While the national narrative coming out of Ireland since the 2008 economic crisis has been relentlessly sanguine, fiction has offered a more nuanced perspective from both well-established and emerging authors. In Broken Irelands, McGlynn examines Irish fiction of the post-crash era, addressing the proliferation of writing that downplays realistic and grammatical coherence. Noting that these traits have the effect of diminishing human agency, blurring questions of responsibility, and emphasizing emotion over rationality, McGlynn argues that they reflect and respond to social and economic conditions during the global economic crisis and its aftermath of recession, austerity, and precarity. Rather than focusing on overt discussions of the crash and recession, McGlynn explores how the dominance of an economic worldview, including a pervasive climate of financialized discourse, shapes the way stories are told. In the writing of such authors as Anne Enright, Colum McCann, Mike McCormack, and Lisa McInerney, McGlynn unpacks the ways that formal departures from realism through grammatical asymmetries like unconventional verb tenses, novel syntactic choices, and reliance on sentence fragments align with a cultural moment shaped by feelings of impotence and rhetorics of personal responsibility.

A passionate, heartbreaking story of authority and revenge, alcoholism and futile redemption set in south Boston in the late 1990s.

The English language in the Renaissance was in many ways a collection of competing Englishes. Blank investigates the representation of alternative vernaculars in both linguistic and literary works of the time.

'One of the most talented crime writers alive' Washington Post 'I've been enthusiastically telling everyone who will listen to read Tana French' Harlan Coben, author of Safe Sometimes there is no safe place. Nothing about the way this family lived shows why they deserved to die. But here's the thing about murder: ninety-nine times out of a hundred, it doesn't break into people's lives. It gets there because they open the door and invite it in... In Broken Harbour, a ghost estate outside Dublin - half-built, half-inhabited, half-abandoned - two children and their father are dead. The mother is on her way to intensive care. Scorcher Kennedy is given the case because he is the Murder squad's star detective. At first he and his rookie partner, Richie, think this is a simple one: Pat Spain was a casualty of the recession, so he killed his children, tried to kill his wife Jenny, and finished off with himself. But there are too many inexplicable details and the evidence is pointing in two directions at once. Scorcher's personal life is tugging for his attention. Seeing the case on the news has sent his sister Dina off the rails again, and she's resurrecting something that Scorcher thought he had tightly under control: what happened to their family, one summer at Broken Harbour, back when they were children. The neat compartments of his life are breaking down, and the sudden tangle of work and family is putting both at risk . . .

This is a bold and timely analysis of the conflict in Northern Ireland, offering a comprehensive, up-to-date and constructively critical evaluation of the massive outpouring of literature on the subject. John McGarry and Brendan O'Leary examine the most common explanations of the conflict - nationalist, unionist, Marxist, religious, cultural and economic - highlighting their shortcomings and placing Northern Ireland within a comparative context. Synthesizing their conclusions, the authors advance a realistic but imaginative prognosis for conflict-resolution in this most troubled region.