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Contents
Acknowledgments
Introduction
One
ix
1
“Au contraire”: The Spectral Borderlands of
Northern Irish Literature
13
Self-Contradiction in a Small Place: Anne Devlin’s
“Other at the Edge of Life”
63
Three
Outlining Silence in the Poetry of Medbh McGuckian
99
Four
Specter and Doubt in Anna Burns’ No Bones
Two
137
Notes
181
Bibliography
195
Index
211
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THE LITERATURE OF NORTHERN IRELAND
Copyright © Maureen E. Ruprecht Fadem, 2015.
All rights reserved.
First published in 2015 by
PALGRAVE MACMILLAN®
in the United States—a division of St. Martin’s Press LLC,
175 Fifth Avenue, New York, NY 10010.
Where this book is distributed in the UK, Europe and the rest of the world,
this is by Palgrave Macmillan, a division of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndmills,
Basingstoke, Hampshire RG21 6XS.
Palgrave Macmillan is the global academic imprint of the above companies
and has companies and representatives throughout the world.
Palgrave® and Macmillan® are registered trademarks in the United States,
the United Kingdom, Europe and other countries.
ISBN: 978–1–137–47474–2
Library of Congress Cataloging-in-Publication Data
Fadem, Maureen E. Ruprecht
The Literature of Northern Ireland : Spectral Borderlands / Maureen E.
Ruprecht Fadem.
pages cm. — (New Directions in Irish and Irish American Literature)
Includes bibliographical references and index.
ISBN 978–1–137–47474–2 (hardback)
1. English literature—Irish authors—History and criticism. 2. Politics
and literature—Northern Ireland—History—20th century. 3. Literature
and society—Northern Ireland—History—20th century. 4. Northern
Ireland—In literature. I. Title.
PR8891.N67F33 2015
820.9⬘9416—dc23
2014028020
A catalogue record of the book is available from the British Library.
Design by Newgen Knowledge Works (P) Ltd., Chennai, India.
First edition: January 2015
10 9 8 7 6 5 4 3 2 1
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Introduction
Purpose and Scope
This book examines Ireland since partition, its literature, and its
“Troubles.” It offers a theory regarding the use of particular tropes
and styles in recent literature coming out of the Northern territory.
The rearrangement of the island and creation of multiple states produced two major effects, I argue: it incited concomitant fractures of
place, self, and society and propelled the region into a state of political suspension. Composed at the meeting place of speech and silence,
language and gibberish, literary production is a key modality through
which this politics of the location, as well as the history of the statelet
and the crisis of Northern Irish identity, are refracted and clarified.
Consonant with wider views on Northern Irish literature, a starting point for this book is the recognition that much Northern Irish
writing is postmodern in style, form, and tone. The argument rests
on the further suggestion that imaginative work is crafted and elaborated through longstanding Irish literary tropes—primarily specter
and scrim—within distinctly postmodern aesthetics of abstraction,
difficulty, interruption, and fragmentation. Taking inspiration chiefly
from the work of Samuel Beckett, this spectral borderlands locates
the text within a vast conceptual canvas that captures the peculiar
temporality of daily life in the North. Partition functions as an interruption in which the whole arc of Irish time crystallized; inundated
by history, subjects are as keenly aware of ancient events as those of
today, all the while awaiting a more just political future.
This condition of place and subject is a foundational idea for this
book. The theory is articulated through the use of a cross-disciplinary
methodology, allying postcolonial and poststructural theory, Irish
and Partition Studies. While addressing work by numerous authors
from the North (Heaney, Muldoon, Paulin, Reid, McGuinness, Friel,
among others), and a few from the Republic (McCann, Beckett), the
analysis centers on writing by three living women authors from Belfast:
dramatist and fiction writer Anne Devlin, poet Medbh McGuckian,
and novelist Anna Burns. This structure coheres as an encompassing multigenre critique, each writer offering authentic, compelling
illustrations of life in the North. The importance of McGuckian and
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Devlin to Irish letters is self-evident. They enjoy a pride of place in
their respective genres, in- and outside the statelet. Devlin is one of
the region’s most respected dramatists, and McGuckian’s reach is
well-nigh global. She is regarded as a poet of the contemporary avantgarde (English language poetry) and embraced internationally. Anna
Burns is a younger, newer writer, and while her first book was shortlisted for the coveted Orange Prize and roundly praised, it has garnered little scholarly response. This book asserts its literary merit and
importance to the conversation on the North as on the border more
generally. No Bones is a significant representation of the Troubles:
it sharply clarifies how war and partition insinuate their way into
every aspect of personal life and civil society while also illustrating
the defining roles these structures play in shaping identity and ontological experience.
Some words on the limits and purposes of this book. One aim is to
bring greater focus to Anna Burns’ work while advancing the study of
Medbh McGuckian and Anne Devlin in new and fruitful directions.
Like Friel’s writing for the stage, the works of Devlin, McGuckian,
and Burns provide intense critiques of nation and partition, national
identity, and Northern subjectivity. Although the authors reviewed
are all women, gender is not engaged as primary or even secondary
concern. Recent scholarship tends, above all, toward Women’s Studies
perspectives. While offering important insights into their locations as
women writers, criticism often fails to unpack what the work reveals
about Irish political life. Writing by Irish women—not only in the
North but the island as a whole—becomes “gendered” immediately
upon publication and, often, whatever may have been attended to or
revealed about political or historical issues, whatever means by which
the author “speaks” the nation, gets occluded within an otherwise
feminist analysis. This persists in spite of distinct, sustained political
and historical reference and theme.
This book responds to these trends by (mostly) eschewing gender,
reading the work through a political, national, and historical lens, and
by centering on female voices and assuming their status as national
poet, storyteller, and dramatist, as speaker of the North, as custodian
and teller of political history. Most texts in this scholarly terrain feature few women writers as subjects of study. A primary goal was to
approach women writers’ role as unquestionable in this regard, to, as
Marianne Hirsch put it, validate women’s voices as “both the carriers and the narrators of historical persecution,” as “key witnesses to
the workings of . . . suffering and survival,” war and political power
(11–12). Not only were women’s perspectives and roles—recall that
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3
the Women’s Caucus was comprised of parties from across the political spectrum—ignored or downplayed throughout much of the Peace
Process, only to ultimately rise up as a pivotal directional force, they
are also marginalized as national commentators, history tellers, and
literary authors.1 This book is therefore not positioned as a “women
writers” project (certainly a valuable endeavor) but, instead, employs
a postfeminist model in treating their work the way male authors
have traditionally been read—without reference, generally speaking,
to the author’s gender.
