In 1997, Wall wins the Patrick Kavanagh Poetry Award. He publishes his first collection of poetry that same year. His first novel, Alice Falling, a dark study of power and abuse in modern-day Ireland, appears in 2000. He is the author of four novels, two collections of poetry and one of short stories.
In 2005, This Is The Country appears. A broad attack on politics in “Celtic Tiger” Ireland, as well as a rite of passage novel, it is longlisted for the Man Booker Prize, and shortlisted for the Irish Book Awards. It can be read as a satirical allegory on corruption, the link between capitalism and liberal democracy exemplified in the ‘entrepreneurial’ activities of minor drug dealers and gangsters, and reflected in the architecture of business-parks and sink estates. This political writing takes the form of “an insightful and robust social conscience”, in the words of academic John Kenny. Kenny also focuses on what he sees as Wall’s “baneful take on the Irish family, his fundamentally anti-idyllic mood” which has “not entirely endeared Wall to the more misty-eyed among his readers at home or abroad.” The political is also in evidence in his second collection of poetry Fahrenheit Says Nothing To Me. He is not a member of Aosdána, the Irish organisation for writers and artists. In 2006, his first collection of short fiction, No Paradiso, appears. In 2017, he becomes the first European to win the Drue Heinz Literature Prize.
His provocative political blog, The Ice Moon, has increasingly featured harsh criticism of the Irish government over their handling of the economy, as well as reviews of mainly left-wing books and movies. Many of his posts are satirical. He occasionally writes for literary journals, writes for Irish Left Review, and reviews for The Irish Times. His work has been translated into several languages. He has also appeared on the Irish-language channel TG4, such as in the programme Cogar.
He is one of the Irish delegates at the European Writers Conference in Istanbul in 2010.
Described by writer Kate Atkinson as “lyrical and cruel and bold and with metaphors to die for,” critics have focused on Wall’s mastery of language, his gift for “linguistic compression,” his “poet’s gift for apposite, wry observation, dialogue and character,” his “unflinching frankness” and his “laser-like … dissection of human frailties,” which is counterbalanced by “the depth of feeling that Wall invests in his work.” A review of his first novel in The New Yorker declares “Wall, who is also a poet, writes prose so charged—at once lyrical and syncopated—that it’s as if Cavafy had decided to write about a violent Irish household.” In a recent review, his long poem “Job in Heathrow,” anthologised in The Forward Book of Poetry 2010 but originally published in The SHOp, is described as “a chilling airport dystopia.” Poet Fred Johnston suggests that Wall’s poetry sets out to “list the shelves of disillusion under which a thinking man can be buried.” For Philip Coleman, “Ghost Estate is a deeply political book, but it also articulates a profound interest in and engagement with questions of aesthetics and poetics.”
Wall is a longtime sufferer of adult-onset Still’s disease (AOSD) and describes his efforts to circumvent the disabling effects of the disease using speech-to-text applications as “a battle between me and the software.”
Mangan is born on May 1, 1803, in Dublin. His poetry fits into a variety of literary traditions. Most obviously, and frequently, his work is read alongside such nationalist political authors as John Mitchel, as they appear in The Nation, The Vindicator and the United Irishman newspapers or as a manifestation of the 19th-century Irish Cultural Revival. He is also frequently read as a Romantic poet.
Mangan is the son of James Mangan, a former hedge school teacher and native of Shanagolden, County Limerick, and Catherine Smith from Kiltale, County Meath. Following his marriage to Smith, James Mangan takes over a grocery business in Dublin owned by the Smith family, eventually becoming bankrupt as a result. Mangan describes his father as having “a princely soul but no prudence,” and attributes his family’s bankruptcy to his father’s suspect business speculations and tendency to throw expensive parties. Thanks to poor record keeping, inconsistent biographies, and his own semi-fictional and sensationalized autobiographical accounts, his early years are the subject of much speculation. However, despite the popular image of him as a long-suffering, poor poet, there is reason to believe that his early years are spent in middle class comfort.
