Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2166452
J. Dean
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Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2163742
Orlaith Darling, Liam Harrison, D. Houston
“I have always been of the opinion that hard work is simply the refuge of people who have nothing better to do.” So wrote Oscar Wilde, in his characteristically glib and stylish manner. The idea of a world without work might well jar with our contemporary minds, as indeed it might have with the working classes of Wilde’s own times. Recent world events have put conventional forms of work under strain as well as highlighting forms of work we might previously have taken for granted. We might detect a distorted echo of Wilde in the title story of Nicole Flattery’s Show Them a Good Time (2019), which depicts an unpaid job placement scheme at a garage in rural Ireland. It opens with the lines: “The schemes were for people with plenty of time, or people not totally unfamiliar with being treated like shit. I was intimate with both situations.” In this special issue, we seek to consider a variety of representations of work across recent Irish writing, spanning Wilde’s world without work and Flattery’s sense of worthless work while also highlighting Irish writing which moves away from traditional understandings of work, challenging and troubling them. This is a special issue which seeks to re-politicise work in its various and heterogenous forms, especially as it is rendered across literature. Specifically, we are interested in Irish women writers’ literary engagement with work. The COVID-19 pandemic has highlighted how the so-called “second shift” is still a reality of women’s lives, despite professions to gender equality. To take just two examples, the majority of homeschooling over lockdown was performed by mothers rather than fathers, and, in our own field, female academics’ submissions to peer-reviewed journals fell sharply over lockdown as those of their male counterparts rose. For all the changes the pandemic may have wrought on the ways in which we work, work remains, like all other areas of patriarchal society, fundamentally gendered. In Kathi Weeks’ words: “To say that work is organised by gender is to observe that it is a site where, at a minimum, we can find gender enforced, performed and recreated.” We contend that this foundational gendering of work has significant implications for all forms of labour carried out by women – from waged work to domestic and emotional labour to creative practice – and that more general trends in how we view work in various phases of social development are refracted through this gendered lens. As editors and contributors, we take work to be a multivalent, intricately connected entity that cannot be considered within one domain or discipline alone. Its many meanings, broadly (although not exclusively) differentiated in this issue between economic, domestic, and creative work, are at play across the articles collected here. Although, in what follows, we parse economic, domestic, and creative work under distinct headings,
{"title":"Introduction: women writing work","authors":"Orlaith Darling, Liam Harrison, D. Houston","doi":"10.1080/09670882.2023.2163742","DOIUrl":"https://doi.org/10.1080/09670882.2023.2163742","url":null,"abstract":"“I have always been of the opinion that hard work is simply the refuge of people who have nothing better to do.” So wrote Oscar Wilde, in his characteristically glib and stylish manner. The idea of a world without work might well jar with our contemporary minds, as indeed it might have with the working classes of Wilde’s own times. Recent world events have put conventional forms of work under strain as well as highlighting forms of work we might previously have taken for granted. We might detect a distorted echo of Wilde in the title story of Nicole Flattery’s Show Them a Good Time (2019), which depicts an unpaid job placement scheme at a garage in rural Ireland. It opens with the lines: “The schemes were for people with plenty of time, or people not totally unfamiliar with being treated like shit. I was intimate with both situations.” In this special issue, we seek to consider a variety of representations of work across recent Irish writing, spanning Wilde’s world without work and Flattery’s sense of worthless work while also highlighting Irish writing which moves away from traditional understandings of work, challenging and troubling them. This is a special issue which seeks to re-politicise work in its various and heterogenous forms, especially as it is rendered across literature. Specifically, we are interested in Irish women writers’ literary engagement with work. The COVID-19 pandemic has highlighted how the so-called “second shift” is still a reality of women’s lives, despite professions to gender equality. To take just two examples, the majority of homeschooling over lockdown was performed by mothers rather than fathers, and, in our own field, female academics’ submissions to peer-reviewed journals fell sharply over lockdown as those of their male counterparts rose. For all the changes the pandemic may have wrought on the ways in which we work, work remains, like all other areas of patriarchal society, fundamentally gendered. In Kathi Weeks’ words: “To say that work is organised by gender is to observe that it is a site where, at a minimum, we can find gender enforced, performed and recreated.” We contend that this foundational gendering of work has significant implications for all forms of labour carried out by women – from waged work to domestic and emotional labour to creative practice – and that more general trends in how we view work in various phases of social development are refracted through this gendered lens. As editors and contributors, we take work to be a multivalent, intricately connected entity that cannot be considered within one domain or discipline alone. Its many meanings, broadly (although not exclusively) differentiated in this issue between economic, domestic, and creative work, are at play across the articles collected here. Although, in what follows, we parse economic, domestic, and creative work under distinct headings,","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"1 - 15"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46637103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2165221
R. O’Sullivan
challenge existing perspectives. The book in essence is a critique of twentieth-century Irish playwrights, particularly the less frequently studied whose work focuses on the representation of the individuals and communities during times of war, upheavals, and crises. Kao justifies the choice of selected plays explaining that they are “theatrical forms of investigation” (16). The plays present an intersection between public and private memory of major ignored events and issues which have either already disappeared into history or will disappear; hence, their dramatisation serves to remind future audiences of the historical incidents, human violations, and political manipulations behind the wars.
