Few figures are more respected and quoted internationally than Fintan O'Toole, both as a controversial and provocative political commentator and theatre critic. This extensive collection brings together a wide range of his writings going back to 1980. It provides a privileged insight into the great moments of contemporary Irish theatre, marking the contributions of playwrights (Carr, Murphy, Friel, McGuinness), directors (Hynes, Byrne), actors (Hickey, McKenna), and designers (Vanek, Frawley). It also demonstrates his unsettling of the usual "canon," with his thoughtful arguments promoting certain playwrights who deserve to up be there with Ireland's best, including Antoine O'Flatharta, Paul Mercier, Dermot Bolger, and David Byrne.

The #1 Irish Times bestseller WINNER of the An Post Irish Book Awards 'A clear-eyed, myth-dispelling masterpiece' Marian Keyes 'Sweeping, authoritative and profoundly intelligent' Colm Toibin, Guardian 'With the pace and twists of an enthralling novel' Irish Times 'Evocative, moving, funny and furious' Dominic Sandbrook, Sunday Times 'An enthralling, panoramic book' Patrick Radden Keefe 'A book that will remain important for a very long time' An Post Irish Book Award We Don't Know Ourselves is a very personal vision of recent Irish history from the year of O'Toole's birth, 1958, down to the present. Ireland has changed almost out of recognition during those decades, and Fintan O'Toole's life coincides with that arc of transformation. The book is a brilliant interweaving of memories (though this is emphatically not a memoir) and engrossing social and historical narrative. This was the era of Eamon de Valera, Jack Lynch, Charles Haughey and John Charles McQuaid, of sectarian civil war in the North and the Pope's triumphant visit in 1979, but also of those who began to speak out against the ruling consensus - feminists, advocates for the rights of children, gay men and women coming out of the shadows. We Don't Know Ourselves is an essential book for anyone who wishes to understand modern Ireland.

Fintan O'Toole was born in the year the revolution began. It was 1958, and the Irish government-in despair, because all the young people were leaving-opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don't Know Ourselves, O'Toole, one of the Anglophone world's most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary "backwater" to an almost totally open society-perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O'Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland's main export was beef and it was still not unknown for herds of cattle to clatter down Dublin's streets. Yet the Westerns were a sign of what was to come. O'Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O'Toole's telling, America became a lodestar, from John F. Kennedy's 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O'Toole in coruscating prose captures the peculiar Irish habit of "deliberate unknowing," which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don't Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.

Three years in the troubled British Isles from the bestselling author of Heroic Failure. In 2011 Queen Elizabeth made her first ever state visit to the Irish Republic. It was a great, moving occasion. In settling once and for all its relationship with Ireland, Britain was also settling its relationship with the rest of the world, taking its place as a normal, equal democracy. It was not to last. Then came the 2016 referendum, and so began Three Years in Hell

Fintan O'Toole was born in the year the revolution began. It was 1958, and the Irish government-in despair, because all the young people were leaving-opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don't Know Ourselves, O'Toole, one of the Anglophone world's most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary "backwater" to an almost totally open society-perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O'Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland's main export was beef and it was still not unknown for herds of cattle to clatter down Dublin's streets. Yet the Westerns were a sign of what was to come. O'Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O'Toole's telling, America became a lodestar, from John F. Kennedy's 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O'Toole in coruscating prose captures the peculiar Irish habit of "deliberate unknowing," which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don't Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.

This book is a biography of one of the first important Abbey playwrights. In many ways George Fitzmaurice was "the great lost soul of twentieth century Irish theatre." His work is now being reclaimed both on the stage and in literary criticism.

