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Journal articles on the topic 'Poets, Irish'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Frag, Asst Prof Dr Amal Nasser. "Irish Poets: Keepers of National Lore." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 1 (2019): 43–54. http://dx.doi.org/10.36473/ujhss.v58i1.834.

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This paper discusses three noteable Irish poets: Augustine Joseph Clarke (1896-1974), Richard Murphy (1927- ), and Patrick Kavanagh (1904–1967), who are considered as keepers of national lore of Irland. It explains these poets’ contribution to world literature through the renewal of Irish myths, history, and culture. Irish poets tackle the problems of Irish people in the present in a realistic way by criticising the restrictions imposed on the Irish people in their society.Augustine Joseph Clarke’s poems present a deep invocation of Irish past and landscape. While Richard Murphy offers recurri

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2

Welsch, Camille-Yvette, Mary Dorcey, Paula Meehan, Medbh McGuckian, and Eilean Ni Chuilleanain. "New Irish Poets." Women's Review of Books 20, no. 9 (2003): 17. http://dx.doi.org/10.2307/4024164.

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3

Grace, Stephen. "Contemporary Irish Women Poets." Irish Studies Review 28, no. 2 (2020): 283–86. http://dx.doi.org/10.1080/09670882.2020.1740399.

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4

Karhio, Anne. "Human Rights, Posthuman Ethics, and the Material Aesthetics of Flight in Contemporary Irish Poetry." Irish University Review 51, no. 2 (2021): 227–46. http://dx.doi.org/10.3366/iur.2021.0516.

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This article examines a series of poems by Irish authors, and focuses on their engagement with human rights violations and conflicts through the metaphors and imagery of flight and the aerial view. It argues that these poems address the need for a shift away from the perspective of a defined, distinct human subject, and towards a posthumanist framework which emphasizes relational, situated, and embodied ethics and aesthetics in an interconnected world. Since the introduction of modern aviation, Irish poets have frequently employed the imagery of flying to consider poetry's role in relation to

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5

Bethala, Melony. "Searching for ‘Maeve’: An Archival Examination of Medbh McGuckian’s Early Career as a Poet in Northern Ireland." Irish University Review 52, no. 1 (2022): 53–65. http://dx.doi.org/10.3366/iur.2022.0541.

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Writing to Peter Fallon of the independent Irish publishing house Gallery Press in 1985, the poet Medbh McGuckian uncharacteristically signed the note ‘Maeve’, the Anglicized spelling of her name, with the explanation that, ‘I use that name as the letter was written by me and the poems by the other. So rejecting me does not entail accepting either of us’. This enigmatic note suggests that McGuckian perceives the personae in her poems as separate from the woman who writes them. To comprehend her poems, which are at once intricate, dynamic, and oblique, we must attempt to understand the other ‘M

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6

Howley, Ellen. "The Mythic Sea in Contemporary Irish and Caribbean Poetry." Comparative Literature 74, no. 3 (2022): 306–25. http://dx.doi.org/10.1215/00104124-9722363.

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Abstract Myths of the sea are some of the most enduring cultural associations with oceanic spaces. In particular, literature written from islands and coastal locations often shares an interest in these mythic narratives. With a focus on this comparative element, this article investigates how contemporary poets from Ireland and from the Anglophone Caribbean engage with the myths of the sea in their work. It examines the poetry of Lorna Goodison (Jamaica), Seamus Heaney (Northern Ireland), Eiléan Ní Chuilleanáin (Republic of Ireland), and Derek Walcott (Saint Lucia), demonstrating the ways in wh

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7

Dolmányos, Péter. "“Now I could tell my story”. Eavan Boland’s motifs of revising the Irish poetic tradition." Ars Aeterna 14, no. 1 (2022): 9–20. http://dx.doi.org/10.2478/aa-2022-0002.