{"title":"Classics and Celtic literary modernism: Years, Joyce, MacDiarmid and Jones","authors":"R. O’Sullivan","doi":"10.1080/09670882.2023.2165221","DOIUrl":"https://doi.org/10.1080/09670882.2023.2165221","url":null,"abstract":"challenge existing perspectives. The book in essence is a critique of twentieth-century Irish playwrights, particularly the less frequently studied whose work focuses on the representation of the individuals and communities during times of war, upheavals, and crises. Kao justifies the choice of selected plays explaining that they are “theatrical forms of investigation” (16). The plays present an intersection between public and private memory of major ignored events and issues which have either already disappeared into history or will disappear; hence, their dramatisation serves to remind future audiences of the historical incidents, human violations, and political manipulations behind the wars.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"162 - 164"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49486774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2165220
Deirdre Flynn
ABSTRACT Ireland has the fastest ageing population in Europe, creating significant challenges for health and caring services in the state. Ireland depends on migrant workers, documented and undocumented to meet this growing need. Oona Frawley’s 2014 novel Flight tells the story of one of these workers. In the novel, Sandrine, from Zimbabwe, gets a job as a live-in carer for the ageing Clare and Tom, working 24/7 with just one afternoon off. Set just before the 2004 Citizenship Referendum, the story is complicated by Sandrine’s pregnancy. This article details Sandrine’s precarious labour and citizenship, impacted by the biopolitical legislation. It also foregrounds the vulnerability of the ageing population in Ireland through reliance on unregulated care solutions. Flight represents how a range of vulnerable groups in Irish society are impacted by a precarious and invisible labour market that both fails to address the needs of the worker and the ageing population.
{"title":"“Foreigners, non-nationals, immigrants”: precarious citizenship, precarious labour(s) in Oona Frawley’s Flight (2014)","authors":"Deirdre Flynn","doi":"10.1080/09670882.2023.2165220","DOIUrl":"https://doi.org/10.1080/09670882.2023.2165220","url":null,"abstract":"ABSTRACT Ireland has the fastest ageing population in Europe, creating significant challenges for health and caring services in the state. Ireland depends on migrant workers, documented and undocumented to meet this growing need. Oona Frawley’s 2014 novel Flight tells the story of one of these workers. In the novel, Sandrine, from Zimbabwe, gets a job as a live-in carer for the ageing Clare and Tom, working 24/7 with just one afternoon off. Set just before the 2004 Citizenship Referendum, the story is complicated by Sandrine’s pregnancy. This article details Sandrine’s precarious labour and citizenship, impacted by the biopolitical legislation. It also foregrounds the vulnerability of the ageing population in Ireland through reliance on unregulated care solutions. Flight represents how a range of vulnerable groups in Irish society are impacted by a precarious and invisible labour market that both fails to address the needs of the worker and the ageing population.","PeriodicalId":88531,"journal":{"name":"Irish studies review","volume":"31 1","pages":"91 - 105"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46081882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2161975
Trish McTighe, C. Hickey
ABSTRACT Domestic performance practices tend to be shaped by or to explicitly address feminist politics. In staging the very labour of homemaking as material of creative endeavour they expand, as this article explores, what counts as women’s writing. This article, a collaboration between a curator, Ciara Hickey, and theatre scholar, Trish McTighe, surveys a selection of domestic performances that have taken place in Belfast over the last several decades. By domestic performance, we mean aesthetic events or theatrical performances that are staged in a domestic setting, usually a private home. Taking three examples of this sort of work, Hickey’s domestic curation work up to 2012, The Wedding Community Play (1999), and Big Telly Theatre Company’s The House (2021), we engage with the nature of private space in a post-conflict society as well as the status of female creativity in that context.
