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  • Nótaí na nEagarthóirí:Editor's Notes
  • David Gardiner

Winter is the time for introspection. If it is the time of "discontent," that may be because the introspection has uncovered things we may not wish to see or remember. Undoubtedly, the longer nights and the cold turn us inward, into ourselves—thus perhaps becoming more ourselves as we do so.

It is for all of these reasons that New Hibernia Review does not embrace the sort of hypercritical discontent that sometimes creates verbs such as "problematize," nor does it look to unearth the so-called uninformed failures of previous academic thought. As a "journal of record," we continue not only to seek and to publish the best criticism in Irish Studies no matter the source, but we seek to expand both the knowledge base and, dare it be said, the enjoyment of Irish Studies. This is our readers' journal.

The cover again features the work of a contemporary Belfast artist. The image of a South African woman with dreads living in Belfast is entirely appropriate to the vision of Irish Studies and indeed of Ireland in light of the recent electoral and international events that affect the country with enduring and new questions, such as: does Ireland look to Boston? Brussels? Brexit? or itself? Gillian Morrow, sculptor and painter, refers to her artwork as sometimes "chasing shadows." This is an excellent description of every aesthetic and intellectual endeavor.

In this issue, we continue to chase shadows and hope that you enjoy doing so with us. The references range from Sylvia Plath to Jane Austen to Bridesmaids and beyond. There are works to which you may be introduced for the first time—such as a few of the novels discussed here—as well as works with which we all may think we're well acquainted yet that will be seen differently—such as the Irish cinema that we have assumed to exist for some time now.

As in our other issues, each of the authors has generously provided personal contact information. It is worth pointing out over the past issues how global this reach has become. From Poland to China to Oman to Newfoundland to Ireland to Milwaukee, we are proud to bring the world's work to the journal and to you. [End Page 5]

On a note of business, with the current issue of the journal, we have begun working with the professional subscription service pdcnet. In the near future, subscribers may receive renewal notices, clarification requests, and offers for personal electronic subscriptions. Please assist us as we try to bring New Hibernia Review to as many interested readers, like yourselves, as possible. If you have any questions at all in this regard, please contact us at

Our readers may have noticed the newly published design that is now featured on our back cover. This is the tunc figure gathered from the outstanding Celtic Collection at the O'Shaughnessy Library at the University of St. Thomas. The tunc, or loosely in Irish, "ansin," has become an important image for New Hibernia Review and the Center for Irish Studies at the University of St. Thomas.

The tunc is unclear. Is the character running? Relaxing? Reading? In regard to New Hibernia Review, all apply. Our intellects run after new ideas and thoughts while these same intellects demand the need and the right to relax while reflecting upon these ideas.

Tunc in its most classical origin also means simply "then." In that aspect, we might read it as "and then" this happened, or "once upon a time." And so, we welcome you to Volume 23, Issue 4, and then …

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