{"title":"Michael G. Cronin, Revolutionary Bodies: Homoeroticism and the Political Imagination in Irish Writing","authors":"P. Mullen","doi":"10.3366/iur.2023.0601","DOIUrl":"https://doi.org/10.3366/iur.2023.0601","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42838293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Irish crime fiction has largely been a contemporary phenomenon, but it has already shown itself to have highly various preoccupations and influences, including Irish gothic modes as well as the work of international crime writers like Patricia Highsmith and Ross Macdonald. Macdonald’s Lew Archer novels, in particular, are marked by a thematic obsession with ruined and ruinous families, with children cast adrift on seas of generational corruption. Such deep connections between gothic modes, family secrets, and crime fiction offer a cultural foundation that has served Irish crime and mystery writers well. Their narratives weave together local elements with the kinds of genre writing that have, until recent decades, often been seen as importations, as mere pieces in the flotsam and jetsam of transatlantic culture, or as actively contributing to the destabilization of life on the island. Although this essay examines the sometimes spectacular gothic elements in novels by Tana French, John Connolly, and Stuart Neville, the focus is rather on versions of Irish family gothic that surface in the writing of Liz Nugent, Andrea Carter, Declan Hughes, and others. Nugent, for example, fuses a penchant for Highsmithian sociopathic narrator-protagonists with her own sharp eye for familial bloodletting, while Hughes traces generations of corruption through his narrator’s haunting sensations of dislocation and uncanny unease in a Dublin where he has become at once an insider and an outsider. Through their use of such elements, at once intimately specific and readily adaptable, Irish crime writers have both animated their genre and further affirmed the vitality of Irish gothic’s fluid legacy.
{"title":"‘Secrets and Lies’: Gothic Elements in Irish Crime Fiction","authors":"Brian Cliff","doi":"10.3366/iur.2023.0595","DOIUrl":"https://doi.org/10.3366/iur.2023.0595","url":null,"abstract":"Irish crime fiction has largely been a contemporary phenomenon, but it has already shown itself to have highly various preoccupations and influences, including Irish gothic modes as well as the work of international crime writers like Patricia Highsmith and Ross Macdonald. Macdonald’s Lew Archer novels, in particular, are marked by a thematic obsession with ruined and ruinous families, with children cast adrift on seas of generational corruption. Such deep connections between gothic modes, family secrets, and crime fiction offer a cultural foundation that has served Irish crime and mystery writers well. Their narratives weave together local elements with the kinds of genre writing that have, until recent decades, often been seen as importations, as mere pieces in the flotsam and jetsam of transatlantic culture, or as actively contributing to the destabilization of life on the island. Although this essay examines the sometimes spectacular gothic elements in novels by Tana French, John Connolly, and Stuart Neville, the focus is rather on versions of Irish family gothic that surface in the writing of Liz Nugent, Andrea Carter, Declan Hughes, and others. Nugent, for example, fuses a penchant for Highsmithian sociopathic narrator-protagonists with her own sharp eye for familial bloodletting, while Hughes traces generations of corruption through his narrator’s haunting sensations of dislocation and uncanny unease in a Dublin where he has become at once an insider and an outsider. Through their use of such elements, at once intimately specific and readily adaptable, Irish crime writers have both animated their genre and further affirmed the vitality of Irish gothic’s fluid legacy.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46373049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kevin Barry’s short story ‘Fjord of Killary’ combines contemporary dystopian and ecological concerns, through the gothic, in order to critique Irish neoliberal ideologies. Engaging the eco-gothic, Barry explores Irish cultural anxieties around climate change and the 2008 economic collapse. The ecological crisis at Killary, and the response to the flood, offer an insight into the fears and the possible futures of the looming climate crisis. This essay investigates why contemporary climate fiction is turning to speculative, gothic dystopias to investigate the eco consequences of global warming.