Situated at an interdisciplinary intersection of the national, the
geographical, the historical, and the literary—aesthetical, cultural,
and material politics—this study interrogates how provocations of
the border, including the loss of nation or empire and with that the
ontological status of the (necessarily nationalized) Irish subject, are
imaginatively represented, mourned, and recuperated by artists.
Cleary, Mahon, and Hughes point to the problematic popular understanding of the conflict in the North as “a thirty-year cycle of tribal
clashes” (Mahon 2). This misguided perception is created not only
by means of the continuing colonial discourse on Ireland but also
through popular writing that “makes possible and advocates a . . . disengagement from the entanglements” of political history while camouflaging “decades of highly political decision-making and action”
(Mahon 5–6). The border politics that developed out of colonialism
and the current arrangement of the Irish states account, above all, for
the perplexing realities of social life, individual identity, and the sense
(or lack) of “nation-ness” (Anderson, B. 1991; Cleary 2002; Pandey
2001). A critical tenet of this study, then, is to challenge perceptions
of the Troubles and the continuing civil strife as apolitical, unhistorical, or primarily cultural.
The protracted and continuing nature of the conflict is inseparable
from the divided condition of territory and people. It is in view of
political history, and current state structures, that literature representing the Troubles and the North is analyzed. Just as the territory is
alienated from both collectivities they take as primary identification,
note a dearth of focus on the North in relevant bodies of scholarship.
Another hinge for this study is to “interrogate the idea of Northern
Ireland as a place apart” (Hughes 4), to develop and maintain a critical awareness of specifically Northern vicissitudes. This effort is well
underway in Irish Studies. But while we have seen a new cross-border
consciousness materialize in the political realm, as Gerry Adams and
Sinn Féin make unprecedented inroads into Irish political life North
and South, 2 the North continues to get scant play.3 A deficiency of
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such awareness allows for pervasive occlusions of conclusive intra-Irish
differences, and a problematical collapse of territory and writer—the
North as “Ireland” or “Britain,” the author as “Irish,” without any
reference to their northerly locatedness or even to their “Irishness,”
or, still more troubling, as “British.”4 And that holds true despite the
intense concentration on postcolonial theory within this field.
There are two connected issues here, though: a generalized forgetting—“not just critical blindness . . . but a determinate invisibility”
(Nolan 7)—of the region north of the border, and, with that, an elision
of partition as analytic frame.5 These issues are inextricable from and
cannot be prised in our work on Ireland. We are compelled to develop
greater critical cognizance of long-term impacts of the border north
and south. The focus here is the North in part because the effects of
division play out with great intensity in the lives of most residents
because the region was excluded from the achievement of decolonization and stands estranged. And even as “debates about Ireland’s postcoloniality regularly focus on its geopolitical disposition” (Brewster
125), this does not mean the region, or even simply Irish dividedness, are being theorized. Rather, in the long-standing revisionism
disputes regarding whether the nation is justifiably part of the postcolonial rubric—an excessive debate monopolizing the space of Irish
Studies—the island’s dividedness has entered those discussions, with
partition proffered as indicator of the already obvious fact.6 Location
and “traces of . . . dislocation are evident in the fractured development
of Irish Studies” (Alderson et al. 1) and still, much silence remains
regarding crucial connections between its political disposition and
the cultural production of Ireland on both sides of the border.
Maria Delgado speaks of how drama “[c]ritics have avoided classification based on the North-South divide because so many Northern
Irish writers have stated that they perceive themselves as Irish rather
than British” (viii). Such classifications are, however, not evaded within
literary writing where, since the 1970’s, there has been a “concerted
attempt . . . to engage with the [partition] debate by presenting multiple
consequences of the entry of British troops” (Delgado ix). Likewise,
for The Belfast Group—organized by Hobsbaum and including
Heaney, Muldoon, and McGuckian—it was “urgent that the social
and political exacerbations of . . . place should disrupt the decorums of
literature” (Heaney 2002, 43–44),7 purposes observable all through
the work of Field Day too.8 One critic cautioned that we should read
Ulysses—published at the moment of division—in the context of the
Troubles (Watson quoted in Nolan 19). With that, one wonders why
the classic 1921 poem, “The Second Coming”—written the year the
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treaty that split Ireland was negotiated by a poet for whom “world” is
very often “nation”—has not been considered through this lens?9 The
poem’s partitionist resonance is clear, not just in the title—as in, the
second coming of nation, now separated, multiple nations—but in its
best known lines: “Things fall apart; the centre cannot hold; / Mere
anarchy is loosed upon the world” (187). Seen this way, Yeats infers
that the political sundering fragmented the integrity of the nation to
the extent that, rather than an unhomely postcoloniality (as understood), it ushered in a monstrous era defined by an irresolvable profusion of times and places, of overlapping selves and others, of first,
“second” and third “thoughts” (Heaney 2002, 54).
Unsurprisingly, figures of the nation “fall[ing] apart” flourish in
the Northern Irish literary imagination. When they do, though, readings often develop in quite other directions. And this, at least in part,
results from an established blindness to the border. In a production
such as Making History, playwright Brian Friel offers a partitioned
object as allegorical embodiment of Ireland. Though set in the seventeenth century, the play speaks to and of the North through symbol
and prop. The historical Hugh O’Donnell, as imagined, illustrates the
oppressive force of imperial conquest in the seventeenth century by
partitioning a sheet of paper:
“Do you know what the hoors [the English] are at? They’re going to
build a line of forts right across the country from Dundalk over to
Sligo. That’ll cut us off from the south. (He illustrates this by tearing a
sheet of paper in two.) The second stage is to build a huge fort at Derry
so that you and I will be cut off from each other. (He illustrates this by
cutting the half-page into quarters.) Then when Donegal and Tyrone
are isolated, then they plan to move in against us. (Friel 1989, 9)
As the character theatrically shreds the prop symbolizing Ireland, it
metamorphoses as symbol of Friel’s tenuous contemporary “paper”
nation. The “time” of the play expands exponentially through a loop
created from 1601 to events of the twentieth century. This spectacular drawing and quartering of paper—a small place and object lesson of it—turns the material metaphor into a sideways elucidation of
the geopolitical vicissitudes defining the contemporary North, borne
of the more distant political history the play outwardly represents.
The Irish nation “explodes” into allegory of the North, of an exilic,
ungrounded identity, its speaker-subject having no legitimate place
to land or dwell, no capacity to maintain a figural integrity, dropped
into a nowhere between quadrants of insubstantial papyrus.
