Cronin is known as an arts activist as well as a writer. He is Cultural Adviser to TaoiseachCharles Haughey and briefly to Garret FitzGerald. He involves himself in initiatives such as Aosdána, the Irish Museum of Modern Art and the Heritage Council. He is a founding member of Aosdána, and is a member of its governing body, the Toscaireacht, for many years. He is elected Saoi, a distinction for exceptional artistic achievement, in 2003. He is also a member of the governing bodies of the Irish Museum of Modern Art and the National Gallery of Ireland, of which he is for a time Acting Chairman.
His first collection of poems, called simply Poems (Cresset Press, London), is published in 1958. Several collections follow and his Collected Poems (New Island Books, Dublin) is published in 2004. The End of the Modern World (New Island Books, 2016), written over several decades, is his final publication.
Cronin’s novel, The Life of Riley, is a satire on Bohemian life in Ireland in the mid-20th century, while his memoir Dead as Doornails addresses the same subject.
Cronin knows Samuel Beckett from when they do some work for the BBC during the 1950s and 1960s. He gives a prefatory talk to Patrick Magee‘s reading of The Unnamable on the BBC Third Programme. Beckett is not impressed, saying, “Cronin delivered his discourse… It was all right, not very exciting.” Cronin later publishes a biography of him, Samuel Beckett: The Last Modernist (1996), followed on from No Laughing Matter: The Life and Times of Flann O’Brien (1989).
In his later years, Cronin suffers from failing health, which prevents him from traveling abroad, thus limiting his dealings to local matters. He dies in Dublin on December 27, 2016, one day short of his 93rd birthday.
Cronin firstly marries Thérèse Campbell, from whom he separates in the mid-1980s. She dies in 1999. They have two daughters, Iseult and Sarah. Iseult is killed in a road accident in Spain. He secondly marries the writer Anne Haverty who, along with daughter Sarah, survives him.
O’Brien is the youngest child of “a strict, religious family.” From 1941 to 1946 she is educated by the Sisters of Mercy, a circumstance that contributes to a “suffocating” childhood. “I rebelled against the coercive and stifling religion into which I was born and bred. It was very frightening and all pervasive. I’m glad it has gone.” She is fond of a nun as she deeply misses her mum and tries to identify the nun with her mother.
In 1950, O’Brien is awarded a licence as a pharmacist. In Ireland, she reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald. In 1954, she marries, against her parents’ wishes, the Irish writer Ernest Gébler and the couple moves to London. They have two sons, but the marriage is dissolved in 1964. Gébler dies in 1998.
In London, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot. When she learns that James Joyce‘s A Portrait of the Artist as a Young Man is autobiographical, it makes her realise where she might turn, should she decide to write herself. In London she starts work as a reader for Hutchinson, where on the basis of her reports she is commissioned, for £50, to write a novel. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II.
This novel is the first part of a trilogy of novels which includes The Lonely Girl (1962) and Girls in Their Married Bliss (1964). Shortly after their publication, these books are banned and, in some cases burned, in her native country due to their frank portrayals of the sex lives of their characters. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents are vehemently against all things related to literature and her mother strongly disapproves of her daughter’s career as a writer.
O’Brien is a panel member for the first edition of the BBC‘s Question Time in 1979. In 2017, she becomes the sole surviving member.
Other works include a biography of James Joyce, published in 1999, and one of the poet Lord Byron, Byron in Love (2009). House of Splendid Isolation (1994), her novel about a terrorist who goes on the run, marks a new phase in her writing career. Down by the River (1996) concerns an under-age rape victim who seeks an abortion in England, the “Miss X case.” In the Forest (2002) deals with the real-life case of Brendan O’Donnell, who abducts and murders a woman, her three-year-old son, and a priest, in rural Ireland.
Joyce is brought up between Mary Street, in the city centre, and the GalwayGaeltacht. Galway is the ancestral home of both his mother’s and father’s families, and Patrick Weston Joyce, historian, writer and collector of Irish music, and Robert Dwyer Joyce, poet, writer and fellow collector of music, are numbered among his great granduncles. Recent poems such as “Trem Neul” see Joyce appropriate elements of the folk music gathered by Patrick Weston Joyce and engage ideas of lineage and transmission.
Joyce’s early books include Sole Glum Trek (1967), Watches (1969), Pentahedron (1972) and The Poems of Sweeny Peregrine: A Working of the Corrupt Irish Text (1976). The last of these is a version of the Middle-Irish Buile Shuibhne, well known from Seamus Heaney‘s later translation in Sweeney Astray (1983).
