Éire-Ireland, Vol.
6, No. 3 (Fall 1971): Reading Notes
Katherine Hanley,
The Short Stories of Sean O'Faolain: Theory and Practice’, Éire-Ireland,
6, 3 (Autumn 1971), pp.3-11.
Hanley quotes the preface to O'Faolain's collection The Heart
of the Sun (1963) in which he differentiates between story, tale,
and novel; [A short story] is like a child's kite, a small
wonder, a brief, bright moment. It has its limitations; there are things
it can do and cannot do, but, if it is good, it moves in the same elements
as the largest work of art - up there, airborne. The main thing a writer
of a short story wants to do is to get it off the ground as quickly as
possible, hold it there, taut and tense, playing it like a fish. [...]
[The short story] may not wander far; it has to keep close to its base-point,
within the bounds of place, time, and character; it will only carry a
few characters, three at least, at best no more than three; there is not
time or space, for elaborate characterisation... and there is often no
plot, nothing more than a situation, and only just enough of that to release
a moment or two of drama. (O'Faolain, The Heat of the Sun,
1966, p.5; quoted in Hanley, p.3) So the short story writer, for O'Faolain,
must have an unusually keen sensitivity to ideas, and ability to snatch
the small thing and make it work. [...] The writing is hard work; no believer
in frenzied inspiration, O'Faolain remarks that half the art of
writing is rewriting. neither is the finished story to be regarded
as an automatic success: stories, like whiskey, must be allowed
to mature in the cask.’ (p.4) Hanley remarks that In 1963
O'Faolain described himself as a romantic with a hopeless longing
for clasical order. (p.5)
Robert W. Uphaus,
‘Images of Swift: A Review of Some Recent Criticism’, Éire-Ireland,
6, 3 (Autumn 1971), pp.16-22.
Ccites W. B. Carnochan, Lemuel Gulliver's Mirror for Man
(Berkeley: University of California Press 1968); Denis Donoghue, Jonathan
Swift: A Critical Introduction (Cambridge: CUP 1969); Martin Kallich,
The Other End of the Egg: Religious Satire in Gulliver's Travels
(Connecticut: Conference on British Studies at the University of Bridgeport
1970); John R. Clark, Form and Frenzy in Swift's Tale of a Tub
(London: Cornell UP 1970).
Patrick Murray,
‘Maria Edgeworth and Her Father: the Literary Partnership’, Éire-Ireland,
6, 3 (Autumn 1971), pp.39-50.
Notes that ‘As a punishment for some trivial offense, he ordered
her to walk around a grass plot in the garden of Edgeworthstown House
until he returned from a visit he was paying. He was away longer than
he had anticipated, but the young Maria continued to walk, not even pausing
for food, until she could walk no more.’ (p.39)
Patrick Keatinge,
‘The Formative Years of the Irish Diplomatic Service’, Éire-Ireland,
6, 3 (Autumn 1971), pp.57-71
Remarks upon Eamon de Valera; Sean T. O’Kelly; George Gavan Duffy; [Count]
George Plunkett; Thomas Johnson; Kevin O’Higgins; Frederick Henry Boland.
Doris R. Asmundsson,
‘Trollope's First Novel: A Re-Examination’, Éire-Ireland,
6, 3 (Autumn 1971), pp.83-91.
Quotes Trollope's revelation in An Autobiography that it
was a desire for money which motivated him to write novels: ‘If
honest men did not squabble for money, in this wicked world of ours, the
dishonest men would get it all; and I do not see that the cause of virtue
would be much improved.’ (p.83)
Cites Rafael Helling, A Century of
Trollope Criticism (Helsingfors: Societas Scientiarum Fennica 1956);
Hugh Walpole, Anthony Trollope (London: Macmilian 1928); Lucy P.
& Richard P. Stebbins, The Trollopes: The Chronicle of a Writing
Family (New York: Columbia UP 1945); Robert M. Polhemus, The Changing
World of Anthony Trollope (Berkeley: University of California Press
1968).