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Abstract The prominent place that Eavan Boland occupies in the essentially male-defined and male-dominated canon of contemporary Irish literature is the result of the poet’s pioneering act of entering into a reconstructive and resituating dialogue with that tradition and which in turn has paved the way for numerous younger women poets to claim a place for their voices and redefine that tradition itself. The paper seeks to examine and explore a number of topoi with and through which Eavan Boland would negotiate her position in relation to the Irish literary tradition, from broad general motifs

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8

Loftus, Laura. "Preserving the Status Quo?: Periodical Codes in The Bell and Envoy during the Mid-Twentieth Century." Journal of Modern Periodical Studies 12, no. 2 (2021): 178–211. http://dx.doi.org/10.5325/jmodeperistud.12.2.0178.

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ABSTRACT This article is among the first to read two key Irish literary periodicals—The Bell and Envoy—to highlight how male literary inheritance, homosocial bonding, and subtle discouragement combined to marginalize women poets from mainstream Irish literature during the mid-twentieth century. Close analysis will be employed to uncover the homosocial, highly gendered language and “compositional codes” found in these magazines, sometimes through conscious decisions and sometimes through unconscious manifestations of ambient normative assumptions about proper gender roles/spheres, contributed t

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9

Mulhall, Anne. "‘The well-known, old, but still unbeaten track’: Women Poets and Irish Periodical Culture in the Mid-Twentieth Century." Irish University Review 42, no. 1 (2012): 32–52. http://dx.doi.org/10.3366/iur.2012.0007.

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While neglected Irish male poets of the mid century have seen some recuperation in recent decades, the work of Irish women poets still languishes in obscurity. A growing body of scholarship has identified the need to bring critical attention to bear on this substantial body of work. In this essay I explore the positioning of Irish women poets in mid-century periodical culture, to flesh out the ways in which the terms of this ‘forgetting’ are already established within the overwhelmingly masculinist homosocial suppositions and idioms that characterized contemporary debates about the proper line

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10

Theinová, Daniela. "Introduction." Review of Irish Studies in Europe 4, no. 2 (2021): 8–17. http://dx.doi.org/10.32803/rise.v4i2.2836.

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RISE 4.2 is a festive anniversary tribute to one of Ireland’s most eminent poets Medbh McGuckian. The articles to be found in this issue address McGuckian’s expansive oeuvre through a number of diverse foci. These range from the work’s engagement with political violence during the Troubles and their competing representations in cultural memory; through considerations of the commemorative thrust of individual poems and collections; and questions of knowledge, faith and scepticism; to the prominence of the image and the visual in McGuckian’s poetics. The question of reading is brought up repeate

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11

Ghanim, Fawziya Mousa. "Seanchan 's Quest Restoring of the Poet's Right in Yeasts' Play The King's Threshold." European Journal of Language and Literature 7, no. 2 (2021): 20. http://dx.doi.org/10.26417/453wmb82a.

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William Butler Yeats (1865-1939), the prominent Irish poet and dramatist was one of the foremost figures of twentieth-century literature. He was a driving force behind the Irish Revival, and together with lady Gregory and Edward Martyn established the Abby Theatre, and served as its chief playwright during its early years. He was awarded the Noble Prize in literature for his always inspired poetry which in a highly artistic form gave expression to the spirit of a whole nation. The paper aims at analyzing the poet's quest for social freedom and poet's right in the state. The King's Threshold wa

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12

Hannon, Dennis J., and Nancy Means Wright. "Irish Women Poets: Breaking the Silence." Canadian Journal of Irish Studies 16, no. 2 (1990): 57. http://dx.doi.org/10.2307/25512828.

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13

Fluharty, Matthew. "A Selection of New Irish Poets." Éire-Ireland 40, no. 3 (2005): 256–57. http://dx.doi.org/10.1353/eir.2005.0020.

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Sullivan, Kelly. "A Selection of New Irish Poets." Éire-Ireland 48, no. 3-4 (2013): 303–4. http://dx.doi.org/10.1353/eir.2013.0035.

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15

Toms, David. "The Cambridge companion to Irish poets." Irish Studies Review 27, no. 2 (2019): 283–85. http://dx.doi.org/10.1080/09670882.2019.1594029.

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16

Mackay, Peter. "On Irish Poets Writing in Scotland." Litteraria Pragensia 33, no. 65 (2023): 101–24. http://dx.doi.org/10.14712/2571452x.2023.65.7.