Mangan is educated at a Jesuit school where he learns Latin, Spanish, French, and Italian. He attends three schools before the age of fifteen. Obliged to find a job in order to support his family, he then becomes a lawyer’s clerk, and is later an employee of the Ordnance Survey and an assistant in the library of Trinity College, Dublin.
Mangan’s first verses are published in 1818. From 1820 he adopts the middle name Clarence. In 1830 he begins producing translations – generally free interpretations rather than strict transliterations – from German, a language he had taught himself. Of interest are his translations of Johann Wolfgang von Goethe. From 1834 his contributions begin appearing in the Dublin University Magazine. In 1840 he begins producing translations from Turkish, Persian, Arabic and Irish. He is also known for literary hoaxes as some of his “translations” are in fact works of his own, like Twenty Golden Years Ago, attributed to a certain Selber.
Mangan is friends with the patriotic journalists Thomas Davis and John Mitchel, who ultimately writes his biography. His poems are published in their newspaper The Nation.
Although Mangan’s early poetry is often apolitical, after the Great Famine he begins writing patriotic poems, including influential works such as Dark Rosaleen, a translation of “Róisín Dubh,” and A Vision of Connaught in the Thirteenth Century.
Mangan’s best known poems include Dark Rosaleen, Siberia, Nameless One, A Vision of Connaught in the Thirteenth Century, The Funerals, To the Ruins of Donegal Castle, Pleasant Prospects for the Land-eaters and Woman of Three Cows. He writes a brief autobiography, on the advice of his friend Charles Patrick Meehan, which ends mid-sentence. This is apparently written in the last months of his life, since he mentions his narrative poem of the Italian Gasparo Bandollo, which is published in the Dublin University Magazine in May 1849.
Mangan is a lonely and often difficult man who suffers from mood swings, depression and irrational fears, and becomes a heavy drinker and opium user. His appearance grows eccentric, and he is described by the artist WF Wakeman as frequently wearing “a huge pair of green spectacles,” padded shirts to hide his malnourished figure and a hat which “resembled those which broomstick-riding witches are usually represented with.” On June 20, 1849, weakened by poverty, alcoholism and malnutrition, he succumbs to cholera at the age of 46. He is buried in Glasnevin Cemetery in Dublin.
(Pictured: Memorial bust of James Mangan in St. Stephen’s Green, sculpted by Oliver Sheppard)
Lawless’s grandfather is Valentine Lawless, 2nd Baron Cloncurry, a member of the Society of United Irishmen and son of a convert from Catholicism to the Church of Ireland. Her father is Edward Lawless, 3rd Baron Cloncurry, thus giving her the title of “The Honourable.” In contrast, her brother Edward Lawless is a landowner with strong Unionist opinions, a policy of not employing Roman Catholics in any position in his household, and chairman of the Property Defence Association set up in 1880 to oppose the Irish National Land League and “uphold the rights of property against organised combination to defraud.” The prominent Anglo-Irish unionist and later nationalist, Home Rule politician Horace Plunkett is a cousin. Lord Castletown, Bernard FitzPatrick, 2nd Baron Castletown is also a cousin. It is widely believed that she is a lesbian and that Lady Sarah Spencer, dedicatee of A Garden Diary (1901) is her lover.
Lawless spends part of her childhood with the Kirwans of Castle Hackett, County Galway, her mother’s family, and draws on West of Ireland themes for many of her works. She occasionally writes under the pen name “Edith Lytton.”
Lawless writes nineteen works of fiction, biography, history, nature studies and poetry, many of which are widely read at the time. She is most famous today for her Wild Geese poems (1902).