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Here is a picture of the elegiac North: it tells us that partition was
not just a break, it was a burial. If our work in Irish Studies is to construct a holistic critical understanding of contemporary Ireland—more
to the point, contemporary “Irelands”—crossing the border seems necessary.10 A meticulous appreciation of the “historical, political and cultural contexts in which these texts were composed and published can
considerably enhance one’s understanding of this literature” (Parker
Volume 1, xvi). Authors continue to intrigue and confound critics, in
part, because their work is all too rarely read through such a lens. The
character, craft, and meanings of much (allegedly) inscrutable Northern
Irish literature are elucidated in doing so. Analyzing the poetry of
Medbh McGuckian, Tom Paulin, or Paul Muldoon through geopolitical history brings into sharp focus experiences of alienation from and
breakage in the grounding locale. The same is true of dramatic work:
plays by Anne Devlin, Christina Reid, and Frank McGuinness make
considerably more sense when considered as articulators of Irish partitionism.11 The latter author, we remember, wants to “wash the muck of
the world off [him]self” (1996, 37), wonders “Did you intend that we
should keep seeing ghosts?” (Ibid 97), and peruses the nation, realizing
that “Darkness, for eternity, is not survival” (Ibid 98). Likewise, the
bizarre depths of Anna Burns’ despair in No Bones, the wild nihilism,
and raging grotesquerie of Eoin McNamee’s Resurrection Man and the
indigent, starved deathliness of Robert McLiam Wilson’s Ripley Bogle
are all appreciably illuminated.
Two additional facets of this text warrant comment. A central
mediation made here is the connection drawn between the poetics
of Northern Irish literature and the work of Samuel Beckett. He is
posited as chief literary forbear, the first author to represent divided
Ireland in a way that makes sense when set against the North. The
link between Beckett and the North is new to the scholarship and
the present volume does not presume to offer anything like a totality
on that score, nor does it, borrowing Watt’s word, endeavor to “retrofit” Beckett into the North or the North into Beckett. Rather, this
study aims to usefully extend this critical conversation by making
a Beckettian through-line visible as it appears in Northern writing.
It also offers analysis of (women) writers who have not been looked
at in this dialogue (Watt, D’Arcy, Estrin, others). However, to leave
room for that, and for the elaboration of my poetics theory, discussion of Irish and Northern Irish history had to be limited. As a way
of orienting the discussion of the literary poetics, at the opening of
chapter 1, I offer a very brief summation, for those unfamiliar with
the Troubles, but do not recount Ireland’s political history en toto.12
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Irish history is more complicated and nuanced than there is space
to represent here; the book therefore presupposes some historical
background.
Structure and Chapters
Generally, this book accounts for the ways “partition effects”
(Zamindar 238) in Ireland have come to be explored and explained
in Irish literary writing. Chapter 1, “Au contraire”: The Spectral
Borderlands of Northern Irish Literature,” develops an argument regarding the style and forms by which Northern Ireland and
Northern Irish identity have come to be represented. The first half
positions Northern poetics as being largely based upon a design that
comes together as a spectral borderlands. In this, as mentioned, writers draw inspiration, first and foremost, from the work of Samuel
Beckett. Citing research of various critics and theorists, this chapter
briefly reviews the history of the Troubles, delineates the theory of
Northern Irish poetics, tracing its presence through select works and
establishing Beckett as key influence. The second part of the chapter
theorizes the conditions of authorship and of Northern subjectivity,
as validation for both the understanding of Northern Irish poetics
outlined and the connection drawn to Beckett, which is located it
in analogous time signatures. I then include three literary critical
chapters that explore and develop questions and assertions posed
in the first, explications of Anne Devlin’s self-contradiction, Medbh
McGuckian’s silence, and Anna Burns’ doubt.
Theater
Plays by Anne Devlin, and many of her peers, frequently stage the spectral borderlands, including dramatists Frank McGuinness, Christina
Reid, Stewart Parker, and Brian Friel. McGuinness uses specter and
scrim to contend with the question of being Northern Irish, whereas
Friel’s development regards a transnational conception, a working
through of history and illustration of a particularly Irish Anzaldúan
frontera. Reid’s aim is similar: she critiques and collapses colonial and
nationalist discourses using mostly the spectral side of this poetics.
While it is true that Reid and Devlin likewise “deconstruct the problematic issues of identity and self-definition facing both the Catholic
and Protestant communities in Northern Ireland,” they do so in
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decidedly different ways (Delgado x). Rather than performing a critique of cultural identity—Devlin’s general project—Reid’s aim is to
deconstruct dominant discourses of the North and moderate the third
space between the region’s cultural others. Her transnational posture is closer to Anna Burns’ or Brian Friel’s, writers who amalgamate and collapse “enemy” figures13 so as to draw out correspondences
and shared histories, liminalities, ambivalences, and productive borderlands. Devlin’s enactments stand out in the sense that she thinks
about the political through identity, in staging the deeply conflicted,
deathly nature of being Northern Irish. Of her contemporaries, Frank
McGuinness, a playwright Devlin much admires (Cerquoni 2001, 114,
122), hovers closest to her own method in terms of a preoccupation
with deathly borderlands. McGuinness’ Observe the Sons of Ulster
Marching Towards the Somme (1996) is a memory play dramatizing
the sundry forms of death that become possible in a place of partition
and conflict—actual death, ontological death, survivor death, living
death, and so on. Likewise, in Stewart Parker’s Pentecost, it is the
ghost of a dead child that “evokes all the recent dead of Belfast and the
North . . . who call on the living to redeem them” (Roche 228).
In chapter 2 , “Self-Contradiction in a Small Place: Anne Devlin’s
‘Other at the Edge of Life,’” I focus on how, in her work, we witness a critical elaboration of Northern Irish subjectivity through the
allegorical spaces of contraction and struggle she produces and her
employments of the “world-scrim” (Muldoon 7) and other quintessential figures from Irish literature, such as the An tSeanbhean
Bhocht (or Shan Van Vocht) or the bean sidhe (banshee). The incongruity suffusing Devlin’s writing is positioned as echo of the ruptured
nation, its undecidable ontology and subjectivity. Characters illustrate the contradictory nature of being Northern Irish in their negotiations of purgatorial, Beckettian landscapes and crises at the border
of life and death. In frequent strangulations and confinements, Devlin
stages dialogues with the dead as a means of representing the effects
of imperialist partitioning. This chapter brings postcolonial (Bhabha,
Anzaldúa) and poststructural theory (Derrida) together in arriving
at an understanding of this playwright’s view of the North and her
conception of Northern Irish identity.
