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Irish Modernism

Origins, Contexts, Publics

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Edited By Edwina Keown and Carol Taaffe

This is the first interdisciplinary volume to present a sustained examination of the emergence, reception and legacy of modernism in Ireland. Engaging with the ongoing re-evaluation of regional and national modernisms, the essays collected here reveal both the importance of modernism to Ireland, and that of Ireland to modernism. Central concerns of the book include definitions of and critical contexts for an Irish modernism, issues of production, reception and the marketplace, new dialogues between literature and the visual arts in Ireland, modernism and Catholicism, and Irish modernism’s relationship with European and Anglo-American modernism. With contributions from established and emerging scholars in both Irish Studies and Modernist Studies, this collection introduces fresh perspectives on modern Irish culture that reflect new understandings of the contradictory and contested nature of modernism itself.

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James Matthew Wilson Late Modernism and the Marketplace in Denis Devlin’s The Heavenly Foreigner 159

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James Matthew Wilson Late Modernism and the Marketplace in Denis Devlin’s The Heavenly Foreigner In January 1968, the Irish Independent ran a review of the ‘luxury’ variorum edition of Denis Devlin’s meditative poem The Heavenly Foreigner. Devlin’s literary executor, Brian Coffey, had edited the edition and it appeared nearly a decade after the poet-diplomat’s death. At the conclusion of ‘Ireland’s Eliot?’, Philip O’Sullivan caps his laudatory summary of the book and Cof- fey’s rigorous scholarly work upon it by observing, ‘The owner of a copy [of the edition] will find himself the object of envy and congratulation.’1 Earlier, O’Sullivan had observed that Devlin ‘was, and perhaps still is, better known outside Ireland than at home’, an observation that has not merely been echoed by more recent critics, but has come to constitute a central theme in assessments of Devlin’s importance in literary history.2 As pen- ance for this lack of domestic recognition, suggests the review, the variorum edition provides the Irish an opportunity to appreciate, study, but above all to purchase this belated relic of Devlin’s cosmopolitan reputation. Its potential buyers will be congratulated because, like Devlin himself, they 1 Philip O’Sullivan, ‘Ireland’s Eliot?’, Irish Independent (27 January 1968). 2 The obscurity and ‘absence of influence’ of Devlin’s cosmopolitan strain of literary modernism upon his countrymen serves as a fact to be lamented and built upon chiefly in Alex Davis’s A Broken Line: Denis Devlin and Irish Poetic Modernism (Dublin: UCD Press, 2000), but also in Terence Brown’s...

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