Some critics identify a theme of noble landlord and noble peasant in her fourth book, Hurrish, a Land War story set in The Burren of County Clare which is read by William Ewart Gladstone and said to have influenced his policy. It deals with the theme of Irish hostility to English law. In the course of the book a landlord is assassinated, and Hurrish’s mother, Bridget, refuses to identify the murderer, a dull-witted brutal neighbour. The book is criticised by Irish-Ireland journals for its “grossly exaggerated violence,” it’s embarrassing dialect, staid characters.
Her reputation is damaged by William Butler Yeats who accuses her in a critique of having “an imperfect sympathy with the Celtic nature” and for adopting “theory invented by political journalists and forensic historians.” Despite this, Yeats includes her novels With Essex in Ireland (1890) and Maelcho (1894) in his list of the best Irish novels.
Griffin is born in Limerick, County Limerick, on December 12, 1803, the youngest son of thirteen children of a substantial Catholic farming family. Patrick Griffin, his father, also makes a living through brewing, and he participates as one of Henry Grattan‘s Irish Volunteers (18th century). His mother comes from the ancient O’Brien dynasty and first introduces him to English literature. When he is aged seven, the family moves to Fairy Lawn, a house near Loghill, County Clare, which sits on a hill above the bank of the Shannon Estuary, about twenty-seven miles from Limerick. Here he has an idyllic childhood and receives a classical education.
In 1820 the family at Fairy Lawn is broken up. The parents with several of the children emigrate to the United States and settle in Pennsylvania. Griffin, with one brother and two sisters, is left behind under the care of his elder brother William, a practicing physician in Adare, County Limerick. He meets John Banim in Limerick. Inspired by the successful production of Banim’s play Damon and Pythias (1821), Griffin, at nineteen years of age, moves to London in 1823. After an unsuccessful attempt at becoming a playwright, he endures years of poverty in London, managing only to scrape by through writing reviews for periodicals and newspapers. At the end of two years, he obtains steady employment in the publishing house as reader and reviser of manuscripts, and in a short time becomes frequent contributor to some of the leading periodicals and magazines. His early pieces in The Literary Gazette vividly describe the rural setting of his childhood, recount Irish folklore, translate the Celtic Irish language for the English readers, and, as Robert Lee Wolff observes, “waxed richly sardonic about Irishmen who tried to be more English than the English.”
Griffin’s Holland-Tide or Munster Popular Tales is published by Simpkin & Marshall in 1827. Holland-Tide is a collection of seven short stories, all of which are told in the house of a hospitable Munster farmer during All Hallows’ Eve in Munster. Holland-Tide establishes his reputation, and he returns to Ireland, where he writes Tales of the Munster Festivals in Pallaskenry to which his brother William has moved.
Experience leads Griffin to modify his expectations in relation to literary work, and, with a view to the legal profession, he enters the University of London as a law student, but in a short time removes to Dublin for the study of ancient Irish history, preparatory to his work The Invasion, which is published in 1832. This work has a good sale and is highly praised by scholars but never becomes popular.
With the exception of a tour through Scotland and a short trip on the European continent, Griffin lives with his brother, keeping up to some extent his literary labours. By 1833, he is increasingly concerned that he is wasting his time and begins to devote himself to teaching the poor children of the neighborhood. In 1838, hes all of his unpublished manuscripts and joins the Congregation of Christian Brothers, a Catholic religious order which has as its special aim the education of children of the poor. Writing to an old friend he says he feels a great deal happier in the practice of this daily routine than he ever did while roving about the great city, absorbed in the modest project of rivaling Shakespeare and throwing Scott in the shade. In June 1839, he is transferred from Dublin to Cork, where he dies of typhus fever at the age of thirty-six on June 12, 1840.
One of Griffin’s most famous works is The Collegians, a novel based on a trial that he had reported on, involving the murder of a young Irish Catholic girl (Ellen Hanley) by a ProtestantAnglo-Irish man (John Scanlon). The novel is later adapted for the stage as The Colleen Bawn by Dion Boucicault.
Griffin has a street named after him in Limerick and another in Cork. Loughill/Ballyhahill GAA club in west Limerick plays under the name of Gerald Griffins.
