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Redmond: The Parnellite (review)

Redmond: The Parnellite (review) his revisiting "the old man-killing parishes" of Jutland by noting many changes in outer and inner landscapes. In that poem's final lines, as Parker notes, Heaney's autobiographical speaker looks to "make a new beginning / And make a go of it, alive and sinning, / Ourselves again, free willed again, not bad." Among poets speaking of themes of sectarian tension, ceasefire, and uneasy peace, Parker lauds Ciaran Carson, especially his artistic achievements in The Irish for No (1987) and Belfast Confetti (1989). And he provides a valuable service by reminding readers of the work of Frank Ormsby, a poet with a comparatively small output, whose work is often overlooked outside Ireland; Parker especially admires Ormsby's The Ghost Train (1995). A project of this scope is bound to be stronger in some areas than in others; one problem is that too little mention is made of the contributions of autobiographers and memoirists--though Parker does attend to the life writings of Bernadette Devlin and Bobby Sands, and to Michael Longley's and Seamus Heaney's autobiographical writings. One must lament the flaws in proofreading and textual production that mar this otherwise careful study: the most egregious is the consistent misspelling of Jennifer http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png New Hibernia Review Center for Irish Studies at the University of St. Thomas

Redmond: The Parnellite (review)

New Hibernia Review , Volume 14 (3) – Sep 19, 2010

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Publisher
Center for Irish Studies at the University of St. Thomas
Copyright
Copyright © Center for Irish Studies at the University of St. Thomas
ISSN
1534-5815
Publisher site
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Abstract

his revisiting "the old man-killing parishes" of Jutland by noting many changes in outer and inner landscapes. In that poem's final lines, as Parker notes, Heaney's autobiographical speaker looks to "make a new beginning / And make a go of it, alive and sinning, / Ourselves again, free willed again, not bad." Among poets speaking of themes of sectarian tension, ceasefire, and uneasy peace, Parker lauds Ciaran Carson, especially his artistic achievements in The Irish for No (1987) and Belfast Confetti (1989). And he provides a valuable service by reminding readers of the work of Frank Ormsby, a poet with a comparatively small output, whose work is often overlooked outside Ireland; Parker especially admires Ormsby's The Ghost Train (1995). A project of this scope is bound to be stronger in some areas than in others; one problem is that too little mention is made of the contributions of autobiographers and memoirists--though Parker does attend to the life writings of Bernadette Devlin and Bobby Sands, and to Michael Longley's and Seamus Heaney's autobiographical writings. One must lament the flaws in proofreading and textual production that mar this otherwise careful study: the most egregious is the consistent misspelling of Jennifer

Journal

New Hibernia ReviewCenter for Irish Studies at the University of St. Thomas

Published: Sep 19, 2010

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