Poetry
Recent poetry from the North offers equally compelling liminal and
ghostly spaces, situations, and speakers. Heaney, Muldoon, Paulin,
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MacNeice, Carson, and McGuckian all articulate speakers bereft of
an ontological existence, beset by confused, changeling structures.
They often articulate the piece in a Beckettian language edging
impossibility. In Station Island, Heaney’s speaker is trailed by ghostly
muses; his dirt and digging conceits play on not just the idea of the
“auld sod” of nation but that of burial, grief, the losses of imperial
history. Through his more conventional style, this poet addresses the
haunted deathliness of life and word, whereas Tom Paulin and Medbh
McGuckian signal Northern spectrality through a more grotesque,
grim, candid poetics. Paulin writes, “The theatre is in the streets, /
The streets are in the theatre, The poet is torn to pieces” (Ormsby
223). And McGuckian’s oeuvre presents one of the best renditions
of the meaning of partition, tropes that function as Batten described
them: “locat[ing] . . . the interior organs of reproduction at the public and politicized border, a fecundity whose literal pluralism, whose
promise of peaceful cohabitation within the envelope of a multicultural community, seems stark and pointless” (2002, 127). Her metaphors of location amalgamate times, places, and borders. Note the
convoluted situations of falling, transmogrification, and death, her
poetical slips and falls imaging a hopeless float around Friel’s flimsy
piecemeal paper-nation. This poet is repelled by the English language
in spite of the fact that it is her material and her method; but this
makes more sense when we remember that she is estranged from the
nation in which her material existence is meant to endure.
Thus language play and abstraction, translation and bricolage,
toil and obscurity are more or less givens for McGuckian. Chapter 3,
“Outlining Silence in the Poetry of Medbh McGuckian,” develops
these concerns, interpreting the poems as embodiments of silence
that reflect and instantiate the enigma of history, memory, and voice
haunting poets of the North. McGuckian siphons that which is most
important about war, colonialism, and partition through a crisis of
wordlessness—a spectrality of voice and language—and by working
in the borderlands of form and genre, particularly the scrim separating poetry and visual art. She uses English against itself to create a
mimesis of unreachable, nonexistent or forbidden words: the Irish
words lost through colonial history that, if reachable, could only be
accessed by means of the colonial language that is her mother tongue.
In response to the impossibility of such a language to carry and convey
the poet’s truths, McGuckian outlines unspeakability and creates a
self-contradictory, imagistic language art. The poem’s ability to come
to fruition and continue “breathing” in English is the mystery propelling it forward. As verses confoundingly unfold, the poem’s ultimate
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significance is in the interval between a will to flout the language
giving it embodiment and an equally strong desire to transcend the
cocoon of language, lift off the page, and transmogrify visually. This
explication is developed using trauma theory as well as theoretical
writings by Toni Morrison, Joseph Cleary, and Meena Alexander.
Fiction
The other literary form reviewed here is Northern fiction, and the
other exemplar, novelist Anna Burns. Fiction from the North likewise
bears the signature of scrimmed spectrality. These tropes are obvious presences in work by storytellers such as Eoin McNamee, Robert
McLiam Wilson, Glenn Patterson, and, of course, Burns. Since
Hughes and others have recognized the thriller as “the” form of the
Northern Irish novel, including a problematic avoidance of political
history (6), things have changed.14 Writers like Burns and McNamee
give us unwaveringly political and uncompromisingly graphic realist
novels, bald-faced critiques of the Troubles, of partition, and of the
wider political history. Likewise, Cleary’s observation that Northern
Irish storytelling generally circumvents the importance of state structure to the vicissitudes of daily life is also changing (2002, passim).
In Burns, specifically, the war and partitioned structure of the statelet
aren’t mere backdrops to a family epic, the heroic odyssey of a male
protagonist, or the progress of a multisectarian romance. Rather,
they are foundational structures of the narrative; and that is a status
her work shares with few Irish novels, among them Resurrection Man
and Burning Your Own. Another defining structure of her work is
the scrim. In the first few pages of No Bones, Amelia Lovett is surrounded and enclosed, barricaded under the kitchen table with the
family dog. The windows and doors are covered by wooden planks
as her family prepares to keep their house from being burned to the
ground by their neighbors. A few chapters in, she hides under a bed
with her treasured collection of rubber bullets gathered from the
streets of Belfast. One of the most vivid scrims populating the novel
is a set of cliffs she visits multiple times near the close, “it was then
Amelia noticed she was on the edge of the cliff . . . They looked over. It
was a heavy drop, a deep sleepy drop, easy, so easy to let go, just fall
over, and disappear” (291).
Just as McGuckian applies a “sandpaper” poetics to the language,
sanding it down to a core or origin at which the words might “magically” rekindle as Irish, novelist Anna Burns sands off the mental
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corrections of lived time to produce a phenomenological narrative
that might “replay” the history of the Troubles. Chapter 4, “Specter
and Doubt in Anna Burns’ No Bones,” positions the novel as an
endeavor to return to the “moment of violence” (Pandey 1997) and
affectively immerse readers in the past. Rather than recount history
through direct relation of story and detail—the customary mode for
the historical novel—Burns’ offers a series of vignettes that “walk”
readers through and bring the era viscerally to life. Her (hi)story
hovers in the epistemological borderlands of doubt: it is poignant,
abundantly visual, and wholly absurd. Through the vivid use of confining, deathly scrims and spectral furies, Burns’ territorial meaning
is exceptionally well-defined, and Amelia’s alienation, unnamability, and political intersectionality cogent. Of greatest significance is
Burns’ iteration of the need for postcolonial reparations through a
“scrimmed” mimesis of the dead of political history; in a spectral
finale, a simulacrum of reparations takes shape, underscoring the
losses of colonialism and irremediable debt owed to Ireland. This
last chapter employs ideas of a range of historiographers and poetics
theorists, most especially Pandey, Caruth, Merleau-Ponty, Sedgwick,
LaCapra, Bloch, and Morrison.