After a near-total silence for 20 years, Joyce resumes publishing in 1995 with stone floods, followed by Syzygy and Without Asylum (1998). In 2001, with the first dream of fire they hunt the cold is published, which gathers all of the poet’s major work from 1966 to 2000. In 2007, What’s in Store: Poems 2000–2007 appears, and in 2009 he publishes Courts of Air and Earth. His work appears in many anthologies, including Keith Tuma’s Anthology of Twentieth-Century British and Irish Poetry and Patrick Crotty’s The Penguin Book of Irish Poetry.
Joyce’s poetry employs a wide range of forms and techniques, ranging from traditional to modern experimentalism. He has published notable versions from Chinese and from the middle-Irish, which he refers to as “workings” rather than “translations” to emphasise that they are poetic reimaginings in the tradition of Ezra Pound rather than “straight” translations.
A collected poems up to 2000, including his “workings” from the Irish and Chinese, is published as with the first dream of fire they hunt the cold (2001). He also experiments with web-based poetry projects such as the collaborative project OffSets. A collection of his post-with the first dream work, What’s in Store, is published in 2007. A separate collection of new and old translations from the Irish, entitled Courts of Air and Earth, is issued by Shearsman in 2009 and is shortlisted for the Popescu Prize for European Poetry in Translation 2009.
Joyce also publishes several papers on contemporary poetics, and lectures and gives public readings of his work throughout Ireland, the UK and the United States.
Awarded a Literary Bursary by the Irish Arts Council in 2001, Joyce is a Fulbright Scholar for the year 2002–03. In 2004 he is elected a member of Aosdána, the Irish affiliation of artists, and is the first writer to be awarded a fellowship by the Ballinglen Arts Foundation. He holds the Judith E. Wilson Fellowship for poetry to the University of Cambridge for 2009-10. In 2017 he is named by previous winner, the English poet Tom Raworth, as the latest recipient of the biennial N. C. Kaser prize for poetry.
Greacen is the only child of Henry Greacen and his wife Elizabeth (née McCrea). His father comes from a Presbyterian farming background in County Monaghan and, at one time, holds a position as a creamery manager, but is a heavy drinker and fails in several businesses. Most of his childhood is spent with his maternal grandmother and aunts when his parents temporarily separate. He briefly attends two local primary schools in Belfast, but when his father receives insurance compensation after his Belfast business burned down, he takes his family to the Castleblayney area in County Monaghan and for a short time goes back to farming. He goes to a national school there, but after another fire destroys the farmhouse, the Greacens return to Belfast to run the Kenilworth, a tobacconist’s shop on the Newtownards Road. He attends Templemore primary school and then enters Methodist College Belfast in 1933.
Greacen mostly enjoys school, though he is too short-sighted to participate with success in any sport, and sometimes, because of his background, feels out of his depth among middle-class children. He is always ashamed of his father’s drunken outbursts and is terrified of the violent temper which accompanies them. Literature provides both a temporary escape and the promise of future success. His first poems are published in school magazines, and he decides at a young age to try to make a career as a writer. He fails examinations and interviews for positions in a bank and an insurance company and instead starts studying history and English at Queen’s University Belfast.
At Queen’s, as earlier at Methodist College, the interests which characterise Greacen’s later career are apparent. Largely thanks to meeting John Boyd, he develops sympathies with left-wing political ideas, as well as a deepened commitment to poetry. His youthful 1930s enthusiasm for Marxism disappears after the Molotov-Ribbentrop Pact of 1939 between the Soviet Union and Nazi Germany, but up to his later years he describes himself as a socialist. The formation of enduring friendships and mutually supportive coteries, a phenomenon particularly characteristic of the Ulster literary scene of the period, continues to be of great importance throughout his life. He makes friends with almost all the significant figures in Belfast, especially Roy McFadden, John Hewitt and Sam Hanna Bell. At Queen’s, he and a friend take over in 1940 the editing of a student magazine, The Northman. They try with short-lived, limited success to make it a literary journal for the whole region, so as to enable aspiring poets to get work into print. His own early poems appear in The Bell, and he writes some pieces for the left-wing Irish Democrat newspaper. His poem The Bird (1941) is well reviewed and later appears in anthologies. In 1942 he publishes Poems from Ulster, a small anthology including work by his friends.