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17

Tracy Youngblom. "Flowing, Still: Irish Poets on Irish Poetry (review)." New Hibernia Review 14, no. 2 (2010): 155–57. http://dx.doi.org/10.1353/nhr.0.0143.

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18

Buckridge, Patrick. "Irish Poets in Colonial Brisbane: Mary Eva O'Doherty and Cornelius Moynihan." Queensland Review 8, no. 2 (2001): 29–40. http://dx.doi.org/10.1017/s1321816600006814.

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This paper compares the literary careers of two Irish immigrant-poets who lived and wrote for a significant part of their lives in nineteenth-century Brisbane, using the comparison to explore some of the different ways in which Irish literary tradition could reinvent itself in a new physical and cultural environment. Early Brisbane is not an especially fertile field for the study of Irish-Australian literary writing, perhaps surprisingly, given the strong Irish presence in Brisbane society during the first half of the twentieth century. One explanation may be that whereas the Irish had a stron

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19

Moloney, Caitriona, and Patricia Boyle Haberstroh. "Women Creating Women: Contemporary Irish Women Poets." Tulsa Studies in Women's Literature 16, no. 1 (1997): 165. http://dx.doi.org/10.2307/464051.

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20

Pelan, Rebecca, and Patricia Boyle Haberstroh. "Women Creating Women: Contemporary Irish Women Poets." Canadian Journal of Irish Studies 25, no. 1/2 (1999): 532. http://dx.doi.org/10.2307/25515293.

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21

Gardiner, David. "The Other Irish Renaissance: The Maunsel Poets." New Hibernia Review 8, no. 1 (2004): 54–79. http://dx.doi.org/10.1353/nhr.2004.0020.

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22

Collins, Lucy. "Telling Lives: Irish Poets in the Archive." Études irlandaises, no. 49-1 (April 12, 2024): 169–82. http://dx.doi.org/10.4000/etudesirlandaises.18313.

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23

Dhuibhne, Éilís Ní. "Poetry in the Archive: Reflections of a Former Archivist on the Manuscripts of Twentieth-century Irish Poets in the National Library of Ireland." Irish University Review 42, no. 1 (2012): 155–68. http://dx.doi.org/10.3366/iur.2012.0014.

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In this essay, the role of the National Library of Ireland in collecting and preserving the manucripts of twentieth-century Irish poets is considered, together with the Library's acquisition policy and methods of selection, collection, and cataloguing. Does the Library fulfil its stated aim and statutory function, ‘to provide an accurate record of Ireland's output in manuscript, print and other media for present and future users’? Is the Library as active as it should be in acquiring literary manuscripts? Which poets’ papers are acquired and made available to readers? Who gets ‘in’ and who is

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24

Cummins, James. "‘The history of Ireland he knew before he went to school’: The Irish Tom Raworth." Irish University Review 46, no. 1 (2016): 158–70. http://dx.doi.org/10.3366/iur.2016.0208.

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In an interview in 1971 Tom Raworth states ‘I don't really see any reason for a term like “English poet”’ and throughout his career Raworth has resisted such simple national classifications. His work is often discussed in relation to the strong relationship he fostered with American poets and poetics. Raworth, for many, exemplifies the transatlantic conversation that flourished during the 1960s onward. He was influenced by numerous schools of American poetry and would in turn act as an influence to many American writers. As Ted Berrigan states ‘he's as good as we are, & rude a thing as it

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25

Armstrong, Charles I. "Ambivalent Déjà-vu: World War II in the poetry of the Northern Irish Troubles." Memory Studies 14, no. 1 (2021): 68–79. http://dx.doi.org/10.1177/1750698020976461.

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This article addresses how the poetry of the Northern Irish Troubles enters into a dialogue with the memory of World War II. Poems by Michael Longley, Seamus Heaney, Derek Mahon, and Sinéad Morrissey are analysed, showing how World War II is a controversial source of comparison for these poets. While World War II provides important ways of framing the suffering and claustrophobia of the Northern Irish conflict, evident differences also mean that such comparisons are handled warily and with some irony. The poems are highly self-conscious utterances that seek to unsettle and develop generic stra

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26

Cooney, Brian C. "Irish Literature in Transition and Romantic-Era Irish Women Poets in English." European Romantic Review 33, no. 4 (2022): 602–7. http://dx.doi.org/10.1080/10509585.2022.2090726.

