Seamus Deane was one of the most vital and versatile authors of our time. Small World presents an unmatched survey of Irish writing, and of writing about Irish issues, from 1798 to the present day. Elegant, polemical, and incisive, it addresses the political, aesthetic, and cultural dimensions of several notable literary and historical moments, and monuments, from the island's past and present. The style of Swift; the continuing influence of Edmund Burke's political thought in the USA; the echoing debates about national character; aspects of Joyce's and of Elizabeth Bowen's relation to modernism; memories of Seamus Heaney; analysis of the representation of Northern Ireland in Anna Burns's fiction - these topics constitute only a partial list of the themes addressed by a volume that should be mandatory reading for all those who care about Ireland and its history. The writings included here, from one of Irish literature's most renowned critics, have individually had a piercing impact, but they are now collectively amplified by being gathered together here for the first time between one set of covers. Small World: Ireland, 1798-2018 is an indispensable collection from one of the most important voices in Irish literature and culture.

This is the story of a haunted Irish childhood. The setting is Derry in the Northern Ireland of the 40s and 50s, fraught with political hatred, family secrets and lethal intrigue. As a young boy tries to make sense of life, poverty and violence shift and obscure the facts; meanwhile his night-time reading of Irish legends weaves enchantment through reality. Claustrophobic but lyrically charged, breathtakingly sad but vibrant and unforgettable, this is one of the finest books about growing up - in Ireland or anywhere - that has ever been written. See also: The Green Road by Anne Enright

Joyce's final work, Finnegans Wake, is his masterpiece of the night as Ulysses was of the day. Supreme linguistic virtuosity conjures up the dark underground worlds of sexuality and dream. Joyce undermines traditional storytelling and all official forms of English and confronts the different kinds of betrayal - cultural, political and sexual - he saw at the heart of Irish history. Dazzlingly inventive, with passages of great lyrical beauty and much humour, Finnegans Wake remains one of the most remarkable works of the twentieth century.

A Portrait of the Artist as a Young Man portrays Stephen Dedalus’s Dublin childhood and youth, providing an oblique self-portrait of the young James Joyce. At its center are questions of origin and source, authority and authorship, and the relationship of an artist to his family, culture, and race. Exuberantly inventive, this coming-of-age story is a tour de force of style and technique.

This book identifies the origin, the development and, ultimately, the success of the Irish literary tradition in English as one of the first literatures that is both national and colonial. It demonstrates the remarkable relationships between works as diverse as Joyce's Dubliners, Bram Stoker's Dracula, and the worlds of the French Revolution and the Irish famine. Deane also shows how almost all the activities of Irish print culture -- novels, songs, typefaces, historical analyses, poems -- take place within the limits imposed by its inheritance.

This intriguing collection of essays is dominated by the figure of Edmund Burke and by accounts of the ways in which he and some of those he influenced understood the revolutionary changes that produced the modern world. The issues of liberty and empire, faction and revolution, universality, equality, authority, sectarian vice and democratic virtue are central here. Dominating them all is the question of how traditional feeling and affection can be retained within the revolutionary and colonial worlds that emerged at the close of the eighteenth century. The answers to these questions emerge from the different interpretations of the American and French Revolutions that were to be so influential for generations after Burke. In addition, he posed the colonial question in Ireland before it was posed more generally. Was liberty compatible with colonial rule? Ultimately, Burke secured his position by his condemnation of colonial as well as revolutionary violence. But in the works of Burke's contemporaries, especially deTocqueville and Acton, colonial atrocity is condoned or supported while revolutionary violence is condemned out of hand. This, it is argued here, is constitutive of the European anti-revolutionary position which Burke helped to create but to which he nevertheless remains alien.