080/09670882.2021.1875552.

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34

Juhasz, Suzanne. "Texts to Grow on: Reading Women's Romance Fiction." Tulsa Studies in Women's Literature 7, no. 2 (1988): 239. http://dx.doi.org/10.2307/463681.

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35

Petry, Alice Hall, and Paulina Palmer. "Contemporary Women's Fiction: Narrative Practice and Feminist Theory." Tulsa Studies in Women's Literature 9, no. 2 (1990): 332. http://dx.doi.org/10.2307/464235.

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36

Alexander, Lynn M., and Susan Meyer. "Imperialism at Home: Race and Victorian Women's Fiction." Tulsa Studies in Women's Literature 16, no. 2 (1997): 393. http://dx.doi.org/10.2307/464377.

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37

Ciasullo, Ann M., Patricia Juliana Smith, and Sherrie A. Inness. "Lesbian Panic: Homoeroticism in Modern British Women's Fiction." Tulsa Studies in Women's Literature 17, no. 2 (1998): 371. http://dx.doi.org/10.2307/464401.

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38

Curtis, Claire P. "Contemporary Women's Post-Apocalyptic Fiction by Susan Watkins." Tulsa Studies in Women's Literature 40, no. 2 (2021): 419–22. http://dx.doi.org/10.1353/tsw.2021.0038.

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39

PYKETT, LYN. "The century's daughters: recent women's fiction and history." Critical Quarterly 29, no. 3 (September 1987): 71–77. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00092.x.

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40

Joannou, M. "Women's Fiction 1945-2005: Writing Romance. Deborah Phillips." Contemporary Women's Writing 2, no. 1 (June 1, 2008): 86–88. http://dx.doi.org/10.1093/cww/vpn005.

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41

Obermueller, Erin. "The artist's model in mid-victorian women's fiction." Women's Writing 11, no. 1 (March 1, 2004): 55–72. http://dx.doi.org/10.1080/09699080400200294.

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42

Foley, Barbara, and Paula Rabinowitz. "Labor and Desire: Women's Revolutionary Fiction in Depression America." American Literature 64, no. 4 (December 1992): 837. http://dx.doi.org/10.2307/2927665.

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43

Wright, Dorena Allen, and Carole Ferrier. "Gender, Politics and Fiction: Twentieth Century Australian Women's Novels." Comparative Literature 41, no. 3 (1989): 300. http://dx.doi.org/10.2307/1771122.

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44

Aldama, Frederick Luis, and Meenakshi Bharat. "Desert in Bloom: Contemporary Indian Women's Fiction in English." World Literature Today 79, no. 1 (2005): 87. http://dx.doi.org/10.2307/40158807.

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45

Morin, Christina. "The Adventures of Miss Sophia Berkley: Piracy, Print Culture, and Irish Gothic Fiction." Irish University Review 49, no. 2 (November 2019): 229–44. http://dx.doi.org/10.3366/iur.2019.0403.

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Published in Dublin by the prominent Catholic printing firm of James Hoey, The Adventures of Miss Sophia Berkley (1760) has been identified in recent years as an earlier Irish gothic fiction than Horace Walpole's putatively pioneering gothic novel, The Castle of Otranto (1764). The discovery that Sophia Berkley is, in fact, a re-print of an earlier London publication, The History of Amanda (1758), casts significant doubt on the novel's contribution to the development of Irish gothic literature. This article argues that attention to the particulars of the novel's publication history as well as its later misidentification paints a revealing picture of popular publishing in Dublin in the latter half of the eighteenth century. It further contends that Sophia Berkley's identification as early Irish gothic – although mistaken – has proven instrumental in scholarly re-evaluations of late-eighteenth century Irish gothic literary production.

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46

Fitzpatrick, Lisa. "Contemporary Feminist Protest in Ireland: #MeToo in Irish Theatre." Irish University Review 50, no. 1 (May 2020): 82–93. http://dx.doi.org/10.3366/iur.2020.0436.

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This essay draws upon the work of Judith Butler, Sara Ahmed, and Germaine Greer to consider the #MeToo movement and its reflection in the work of the author's students and the scandal at Dublin's Gate Theatre. Taking competing conceptions of freedom as they are materialised in this activism as it starting point, the essay questions intergenerational feminist ideas about the nature of freedom and its relationship to fear and to harassment. The essay returns to the feminist principle that ‘the personal is the political’ to reflect on women's lived experiences of threat and harassment, and young women's resistance to their objectification.

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47

Skerrett, Ellen, Charles Fanning, Finley Peter Dunne, and Charles Fanning. "The Exiles of Erin: Nineteenth-Century Irish-American Fiction." MELUS 15, no. 2 (1988): 109. http://dx.doi.org/10.2307/466977.

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48

Athy, Angela, and Charles Fanning. "The Exiles of Erin: Nineteenth-Century Irish-American Fiction." MELUS 24, no. 2 (1999): 211. http://dx.doi.org/10.2307/467718.

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49

D'hoker, Elke. "Bowen, The Bell, and the Late-Modernist Short Story." Irish University Review 51, no. 1 (May 2021): 72–84. http://dx.doi.org/10.3366/iur.2021.0496.

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This essay looks at Elizabeth Bowen's presence in The Bell during the war years. She contributed an essay, a short story, two pieces of memoir, two obituaries, and a few other, smaller pieces to the magazine, but also featured in an interview, several reviews, and O'Faoláin's editorials and critical essays. Yet, as a Protestant, Anglo-Irish woman writer living in England, Bowen was in many ways an odd presence in The Bell, which squarely focused on Irish life and Irish writing. While O'Faoláin's mission to present an inclusive view of Ireland may explain his publication of Bowen's autobiographical essays, her prominence as a fiction writer can better be accounted for through her achievements in the modern short story, the genre O'Faoláin sought to promote as a central Irish literary form in The Bell. Indeed, although Bowen's short stories have been classified as ‘modernist’ and O'Faoláin's as ‘realist’, their aesthetics of the short story are remarkably similar. Still, The Bell’s championing of Bowen's short fiction as a model to follow was undermined by its framing of Bowen as an ‘aristocratic’ writer whose literary snapshots of Irish life had a peculiarly dated and blinkered quality.

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50

Hatten, C. "Literary Trauma: Sadism, Memory, and Sexual Violence in Amercan Women's Fiction." American Literature 74, no. 3 (September 1, 2002): 677–79. http://dx.doi.org/10.1215/00029831-74-3-677.

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