Writers And Artists
Although Mahon was the last poet one would accuse of naivety, he was attracted to an ideal of simplicity, writes Magdalena Kay. This correlates with a tacit conviction that feelings of insignificance can bring on ecstasy: ‘Such tiny houses, such enormous skies!’
Brian Friel, in ‘Dancing at Lughnasa’, refers to the sudden disappearance from their Donegal home in the 1930s of two of his aunts, Rose and Agnes. The play is not wholly autobiographical, but the true story of what happened to these women is deeply sad but perhaps not so unusual.
Thirty years after the publication of the ‘Field Day Anthology of Irish Writing’ many critics still dismiss Irish women’s writing as lacking ‘seriousness’ and deride them and their female characters for a supposed lack of ‘likeability’. Could it be that they just don’t like women?
Predictions of apocalypse tend to situate the ultimate hour within the lifetime of the predicter. Unsurprisingly, since the notion is essentially a metaphorical transference of our individual mortality. And in both biblical and secular versions it is profoundly anti-political, distracting us from what we must do.
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