Summary and Keywords
Although Irish writers were foundational to English-language modernism, Irish Modernism is a new field in literary studies. Embedded imperial frameworks and assumptions about Irish traditionalism have been an obstacle to recognizing Irish Modernism, despite the importance of Irish writing to the development of modernism as a whole. Informed by postcolonial and transnational theory, a reading of Irish Modernism accommodates writers who lived and wrote in and about Ireland, as well as those who were Irish by birth but who lived and worked outside of the country, such as James Joyce; who wrote in languages other than English or Irish, such as Samuel Beckett; or whose political allegiances are at odds with the rise of the separatist nation state, such as Elizabeth Bowen. Irish Modernism has its genesis in the Irish Revival (ca. 1880s–1910s), a popular movement that sought to create a distinctive Irish culture. The little magazines and literary theaters that arose out of the Revival were often aesthetically conservative in themselves; nonetheless, they became venues for literature that was radical in form. Just as early modernist writing arose out of the Revival, high modernist literature was provoked by a rejection of the Revival’s values. These reactions are exemplified in William Butler Yeats’s poetry from The Green Helmet and Other Poems (1910), in which he castigates the Irish public for its religious conservatism, and in Joyce’s Dubliners (1914) and A Portrait of the Artist as a Young Man (1916). Late modernism, which is typified by a weakening of the tropes of high modernism to make way for a more politically engaged literature, not only includes well-known Anglophone writers but also the work of Brian Ó Nualláin/Flann O’Brien and Máirtín Ó Cadhain, whose satires were formally and politically radical.
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