(Pictured: “Portrait of Gerald Griffin (1803-1840), Poet and Novelist,” painting by Richard Rothwell (1800-1868), National Gallery of Ireland)
Salkeld works in tempera and oil, as well as etching and wood engraving. In 1921 he travels to Germany to study under Ewald Dulberg at the Kassell Kunstschule. He attends the Union of Progressive International Artists in Düsseldorf in May 1922, and is exhibited at the Internationale Kunstausstellung. Upon his return to Dublin in 1924, he holds his first solo exhibition in the Society of Dublin Painters gallery. He becomes a member of the Dublin Painters in 1927. With Francis Stuart, he co-edits the first two issues of To-morrow in 1924. His studio is in a converted labourer’s cottage at Glencree, County Wicklow. He also exhibits with the New Irish Salon and the Radical Painters’ Group.
Salkeld wins the 1926 Royal Dublin Society‘s Taylor scholarship, and has his first exhibited work with the Royal Hibernian Academy (RHA) in 1929. He lives in Berlin for a year in 1932. He exhibits in Daniel Egan’s Gallery in Dublin in 1935. He has a wide circle of literary friends, including Samuel Beckett and Flann O’Brien. In O’Brien’s At Swim-Two-Birds, the character of Michael Byrne is designed for Salkeld, reflecting his debilitating alcoholism. He also teaches at the Dublin Metropolitan School of Art, teaching artists such as Reginald Gray.
From 1937 to 1946 Salkeld runs a private press called Gayfield Press. This is co-founded with his mother, and operates from a garden shed at their home, 43 Morehampton Road. The press is a small Adana wooden hand press. He illustrates her 1938 The Engine Left Running, as well as Ewart Milne‘s Forty North Fifty West (1938) and Liam O’Flaherty‘s Red Barbara and Other Stories (1928). In 1951, he loans the press to Liam and Josephine Miller to found the Dolmen Press.
Salkeld’s most famous public work is his 1942 three-part mural in Davy Byrne’s pub. He is a co-founder of the Irish National Ballet School in the 1940s in his capacity as a pianist. In 1946 he is appointed an associate member of the RHA. In 1953 his play Berlin Dusk is staged at 37 Theatre Club, Dublin. During the 1950s he is a broadcaster with Radio Éireann as well as a director of cultural events for An Tóstal. He dies on May 11, 1969 in St. Laurence’s Hospital, Dublin.
Rolleston is the youngest child among three sons and a daughter of Charles Rolleston-Spunner, barrister and county court judge for Tipperary, and his wife Elizabeth, daughter of John Richards, judge and baron of the Court of Exchequer, Ireland. He attends St. Columba’s College, Rathfarnham, where he is head boy, and Trinity College Dublin (TCD), graduating with an MA in 1878. His literary ambitions first emerge at university, where he wins the vice-chancellor’s prize for English verse in 1876.
In 1879 Rolleston marries Edith Caroline, daughter of Rev. William de Burgh of Naas, County Kildare. She suffers from rheumatism, and this encourages the couple to live in Germany from 1879 to 1883. During this period, he develops a fascination for German philosophy and literature and begins a correspondence with the American poet Walt Whitman, whose work he knows through Edward Dowden. In 1881 he offers to translate into German, with S. K. Knortz, Whitman’s Leaves of Grass. This is published as Grashalme in 1889. In that year he also publishes a biography of the German philosopher Gotthold Lessing, and in 1892 delivers the Taylorian Lectures at the University of Oxford on this subject.