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Index
Adams, Gerry 3, 18, 117, 129, 130
aesthetic(s) 1, 3, 19, 22, 24, 26, 29,
31, 33, 35, 57, 60, 101, 145,
153, 158, 159, 165, 169, 184
affect, 157, 158, 160, 164, 169
Ahmad, Aijaz 30, 31, 185
aisling 25, 41, 48, 60, 93, 96
Alexander, Meena 10, 19, 103, 105,
107, 114, 115, 116, 129, 171,
172
Alliance Party 16
Allingham, William 57, 58, 59, 60,
61
“Laurence Bloomfield in Ireland,
A Modern Poem” 57
An tSeanbhean Bhocht (Shan Van
Vocht) 8, 87, 176
Anderson, Benedict 3, 51, 53, 54
imagined communities 80
Anglo-Irish Treaty 13, 30
anticolonial nationalism 13, 64, 65,
70, 97, 141
Anzaldúa, Gloria 7, 8, 23, 25, 50,
66, 74, 75, 76, 77, 143, 189
Aristotle 119, 161, 167, 169
Ashbery, John 101, 110, 115
Ashe, Thomas 41
assimilation 50
Bahti, Timothy 168, 169, 170
Balzac, Honoré de 150, 164
Batten, Guinn 9, 125, 189
Battle at Boyne 192
bean sidhe (banshee) 8, 21, 24, 25,
73, 83, 87
Beckett, Samuel 1, 6, 7, 18, 19, 26,
28, 29, 30, 31, 32, 33, 34, 35,
36, 37, 38, 41, 42, 47, 54, 55,
56, 57, 59, 60, 61, 78, 80, 93,
105, 119, 129, 137, 138, 157,
185, 186, 188, 192
Company 60
Endgame 26, 30, 33, 34, 35,
36, 47, 48, 49, 55, 56, 87, 93,
192
Happy Days 33, 38
Krapp’s Last Tape 30, 33, 34, 35,
36, 185
Malone Dies 33
Waiting for Godot 32, 33, 35,
36, 46, 59, 61, 196
Belfast Agreement. See under: Good
Friday Agreement
Belfast Group, The 4, 40
Benjamin, Walter 21, 43, 48, 139,
165, 167, 168, 169, 172, 179,
191, 192
Bhabha, Homi 8, 23, 50, 53, 59,
66, 67, 71, 74, 75, 76, 77, 78,
79, 81, 89, 106, 189, 190
Bloch, Ernst 11, 52, 144, 165, 166,
167, 169, 179
Bloody Sunday 161, 183, 186
border(s) 2, 3, 4, 5, 6, 8, 9, 14, 17,
18, 19, 20, 22, 23, 24, 28, 29,
33, 34, 35, 40, 43, 44, 47, 48,
49, 50, 51, 52, 53, 54, 55, 56,
57, 58, 60, 61, 67, 74, 75, 76,
77, 82, 83, 84, 85, 87, 88, 90,
104, 105, 124, 128, 133, 134,
138, 141, 170, 172, 181, 182,
183, 184, 185, 187, 191
borderlands 1, 7, 8, 9, 11, 19, 21,
22, 23, 24, 25, 27, 28, 29, 30,
33, 38, 46, 50, 54, 55, 56, 57,
58, 74, 75, 76, 83, 85, 91, 92,
102, 127, 134, 157, 172, 174,
175, 176
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Bose, Sumantra 14, 15, 51, 182, 184
Boxall, Peter 24, 29, 31, 33, 35, 41,
47, 48, 55, 57, 59, 83, 105, 185,
188
Breton, André 118, 135, 161, 165,
166, 167, 190
British Empire 16, 171
Burns, Anna 1, 2, 6, 7, 8, 10, 11,
16, 19, 20, 24, 26, 27, 28, 29,
37, 42, 46, 61, 137, 138, 139,
140, 141, 142, 143, 144, 145,
146, 147, 148, 149, 150, 151,
152, 153, 154, 156, 157, 158,
159, 160, 161, 162, 163, 164,
165, 167, 168, 169, 170, 171,
172, 173, 174, 175, 176, 177,
178, 179, 185, 189, 191, 192,
193
No Bones 2, 6, 10, 11, 16, 26,
48, 137, 138, 139, 140, 142,
143, 145, 147, 148, 149, 151,
153, 156, 157, 158, 159, 160,
162, 163, 165, 169, 170, 171,
173, 174, 177, 178, 179, 189,
191, 193
Little Constructions 137
Cairns, David and Shaun
Richards 53, 54
Carson, Ciaran 9
Caruth, Cathy 11, 143, 144, 151,
152, 158, 171, 179
catharsis 160, 163, 164, 173
Catholic 7, 14, 15, 16, 23, 24, 43,
44, 48, 69, 72, 79, 90, 111,
137, 140, 141, 143, 146, 182,
183, 184, 185, 187
Cha, Theresa Hak Kyung 105
Chakrabarty, Dipesh 167
Charabanc Theatre Company 64
Civil Rights Association
(Catholic) 14
Civil Rights Movement (Irish) 183
Civil War 13, 41, 43, 44, 183
Cleary, Joseph 3, 10, 14, 16, 17,
21, 23, 28, 43, 47, 50, 51, 66,
67, 71, 72, 73, 82, 92, 97, 104,
107, 181, 182, 187, 191
colonial discourse 3, 17, 39, 75,
100, 141, 182, 187, 191
colonialism 3, 9, 11, 16, 48, 50,
51, 64, 65, 68, 70, 74, 97, 108,
124, 140, 141, 170, 174, 175,
179, 185, 186
communities 7, 14, 15, 30, 44, 45,
46, 50, 51, 53, 71, 141, 163,
182, 183
Conrad, Joseph 138, 179
Corkery, Daniel 35, 42, 67, 68
Dáil Éireann 18
Das, Veena 103, 131, 132
Deane, Seamus 20, 31, 138, 139,
144, 153, 181, 184, 189
Reading in the Dark 138, 139,
153, 184, 189, 191
decommissioning 15, 183
Derrida, Jacques 8, 46, 66, 67, 88,
89, 90, 91, 93, 97, 98, 134,
170, 172, 189
Devlin, Anne 1, 2, 6, 7, 8, 19, 20,
24, 26, 29, 35, 36, 37, 41, 42,
55, 61, 63, 64, 65, 66, 67, 68,
69, 70, 71, 72, 73, 74, 75, 76,
77, 78, 79, 80, 81, 82, 83, 84,
85, 86, 87, 88, 89, 90, 91, 92,
93, 94, 96, 97, 98, 107, 109,
114, 122, 134, 137, 143, 147,
184, 185, 186, 187, 188, 189,
190, 191
A Woman Calling 87, 93
After Easter 24, 35, 36, 63, 65,
66, 68, 69, 70, 72, 73, 77, 78,
