Pub Date : 2020-11-05DOI: 10.1093/oso/9780198857877.003.0014
Nicholas Allen
The cultural histories of the coastal margins that shape Seatangled point to new, and sometimes revived, understandings of what it means to live by the sea, even as the chemistry of the oceans changes before us. It may be then that a turn towards the coast is a turn also towards a more sustainable, and a smaller-scale, sense of community, capable at the same time of holding the planet in view. If the sea has recently been more remote from the immediate experience of everyday life than it was a century ago, the representation of its tidal margins remains a rich resource for images of self, sovereignty and the blurred boundaries between reality and the imagination, one example of which the conclusion studies is Sean Scully’s exhibition Sea Star, at the National Gallery in London.
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Pub Date : 2020-11-05DOI: 10.1093/oso/9780198857877.003.0007
Nicholas Allen
This chapter reads Seamus Heaney’s engagement with water, liquidity, and shore and coastlines throughout his poetry. Seamus Heaney is so familiar as the laureate of Mossbawn and its extended enclosures that his poetry seems impossible to uproot from its locality. The northern countryside that nourished, and often troubled, his imagination is a dominant metaphor for the poet’s ideas of family, community and, by extension, nationality. Under-observed in all this is another element in Heaney’s writing, which is the use of water as a medium to imagine other kinds of human association. Water is a key image throughout Heaney’s work in the form of rivers, streams, bogs, lakes, and oceans; it is there at the beginning as a drip from the farmyard pump, and there again at the end in the eel fishery at Lough Neagh, as this chapter discusses in close readings of his poems.
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Pub Date : 2020-11-05DOI: 10.1093/oso/9780198857877.003.0004
Nicholas Allen
Coastlines shape all of Joyce’s books, which are all immersed in water. Images of liquidity and fluidity are central to Joyce’s practice, while the physical and historical geography of Ireland in his works is connected together by the construction of watery links. This geography extends to the mental coordinates of the characters themselves, many of whom are linked to other places by the sea and its commerce, joins that become visible on Dublin’s quays and foreshores. This chapter situates Dubliners and A Portrait of the Artist as a Young Man by the coastal curve from Howth head to Kingstown, an arc in which much of Joyce’s writing is set, Dublin an aqua city that had, by the beginning of the twentieth century, dwindled in significance to Britain’s oceanic empire.
{"title":"Coastal Joyce","authors":"Nicholas Allen","doi":"10.1093/oso/9780198857877.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198857877.003.0004","url":null,"abstract":"Coastlines shape all of Joyce’s books, which are all immersed in water. Images of liquidity and fluidity are central to Joyce’s practice, while the physical and historical geography of Ireland in his works is connected together by the construction of watery links. This geography extends to the mental coordinates of the characters themselves, many of whom are linked to other places by the sea and its commerce, joins that become visible on Dublin’s quays and foreshores. This chapter situates Dubliners and A Portrait of the Artist as a Young Man by the coastal curve from Howth head to Kingstown, an arc in which much of Joyce’s writing is set, Dublin an aqua city that had, by the beginning of the twentieth century, dwindled in significance to Britain’s oceanic empire.","PeriodicalId":326377,"journal":{"name":"Ireland, Literature, and the Coast","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134360817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-17DOI: 10.24193/subbphilo.2018.4.03
N. Allen
Kevin Barry is a short story writer, novelist, dramatist, and editor, with Olivia Smith, of Winter Papers, an annual anthology of contemporary Irish writing. His work is steeped in music, film, and television, and echoes with their influence. Underpinning this is an attachment to writers like Dermot Healy and John McGahern, both novelists whose importance to a writer like Barry makes all the more sense from a coastal, and an archipelagic, perspective. His binding theme is disappointment and his lyricism is braided into the tragic perspective his characters, and his narrators, have of the human condition, which is for the most part a tilting balance between anxiety and drink. These edgy narratives are often set in wet weather by the sea and as so often in this book, the coastal margin operates as a hydroscape in which the boundaries between innocence and experience fragment and shift.
{"title":"Kevin Barry’s Atlantic Drift","authors":"N. Allen","doi":"10.24193/subbphilo.2018.4.03","DOIUrl":"https://doi.org/10.24193/subbphilo.2018.4.03","url":null,"abstract":"Kevin Barry is a short story writer, novelist, dramatist, and editor, with Olivia Smith, of Winter Papers, an annual anthology of contemporary Irish writing. His work is steeped in music, film, and television, and echoes with their influence. Underpinning this is an attachment to writers like Dermot Healy and John McGahern, both novelists whose importance to a writer like Barry makes all the more sense from a coastal, and an archipelagic, perspective. His binding theme is disappointment and his lyricism is braided into the tragic perspective his characters, and his narrators, have of the human condition, which is for the most part a tilting balance between anxiety and drink. These edgy narratives are often set in wet weather by the sea and as so often in this book, the coastal margin operates as a hydroscape in which the boundaries between innocence and experience fragment and shift.","PeriodicalId":326377,"journal":{"name":"Ireland, Literature, and the Coast","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126050256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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