In the meantime, Rolleston has returned to Ireland and co-founds the Dublin University Review (DUR) with Charles Hubert Oldham in February 1885. In March 1885, under their stewardship the DUR is the first to publish W. B. Yeats. The poetry of Katharine Tynan and the first English translations of Ivan Turgenev also appear in the magazine. He has a fondness for clubs and at this time is associated with the Contemporary Club, where he becomes friendly with fellow member Douglas Hyde, and the Young Ireland Society, where he is vice-president and a disciple of John O’Leary. He writes the dedication to O’Leary in Poems and ballads of Young Ireland (1888) and is encouraged by the older man in his editing of The prose writing of Thomas Davis (1890). Under O’Leary’s influence he flirts with Fenianism, perhaps even joining the Irish Republican Brotherhood (IRB) for a time and is strongly critical of the prominent involvement of Catholic clergy in the home rule movement.
After the demise of the DUR in December 1886 Rolleston moves to London but remains involved in Irish literary activity. Although unenthusiastic in his assessment of The Wanderings of Oisín (1889), he is friendly with Yeats, and they instigate the Rhymers’ Club (1890). He is a much better critic and organiser than poet but contributes to The Book of the Rhymers’ Club (1892) and The Second Book of the Rhymers’ Club (1894). His work appears in a number of contemporary journals and anthologies, and he has one collection published, Sea Spray (1909).
Rolleston is first secretary of the Irish Literary Society (1892) and attends the foundation of its sister organisation in Dublin, the National Literary Society. These societies are soon riven by a dispute for control between Yeats and Charles Gavan Duffy, centred on the political and literary agenda of the movement. Rolleston at least acquiesces in, if not actively contributes to, Yeats’s defeat. They remain on reasonable terms, but Yeats is resentful. Rolleston edits the famous anthology, Treasury of Irish Poetry (1900), with the Rev. Stopford Augustus Brooke, whose daughter, Maud, he had married in October 1897. They have four children. His first marriage also produces four children, and he is godfather to Robert Graves, whose father, Alfred Perceval Graves, is a friend.
In 1894 Rolleston returns to Dublin, becoming managing director and secretary of the Irish Industries Association (1894–7) and honorary secretary of the Arts and Crafts Society of Ireland (1898–1908). A central figure in the latter as an organiser, propagandist, and critic rather than a practitioner, lecturing regularly and editing the journal of the society, he seeks to integrate the arts and crafts revival with other contemporary developments, cooperating with the Congested Districts Board for Ireland to organise classes. He is a supporter of the co-operative movement of Horace Plunkett, and a member of the Recess Committee. On the foundation of the Department of Agriculture and Technical Instruction (DATI), he is employed by Plunkett and T. P. Gill as organiser of lectures (1900–05). In this capacity he manages the Irish historic collection at the St. Louis exhibition of 1904 and publicly supports Plunkett in his dispute with the DATI in 1908. Convinced that the development of Irish industry is central to national progress, he believes that the Irish Parliamentary Party (IPP) failed to offer a clear practical programme for Irish nationalism. By 1900, however, his own nationalism is tempered by a belief in the importance of the imperial connection, and he opposes the pro-Boer stance taken by many Irish nationalists. In later years he publishes pamphlets urging economic development as a means of quelling Irish demands for home rule.
Rolleston is a sporadic member of the Gaelic League, writing the lyrics for the ‘Deirdre cantata,’ which wins first prize at the first Feis Ceoil in Dublin in 1897. At one point he suggests the foundation of a separate Gaelic League for Protestants and provokes controversy in 1896 by suggesting that scientific ideas cannot be represented in the Irish language. Later, he concedes that he is wrong. In 1909 he settles in London when offered the job of editor of the German language and literature section of The Times Literary Supplement, a position he holds until his death. He reinvolves himself in the Irish Literary Society and publishes a number of volumes based on Irish myth, including the influential Myths and Legends of the Celtic Race (1911), and Richard Wagner‘s Der Ring des Nibelungen. He is a founder of the India Society of London (1910). During the World War I he is librarian for the ministry of information and utilises his knowledge of Irish in the Obscure Languages section of the censor’s department.