81, 83, 85, 86, 87, 88, 91, 92,
93, 94, 95, 96, 97, 147, 184,
187
Heartlanders 63
Ourselves Alone 24, 35, 63, 65,
70, 72, 76, 80, 85, 86, 87, 92,
93, 188
The Long March 24, 63, 73, 77,
78, 83, 85, 93
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The Way Paver 63, 90
“Naming the Names” 24, 65, 67,
73, 76, 78, 84, 87, 90, 92, 93,
189, 190
“Passages” 93
Dickinson, Emily 41, 120, 123, 130
Donoghue, Denis 18, 57
drama 4, 19, 55, 58, 64, 95, 186
Dubois, W.E.B. 23, 50, 76, 187, 190
Eagleton, Terry 97, 178
Easter Rising 17, 30, 44, 63, 183,
184
epistemology 11, 89, 92, 139, 148,
149, 165, 171, 178
faery 22, 23, 184
famine 34, 44, 174, 177
Felman, Shoshana 157, 163, 166,
167
feminism 24
fenians 41, 192
fiction 1, 10, 19, 24, 56, 65, 78, 93,
138, 149, 151, 152, 153, 162
Field Day Theater Co. 4, 64, 181,
182
film 64, 65, 77, 84, 93, 125, 167,
188, 191
Foucault Michel 19, 21, 26, 27, 45,
59, 60, 144, 166, 167
Fraser, T.G. 13, 44, 183
Friel, Brian 1, 2, 5, 7, 8, 9, 19, 20,
32, 34, 58, 64, 65, 67, 92, 113,
186, 187, 189
Making History 5
The Freedom of the City 32
Translations 20, 34, 92, 113,
187, 189
Volunteers 32, 189
gender 2, 3, 23, 25, 69, 70, 99, 129,
182
transgender 88, 108
genre 2, 9, 17, 19, 20, 29, 39, 41,
117, 119, 123, 128, 132, 143,
145, 157, 160, 165
213
trans-genre 117, 119, 123, 128
thriller (Irish) 10, 17, 72, 140
geographical 3, 20, 23, 45, 75, 115,
184
geography 32, 55, 80, 121, 133,
174, 181
geopolitical 4, 5, 6, 18, 37, 60, 71,
75, 100, 124
Good Friday Agreement 15, 48,
182, 187, 191
Graham, Colin 46, 48, 50, 51, 181
Gramsci, Antonio 21, 23, 47
interregnum, 21, 47, 48
Grass, Günter 138, 143, 147, 157,
191
grotesque 6, 9, 129, 142, 143, 144,
153, 155, 157, 166, 178
Heaney, Seamus 1, 4, 5, 8, 9, 19,
25, 30, 34, 35, 37, 38, 39, 40,
41, 42, 45, 47, 48, 49, 60, 61,
80, 99, 102, 104, 105, 118,
119, 127, 133, 165, 181, 186,
187, 189
Station Island 9, 186
North 38
Finders Keepers 4, 5, 19, 35, 40,
45, 165
“Whatever You Say, Say
Nothing” 25, 47, 48, 102, 104,
105, 133, 135, 191
“The Unacknowledged
Legislator’s Dream” 38
Heidegger, Martin 58, 189
Herman, Judith 21, 47
historical 2, 3, 5, 6, 7, 11, 17, 19,
21, 22, 24, 29, 31, 35, 37, 41,
42, 43, 45, 50, 51, 53, 55, 63,
66, 71, 75, 79, 82, 97, 100,
103, 107, 114, 115, 116, 118,
129, 137, 139, 142, 144, 145,
148, 149, 150, 151, 153, 154,
156, 157, 159, 160, 161, 163,
164, 166, 167,169, 170, 172,
174, 175, 177, 178, 179, 191,
192, 193
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historical revisionism (Irish) 4, 50,
181
historicity 158
historiography 71, 144, 169
history 1, 2, 3, 5, 6, 7, 8, 9, 10,
11, 13, 15, 16, 17, 18, 20, 21,
22, 23, 24, 26, 27, 28, 30, 32,
33, 35, 37, 38, 39, 40, 41, 43,
44, 45, 46, 47, 48, 51, 54, 55,
56, 57, 59, 60, 63, 64, 65, 70,
71, 73, 74, 77, 83, 89, 90, 97,
99, 101, 102, 103, 105, 106,
108, 113, 114, 116, 119, 120,
124, 128, 130, 132, 137, 139,
141, 142, 143, 144, 145, 147,
148, 149, 150, 151, 152, 153,
155, 156, 157, 158, 159, 160,
161, 162, 163, 164, 165, 166,
167, 168, 169, 170, 171, 172,
173, 174, 175, 177, 178, 179,
181, 182, 184, 185, 186,
187, 189, 192
Hobsbaum, Philip 4
Horace 117
Hughes, Éamonn 3, 10, 17, 42, 44,
46, 49, 53, 181
Hughes, Geraldine 64
Belfast Blues 64
invisibility 4, 18, 23, 26, 28,
36, 70
IRA. See under: Irish Republican
Army
Irish Free State 13
Irish Republic. See under: Republic
of Ireland
Irish Republican Army 14, 15, 44,
79, 81, 84, 90, 137, 183, 186,
190
Provisional IRA 14, 15, 79, 137,
183
Irish Studies 3, 4, 6, 66, 142, 143,
181, 182
Irishness 4, 17, 24, 25, 27, 29, 34,
36, 40, 45, 52, 56, 59, 65, 66,
67, 71, 73, 81, 82, 88, 89, 96,
97, 111, 190
Israeli 43, 45
Jameson, Frederic 144, 158, 165,
167, 168, 172
Jordan, Neil 28
The Crying Game 28, 191
Joyce, James 21, 26, 29, 31, 32, 34,
35, 40, 41, 56, 100, 119, 130,
138, 141, 144, 146, 155, 170,
178, 184, 185, 186, 188, 190,
192, 193
A Portrait of the Artist as a
Young Man 146, 162, 191
Ulysses 4, 40, 41, 58, 81, 101,
140, 164, 190
Finnegans Wake 40, 41, 185, 186
“The Dead” 19, 21, 164, 170,
178, 184
Kafka, Franz 138, 157, 192
Kiberd, Declan 23, 30, 31, 32, 35,
36, 42, 48, 52, 55, 59, 60, 61,
67, 81
Kiely, Benedict 30, 61, 188
Kincaid, Jamaica 13, 43, 77, 139
LaCapra, Dominick 11, 143, 144,
157, 158, 165, 166, 167, 179
liminality 22, 30, 50, 55, 74, 77,
84, 157, 158