A provocative new biography of the man who forged America's alliance with the Iroquois
William Johnson was scarcely more than a boy when he left Ireland and his Gaelic, Catholic family to become a Protestant in the service of Britain's North American empire. In New York by 1738, Johnson moved to the frontiers along the Mohawk River, where he established himself as a fur trader and eventually became a landowner with vast estates; served as principal British intermediary with the Iroquois Confederacy; command British, colonial, and Iroquois forces that defeated the French in the battle of Lake George in 1755; and created the first groups of "rangers," who fought like Indians and led the way to the Patriots' victories in the Revolution.
As Fintan O'Toole's superbly researched, colorfully dramatic narrative makes clear, the key to Johnson's signal effectiveness was the style in which he lived as a "white savage." Johnson had two wives, one European, one Mohawk; became fluent in Mohawk; and pioneered the use of Indians as active partners in the making of a new America. O'Toole's masterful use of the extraordinary (often hilariously misspelled) documents written by Irish, Dutch, German, French, and Native American participants in Johnson's drama enlivens the account of this heroic figure's legendary career; it also suggests why Johnson's early multiculturalism unraveled, and why the contradictions of his enterprise created a historical dead end.

This new edition of the epic Strumpet City marks the centenary of the 1913 Lockout. It has been chosen as Dublin City Libraries' One City, One Book for 2013. First published in 1969, it has repeatedly been described as one of the greatest Irish novels of all time.

Centring on the seminal lockout of 20,000 workers in Dublin in 1913, Strumpet City encompasses a wide sweep of city life. From the destitution of Rashers Tierney to the solid, aspirant respectability of Fitz and Mary, the priestly life of Father O'Connor, and the upper-class world of Yearling and the Bradshaws, it paints a portrait of a city of stark contrasts, with an urban working class mired in vicious poverty.

Strumpet City is much more than a book about the Lockout. Through the power of vivid fiction we encounter all the complexities of humanity.

The brilliant and much-loved TV series, originally screened by RTE in 1980, is fondly remembered by many but to read the book is to immerse yourself in social and historical writing akin to Chekhov and Tolstoy.

Strumpet City is the great, sweeping Irish historical novel of the 20th century.

Even though the Irish child sex abuse scandals in the Catholic Church have appeared steadily in the media, many children remain in peril. In The Child Sex Scandal and Modern Irish Literature, Joseph Valente and Margot Gayle Backus examine modern cultural responses to child sex abuse in Ireland. Using descriptions of these scandals found in newspapers, historiographical analysis, and 20th- and 21st-century literature, Valente and Backus expose a public sphere ardently committed to Irish children's souls and piously oblivious to their physical welfare. They offer historically contextualized and psychoanalytically informed readings of scandal narratives by nine notable modern Irish authors who actively, pointedly, and persistently question Ireland's responsibilities regarding its children. Through close, critical readings, a more nuanced and troubling account emerges of how Ireland's postcolonial heritage has served to enable such abuse. The Child Sex Scandal and Modern Irish Literature refines the debates on why so many Irish children were lost by offering insight into the lived experience of both the children and those who failed them.

This special edition limited to 70 copies includes the book and one gelatin silver print signed and numbered by Parr. The picture is titled Glenbeigh Races, County Kerry, 1983. The print measures 20.0 x 29.0cm Martin Parr has been taking photographs in Ireland for 40 years. His work covers many of the most significant moments in Ireland's recent history, encompassing the Pope's visit in 1979, when a third of the country's population attended Mass in Knock and Phoenix Park in Dublin, as well as gay weddings and start-up companies in 2019. It is difficult to think of country that has changed so dramatically in this relatively short space of time. Parr lived in the West of Ireland between 1980-82. He photographed traditional aspects of rural life such as horse fairs and dances, but also looked at the first hint of Ireland's new wealth in the shape of the bungalows that were springing up everywhere, replacing more traditional dwellings. During subsequent trips to Ireland he explored the new estates around Dublin and the introduction of the first drive-through McDonald's. Parr also looked at the North and documented how, after the Good Friday agreement, the Troubles became the focus of a new tourist boom. The final chapter of this book portrays a contemporary Dublin where start-up companies are thriving, the docks area is being gentrified and where icons of wealth and modernity - such as the flat white - can be everywhere. Ireland has also now voted to allow both abortion and gay weddings, developments that would have been unthinkable 40 years ago. The book includes an introduction by the acclaimed journalist Fintan O'Toole.