凯文·巴里(Kevin Barry)的短篇小说《基拉里峡湾》(Fjord of Killary)结合了当代反乌托邦和生态问题，通过哥特式，以批评爱尔兰的新自由主义意识形态。巴里以生态哥特风格切入，探讨了爱尔兰人对气候变化和2008年经济崩溃的文化焦虑。基拉里的生态危机，以及对洪水的反应，让我们深入了解了迫在眉睫的气候危机的恐惧和可能的未来。这篇文章调查了为什么当代气候小说正在转向投机，哥特式反乌托邦来调查全球变暖的生态后果。
{"title":"‘Will it flood? Are you even listening to me?’ Eco-Gothic and the Climate Crisis in Kevin Barry’s ‘Fjord of Killary’","authors":"Deirdre Flynn","doi":"10.3366/iur.2023.0594","DOIUrl":"https://doi.org/10.3366/iur.2023.0594","url":null,"abstract":"Kevin Barry’s short story ‘Fjord of Killary’ combines contemporary dystopian and ecological concerns, through the gothic, in order to critique Irish neoliberal ideologies. Engaging the eco-gothic, Barry explores Irish cultural anxieties around climate change and the 2008 economic collapse. The ecological crisis at Killary, and the response to the flood, offer an insight into the fears and the possible futures of the looming climate crisis. This essay investigates why contemporary climate fiction is turning to speculative, gothic dystopias to investigate the eco consequences of global warming.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45573534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Notes on Contributors","authors":"","doi":"10.3366/iur.2023.0585","DOIUrl":"https://doi.org/10.3366/iur.2023.0585","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135096040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay traces the development of gothic impulses in the art of Northern Irish visual artist Willie Doherty (b.1959, Derry), considering, briefly, the disquieting ambiguities of his early photographs, before studying specific examples of moving-image work made in the years following the signing of the Good Friday Agreement in Northern Ireland. The essay centres on the gothic attributes of films that present enigmatic characters in states of enduring confinement and existential uncertainty. Depicting these sometimes spectral figures in settings where the real seems to coincide with the unreal, the natural with the supernatural, Doherty draws on and defamiliarizes Northern Ireland’s conditions of aftermath, while also widening his artistic lens to take account of other connections, other contexts. Two short, looping film works – The Amnesiac (2015) and Endless (2020), each focusing on the sustained suffering and shame of a solitary male figure – are analyzed in detail. Both films, in different ways, exemplify the combination of strict aesthetic control and symbolic or thematic ‘excess’ that characterizes Doherty’s approach to the gothic.
{"title":"A New Darkness: Gothic Impulses in the Art of Willie Doherty","authors":"Declan Long","doi":"10.3366/iur.2023.0592","DOIUrl":"https://doi.org/10.3366/iur.2023.0592","url":null,"abstract":"This essay traces the development of gothic impulses in the art of Northern Irish visual artist Willie Doherty (b.1959, Derry), considering, briefly, the disquieting ambiguities of his early photographs, before studying specific examples of moving-image work made in the years following the signing of the Good Friday Agreement in Northern Ireland. The essay centres on the gothic attributes of films that present enigmatic characters in states of enduring confinement and existential uncertainty. Depicting these sometimes spectral figures in settings where the real seems to coincide with the unreal, the natural with the supernatural, Doherty draws on and defamiliarizes Northern Ireland’s conditions of aftermath, while also widening his artistic lens to take account of other connections, other contexts. Two short, looping film works – The Amnesiac (2015) and Endless (2020), each focusing on the sustained suffering and shame of a solitary male figure – are analyzed in detail. Both films, in different ways, exemplify the combination of strict aesthetic control and symbolic or thematic ‘excess’ that characterizes Doherty’s approach to the gothic.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45269177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ed Madden’s contribution to this special issue is a creative response to themes of the Irish gothic, including four poems from his most recent book, A pooka in Arkansas (Word Works, 2023) and a new poem written explicitly for this volume. The poems offer a creative engagement with themes that animate Irish gothic representation (otherness, repression, authenticity, sexuality, threat) in relation to both sexual and ethnic identity, as well as a specific focus on the folkloric figure of the pooka/púca.
