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The first two decades of Irish independence were fraught and the
formation of the post-imperial state was a continual controversy.
The conditional perception of what Ireland was, should, or might be
coincided with a revolution in the arts. Now forgotten cultures
flared and disappeared, little magazines, cabaret clubs, riots and
theatres erupting in a fluctuating public sphere. Nicholas Allen
reads the crisis of Irish independence as formative of newly
experimental relations between novels, poems, paintings, artists
and audiences. The conditional, unfinished spaces of the modernist
artwork were an unfinished civil war. In connecting these texts and
times, Allen locates Joyce, Beckett, Jack and W. B. Yeats in the
controversies surrounding the Irish state after 1922. With its
interdisciplinary perspective on artists and contexts, this book is
a major contribution to the study of Irish culture of the 1920s and
30s and of modernism's histories.
Public perceptions of political ethics are at the heart of current
political debate. Drawing on original data, this book is the first
general account of popular understandings of political ethics in
contemporary British politics. It offers new insights into how
citizens understand political ethics and integrity and how they
form judgments of their leaders. By locating these insights against
the backdrop of contemporary British political ethics, the book
shows how current institutional preoccupations with standards of
conduct all too often miss the mark. While the use of official
resources is the primary focus of much regulation, politicians'
consistency, frankness and sincerity, which citizens tend to see in
terms of right and wrong, are treated as 'normal politics'. The
authors suggest that new approaches may need to be adopted if
public confidence in politicians' integrity is to be restored.
Ernie O'Malley was a revolutionary republican and writer. One of
the leading figures in the Irish independence and civil wars, he
survived wounds, imprisonment and hunger strike, before going to
the USA in 1928 to fundraise on de Valera's behalf. Broken
Landscapes tells of his subsequent journeys, through Europe and the
Americas, where O'Malley moved in wide social circles that included
Paul Strand, Edward Weston, Hart Crane and Jack B. Yeats. Back in
Mayo he took up farming. In 1935 he married Helen Hooker, an
American heiress, with whom he had three children, Cathal, Etain
and Cormac, before a bitter separation. His literary reputation was
established with a magnificent memoir, On Another Man's Wound
(1936). In later years he was close to John Ford, and worked on The
Quiet Man (1952). This vibrant new collection of letters, diaries
and fragments opens up the broad panorama of his life to readers.
It enriches the history of Ireland's troubled independence with
reflections on loss and reconciliation. It links the old world to
the new - O'Malley perched on the edge of the Atlantic, a folklore
collector, art critic and radio broadcaster; autodidact, modernist
and intellectual. It conducts a unique conversation with the past.
In Broken Landscapes, we travel with O'Malley through Italy, the
American Southwest, Mexico and points inbetween. In Taos, he
mingled wiht the artistic set around D. H. Lawrence. In Ireland, he
drank with Patrick Kavanagh, Liam O'Flaherty and Louis MacNiece.
The young painter Louis le Brocquy was his guest on his farm in
Burrishoole, Co. Mayo. These places and people remained with
O'Malley in his private writing, assembled for the first time from
family and institutional archives. Reading these letters, dairies
and fragments is to see Ireland in the tumultuous world of the
twentieth century, as if for the first time, allowing us to view
the intellectual foundations of the State through the eyes of its
leading chronicler.
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God is Romantic (Paperback)
Nicholas Allen Manassa; Edited by Joseph Anthony Schroeder; Compiled by Becky Manassa
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R556
Discovery Miles 5 560
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Out of stock
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