From the legendary poet Oisin to modernist masters like James
Joyce, William Butler Yeats, and Samuel Beckett, Ireland's literary
tradition has made its mark on the Western canon. Despite its proud
tradition, the student who searches the shelves for works on Irish
women's fiction is liabel to feel much as Virginia Woolf did when
she searched the British Museum for work on women by women. Critic
Nuala O'Faolain, when confronted with this disparity, suggested
that "modern Irish literature is dominated by men so brilliant in
their misanthropy... that] the self-respect of Irish women is
radically and paradoxically checkmated by respect for an Irish
national achievement."
While Ann Owen Weekes does not argue with the first part of
O'Faolain's assertion, she does with the second. In Irish Women
Writers: An Uncharted Tradition, she suggests that it is the
critics rather than the writers who have allowed themselves to be
checkmated. Beginning with Maria Edgeworth's Castle Rackrent (1800)
and ending with Jennifer Johnston's The Railway Station (1980), she
surveys the best of the Ireland's female literature to show its
artistic and historic significance and to demonstrate that it has
its own themes and traditions related to, yet separate from, that
of male Irish writers.
Weekes examines the work of writers like E.OE. Sumerville and
Martin Ross (pen names for cousins Edith Somerville and Violet
Martin), Elizabeth Bowen, Kate O'Brien, Mary Lavin, and Molly
Keane, among others. She teases out the themes that recur in these
writers' works, including the link between domestic and political
violence and re-visioning of traditional stories, such as Julia
O'Faolain's use of the Cuchulain and Diarmuid and Grainne myths to
reveal the negation of women's autonomy. In doing so, she
demonstrates that the literature of Anglo- and Gaelic-Irish women
presents a unified tradition of subjects and techniques, a unity
that might become an optimistic model not only for Irish literature
but also for Irish people.
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