tory and At the Hawk's Well on Beckett's Waiting for Godot and Endgame. Also, he reminds his readers that Beckett's one-word reply to the question of who had the greatest influence on his work was "Synge." These critical connections offer multiple opportunities for newer and deeper understandings of Irish drama and the dialogic nature of the entire enterprise begun in the Irish Dramatic Revival, in which one play can both stimulate and at the same time offer a potential for resistance and innovation for another writer's inspiration. The volume also includes critical essays, by Paige Reynolds and P. J. Matthews, that expand the book's reach into cultural debates, and place Irish drama in a continuum of engagement with performativity and spectacle. The final addition is Roche's interview with the contemporary playwright Conor McPherson (b. 1971), in which they discuss Irish drama's obsession with ghosts and the uncanny. McPherson's interview dovetails with Roche's concern, throughout this volume, with the ways in which the Revivalists and their plays consistently repeated thematic engagements with storytellers, strangers in the house, and the central importance of the "lie" and its ambiguous effect. He notes the ongoing presence of these concerns before, during, and
New Hibernia Review – Center for Irish Studies at the University of St. Thomas
Published: Apr 15, 2016
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