Wide-ranging survey of current research in Anglo-Saxon studies - from literature and material culture to religion and politics. Anglo-Saxon literature and culture, and their subsequent appropriations, unite the essays collected here. They offer fresh and exciting perspectives on a variety of issues, from gender to religion and the afterlives of Old Englishtexts, from reconsiderations of neglected works to reflections on the place of Anglo-Saxon in the classroom. As is appropriate, they draw especially on Hugh Magennis' own interests in hagiography and issues of community and reception. Taken together, they provide a "state of the discipline" account of the present, and future, of Anglo-Saxon studies. The volume also includes contributions from the leading Irish poets Ciaran Carson and Medbh McGuckian. Dr Stuart McWilliams is a Newby Trust Fellow, Institute for Advanced Studies in the Humanities, University of Edinburgh. Contributors: Ciaran Carson, Marilina Cesario, Mary Clayton, Ivan Herbison, Joyce Hill, Malcolm Godden, Chris Jones, Christina Lee, Medbh McGuckian, Stuart McWilliams, Juliet Mullins, Elisabeth Okasha, Jane Roberts, Donald Scragg, Mary Swan, John Thompson, Elaine Treharne, Robert Upchurch, Gordon Whatley, Jonathan Wilcox

This startling new translation of Dante's" Inferno" is by Ciaran Carson, one of contemporary Ireland's most dazzlingly gifted poets. Written in a vigorous and inventive contemporary idiom, while also reproducing the intricate rhyme-scheme that is so essential to the beauty and power of Dante's epic, Carson's virtuosic rendering of the Inferno is that rare thing--a translation with the heft and force of a true English poem. Like Seamus Heaney's "Beowulf" and Ted Hughes's "Tales from Ovid," Ciaran Carson's "Inferno" is an extraordinary modern response to one of the great works of world literature.

'I write to try to see you as you were, or what you have become. You left no forwarding address: that was part of your intention. For when we wrote those letters to each other all those years ago, we wrote as much for ourselves as for each other.' More than twenty years after the end of their love affair, Gabriel receives a cryptic postcard from old flame Nina. It is the first of thirteen cards from her, each one provoking a series of reveries about their life together in 1980s Belfast. The Pen Friend is, however, much more than a love story. As Gabriel teases out the significance of the cards, his reveries develop into richly textured meditations on writing, memory, spiritualism and surveillance. The result is an intricate web of fact and fiction - moving easily between such varied subjects as the Troubles, Esperanto and John Lavery - a strange and wonderful novel by one of our finest Irish writers. If you enjoyed The Pen Friend, you might also enjoy Ciaran Carson's Exchange Place, a brilliant thriller set in Paris and Belfast.

" A] brilliant and altogether engaging new translation" ("Los Angeles Times") of the greatest epic in Irish literature
Dating from the eighth century, "The Tain" is the oldest Irish epic, a mythic tale on par with "Beowulf" and "The Aeneid." Following legendary warrior Cu Chulainn into his battle against the invading army of Connacht, "The Tain" is the story of the emergence of a hero, a paean to the Irish landscape, and a bawdy and contentious marital farce. In its first translation in forty years, Ciaran Carson brings this seminal work of Irish literature fully to life, capturing all of its visceral power in what acclaimed poets Seamus Heaney and Paul Muldoon individually called one of the best books of the year.

Last Night’s Fun is a sparkling celebration of music and life that is itself a literary performance of the highest order. Ciaran Carson’s inspired jumble of recording history, poetry, tall tales, and polemic captures the sound and vigor of a ruthlessly unsentimental music. Last Night’s Fun is remarkable for its liveliness, honesty, scholarship, and spontaneous joy; certainly there has never been a book about Irish music like this one, and few books ever written anywhere about the experience of music can compare with it..