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Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2169221
Aran Ward Sell
ABSTRACT This article examines Sara Baume’s Seven Steeples (2020), Naoise Dolan’s Exciting Times, and Caoilinn Hughes’ Orchid and the Wasp (2018) and The Wild Laughter (2020) as reactions against the capitalist expectation that human worth can be measured by an individual’s contribution towards remunerative labour. These texts are all recent novels by young Irish women writers in which the protagonists seek a form of work which elides participation in the neoliberal economic system – either as profit-making or salaried workers, or in the traditionally female role of providing domestic labour to a profit-making or salaried male partner. The article explores the fraught relationship between these novels’ protagonists and a globalised labour market which is simultaneously scarred by, and in continued denial about, the existential shock it faced in the 2008–9 financial crash, with a particular focus on the Republic of Ireland’s role as a key site of late capitalist deregulation, where the effects of the crash were particularly severely felt.
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Pub Date : 2023-01-02DOI: 10.1080/09670882.2023.2169224
J. Bates
ABSTRACT Erica Van Horn is an American artist and writer who has been living in Ireland since 1996, and runs Coracle Press with the poet Simon Cutts from their home in rural Tipperary. Van Horn’s work often takes as its starting point local customs or linguistic practices that perplex the outsider, creating journal entries, books and ephemera that present a one-sided, coolly recorded, wryly humorous set of observations. This is the first study of the representation of Ireland in Van Horn’s work. The article draws on Claudia Kinmonth’s study of the resourcefulness of the rural Irish material economy. Van Horn’s work shares the “inventive and resourceful” qualities praised by Kinmonth, “making do” with the physical, visual, and verbal raw materials in her immediate environment. Following a comparative reading of Van Horn alongside the writers Claire-Louise Bennett and Alice Lyons, who have both written books in rural Ireland from the perspective of the “blow-in,” this article proposes that Van Horn’s work is a form of “local looking” and “attending to what is close at hand,” qualities that have been called for by the writer Tim Dee as a means of fostering imaginative engagement with place at this time of climate crisis.
Erica Van Horn是一位美国艺术家和作家，自1996年以来一直生活在爱尔兰，并与诗人Simon Cutts在他们位于蒂珀雷里乡村的家中经营Coracle出版社。范霍恩的作品通常以让外来者困惑的当地习俗或语言习惯为出发点，创作日记、书籍和蜉蝣，呈现一组片面的、冷静记录的、讽刺幽默的观察。这是对范霍恩作品中爱尔兰形象的首次研究。这篇文章借鉴了克劳迪娅·金蒙斯对爱尔兰农村物质经济的智谋的研究。范霍恩的作品分享了金蒙斯称赞的“创造性和足智多谋”的品质，在她的直接环境中“凑合”地使用物理、视觉和语言的原材料。本文将范霍恩的作品与作家克莱尔-路易斯·贝内特(Claire-Louise Bennett)和爱丽丝·莱昂斯(Alice Lyons)进行比较阅读，这两位作家都从“吹入”的角度在爱尔兰农村写过书。本文认为，范霍恩的作品是一种“着眼于当地”和“关注近在眼前的事物”的形式，作家蒂姆·迪(Tim Dee)一直呼吁这些品质，作为在气候危机时期培养对地方的想象力的一种手段。
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