Ed Madden对本期特刊的贡献是对爱尔兰哥特式主题的创造性回应，包括他最近的书中的四首诗，阿肯色州的一个pooka (Word Works, 2023)和一首专门为本卷写的新诗。这些诗歌提供了一个创造性的参与，与性和种族身份相关的爱尔兰哥特式表现(他者，压抑，真实性，性，威胁)的主题，以及对民俗人物pooka/púca的特别关注。
{"title":"On Meeting a Pooka: Five Poems","authors":"Eduard Madden","doi":"10.3366/iur.2023.0591","DOIUrl":"https://doi.org/10.3366/iur.2023.0591","url":null,"abstract":"Ed Madden’s contribution to this special issue is a creative response to themes of the Irish gothic, including four poems from his most recent book, A pooka in Arkansas (Word Works, 2023) and a new poem written explicitly for this volume. The poems offer a creative engagement with themes that animate Irish gothic representation (otherness, repression, authenticity, sexuality, threat) in relation to both sexual and ethnic identity, as well as a specific focus on the folkloric figure of the pooka/púca.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45008300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘Failed Heterotopias’ reads three contemporary postcolonial gothic novels, Anna Burns's Milkman (2019), J. M. Coetzee’s Disgrace (1999), and Arundhati Roy’s The God of Small Things (1997) using Michel Foucault’s understanding of heterotopias alongside Homi Bhabha’s term unhomeliness. What emerges is an understanding of how the ‘post’ in postcolonial literature belies the way power continues to function in these societies. These readings reveal how histories of oppression persist even after the end of colonialism. The structures that emerge to take their place continue to buttress imperial standards that often result in the containment and enclosure of threatening forces. For this essay, those threats are women who attempt to imagine an alternative way of being in the world – through literary escapes, communal living, and forbidden love affairs. Such moments suggest that the heterotopic possibilities presented by these characters are foreclosed through patriarchal, racist, classist, and sexist forces at work in the texts. By reading these scenarios across a range of Anglophone novels, this essay uncovers patterns of oppression that, while varying across time and space, show the ways in which power, no matter who holds it, continues to push those most oppressed further from the centres of power.
{"title":"Failed Heterotopias: The Postcolonial Gothic in Arundhati Roy’s The God of Small Things, J. M. Coetzee’s Disgrace, and Anna Burns’s Milkman","authors":"Mindi McMann","doi":"10.3366/iur.2023.0593","DOIUrl":"https://doi.org/10.3366/iur.2023.0593","url":null,"abstract":"‘Failed Heterotopias’ reads three contemporary postcolonial gothic novels, Anna Burns's Milkman (2019), J. M. Coetzee’s Disgrace (1999), and Arundhati Roy’s The God of Small Things (1997) using Michel Foucault’s understanding of heterotopias alongside Homi Bhabha’s term unhomeliness. What emerges is an understanding of how the ‘post’ in postcolonial literature belies the way power continues to function in these societies. These readings reveal how histories of oppression persist even after the end of colonialism. The structures that emerge to take their place continue to buttress imperial standards that often result in the containment and enclosure of threatening forces. For this essay, those threats are women who attempt to imagine an alternative way of being in the world – through literary escapes, communal living, and forbidden love affairs. Such moments suggest that the heterotopic possibilities presented by these characters are foreclosed through patriarchal, racist, classist, and sexist forces at work in the texts. By reading these scenarios across a range of Anglophone novels, this essay uncovers patterns of oppression that, while varying across time and space, show the ways in which power, no matter who holds it, continues to push those most oppressed further from the centres of power.","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47867153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mary M. Burke, Race, Politics, and Irish America: A Gothic History","authors":"Beth O'Leary Anish","doi":"10.3366/iur.2023.0598","DOIUrl":"https://doi.org/10.3366/iur.2023.0598","url":null,"abstract":"","PeriodicalId":43277,"journal":{"name":"IRISH UNIVERSITY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42407814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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