For several months, Greacen worships from afar a fellow student named Irene. When he fails to form a relationship with her, he stops going to lectures so that he does not have to see her and does not finish his degree. His McCrea relatives pay for him to go to Trinity College Dublin in 1943 to take a diploma in social work. He is glad to get away from wartime Belfast and never lives there again. At first, he enjoys Dublin, and again makes many friends, among them Brendan and Beatrice Behan, Blanaid Salkeld, Cecil ffrench Salkeld, Joseph and Mary O’Neill, Douglas Gageby, Arland Ussher and Hubert Butler. He and Patrick Kavanagh live in the same boarding house on Raglan Road for several months in 1945, but Kavanagh takes offence at a review in Horizon by Greacen of his poem The Great Hunger and calls him a “Protestant bastard.” Greacen is upset, as he had thought the review favourable, and is disappointed but not surprised when Kavanagh refuses to allow any of his poems to appear in the prestigious Faber and Faber book Contemporary Irish Poetry, edited by Greacen and Valentin Iremonger in 1949.
The collaborative compilation of anthologies of poetry is Greacen’s characteristic way of working. In 1942, he and Alex Comfort edit Lyra: An Anthology of New Lyric. With Roy McFadden, he edits Ulster Voices in 1943. He is sole editor of Northern Harvest in 1944 and, in the same year, he, Bruce Williamson and Valentin Iremonger publish their own work in On the Barricades. His own first solo collection, One Recent Evening, is also a 1944 imprint. In 1946, with support from Maurice Fridberg, a Jewish Dublin and London bookseller, his publishing company, New Frontiers Press, produces Irish Harvest, which, though designed on more ambitious lines, still consists chiefly of poems by his friends. He feels much more affinity with the modernism and social protest that he finds in contemporary English poetry, especially in the “new apocalypse” movement associated with Herbert Read, and later the “new romantics,” than with what he regards as the outmoded Celtic nationalism of W. B. Yeats and his followers. Like others of his contemporaries, he comes to resent the unquestioned shibboleths of life in Ireland, and particularly objects to the censorship of literature and film.
Consequently, when Greacen’s second small volume of poems, The Undying Day (1948), sells badly, and other avenues seem unpromising, he and his wife give up on Dublin and move to London. He finds a job with the United Nations Association, which suits his outlook and ideals. However, when he is made redundant, he has to take various jobs in adult education, in creative-writing courses, and in teaching English as a foreign language, in the City of London College, the City Literary Institute, and West London College. He retires in 1986. His involvement with the London literary world continues throughout his career, as he gets to know many of the leading figures, including Stephen Spender and T. S. Eliot, and he organises poetry readings and other projects, though he himself writes no poetry for more than twenty years. At one time he considers taking up journalism and continues to produce book reviews and articles in journals, as well as many letters to newspapers. He writes several, well-received short works of criticism, in particular, The Art of Noël Coward (1953) and The World of C. P. Snow (1962). After returning to Dublin in 1986, he writes an interesting memoir about his many friends and acquaintances, Brief Encounters: Literary Dublin and Belfast in the 1940s (1991) and Rooted in Ulster: Nine Northern Writers (2000).
Greacen marries Patricia Hutchins in Fisherwick Presbyterian Church in Belfast on April 10, 1946. She is from a Protestant family who has a small estate at Ardnagashel, near Bantry, County Cork, and is related to the botanist Ellen Hutchins. They have one daughter, Arethusa, but, after four years of separation, the marriage ends in divorce in 1966. He resents his wife’s conversion to vegetarianism and seems also to disapprove of her desire to achieve her own career goals. Probably also the depression he experiences throughout the 1950s contributes to the breakdown of the marriage, but he feels that twelve experiences in the early 1960s with the hallucinogenic drug LSD, under the guidance of a psychiatrist, had cured him. After the LSD treatments he feels that he is ready to begin working on an autobiography, Even Without Irene, published several years later in 1969. This comes out again in an enlarged version in 1995, and, still further augmented, as The Sash My Father Wore (1997).
Greacen begins to publish poetry again in his fifties, in A Garland for Captain Fox (1975). Poems about the career and friends of an imaginary, sophisticated adventurer do not always strike the exactly right note but are popular and mark a new beginning for him, who increasingly writes elegiacally about personalities, real and fictional, in more restrained diction and with careful irony. In interviews, he denies that Captain Fox is his own alter ego, but the interplay between the character of Fox and elements of his creator’s own life suggests a metaphor for the poet’s creative process, as well as reminding the reader of the poet friends whose support means much to his writing in real life. At the very least, Captain Fox becomes what could be called a character of virtual reality for his creator.