This heavily illustrated book focuses on the events of the 1916 Easter Rising in Ireland, rather than the background and the consequences. In a widely expanded version of the supplement that appeared in The Irish Times in March to commemorate the 90th Anniversary, The 1916 Rising recreates the actual course of events during that tumultuous week, based on contemporary witnesses, memoirs and later recollections. It adds up to the most comprehensive and accessible account of Easter Week in print.

'There will not be much political writing in this or any other year that is carried off with such style' The Times.

A TIMES BOOK OF THE YEAR.

'A quite brilliant dissection of the cultural roots of the Brexit narrative' David Miliband.

'Hugely entertaining and engrossing' Roddy Doyle.

'Best book about the English that I've read for ages' Billy Bragg.

'A wildly entertaining but uncomfortable read ... Pitilessly brilliant' Jonathan Coe.

In exploring the answers to the question: 'why did Britain vote leave?', Fintan O'Toole finds himself discovering how trivial journalistic lies became far from trivial national obsessions; how the pose of indifference to truth and historical fact has come to define the style of an entire political elite; how a country that once had colonies is redefining itself as an oppressed nation requiring liberation; the strange gastronomic and political significance of prawn-flavoured crisps, and their role in the rise of Boris Johnson; the dreams of revolutionary deregulation and privatisation that drive Arron Banks, Nigel Farrage and Jacob Rees-Mogg; and the silent rise of English nationalism, the force that dare not speak its name.

He also discusses the fatal attraction of heroic failure, once a self-deprecating cult in a hugely successful empire that could well afford the occasional disaster: the Charge of the Light Brigade, or Franklin lost in the Arctic. Now failure is no longer heroic it is just failure, and its terrible costs will be paid by the most vulnerable of Brexit's supporters, and by those who may suffer the consequences of a hard border in Ireland and the breakdown of a fragile peace.

The Republic of Ireland, which declared itself in 1949, allowed the Catholic Church to dominate its civil society and education system. Investment by American and European companies, and a welcoming tax regime, created the 'Celtic Tiger' of the 1990s. That brief burst of good fortune was destroyed by a corrupt political class which encouraged a wild property boom, leaving the country almost bankrupt. What Ireland needs now is a programme of real change. It needs to become a fully modern republic in fact as well as name. Politicians have been let get away with murder, and there is a fatalistic sense that nothing can change. The country needs to encourage participation in, and oversight and knowledge of politics, to make people feel that they have a right to challenge the old party machines and to make a difference. It is their country, after all.

Caledonian Dreaming examines the state of contemporary Scotland, the independence referendum, and its wider consequences. In this short, accessible book, Hassan challenges the myths that define modern Scotland and its place in the United Kingdom. He forensically examines the shortcomings of Scottish society – from the ‘missing Scotland’ of voters disconnected from public life to the collusion of Labour and SNP on most issues bar independence. He argues that Scotland has the potential to become a modern, progressive, democratic country – aided by the creative energies and passions unleashed by the independence question.

For twenty years, Ireland's economic miracle was supposed to be the envy of the world. Low taxes, light regulation and an 'anything goes' attitude seemed to have created boundless prosperity. And then, as in Iceland, the glittering palaces vanished in the heat of the global financial meltdown. For years, those with economic power had been investing in a gigantic property bubble. In Ship of Fools Fintan O'Toole tells the story of this dizzying rise and sickening fall. Ireland may have had a tiger economy, but those in charge of it had not lost their taste for sweetheart deals, back-handers and bribery. This is the essential analysis of Ireland's economic suicide.

This collection of essays is drawn from Fintan O'Toole's writings over two decades. Its portraits of people - talk-show hosts, priests, children, pop stars - and its reports of social and political upheaval, reveal a country still in search of itself, but more at ease with the complexities of its own make-up; a country whose buried memories, tourist myths and current congtradictions might now be reworked to forge a truly modern Irish identity.

In this important book, historians, lawyers, economists and writers come together to put a coherent case: that although the Irish economic collapse has resulted in national humiliation, renewed emigration and a decline in living standards for the majority of the population, there is still hope that the country can be reformed and renewed. Irish politicians offered the now notorious blanket guarantee to all the banks which had got in over their heads during the great property bubble - including one that had become little more than a criminal enterprise. A different set of politicians grimly enforces the consequences of that guarantee, locking an entire generation of Irish men and women into paying for the mistakes of greedy bankers and their corrupt friends in government. The energy of hope has to come from elsewhere. These essays demonstrate how simple measures and different economic and social policies could release that energy and fulfil the promise of an educated, literate and culturally vibrant people.