Lloyd, David 22, 50, 51, 52, 141,
181
Loyalists 14, 43, 46
Lukács, Georg 144, 145, 160, 161,
165, 166, 192, 193
Lyotard, Francois 160
MacLaverty, Bernard 19, 32, 138
MacNeice, Louis 9
Mahon, Derek 41
Mahon, Peter 3, 15, 17, 32, 44, 47,
181, 186, 203
Manto, Saadat Hasan 131
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Matalon, Ronit 151
materialism 164, 167, 168, 171,
177, 179
McCann, Colum 1, 29, 61, 138,
145, 151, 158, 191
Let the Great World Spin 151
TransAtlantic 29
“Everything in This Country
Must” 29, 138
McGuckian, Medbh 1, 2, 4, 6, 7, 9,
10, 19, 20, 24, 25, 26, 29, 36,
37, 38, 39, 41, 42, 47, 48, 55,
57, 58, 59, 60, 61, 63, 88, 96,
99, 100, 101, 102, 103, 104,
105, 106, 107, 108, 109, 110,
111, 112, 113, 114, 115, 116,
117, 118, 119, 120, 121, 122,
123, 124, 125, 126, 127, 128,
129, 130, 131, 132, 133, 134,
135, 137, 143, 145, 172, 184,
187, 188, 189, 190
The Flower Master 99, 110, 111,
112, 122, 189
Venus and the Rain 106, 110,
111, 112, 113, 120, 123, 125,
126, 189
On Ballycastle Beach 103, 108,
109, 111, 112, 125, 128, 130,
131, 132, 189
Marconi’s Cottage 106, 109, 110,
112, 113, 114, 117, 118, 120,
121, 122, 125, 126
Captain Lavender 25, 111, 113,
118, 121, 122, 123, 125,
127, 189
Shelmalier 99, 106, 111, 119,
122, 124, 127, 134, 189, 190
The Soldiers of Year II 106, 111,
113, 119, 122, 127, 134, 189,
190, 195, 197, 204
The Book of the Angel 110, 115,
118, 120, 124, 133
The Currach Requires No
Harbours 110, 122, 124
The High Caul Cap 99, 122
215
“The Dream-Language of
Fergus” 130
“Birthday Composition of
Horses” 57, 102
“Moon Script” 88, 133
“The She-Eagles” 116, 117
“The Aisling Hat” 25, 26, 29,
102, 187
McGuinness, Frank 6, 7, 8, 42
Observe the Sons of Ulster
Marching Towards the Somme 8
McLiam Wilson, Robert 6, 10, 19,
138
Ripley Bogle 6
McNamee, Eoin 6, 10, 138, 156,
183, 189
Resurrection Man 6, 10, 138,
156, 183, 189
Merleau-Ponty, Maurice 11, 144,
158, 161
mimesis 9, 11, 24, 35, 68, 129, 144,
169, 171, 177
Mistry, Rohinton 150
modernism 21, 31, 41, 186
Molloy, Frances 26, 137, 192
Morris, Pam 107, 108, 111, 119,
144, 145
Morrison, Toni 10, 11, 115, 116,
118, 122, 138, 143, 144, 159,
170, 171, 172, 173, 176, 178,
192, 193
Beloved 143, 159, 170, 172, 173,
176, 178, 193
Mufti, Aamir 33, 38, 167, 179
Muldoon, Paul 1, 4, 6, 8, 19, 21,
22, 23, 24, 28, 29, 30, 32, 33,
37, 41, 57, 61, 84, 100, 101,
184, 186, 188, 189
To Ireland, I 21, 22, 188
mythological cycles (Irish) 21, 22,
28, 87, 88, 93, 193
Naipaul, V.S. 105, 189
national identity 2, 20, 43, 51, 65,
67, 69, 72, 77, 83, 88
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nationalism 7, 14, 15, 16, 17, 24,
30, 31, 34, 35, 36, 43, 45,
48, 52, 56, 57, 59, 66, 67,
68, 69, 72, 76, 81, 82, 90,
140, 143, 183, 184, 185,
187, 188
transnational(ism) 7, 8, 23, 46
nation-state 71, 72, 75, 87, 103
Ní Chonaill, Eibhlín Dubh 41
Ní Dhomhnaill, Nuala 38, 41, 100,
106, 113, 143, 189, 206
Ní Dhuibhne, Éilís 28, 143
The Dancers Dancing 28
Northern Irish Troubles. See under:
The Troubles
O’Casey, Sean 31, 35, 56, 63, 64
The Shadow of a Gunman, 64
ontological 2, 3, 8, 9, 20, 33, 36,
41, 43, 46, 47, 58, 66, 68, 69,
75, 76, 80, 82, 89, 97, 188
ontology 8, 18, 19, 31, 32, 34, 42,
56, 59, 60, 61, 65, 67, 68, 75,
76, 81, 160, 170, 179
Operation Banner 140, 149, 161,
185, 191
Orange Order 16, 183, 184
Palestinian 43, 45, 163
Pandey, Gyanendra 3, 11, 144, 148,
158, 166, 167, 168, 179, 181,
187, 206
paramilitarism 15, 84, 183
paramilitary 14, 15, 146, 175
Parker, Andrew 6, 15, 20, 37, 53,
182
Parker, Stewart 7, 8
Pentecost 8
partition 1, 2, 4, 6, 7, 8, 9, 10, 13,
14, 17, 18, 21, 22, 23, 24, 25,
26, 28, 29, 30, 31, 33, 34, 36,
38, 40, 41, 43, 44, 48, 49, 50,
51, 52, 53, 55, 56, 57, 58, 59,
60, 61, 63, 64, 65, 66, 67, 72,
74, 75, 76, 77, 78, 79, 81, 84,
87, 88, 100, 104, 105, 117, 124,
130, 131, 132, 139, 140, 142,
143, 144, 146, 147, 150, 158,
167, 174, 179, 181, 183, 185,
186, 187, 188, 190
partitionist 5, 21, 48, 54, 70, 71,
83, 102, 111, 114, 128, 131,
140, 144, 159, 160, 182
Patterson, Glenn 10, 138
Burning Your Own 10, 138
Paulin, Tom 1, 6, 8, 9, 39, 40, 42,
43, 46, 55, 61, 118, 206, 207
Peace Line, The 45, 50
Peace Process, The 3, 15, 16, 25,
149, 161, 162, 174
Pearse, Padraig 31, 66, 67, 82,
134, 189
penal codes 16
phenomenology 144, 157, 158, 159,
160, 161, 166, 167, 168, 169,
171, 179
Picasso, Pablo 41, 122, 128