Greacen’s later poetry collections include Young Mr. Gibbon (1979), A Bright Mask (1985), Carnival at the River (1990), Collected Poems 1944–1994 (1995; awarded The Irish Times Literature Prize for Poetry in that year), Protestant Without a Horse (1997), Captain Fox: A Life (2000), Lunch at the Ivy (2002), Shelley Plain (2002), and Selected and New Poems (2006).
On his return to Dublin in 1986, Greacen for a time shares a flat on Anglesea Road with Beatrice Behan, until he finds her dead in her bed in 1993. In later years he lives in a flat in Sandymount. He is elected to membership of Aosdána in 1986, and during his later years in Dublin enjoys the status of a senior figure in the world of literature. He gives readings in the United States, appears often on RTÉ radio programmes, and has poems republished in anthologies. There was even one poem displayed on the Dublin Dart suburban rail network, St. Andrew’s Day: An Elegy for Patricia Hutchins, perhaps his best work. Perhaps only a few of his poems have been lodged in the public memory, but it is appropriate, given the themes of his career, that his work will be read with most attention by poets and by scholars, and that his reputation in the future may largely be based on his friendships with other poets.
Hartnett is born in Croom Hospital in Croom, County Limerick, on September 18, 1941. He is one of the most significant voices in late 20th-century Irish writing and has been called “Munster‘s de facto poet laureate.”
Although Hartnett’s parents’ name is Harnett, he is registered in error as Hartnett on his birth certificate. In later life he declines to change this as his legal name is closer to the Irish Ó hAirtnéide. He grows up in the Maiden Street area of Newcastle West, County Limerick, spending much of his time with his grandmother, Bridget Halpin, who resides in the townland of Camas, in the countryside nearby. He claims that his grandmother is one of the last native speakers to live in County Limerick, though she is originally from northern County Kerry. Although she speaks to him mainly in English, he listens to her conversing with her friends in Irish, and as such, he is quite unaware of the imbalances between English and Irish. When he begins school, he is made aware of the tensions between both languages and is surprised to discover that Irish is considered an endangered language, taught as a contrived, rule-laden code, with little of the literary attraction which it holds for him. He is educated in the local national and secondary schools in Newcastle West. He emigrates to England the day after he finishes his secondary education and goes to work as a tea boy on a building site in London.
Hartnett has started writing by this time and his work comes to be known of the poet John Jordan, who is professor of English at University College Dublin (UCD). Jordan invites him to attend the university for a year. While back in Dublin, he co-edits the literary magazine Arena with James Liddy. He also works as curator of James Joyce‘s tower at Sandycove for a time. He returns briefly to London, where he meets Rosemary Grantley on May 16, 1965, and they are married on April 4, 1966. His first book, Anatomy of a Cliché, is published by Poetry Ireland in 1968 to critical acclaim and he returns to live permanently in Dublin that same year.
Hartnett works as a night telephonist at the telephone exchange on Exchequer Street. He now enters a productive relationship with New Writers Press, run by Michael Smith and Trevor Joyce. They publish his next three books. The first of these is a translation from the Irish, The Old Hag of Beare (1969), followed by Selected Poems (1970) and Tao (1972). This last book is a version of the Chinese Tao Te Ching. His Gypsy Ballads (1973), a translation of the Romancero Gitano of Federico García Lorca, is published by the Goldsmith Press.
In 1974 Hartnett decides to leave Dublin and return to his rural roots, as well as deepen his relationship with the Irish language. He goes to live in Templeglantine, five miles from Newcastle West, and works for a time as a lecturer in creative writing at Thomond College of Education, Limerick.
In his 1975 book, A Farewell to English, Hartnett declares his intention to write only in Irish in the future, describing English as “the perfect language to sell pigs in.” A number of volumes in Irish follow including Adharca Broic (1978), An Phurgóid (1983) and Do Nuala: Foighne Chrainn (1984). A biography on this period of his life entitled A Rebel Act Michael Hartnett’s Farewell To English by Pat Walsh is published in 2012 by Mercier Press.