The death of the Celtic tiger is not an extinction event to trouble naturalists. There was, in fact nothing natural about this tiger, if it ever really existed. The"Irish Economic miracle" was built on good old-fashioned subsidies (from the European Union) and the simple fact that until the 1980s Ireland was by the standards of the developed world so economically backward that the only way was up. And as it began to catch up to European and American averages, the Irish economy could boast some seemingly remarkable statistics. These lured in investors, the Irish deregulated and all but abandoned financial oversight, and a great Irish financial ceilidh began. It would last for a decade. When the global financial crash of 2008 arrived it struck Ireland harder than anywhere-even Iceland looked like a model of rectitude compared to the fiasco that stretched from Cork to Dublin. There was an avalanche of statistics as toxic as the property-based assets that lay beneath many of them: type="disc" The International Monetary Fund was predicting that Ireland's Gross Domestic Product (GDP) would shrink by 13.5 per cent in 2009 and 2010-the worst performance among all the advanced economies and one of the worst ever recorded in peacetime in the developed world. type="disc" Government debt almost doubled in a year. type="disc" In May 2008, &euro13.5 million was paid for a 450-acre farm in Warrenstown, County Meath-one of the highest prices ever paid for agricultural land anywhere in the world. By 2009 the level of debt among Irish households and companies was the highest in the European Union. type="disc" The country's gross indebtedness was larger than Japan's, which has thirty times the population. type="disc" Between 1994 and 2006, the average second-hand house price in Dublin increased from &euro82,772 to &euro512,461-a rise of 519 per cent. By 2009 Irish house prices had fallen more rapidly than any others in Europe. type="disc" With a fifth of its office spaces empty, Dublin had the highest vacancy rate of any European capital and was rated as having the worst development and investment potential of twenty-seven European cities. type="disc" The Irish stock exchange fell by 68 per cent in 2008 type="disc" The average Irish family had lost almost half its financial assets type="disc" Unemployment rose faster than in any other Western European country, increasing by 85 per cent in a year. type="disc" Ireland's bad bank, the National Assets Management Agency (Nama), which had to take over &euro90 billion in loans to developers from banks that would otherwise be insolvent holds more assets [sic] than any publicly quoted property company in the world, dwarfing giants such as GE Capital Real Estate and Morgan Stanley Real Estate, which own assets of &euro60 billion and &euro48 billion respectively.And under all this rubble lay the corpse of the Celtic Tiger. How Ireland managed to achieve such a spectacular implosion is a stunning story of corruption, carelessness and venality, told with passion and fury by one of Ireland's most respected journalists and commentators.

The works of Shakespeare have become staples of literature. They are everywhere, from our early schooling to the lecture rooms of academia, from classic theatre to modern adaptations on stage and screen. But how well do we really know his plays?

In this witty, iconoclastic book, the bestselling author Fintan O'Toole examines four of Shakespeare's most enduring tragedies: Hamlet, Macbeth, Othello and King Lear. He shows how their tragic heroes have been over-simplified and moulded to fit restrictive, conservative values, and restores the true heart and spirit of the classics.

This book takes 100 objects and explores their significance in shaping Ireland. Photographs are accompanied by a concise and insightful story that shows the social, political and artistic vitality of each object. Beginning with Mesolithic Ireland and ending in 2005, ornamental treasures such as the Book of Kells, the magnificent 8th century Ardagh Chalice and a chair by modernist furniture designer Eileen Gray are given equal importance as pieces such as the bloodstained shirt of Irish revolutionary James Connolly, a 1950s washing machine and the letters from the Anglo Irish Bank sign which were dismantled in 2011. The concept for this book came from a series in the Irish Times by columnist, writer and literary editor Fintan O'Toole, who also writes the robust introduction to the book.