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27

Haman, Brian. "Review of Romantic-Era Irish Women Poets in English, by Stephen Behrendt (ed.)." Review of Irish Studies in Europe 5, no. 2 (2022): 12–13. http://dx.doi.org/10.32803/rise.v5i2.3085.

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28

Mills, Lia. "‘I Won't Go Back to It’: Irish Women Poets and the Iconic Feminine." Feminist Review 50, no. 1 (1995): 69–88. http://dx.doi.org/10.1057/fr.1995.23.

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This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real in the context of the lived experience of women in Ireland. Finally,

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29

Fleming, Will. "The Celtic Strobe Light: Thomas Kinsella, Trevor Joyce and the Translation of Nationalist Residues in the Mid-Twentieth Century." Review of Irish Studies in Europe 7, no. 1 (2024): 40–57. http://dx.doi.org/10.32803/rise.v7i1.3246.

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According to John Goodby and Marcella Edwards, ‘many Irish poets in the 1960s and 1970s turned to translation from Irish in a way that suggests the difficulty of coming to terms with rapid modernization’. Although this may sound like a reasonable conclusion to make of a period of significant social, cultural and economic upheaval, Goodby and Edwards rely on a false binary in their assertion. Referred to by Joe Cleary as the ‘repression-modernization dyad’ through which ‘all sorts of things get drastically simplified’, this is the notion that a clean break was effected by the transfer of power

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30

Clutterbuck, Catriona. "‘A Thread to the Afterlife’ - Textiles and the Otherworld in Irish Poetry: Yeats, Boland, Heaney and Meehan." Review of Irish Studies in Europe 2, no. 1 (2018): 182–207. http://dx.doi.org/10.32803/rise.v2i1.1723.

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This essay explores fabric, clothing and textile motifs in Irish poetry concerned with the relationship between this life and the afterlife. It intersplices readings of poems by W.B.Yeats, Eavan Boland, Seamus Heaney and Paula Meehan which acknowledge the fact that doubleness of presence and absence is integral to all human lives, and which are alert to the fact that this same duality is already embedded in man’s engagement with cloth. The essay argues that Irish poetry attends to the dense physicality, immediacy and depth texture of textile materials, as a key image complex allowing negotiati

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31

Bolton, Jonathan. "‘I cannot rub this strangeness from my sight’: Contemporary Belfast and Sinéad Morrissey's Through the Square Window." Irish University Review 47, supplement (2017): 416–31. http://dx.doi.org/10.3366/iur.2017.0301.

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Focussing on the poems in Sinéad Morrissey's Through the Square Window (2009), this essay examines how the poet envisions a transformed, post-troubles Belfast through a range of perspectives, shifting her attention away from but not entirely forgetting the ways in which the past impinges on the present. The result is a poetry that is to some extent free from the political imperatives that have confronted earlier generations of Northern Irish poets and apprehends Belfast's landscape and urban geography in fresh ways and incorporates a more cosmopolitan and post-national consciousness.

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32

De Juan i López, Alba. "Review of Irish Women Poets Rediscovered, by Maria Johnston and Conor Linnie (eds.)." Review of Irish Studies in Europe 6, no. 1 (2023): 76–79. http://dx.doi.org/10.32803/rise.v6i1.3177.

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33

Walter, Katharina. "Writing bonds: Irish and Galician contemporary women poets." Irish Studies Review 19, no. 1 (2011): 132–34. http://dx.doi.org/10.1080/09670882.2011.541669.

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34

Remoundou, Natasha. "Anthology of Young Irish Poets, Ingrid Casey (ed.)." Études irlandaises, no. 45-1 (September 24, 2020): 135–37. http://dx.doi.org/10.4000/etudesirlandaises.9012.

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35

Ojrzyńska, Katarzyna. "The Individualising and Subversive Role of the Radio in Selected Contemporary Irish Poems and Plays." Tekstualia 1, no. 32 (2013): 113–30. http://dx.doi.org/10.5604/01.3001.0013.4645.

