This book looks at a cohort of poets who studied at University College Cork during the 1970s and early 1980s. Based on extensive interviews and archival work, the book examines the notion that the poets form a "generation" in sociological terms. It proposes an analysis of the work of the poets, studying the thematics and preoccupations that shape their oeuvre. Among the poets that figure in the book are Greg Delanty, Theo Dorgan, Sean Dunne, Gerry Murphy, Thomas McCarthy, Gregory O'Donoghue, and Maurice Riordan. The volume is prefaced by Eilean Ni Chuilleanain.

These reflective essays about Deon's life and experiences in the west of Ireland describe the colourful and varied personalities that the French novelist has come across since he and his family moved there in the mid 1970s. From his friendship with John McGahern and Ulick O'Connor to Tim, the sturdy old postman who prefers his wind-blown country round to retirement in sunny California, Horseman, Pass By! is peopled with fascinating characters and encounters. Taking its title from Yeats, this work is an affectionate portrait of the Irish and a lament for a fading country that has been changed by new wealth and altered values. Deon's Horseman, Pass By! is an elegant memoir about a beautiful landscape and its inhabitants and forms a touching and amusing tribute to his adopted country.

This book looks at a cohort of poets who studied at University College Cork during the 1970s and early 1980s. Based on extensive interviews and archival work, the book examines the notion that the poets form a "generation" in sociological terms. It proposes an analysis of the work of the poets, studying the thematics and preoccupations that shape their oeuvre. Among the poets that figure in the book are Greg Delanty, Theo Dorgan, Sean Dunne, Gerry Murphy, Thomas McCarthy, Gregory O'Donoghue, and Maurice Riordan. The volume is prefaced by Eilean Ni Chuilleanain.

'She came in like a shadow. She slid and bore herself into my eye, between my eyelids which blinked against the dust.' She is Maud Gonne, the muse of writer William Butler Yeats. Yeats here returns as a ghost, after having been buried in France in 1939 in the cemetery of Roquebrune-Cap-Martin, to be returned to Ireland a decade later. He emerges from his grave to recount his thwarted love with Maud, a story that merges with that of the independence movement of Ireland, of which they were both emblematic actors. Yeats' ghost has suddenly arisen because diplomatic documents long kept secret have resurfaced, casting doubt on the contents of the coffin brought back into Ireland for a state funeral. Where did the poet's body go? Does he still hover, as he wrote, 'somewhere above the clouds'? What remains of our loves and our deaths, if not their poetry? Besserie's exciting new novel follows on from Yell, Sam, If You Still Can (Le Tiers Temps), translated by Cliona Ni Riordain. In Maylis Besserie's second novel, she turns her attention from Samuel Beckett to another iconic Irish writer, W. B. Yeats. The connection between France in Ireland is once again explored in the context of art, culture and the days at the end of life.

This novel by Maylis Besserie, the first of her Irish trilogy, shows us Samuel Beckett at the end of his life in 1989, living in Le Tiers-Temps retirement home. It is as if Beckett has come to live in one of his own stage productions, peopled with strange, unhinged individuals, waiting for the end of days. Yell, Sam, If You Still Can is filled with voices. From diary notes to clinical reports to daily menus, cool medical voices provide a counterpoint to Beckett himself, who reflects on his increasingly fragile existence. He remains playful, rueful, and aware of the dramatic irony that has brought him to live in the room next door to Winnie, surrounded by grotesques like Hamm or Lucky, abandoned by his wife Suzanne who died before him. Besserie delights in Beckett's bilingualism and plays back and forth between the francophone and anglophone properties of language, summoning James Joyce as Beckett reminisces about evenings the two spent together singing, talking and drinking. Largely written in the library of the Centre Culturel Irlandais, Besserie has kept the hum of Irish voices throughout this work. Yell, Sam, If You Still Can won the "Goncourt du premier roman", the prestigious French literary prize for first time novelists, just before the country went into lockdown. Besserie is now planning a further two novels that will explore the links between Ireland and France and is touted as the new star of the French literary world. Financial Times Book of the Year 2022

Cliona Ni Riordain presents a bilingual English-French selection of the work of four Irish poets published: Pat Boran, Katherine Duffy, Mary Montague and Gerry Murphy. An ideal companion for students of contemporary Irish poetry. "The oral essence of poetry is more marked in Ireland than possibly anywhere else; this is without doubt linked to the bardic tradition, with its reliance on assonance as an aid to memorisation. In Irish poetry, the private nature of poetry is perhaps less important than poetry seen as a form of public art, which includes the recitation of favourite poems and poetry readings given by the poets themselves ... or by readers. The Irish attraction for this type of event is without an equivalent in France" - from the Preface. Brought up in an Irish-speaking family in Cork, Cliona Ni Riordain is a Maitre de Conferences at the University of the Sorbonne Nouvelle, where she teaches translation and Irish Studies (language and literature).

What is a cultural error? What causes it? What are the consequences of such an error? This volume enables the reader to identify cultural errors and to understand how they are produced. Sometimes they come about because of the gap between the source culture and the target culture, on other occasions they are the result of the cultural inadequacies of the translator, or perhaps the ambiguity arises because of errors in the reception of the translated text. The meta-translational problem of the cultural error is explored in great detail in this book. The authors address the fundamental theoretical issues that underpin the term. The essays examine a variety of topics ranging from the deliberate political manipulation of cultural sources in Russia to the colonial translations at the heart of Edward FitzGeralds famous translation The Rubaiyat of Omar Khayyam. Adopting a resolutely transdisciplinary approach, the seventeen contributors to this volume come from a variety of academic backgrounds in music, art, literature, and linguistics. They provide an innovative reading of a key term in translation studies today.