In 1984 Hartnett returns to Dublin to live in the suburb of Inchicore. The following year marks his return to English with the publication of Inchicore Haiku, a book that deals with the turbulent events in his personal life over the previous few years. This is followed by a number of books in English including A Necklace of Wrens (1987), Poems to Younger Women (1989) and The Killing of Dreams (1992).
Hartnett also continues working in Irish, and produces a sequence of important volumes of translation of classic works into English. These include Ó Bruadair, Selected Poems of Dáibhí Ó Bruadair (1985) and Ó Rathaille The Poems of Aodhaghán Ó Rathaille (1999). His Collected Poems appear in two volumes in 1984 and 1987 and New and Selected Poems in 1995.
Hartnett dies in St. Vincent’s Hospital, Dublin, from Alcoholic Liver Syndrome on October 13, 1999. A new Collected Poems appears in 2001.
Every April a literary and arts festival is held in Newcastle West in honour of Hartnett. Events are organised throughout the town and a memorial lecture is given by a distinguished guest. Former speakers include Nuala O’Faolain, Paul Durcan, David Whyte and Fintan O’Toole. The annual Michael Hartnett Poetry Award of € 4,000 also forms part of the festival. Funded by the Limerick City and County Council Arts Office and the Arts Council of Ireland, it is intended to support and encourage poets in the furtherance of their writing endeavours. Previous winners include Sinéad Morrissey and Peter Sirr.
During the 2011 Éigse, Paul Durcan unveils a bronze life-sized statue of Hartnett sculpted by Rory Breslin, in the Square, Newcastle West. Hartnett’s son Niall speaks at the unveiling ceremony.
Matthew Gerard Sweeney, Irish poet, is born at Lifford, County Donegal, on October 6, 1952. His work has been translated into Dutch, Italian, Hebrew, Japanese, Latvian, Mexican Spanish, Romanian, Slovakian and German.
Sweeney meets Rosemary Barber in 1972 and they marry in 1979. Two offspring – daughter Nico and son Malvin – are produced before the couple goes their separate ways in the early 21st century. Having lived in London for many years until 2001, he separates from Rosemary and goes to live in Timișoara, Romania and Berlin. In 2007, he meets his partner, Mary Noonan, and in early 2008 he moves to Cork to live with her there.
Sweeney produces numerous collections of poetry for which he wins several awards. His novels for children include The Snow Vulture (1992) and Fox (2002). He authors a satirical thriller, co-written with John Hartley Williams, and entitled Death Comes for the Poets (2012).
As Bill Swainson, Sweeney’s editor at Allison & Busby in the 1980s, recalls: “As well as writing his own poetry, Matthew was a great encourager of poetry in others. The workshops he animated, and later the residencies he undertook, were famous for their geniality and seriousness and fun. Sometime in the late 1980s I attended one of these workshops in an upstairs room of a pub in Lamb’s Conduit Street, Bloomsbury, where the poems were circulated anonymously and carefully read and commented on by all. Around the pushed-together tables were Ruth Padel, Eva Salzman, Don Paterson, Maurice Riordan, Jo Shapcott, Lavinia Greenlaw, Michael Donaghy, Maura Dooley and Tim Dooley.” Sweeney later has residencies at the University of East Anglia and Southbank Centre, among many others. He reads at three Rotterdam Poetry Festivals, in 1998, 2003 and 2009.
According to the poet Gerard Smyth: “I always sensed that in the first instance [Sweeney] regarded himself as a European rather than an Irish poet – and rightly so: like the German Georg Trakl whom he admired he apprehended the world in a way that challenged our perceptions and commanded our attention.” Sweeney’s work has been considered “barely touched by the mainstream of English writing” and more so by the German writers Heinrich von Kleist, Georg Büchner, Franz Kafka, Günter Grass and Heinrich Böll, as well as the aforementioned Georg Trakl. According to Poetry International Web, he would be among the top five most famous Irish poets on the international scene.
Having been diagnosed with motor neuron disease the previous year, Sweeney dies at the age of 65 at Cork University Hospital in Wilton, Cork, on August 5, 2018, surrounded by family and friends. He continues writing up until three days before his death. In an interview shortly before his death he is quizzed on his legacy, to which he gives the response, “Mostly what awaits the poet is posthumous oblivion. Maybe there will be a young man in Hamburg, or Munich, or possibly Vienna, for whom my German translations will be for a while important – and might just contribute to him becoming a German language poet with Irish leanings.”