Like many involved in cultural activities at this time Rolleston is satirised by George Moore in Hail and Farewell, but he remains very friendly with Moore, who dedicates the 1920 edition of Esther Waters to him. Rolleston dies suddenly on December 5, 1920, at his home in Hampstead, London. His widow donates many of his books to Cork Public Library.
(From: “Rolleston, Thomas William Hazen (T. W.)” contributed by William Murphy, Dictionary of Irish Biography, http://www.dib.ie)
Keane is born Mary Nesta Skrine on July 20, 1904 in Ryston Cottage, Newbridge, County Kildare. Her mother is a poet who writes under the pseudonym Moira O’Neill. Her father is a fanatic for horses and hunting. She grows up at Ballyrankin House on the banks of the River Slaney, a few miles southeast of Bunclody, County Wexford and refuses to go to boarding school in England as her siblings had done. She is educated by her mother, governesses, and at a boarding school in Bray, County Wicklow. Relationships between her and her parents are cold and she states that she had no fun in her life as a child. Her own passion for hunting and horses is born out of her need for fun and enjoyment. Reading does not feature much in her family, and, although her mother writes poetry, it is of a sentimental nature, “suitable to a woman of her class.”
Keane claims she had never set out to be a writer, but at seventeen she is bed bound due to suspected tuberculosis, and turns to writing out of sheer boredom. It is then she writes her first book, The Knight of Cheerful Countenance, which is published by Mills & Boon. She writes under the pseudonym “M. J. Farrell,” a name over a pub that she had seen on her return from hunting. She explains writing anonymously because “for a woman to read a book, let alone write one was viewed with alarm: I would have been banned from every respectable house in County Carlow.”
In her teenage years Keane spends much of her time in the Perry household in Woodruff, County Tipperary. Here she befriends the two children of the house, Sylvia and John Perry. She later collaborates with John in writing a number of plays. Among them is Spring Meeting, directed by John Gielgud in 1938, and one of the hits of the West End that year. She and Gielgud become life long friends.
It is through the Perry family that Keane meets Bobby Keane, whom she marries in 1938. He belongs to a Waterford squirearchical family, the Keane baronets. The couple goes on to have two daughters, Sally and Virginia.
Keane loves Jane Austen, and like Austen’s, her ability lay in her talent for creating characters. This, with her wit and astute sense of what lay beneath the surface of people’s actions, enables her to depict the world of the big houses of Ireland in the 1920s and 1930s. She “captured her class in all its vicious snobbery and genteel racism.” She uses her married name for her later novels, several of which (including Good Behaviour and Time After Time) have been adapted for television. Between 1928 and 1956, she writes eleven novels, and some of her earlier plays, under the pseudonym “M. J. Farrell.” She is a member of Aosdána.
Keane’s husband dies suddenly in 1946, and, following the failure of a play, she publishes nothing for twenty years. In 1981 Good Behaviour comes out under her own name. The manuscript, which had languished in a drawer for many years, is loaned to a visitor, the actress Peggy Ashcroft, who encourages Keane to publish it. The novel is warmly received and is short-listed for the Booker Prize.
Following the death of her husband, Keane moves to Ardmore, County Waterford, a place she knows well, and lives there with her two daughters. She dies on April 22, 1996 in her Cliffside home in Ardmore at the age of 91. She is buried beside the Church of Ireland church, near the centre of the village.
Praeger is born on April 15, 1867, in Holywood, County Down. She is the daughter of Willem Emilius Praeger, a Dutch linen merchant who had settled in Ireland in 1860, and Marie Patterson. She has five brothers of who Robert goes on to become a distinguished naturalist. Within months of her birth the family moves to Woodburn House, Croft Road, Holywood, where they have as a neighbour Rev. Charles McElester, a Non-subscribing Presbyterian minister who runs a day school in his church. She both attends this school, and later teaches there. She receives her secondary education at Sullivan Upper School, Holywood, the Belfast School of Art, and the Slade School of Fine Art, London. Before returning to Ireland to open a studio in Belfast and then in Holywood, she studies art in Paris.
