A history of the interactions between Ireland and Scotland over two millennia, told in a series of 120 episodes, ranges entertainingly from the Roman governor Agricola’s plan to invade Ireland from Scotland to 21^st century pitch invasions at Ibrox and Celtic Park.

The cultural absorption or lack of it of large immigrant communities may not have predictable outcomes. The relationship between culture and politics, it seems, is not straightforward and drawing political conclusions from cultural practices is an inexact business.

A new anthology of works of fiction translated into English is modest about its ambitions and disclaims any ambition to be ‘canonical’. Nevertheless it is a smartly executed work, which invites us to fill in some gaps in our literary education and ‘get out a bit more’.

Once independence was won, the question facing Irish ideologues and leaders was how to make revival real. It was then that the tenuous and tentative nature of the relation between the cultural and the political became clear. Those different spheres would never march in lockstep.

Ali Smith’s novels have always been interested in deviant temporalities and ‘unexpected afterlives’. Her narratives are never singular or isolated, but a gathering of threads and she has also pushed at the formal boundaries between the novel and the essay.

Freud saw ‘Trauerarbeit’, literally grief work, as a work of breaking the bonds that tied the survivor to the deceased – ‘letting go’ and ‘moving on’. Current thinking however would be more open to the idea that while death may end a life, it doesn’t necessarily end a relationship.

A particular feature of Rita Ann Higgins’s new collection is the use of juxtaposition: essays appear side-by-side with poems tackling their subject from a different angle. It is fascinating to see this process, with the background which informs a poem laid out in prose form.

Moya Roddy presents us with poetry that is straight out of the ordinary, a refreshing reminder that not every poem needs to be an epic, complicated, deep analogy of something or another; the kind that make open mics up and down the country the stuff of nightmares.

A group of youngsters from Derry is interested in the same things that many youngsters elsewhere are interested in – sex and drugs and rock ’n’ roll. But this is 1981, Bobby Sands is getting closer to death and to the normal trio of pleasures is added another experience, war.

Belfast’s Balmoral Cemetery was once a gloriously dishevelled and spooky playground favoured by the more adventurous among neighbourhood children. But after many complaints it was cleaned up, and it’s now as straight-lined and ‘Protestant-looking’ as anyone could wish.