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The article investigates the depictions of and allusions to the radio in selected works of contemporary Irish playwrights and poets. In particular, I focus on Brian Friel’s Dancing at Lughnasa, Medbh McGuckian’s Marconi’s Cottage and Bernard Farrell’s Then Moses Met Marconi. Examined through the prism of Seamus Heaney’s commentary on the role of the medium in Ireland made in his Nobel Prize lecture, these works present the radio as an intellectually stimulating agent. It serves as an element subversive towards the dominant ideologies and beliefs, which liberates the Irish from their provincial

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36

Bondarenko, Grigory. "Hiberno-Rossica: 'Knowledge in the Clouds' in Old Irish and Old Russian." Studia Celto-Slavica 1 (2006): 185–200. http://dx.doi.org/10.54586/agvn6086.

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The present discussion aims to deal with one rare example of formulaic similarities in Old Irish and Old Russian poetic speech. In the past years several studies appeared devoted to Celto-Slavic isoglosses or correspondences in theonymics and mythopoetic language. The paper is focused on two particular fragments in two Old Irish and Old Russian texts (the former is much less known than the latter) with a special emphasis on the semantics and poetic rules, which are common for both examples. The first text is an Old Irish poem Immaccallam in druad Brain ocus inna banfhátho hóas Loch Febuil (‘Th

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37

Schwerter, Stephanie. "'Making Strange': Defamiliarising Perspectives on the Troubles." Studia Celto-Slavica 5 (2010): 105–18. http://dx.doi.org/10.54586/lmgv2329.

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In Irish literature a substantial number of writers turn to different cultures and histories in order to contemplate on their own environment through the lens of otherness. In particular, poets from Northern Ireland draw upon contrasting literary traditions to articulate their personal experience of political violence through an international framework. In the poetry of Seamus Heaney, Tom Paulin and Medbh McGuckian a noticeably strong link between Northern Ireland and pre- and post-revolutionary Russia can be discerned. Through allusions to Russian literary figures, politicians and social conf

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38

McDonald, Peter. "The Greeks in Ireland: Irish Poets and Greek Tragedy." Translation and Literature 4, no. 2 (1995): 183–203. http://dx.doi.org/10.3366/tal.1995.4.2.183.

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39

McDonald, Peter. "The Greeks in Ireland: Irish Poets and Greek Tragedy." Translation and Literature 4, Part_2 (1995): 183–203. http://dx.doi.org/10.3366/tal.1995.4.part_2.183.

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40

Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.

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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the trad

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41

Redshaw, Thomas Dillon. "‘The Dolmen Poets’: Liam Miller and Poetry Publishing in Ireland, 1951–1961." Irish University Review 42, no. 1 (2012): 141–54. http://dx.doi.org/10.3366/iur.2012.0013.

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With the publication of The Dolmen Miscellany (1962) and the inception of Poetry Ireland the same year, Liam Miller's Dolmen Press came to represent artistically and commercially Irish poets and their works within the Republic of Ireland and abroad. In Miller's publishing practice, the liberal notion of ‘Poetry Ireland’ had come to supplant a narrower one: the idea of the ‘Dolmen Poets.’ As the nineteen fifties drew to a close, the Dolmen Poets were Padraic Colum and Austin Clarke (but not Patrick Kavanagh), Richard Murphy, John Montague, and especially Thomas Kinsella. In Dolmen's earliest ye

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42

Roberts, Daniel S. "‘The Only Irish Magazine’: Early Blackwood's and the Production of Irish ‘National Character’." Romanticism 23, no. 3 (2017): 262–71. http://dx.doi.org/10.3366/rom.2017.0341.

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On the ‘Irish Question’ of the 1820s and 30s, Blackwood's Magazine developed a fearsome reputation for intransigence. Yet its early engagements with Ireland were far from unsympathetic, viewing its peasantry, in particular, as warm-hearted and likeable, though also overly passionate and prone to disorderly behaviour. Arguing for John Wilson's theorisation of ‘national character’ as a crucial determinant of Blackwood's representative position, this article analyses the manner in which Maga responded to Irish literature and society in a transperipheral manner, seeking to integrate Ireland more f

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43

Falci, Eric. "Rethinking Form (Yet Again) in Contemporary Irish Poetry." Irish University Review 50, no. 1 (2020): 164–74. http://dx.doi.org/10.3366/iur.2020.0443.

