Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Irish Catholicism Since 1950: The Undoing of a Culture (review)

Irish Catholicism Since 1950: The Undoing of a Culture (review) ing," juxtaposed with a voice complaining "Only yesterday / we were in love." Itself a source of opacity, such elliptical treatment sorts uneasily with the sensuous immediacy of "In the Dunes," "Current Events," "After Rain" and other poems which address non-human subjects. In the absence of thematic divisions, these contrasts of rhetorical strategy create, here and there, a stylistic disharmony, as though dark abstracts and luminous Impressionist paintings had been mounted in a single show. Fortunately, such discordancies do little to diminish the general strength of Still Life with Waterfall. Some of the most engaging poems in the collection-- "Full Moon,""After Rain,""Sitter, Renvyle,""Enough"--explore the intersection of homan and natural worlds in a dense but accessible style. Others extend Grennan's enduring interest in the visual arts, particularly Dutch interior art and the paintings of Bonnard. In "Vermeer, My Mother, and Me," the most compelling of these poems, a "little corner" of Vermeer's The Little Street recalls the narrator's Dublin childhood, and the figure of a woman "bent over in her own back yard" awakens a memory of the narrator's own mother calling his name: back through the kitchen, along the narrow hall, up the dark-carpeted stairs and into the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png New Hibernia Review Center for Irish Studies at the University of St. Thomas

Irish Catholicism Since 1950: The Undoing of a Culture (review)

McCaffrey, Lawrence John
New Hibernia Review , Volume 7 (2) – Mar 9, 2003
Download PDF
4 pages

Loading next page...
 
/lp/center-for-irish-studies-at-the-university-of-st-thomas/irish-catholicism-since-1950-the-undoing-of-a-culture-review-4bX18PxpR9

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Center for Irish Studies at the University of St. Thomas
Copyright
Copyright © 2003 The University of St. Thomas.
ISSN
1534-5815
Publisher site
See Article on Publisher Site

Abstract

ing," juxtaposed with a voice complaining "Only yesterday / we were in love." Itself a source of opacity, such elliptical treatment sorts uneasily with the sensuous immediacy of "In the Dunes," "Current Events," "After Rain" and other poems which address non-human subjects. In the absence of thematic divisions, these contrasts of rhetorical strategy create, here and there, a stylistic disharmony, as though dark abstracts and luminous Impressionist paintings had been mounted in a single show. Fortunately, such discordancies do little to diminish the general strength of Still Life with Waterfall. Some of the most engaging poems in the collection-- "Full Moon,""After Rain,""Sitter, Renvyle,""Enough"--explore the intersection of homan and natural worlds in a dense but accessible style. Others extend Grennan's enduring interest in the visual arts, particularly Dutch interior art and the paintings of Bonnard. In "Vermeer, My Mother, and Me," the most compelling of these poems, a "little corner" of Vermeer's The Little Street recalls the narrator's Dublin childhood, and the figure of a woman "bent over in her own back yard" awakens a memory of the narrator's own mother calling his name: back through the kitchen, along the narrow hall, up the dark-carpeted stairs and into the

Journal

New Hibernia Review – Center for Irish Studies at the University of St. Thomas

Published: Mar 9, 2003

There are no references for this article.