Among those attending a special ceremony on August 8, 2018, at the Triskel Arts Centre in Cork to celebrate Sweeney’s life are fellow poets Jo Shapcott, Thomas McCarthy, Gerry Murphy, Maurice Riordan and Padraig Rooney. On August 9, 2018, he is buried in Clonmany New Cemetery in County Donegal.
Fallon is born at Holles Street Hospital, Dublin, on January 30, 1939, the third of six sons of Padraic Fallon, the Irish poet and playwright, and Dorothea Maher. The family moves to Clonard, County Wexford, where he grows up. He has three surviving brothers, Brian, Ivan and Padraic, who have all had journalism careers. His early interest in literature and the arts is nourished by his father and elder brothers, and by contact with the cultured circle of writers, artists, musicians and intellectuals within which his father moves.
Fallon is educated at St. Peter’s College, Wexford, and Trinity College, Dublin. He begins painting in 1957 while at Trinity College, where he is studying natural science but is advised to pay more attention to his art. His interest in painting is probably inspired by the example of Tony O’Malley, a close family friend. As a compromise with his father, who does not see his talent, he also studies accountancy at night.
Largely self-taught in painting, he learns fundamentals of technique from Richard Kingston, to whom he is introduced by O’Malley. He largely paints landscapes in acrylic and gouache, in a manner heavily influenced by that of Jack Butler Yeats.
In 1964, Fallon visits O’Malley in St. Ives, Cornwall, where he had emigrated several years earlier, intending also to meet the Cornish abstract landscape painter Peter Lanyon, the chief creative force in the thriving artists’ colony centred on St. Ives. His arrival, however, coincides with Lanyon’s death from injuries suffered in a gliding accident. A gently sympathetic stranger amid the bereaved artistic community, he finds an immediate empathy and rapport with Nancy Wynne-Jones, a Welsh-born painter sixteen years his senior who had studied under Lanyon. They marry in 1966. They adopt two children in 1970, siblings John and Bridget.
Encouraged to take up sculpture, English sculptor Denis Mitchell becomes Fallon’s mentor in Cornwall, and with Breon O’Casey, he develops his sculpting. He becomes notable for his cast steel and bronze work, especially birds, horses and hares. He has his first solo exhibition in Newlyn in 1972, showing both painting and sculpture.
In May 1972, Fallon moves with his family back to Ireland, settling at Scilly House, on a hillside overlooking the harbour at Kinsale, County Cork. Removed from any centre of artistic activity, he devotes himself fulltime to a solitary development of his sculpture, refining his methodology and technique, and his skills in working various metals, beginning in 1974 to work in steel. In 1975, he first exhibits in Ireland at a solo show at the Emmet Gallery, Dublin, again showing both painting and sculpture, including his first steel sculptures to be exhibited.
Beginning in 1983, Fallon exhibits regularly with the Taylor Galleries, Dublin. Desiring closer proximity to Dublin art activities, and with their children attending university in the city, Fallon and his wife move in 1987 to Ballard House, Ballinaclash, Rathdrum, County Wicklow.
In the summer of 2007, some six months after his wife’s death, Fallon wis diagnosed with advanced metastatic lung cancer. He dies on October 3, 2007, at the Blackrock Clinic, County Dublin, and is buried beside his wife in Ballinatone churchyard, Greenan, Rathdrum, County Wicklow.
Rosenstock’s father, George, is a doctor and writer from Schleswig-Holstein, Germany, who serves as a medical officer with the Wehrmacht in World War II. His mother is a nurse from County Galway. He is the third of six children and the first born in Ireland. He is educated locally in Kilfinane, then in Mount Sackville, County Dublin.
Rosenstock works for some time on the television series Anois is Arís on RTÉ, then on the weekly newspaper Anois. Until his retirement he works with An Gúm, the publications branch of Foras na Gaeilge, the North-South body which promotes the Irish language.
Although he has worked in prose, drama and translation, Rosenstock is primarily known as a poet. He has written or translated over 180 books.
Rosenstock also writes for children, in prose and verse. Haiku Más É Do Thoil É! (An Gúm) wins the Children’s Books Judges’ Special Prize in 2015.
Rosenstock appears in the anthology Best European Fiction 2012, edited by Aleksandar Hemon, with a preface by Nicole Krauss (Dalkey Archive Press). He gives the keynote address to Haiku Canada in 2015.