John Wilson Foster,
‘McLaverty's People’, Éire-Ireland, 6, 3 (Autumn 1971),
pp.92-105.
Remarks that ‘Michael McLaverty dramatises in his novels the dilemma of
an individual's isolation from the comforting and necessary, though stifling,
grasp of the community.’ (p.92)
Murray Prosky,
‘The Crisis of Identity in the Novels of Brian Moore’, Éire-Ireland,
6, 3 (Autumn 1971), pp.106-118.
Remarks that ‘Moore's novels focus on the breakdown which occurs when
an individual alters or represses his deepest desires for the sake of
social recognition. His characters [...] are vicitmized by desire and
guilt. [...] Moore recognises the petty forms of tyranny practiced on
a personal level by one's family and friends, on a broader social level
by one's colleagues at work, on a spiritual level by the priestly arbiters
of moral values, and on a purely personal level by bellhops, storekeepers,
policemen, and judges. Ironically, the values which support this chain
of intimidation are upheld by the very people who suffer the guilts and
inadequacies it generates. The most pathetic aspect of Moore's characters
is not the humiliation they suffer because they fear rejection; it is
the necessity they feel to vindicate their abusers by rejecting themselves.’
(p.106) Further, ‘When Moore's characters reach a critical juncture where
they can no longer sustain their illusions, their despair is compounded
by a brief vision of the inadequacy and fragility of the entire social
fabric.’ (p.107).
Donald T. Torchiana,
‘Joyce's After the Race, the Races of Castlebar, and Dun Laoghaire’,
Éire-Ireland, 6, 3 (Autumn 1971), pp.119-28.
Cites Zack Bowen, ‘After the Race’, in Clive Hart, ed., James
Joyce's Dubliners: Critical Essays (London: Faber 1969); Zack Bowen,
‘Hungarian Politics in After the Race’, James Joyce Quarterly,
7 (Winter 1969), pp.138-39; Warren Beck, Joyce's Dubliners: Substance,
Vision, and Art (Durham: Duke UP 1969)
Desmond Rushe,
‘Drama: Regional and Dublin’, Éire-Ireland, 6, 3 (Autumn
1971), pp.129-32.
Sir Tyrone Guthrie, d. May, 1971.
Quotes Sir Tyrone Guthrie’s description
of the Carrickmore Festival ‘I think it must be about the nearest thing
left to the sort of event which the Athenian Festivals may have been.//
Carrickmore is a village of 200 people in the wilds of County Tyrone -
and that's getting pretty wild. They put up a hall, which holds over a
thousand people, and once a year they have a week of plays - amateur groups,
by invitation from all over Ireland. They place is PACKED, nobody goes
to bed all night. After the play they sit up drinking and tearing to pieces
what they have seen, with the incredible acumen and malice of stage-struck
Irish.[...] From what I've heard, this really is what Theatre's about
- a sort of occasion which simply doesn't exist any more in the professional
situation and hasn't, I think, existed since Kean's time. The essence
being an intelligent, madly keen audience (p.129) which, instead of being
sated with drama (breakfast to bedtime, cradle to grave - on the squirt)
is avidly, passionately desirous, And that does NOT mean uncritical adorers.
Quite the contrary.’ (p.130). Rushe remarks, that this passage ‘explains
Guthrie's attitude, and why he worked so much with companies that were
marginally professional, if at all, and why he chose to devote his talents
to out-of-the-way places. It may also explain why he would not consider
becoming Artistic Director of the Abbey Theatre when an unofficial delegation
travelled to Co. Monaghan a few years ago in an effort to involve him.’
(p.130). Rushe also notes that Guthrie directed Eugene McCabe's play on
Swift at the Abbey, with Micheál MacLiammóir in the title
role, and had been going, before his death to direct a new play by Jack
White.
Hugh Hunt simultaneously Artistic Director
at the Abbey and Professor of Drama at Manchester University, leaving
the Abbey when his contract expired, Dec. 1971
Brian Friel was made, in 1965, one of
25 shareholders in the Abbey Theatre. States that he has refused to give
any of his plays to the Abbey.
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