plantation schemes 16, 44, 51
poesis 99, 103, 104, 116, 117, 122,
159
poetics 6, 7, 9, 10, 11, 19, 20, 21,
24, 28, 29, 37, 44, 78, 102,
108, 116, 117, 123, 126, 128,
130, 132, 143, 144, 145, 148,
158, 164, 165, 166, 169, 172,
188
of confinement 78
of contingency 126
of doubt 144, 145, 164, 165,
169
poetry 2, 6, 8, 9, 25, 26, 38, 39,
41, 61, 99, 100, 101, 102, 104,
105, 106, 107, 108, 109, 114,
115, 116, 117, 118, 119, 120,
121, 122, 129, 130, 131, 132,
134, 135, 166, 167, 169, 179,
181, 182, 190
political poetry (Irish) 25, 185
postcolonial 1, 4, 8, 11, 32, 44, 46,
50, 51, 52, 53, 54, 61, 66, 67,
74, 75, 76, 77, 78, 81, 82, 85,
89, 107, 117, 129, 144, 145,
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147, 148, 160, 161, 164, 165,
168, 169, 170, 172, 173, 177,
178, 179, 187, 193
Postcolonial Studies 202, 205
postcoloniality 4, 5, 24, 36, 53, 64,
74, 75, 129, 169
postfeminism 81
postmodern(ism) 1, 19, 20, 21, 22,
23, 24, 31, 35, 38, 41, 49, 54,
55, 58, 59, 66, 67, 74, 117, 119,
129, 143, 144, 160, 161, 169,
184, 186, 187
post-partition 18, 24, 34, 36, 40,
53, 56, 57, 58, 59, 60, 63, 78,
81, 146, 188
poststructuralism 1, 8, 66
Protestant 7, 14, 15, 23, 32, 44, 69,
72, 111, 140, 141, 182, 183,
185, 192
realism 142, 143, 145, 148, 157,
165, 166, 167, 168, 192
realism debates 165
Reid, Christina 1, 6, 7, 8, 41, 49,
51, 64, 65, 70, 85, 143, 181,
185, 187, 188
Joyriders 41, 64
Tea in a China Cup 188
reparations 11, 144, 169, 170, 172,
177, 179
Republic of Ireland 1, 13, 14, 17,
23, 28, 43, 46, 49, 51, 142,
184, 185, 187, 188
Republican (Irish) 14, 15, 43, 44,
52, 72, 87, 141, 182, 183, 187
Rilke, Rainer Maria 41
Rushdie, Salman 138, 139, 144,
145, 160, 169
Saint Andrews Agreement 15
Sands, Bobby 130, 161
Sarkar, Bhaskar 18, 30, 45, 51,
185
Saville Inquiry 183
scrim 1, 7, 8, 9, 10, 19, 21, 22, 23,
24, 25, 27, 28, 29, 37, 38, 57,
217
59, 60, 61, 84, 85, 86, 87, 88,
89, 92, 93, 94, 102, 156, 159,
162, 170, 174, 184
SDLP (Social Democratic and
Labour Party) 63, 188
seanchaí 24, 68, 93, 94, 95
sect line 50
sectarianism 15, 16, 43, 44, 71, 72,
73, 79, 88, 90, 141, 150, 152,
182, 187
Sedgwick, Eve 11, 144, 148, 157,
158, 161, 165, 167, 168, 169,
192
self-contradiction 7, 68, 69, 70, 75,
77, 82, 89, 107, 148
sexual politics 71, 103
Shakespeare, William 53
Shelley, Mary 38, 186, 208
Shelley, Percy 38, 186
Sidhwa, Bapsi 139, 153
silence(ing) 1, 4, 7, 9, 25, 26, 29,
35, 37, 38, 41, 79, 80, 88, 100,
103, 104, 105, 106, 107, 108,
109, 110, 113, 116, 118, 119,
120, 121, 127, 130, 131, 132,
135, 144, 145, 146, 159, 164,
170, 171, 177, 178
Sinn Féin 3, 18, 34, 63, 72, 181,
183, 188
specter 1, 7, 19, 25, 29, 30, 33, 37,
46, 57, 58, 60, 65, 82, 83, 89,
97, 102, 105, 138, 151, 152,
157, 170, 172, 177, 193
spectral 1, 7, 11, 19, 21, 22, 23,
24, 25, 26, 28, 29, 30, 33,
38, 45, 46, 47, 54, 55, 57,
59, 61, 65, 66, 76, 78, 82,
83, 87, 88, 90, 91, 92, 97,
102, 130, 133, 134, 171,
172, 174, 175, 176, 177,
186, 192
spectrality 9, 10, 19, 33, 58, 65, 76,
82, 83, 84, 88, 93, 96, 97, 102,
134, 175, 185
spéirbhean 21, 25, 30, 60, 87, 108,
187
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Subaltern Studies 167, 181, 186
fragment 1, 5, 20, 29, 42, 53,
105, 138, 144, 145, 147, 149,
156, 159, 168, 169
Surrealism 165
theater 4, 9, 22, 64, 121, 182
Abbey Theatre 40
Tone, Wolfe 41, 48, 140, 149
traumatic realism 143, 157, 167
Treaty of Limerick 16
Troubles, The 2, 3, 4, 6, 7, 10, 11,
13, 14, 16, 19, 24, 27, 28, 32,
34, 38, 44, 45, 47, 48, 49, 63,
65, 71, 72, 73, 100, 101, 103,
109, 133, 137, 138, 139, 140,
141, 143, 148, 149, 150, 156,
159, 161, 162, 163, 172, 174,
175, 177, 179, 183, 186, 188,
191, 192
truth claim 144, 145, 148, 149,
150, 154, 158, 160, 178
Unionists 14, 17, 42, 43, 44, 46
wait 30, 35, 46, 48, 54, 59, 75, 137,
192
waiting 27, 34, 46, 47, 48, 54, 56,
61, 78, 90, 150, 160
war 2, 9, 10, 13, 15, 27, 30, 31, 37,
38, 64, 84, 88, 100, 101, 102,
103, 104, 105, 107, 109, 110,
114, 120, 121, 122, 129, 131,
132, 135, 139, 140, 141, 142,
143, 144, 145, 146, 148, 149,
150, 152, 157, 159, 165, 167,
174, 191
Waterman, Stanley 53, 54
Women’s Caucus (Peace Process) 3
Women’s Studies 2
Yeats, W.B. 5, 22, 29, 30, 31, 41,
56, 64, 66, 100, 182, 184,
185, 189
Cathleen Ní Houlihan 185
“The Second Coming” 4
Zamindar, Vazira 7, 18, 187
partition effects 7, 56
Copyrighted material – 9781137474742