Rosenstock has worked with American photographer Ron Rosenstock, Indian Photographer Debiprasad Mukherjee, Greek photographer Kon Markogiannis, Dublin photographer Jason Symes, French photographer Jean-Pierre Favreau and many more to create the new guise of a photo-haiku (or a haiga) – the interplay of visual aesthetic and literature.
Smithson is christened Margaret Anne Jane but takes the names Anne Mary Patricia on her conversion to Catholicism. Her mother and father are first cousins, and her father dies when she is young. About 1881 her mother marries her second husband, Peter Longshaw, who owns a chemical factory in Warrington, Lancashire, England. She dislikes her stepfather and refers to him always as Mr. Longshaw. There are five children of the second marriage.
Smithson abandons her ambition to become a journalist in order to train as a nurse and a midwife. She trains in London and Edinburgh, before returning to Dublin in 1900. In 1901 she takes up a post as district nurse in Millton, County Down. There she falls in love with her colleague Dr. James Manton, a married man. Deciding that a relationship is impossible, she leaves Millton in 1906. They keep up a correspondence until her conversion, when she burns his letters.
Smithson takes the Republican side in the Irish Civil War and nurses participants in the siege at Moran’s Hotel. In 1922 she is imprisoned by Irish Free State forces and is rescued from Mullingar prison by Linda Kearns McWhinney and Muriel MacSwiney, posing as a Red Cross delegation. Her political views lead to her resignation from the Queen’s Nurses Committee and a move into private nursing. In 1924 she writes a series of articles on child welfare work for the Evening Mail newspaper, based on her work in tenements in the Dublin Liberties, one of the poorest areas of the city, where she continues to work until 1929.
Smithson is Secretary and Organiser of the Irish Nurse Organisation from 1929 to 1942. She writes for the Irish Nurses’ Magazine and edits the Irish Nurses Union Gazette.
In 1917 Smithson publishes her first novel, Her Irish Heritage, which becomes a best-seller. It is dedicated to those who died in the Easter Rising of 1916. In all, she publishes twenty novels and two short story collections. Other successful novels include By Strange Paths and The Walk of a Queen. Many of her works are highly romantic and draw on her own life experiences, with nationalism and Catholicism featured as recurrent themes. In 1944 she publishes her autobiography, Myself – and Others.
From 1932 onwards Smithson shares a house in Rathmines, Dublin, with her stepsister and her stepsister’s family. She dies of heart failure on February 21, 1948, at 12 Richmond Hill, Dublin, and is buried in Whitechurch, Dublin.
Russell is born on April 10, 1867, in Lurgan, County Armagh, in what is now Northern Ireland. He writes with the pseudonym Æ (often written AE or A.E.). He is also a writer on mysticism, and a central figure in the group of devotees of theosophy which meets in Dublin for many years. He takes his pseudonym from a proofreader’s query about his earlier pseudonym, “AEon.”
Russell is the second son of Thomas Russell and Mary Armstrong. His father, the son of a small farmer, becomes an employee of Thomas Bell and Co., a prosperous firm of linen drapers. The family relocates to Dublin, where his father has a new offer of employment, when he is eleven years old.
Following his time at the Metropolitan School of Art, Russell becomes an accounts clerk in a drapery store but leaves in 1897 to organize agricultural cooperatives. Eventually he becomes editor of the periodicals Irish Homestead (1905–23) and The Irish Statesman (1923–30). In 1894 he publishes the first of many books of verse, Homeward: Songs by the Way, which establishes him in what is known as the Irish Literary Revival. His first volume of Collected Poems appears in 1913 and a second in 1926. He maintains a lifelong interest in theosophy, the origins of religion, and mystical experience. Candle of Vision: Autobiography of a Mystic (1918) is the best guide to his religious beliefs.
At the turn of the 20th century, Russell is considered by many to be the equal of Yeats, but he does not continue to grow and develop as Yeats does. He is prolific and versatile, but many critics find his poetry facile, vague, and monotonous, with “rather too much of the Celtic Twilight” in it.
Russell, who had become increasingly unhappy in the Irish Free State which, according to Yeats, he called “a country given over to the Devil,” moves to England soon after his wife’s death in 1932. Despite his failing health he goes on a final lecture tour in the United States but returns home utterly exhausted. He dies of cancer in Bournemouth, England, on July 17, 1935. His body is brought back to Ireland, and he is interred in Mount Jerome Cemetery, Dublin.
seamus dubhghaill 