Edited By Eamon Maher and Eugene O'Brien
This landmark collection marks the publication of the 100th book in the Reimagining Ireland series. It attempts to provide a «forward look» (as opposed to what Frank O’Connor once referred to as the « backward look») at what Irish Studies might look like in the third millennium. With a Foreword by Declan Kiberd, it also contains essays by several other leading Irish Studies experts on (among other areas) literature and critical theory, sport, the Irish language, food and beverage studies, cinema, women’s writing, Brexit, religion, Northern Ireland, the legacy of the Great Famine, Ireland in the French imagination, archival research, musicology, and Irish Studies in North America. The book is a tribute to Irish Studies’ foundational commitment to revealing and renewing Irishness within and beyond the national space.
11 New Directions in Short Fiction
In 2019, Faber launched a series of beautifully illustrated standalone short stories, Faber Stories, to mark its ninetieth anniversary. Eight of the thirty stories are by Irish writers. Apart from canonical authors, like Joyce, Beckett, John McGahern and Edna O’Brien, the series also contains stories by Anna Burns, Julia O’Faolain, Claire Keegan and Sally Rooney. Since the Faber Stories showcase authors from all over the world, even in translation, the high incidence of Irish authors – almost one in three – is quite remarkable. It is a sign of the Irish short story’s international standing, the widespread belief that the Irish are particularly good at the form. This reputation has been confirmed in recent years by the publication of many highly acclaimed short story collections, several of which have won major literary awards. To give just a few examples: Kevin Barry and Danielle McLaughlin received the Sunday Times Short Story Award in 2012 and 2019, respectively, while Edna O’Brien and Colin Barrett won the Frank O’Connor International Short Story Award in 2011 and 2014.1 The many Irish titles on the five-title shortlist of the annual Edge Hill Short Story Prize, founded in 2007, are also a good reflection of the riches of the Irish short story in recent years: Wendy Erskine, Sweet Home (2019); Lucy Caldwell, Multitudes (2017); Thomas Morris, We Don’t Know What We’re Doing (2016); Bernie McGill, Sleepwalkers (2014); Kevin Barry, Dark Lies the Island (2013); Emma Donoghue, Astray (2013); Nuala Ní Chonchúir, Nude (2010)...
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