This book scrutinizes the way modern Irish writers exploited or surrendered to primitivism, and how primitivism functions as an idealized nostalgia for the past as a potential representation of difference and connection.

Modern Irish Literature and the Primitive Sublime reveals the primitive sublime as an overlooked aspect of modern Irish literature as central to Ireland’s artistic production and the wider global cultural production of postcolonial literature. A concern for and anxiety about the primitive persists within modern Irish culture. The “otherness” within and beyond Ireland’s borders offers writers, from the Celtic Revival through independence and partition to post-9/11, a seductive call through which to negotiate Irish identity. Ultimately, the disquieting awe of the primitive sublime is not simply a momentary recognition of Ireland’s primitive indigenous history but a repeated rhetorical gesture that beckons a transcendent elation brought about by the recognition of the troubled, ritualistic and sacrificial Irish past to reveal a fundamental aspect of the capacity to negotiate identity, viewed through another but intimately reflective of the self, within the long emerging twentieth-century Irish nation.

This book attests to the unique development of modernism in Ireland - driven by political as well as artistic concerns.

Irish writing in the modernist era is often regarded as a largely rural affair, engaging with the city in fleeting, often disparaging ways, with Joyce cast as a defiant exception. This book shows how an urban modernist tradition, responsive to the particular political, social, and cultural conditions of Dublin, emerged in Ireland at this time.

Explores how modernist national narrative successively reimagined the evolutionary epic from the 1910s to the 1930s.

This book asks how English authors of the early to mid twentieth-century responded to the nationalist revolution in neighbouring Ireland in their work, and explores this response as an expression of anxieties about, and aspirations within, England itself. Drawing predominantly on novels ofthis period, but also on letters, travelogues, literary criticism, and memoir, it illustrates how Irish affairs provided a marginal but pervasive point of reference for a wide range of canonical authors in England, including Wyndham Lewis, Virginia Woolf, D.H. Lawrence, Graham Greene, and EvelynWaugh, and also for many lesser-known figures such as Ethel Mannin, George Thomson, and T.H. White.The book surveys these and other incidental writers within the broad framework of literary modernism, an arc seen to run in temporal parallel to Ireland's revolutionary trajectory from rebellion to independence. In this context, it addresses two distinct aspects of the Irish-English relationship asit features in the literature of the time: first, the uneasy recognition of a fundamental similarity between the two countries in terms of their potential for violent revolutionary instability, and second, the proleptic engagement of Irish events to prefigure, imaginatively, the potential course ofEngland's evolution from the Armistice to the Second World War. Tracing these effects, this book offers a topical renegotiation of the connections between Irish and English literary culture, nationalism, and political ideology, together with a new perspective on the Irish sources engaged by Englishliterary modernism.

This book is a complete re-assessment of the works of J.M. Synge, one of Ireland's major playwrights. The book offers the first complete consideration of all of Synge's major plays and prose works in nearly 30 years, drawing on extensive archival research to offer innovative new readings. Much work has been done in recent years to uncover Synge's modernity and to emphasise his political consciousness. This book builds on this re-assessment, undertaking a full systematic exploration of Synge's published and unpublished works. Tracing his journey from an early Romanticism through to the more combative modernism of his later work, the book's innovative methodology treats text as process, and considers Synge's reading materials, his drafts, letters, diaries, and journalism, turning up exciting and unexpected revelations. Thus, Synge's engagement with occultism, pantheism, socialism, Darwinism, and even a late reaction against eugenic nationalisms, are all brought into the critical discussion. Breaking new ground in ascertaining the tenets of Synge's spirituality, and his aesthetic and political idealization of harmony with nature, the book also builds on new work in modernist studies, arguing that Synge can be understood as a leftist modernist, exhibiting many of the key concerns of early modernism, but routing them through a socialist politics. Thus, this book is valuable not only to considerations of Synge and the Irish Revival, but also to modernist studies more broadly.