Praeger writes and illustrates children’s books but achieves fame with her sculpture The Philosopher which is exhibited at the Royal Academy of Arts in London, bought by an American collector, and is now on display in the Colorado Springs Museum and Art Gallery. She mostly works in plaster, but also uses stone, marble, terracotta and bronze, and her work includes relief panels, memorial plaques and stones. She exhibits in London and Paris, at the Royal Hibernian Academy, as well as at the Irish Decorative Art Association Exhibitions. She is a member of the Guild of Irish Art Workers.
Among Praeger’s other works are The Wai, Johnny the Jig, These Little Ones, St. Brigid of Kildare and The Fairy Fountain. For the Causeway School near Bushmills, County Antrim, she carves Fionnula the Daughter of Lir in stone. She models a heraldic figure for the Northern Bank in Donegall Square West, Belfast, and bronze plaques for the front door of the Carnegie library, Falls Road, Belfast, as well as the angels on Andrews Memorial Hall in Comber, County Down, and some work in St. Anne’s Cathedral, Belfast. She illustrates three books for her brother, Robert Praeger. She is President of the Royal Ulster Academy, an honorary Fellow of the Royal Hibernian Academy, and she receives an honorary doctorate from Queen’s University, Belfast. In 1939 she is awarded the MBE.
Praeger maintains her studio in Hibernian Street, Holywood, up until 1952, at the age of 85. She dies at Rock Cottage, County Down, on April 17, 1954. She is buried in the Priory Cemetery, Holywood. Her work in included in the collections of the Ulster Museum and the National Gallery of Ireland, and some private collections around the world
(From: “Sophia Rosamond Praeger (1867 – 1954): Sculptor” by Kate Newmann and Richard Froggatt, Dictionary of Ulster Biography, http://www.newulsterbiography.co.uk)
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.
Eugene Rutherford Watters is the eldest of two sons and two daughters born to Thomas Watters, a soldier, and his wife, Maud Sproule. His second name comes from his grandfather, Rutherford Sproule. He is educated at Garbally College. He enters St. Patrick’s Teacher Training College, Drumcondra, Dublin, in 1939, graduating with a Diploma in Education in 1945. He is awarded an MA, by University College Dublin in 1947.
Ó Tuairisc writes novels, verse, drama and criticism in both Irish and English. His first major publication is his controversial novel Murder in Three Moves (1960), followed by the Irish-language prose epic L’Attaque (1962), which wins an Irish Book Club award. Both works have a strong poetic flavour. His next book is a volume of verse entitled Week-End. His narrative poem The Weekend of Dermot and Grace (1964), an Irish version of Venus and Adonis, is considered his finest work.
Ó Tuairisc’s first wife, the Irish artist Una McDonnell, dies in 1965. He produces little during the five years following McDonnell’s death, which is an unsettled period of limited productivity, changing residence and jobs, and, ultimately, serious depression. In 1972 he marries the writer Rita Kelly, also of Ballinasloe. They live in the lock house at the Maganey Lock on the River Barrow that he had bought near Carlow, County Carlow.
In 1981 Ó Tuairisc publishes The Road to Brightcity: and other stories (Swords: Poolbeg Press, 1981), a translation of nine of the best short stories written originally in Irish by Máirtín Ó Cadhain. Also in 1981, he and Rita Kelly publish a joint collection of their poems, Dialann sa Díseart.
Like Diarmaid Ó Súilleabháin, Ó Tuairisc “challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists.”
Ó Tuairisc is an inaugural member of Aosdána, when it is founded in 1981, and the first of its members to die. He is a recipient of an Arts Council of Ireland prize, as well as an Abbey Theatre prize for a Christmas pantomime in Irish.
Ó Tuairisc dies on August 24, 1982. He is survived by his second wife, Rita. A bibliography of his work, together with biographical information, is published in Irish in 1988.
seamus dubhghaill 