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This essay provides a reconsideration of the centrality of form in discussions of Irish poetry and suggests ways of revivifying those discussions by moving away from the tired dyad of mainstream lyric and experimental (or alternative or innovative) poetry. Moving through examinations of Paul Muldoon, Medbh McGuckian, Ciaran Carson, Sinéad Morrissey, Maurice Scully, and Catherine Walsh, this essay aims to pivot the conversation about Irish poetry so that more attention might be paid to the concrete textures and practices of contemporary poets such that we are better able to see and describe the

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44

Harris, Mary N. "Beleaguered but Determined: Irish Women Writers in Irish." Feminist Review 51, no. 1 (1995): 26–40. http://dx.doi.org/10.1057/fr.1995.31.

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A growing number of Irish women have chosen to write in Irish for reasons varying from a desire to promote and preserve the Irish language to a belief that a marginalized language is an appropriate vehicle of expression for marginalized women. Their work explores aspects of womanhood relating to sexuality, relationships, motherhood and religion. Some feel hampered by the lack of female models. Until recent years there were few attempts on the part of women to explore the reality of women's lives through literature in Irish. The largely subordinate role played by women in literary matters as te

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45

Darr, Theresa Kelly. "Sources: British and Irish Poets: A Biographical Dictionary, 449–2006." Reference & User Services Quarterly 47, no. 3 (2008): 283. http://dx.doi.org/10.5860/rusq.47n3.283.2.

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46

Gerson, Gal. "Cultural Subversion and the Background of the Irish 'Easter Poets'." Journal of Contemporary History 30, no. 2 (1995): 333–47. http://dx.doi.org/10.1177/002200949503000207.

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47

Breeze, Andrew. "Elizabeth Boyle, History and Salvation in Medieval Ireland. London: Routledge, 2021, xii, 205 pp." Mediaevistik 34, no. 1 (2021): 282. http://dx.doi.org/10.3726/med.2021.01.22.

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The Irish are a nation of poets; they inhabit the Isle of Saints. So what Ireland’s early bards and teachers had to say on the Christian message makes a good book. In a monograph of five chapters, Dr Boyle (of NUI, Maynooth) hence tells us much, with the right combination of didactic and lyrical.

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48

Kapoor, Dr Sheetal. "The Poetic Vision of Patrick Kavanagh." International Journal of English Literature and Social Sciences 9, no. 3 (2024): 163–68. http://dx.doi.org/10.22161/ijels.93.20.

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Patrick Kavanagh, a prominent 20th-century Irish poet from Inniskeen Parish, County Monaghan, profoundly impacted global audiences with his poetry, transcending national boundaries. Despite limited formal education, Kavanagh's passion for literature led him to become a self-taught poet, capturing the essence of rural Irish life. His early works, such as "The Green Fool," reflect his struggle and detachment from peasant life, while his poetry often combines simplicity with profound insights, celebrating childhood wonder and the beauty of nature. Kavanagh's criticism of the Irish Literary Reviva

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49

Patricia, Palmer. "“An headlesse Ladie” and “a horses loade of heades”: Writing the Beheading." Renaissance Quarterly 60, no. 1 (2007): 25–57. http://dx.doi.org/10.1353/ren.2007.0091.

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AbstractThe savagery of the native Irish and, in particular, their predilection for severing heads, is repeatedly asserted, not only in the texts of conquest, but in representations of the “Wild Irish” on the Elizabethan and Jacobean stage. This essay tests this literary commonplace against the historical record of the early modern conquest of Ireland. Far from being merely the aberrant practice of the barbarous Gaels, beheading — and a form of judicial headhunting — became a cornerstone of the conquerors’ policy of martial law. As atrocity was redefined as justice, so, in the hands of writers

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50

Wallace, Clare, and Joan McBreen. "The White Page/An Bhileog Bhán: Twentieth Century Irish Women Poets." Canadian Journal of Irish Studies 26, no. 1 (2000): 151. http://dx.doi.org/10.2307/25515329.

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