Project MUSE®: New Hibernia Review - Latest Articles
https://muse.jhu.edu/journal/141
Project MUSE®: Latest articles in New Hibernia Review.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (1997) through current issueLatest Articles: New Hibernia ReviewTWOProject MUSE®New Hibernia Review1534-58151092-3977Latest articles in New Hibernia Review. Feed provided by Project MUSE®The Literary Lockdown, or How I Beat Irish COVID Travel Restrictions and Got to Read The Road
https://muse.jhu.edu/article/982185
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Graffiti scrawled on a social distancing notice saying "All will be OK"opening lines usually get engrained in your head following multiple readings of a classic.
There was no possibility of taking a walk that day.
It was a queer, sultry summer, the summer they electrocuted the
    Rosenbergs …
But the reason I always remember the first sentence of Cormac McCarthy's The Road, was, conversely, that I deliberately avoided reading it for years. I love most of his other work, and while it's one of those seminal texts for twentieth and twenty-first century humans, I'd tried and failed several times to get through The Road since its publication in 2006. The first sentence is one of those great, prescient kickoffs that
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallThe Literary Lockdown, or How I Beat Irish COVID Travel Restrictions and Got to Read The Road2026-02-11text/htmlen-USThe Literary Lockdown, or How I Beat Irish COVID Travel Restrictions and Got to Read The Road2026-02-112026TWOProject MUSE®248292026-05-11T00:00:00-05:002026-02-11Father Matthew Russell, the Business of the Irish Monthly, and the Irish Women Writers Who Contributed to Its Success
https://muse.jhu.edu/article/982186
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My thanks to Damien Burke, Province Archivist, Irish Province of the Society of Jesus (Jesuits), Dublin, for permissions granted and for his interest in and assistance with my archival research. Thanks also to the librarians at Boston College Libraries, Chestnut Hill, Massachusetts. Special thanks to Dr. Kathryn Laing and Dr. Caoilfhionn Ní Bheacháin and to my New Hibernia Review peer review readers for their insights and helpful comments. This article has emanated from research conducted with the financial support of Taighde Éireann—Research Ireland under grant number GOIPD/2024/490.on january 17, 1923, an article in the Freeman's Journal congratulated the Irish Monthly on its golden jubilee, the publication
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallFather Matthew Russell, the Business of the Irish Monthly, and the Irish Women Writers Who Contributed to Its Success2026-02-11text/htmlen-USFather Matthew Russell, the Business of the Irish Monthly, and the Irish Women Writers Who Contributed to Its Success2026-02-112026TWOProject MUSE®1374792026-05-11T00:00:00-05:002026-02-11Journeying Westward: Darrell Figgis, Achill Island, and the Irish Cultural Revival
https://muse.jhu.edu/article/982187
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Life is meaningless unless it exist for the production and perfection of personality, and personality is meaningless unless it mean the utmost differentiation of mind, the utmost liberty of thought and action, the utmost stretch of desire and will, without regard for interdictions and frustrations, as the only conceivable basis for fearless exchanges in the commerce of mortality.In my opinion Figgis is a highly dangerous person to be at large at the present time. He has shown himself to be capable of taking part in any desperate enterprise. He cherishes an intense hatred of England.of all the intoxicating elements that constituted cultural revivalism in Ireland in the years 1880–1930 few were as potent as the urge
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallJourneying Westward: Darrell Figgis, Achill Island, and the Irish Cultural Revival2026-02-11text/htmlen-USJourneying Westward: Darrell Figgis, Achill Island, and the Irish Cultural Revival2026-02-112026TWOProject MUSE®1016022026-05-11T00:00:00-05:002026-02-11"It Would Make You Independent": Immigration and Women's Agency in Colm Tóibín's Long Island
https://muse.jhu.edu/article/982188
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colm tóibín's 2024 novel Long Island, a sequel to his earlier 2009 work Brooklyn, picks up with Eilis (Lacey) Fiorello, now a mother and a betrayed wife, as she uncannily re-creates her return to Ireland twenty years after her first sojourn back from America. Long Island reengages the thorny issues of immigration and Irish identity raised in Brooklyn, such as the roles of silence and home; it tantalizingly suggests that Eilis can undo the consequences of her move from Ireland. However, the novel goes on to consider another lingering factor: the specific cultural and financial constraints on women that hampered their agency and opportunities for self-fulfillment. This article examines the ways in which Long Island
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmall"It Would Make You Independent": Immigration and Women's Agency in Colm Tóibín's Long Island2026-02-11text/htmlen-US"It Would Make You Independent": Immigration and Women's Agency in Colm Tóibín's Long Island2026-02-112026TWOProject MUSE®599182026-05-11T00:00:00-05:002026-02-11New Poetry | Filíocht Nua
https://muse.jhu.edu/article/982189
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mary noonan lives and works in Cork. Her first collection, The Fado House (Dedalus Press, 2012), was short-listed for the Seamus Heaney Centre Prize and the Strong/Shine Award. Her second collection, Stone Girl (Dedalus Press, 2019), was short-listed for the Derek Walcott Poetry Prize in 2020. Dans un autre compartiment, a selection of poems translated to French by poet Valérie Rouzeau, was published by Apic Editions in 2025. Her poems have been published widely, including in Poetry Ireland Review, Poetry Review, PN Review, New England Review, and The Threepenny Review. Her work has been anthologized in Everything to Play For(Poetry Ireland, 2015), The Deep Heart's Core(Dedalus Press, 2017), Poems from Pandemia
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallNew Poetry | Filíocht Nua2026-02-11text/htmlen-USNew Poetry | Filíocht Nua2026-02-112026TWOProject MUSE®150782026-05-11T00:00:00-05:002026-02-11Ars Poetica: The Dark Lady of Patrick Kavanagh's "On Raglan Road"
https://muse.jhu.edu/article/982190
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according to scholar and biographer Antoinette Quinn, the inspiration—or the provocation—behind "On Raglan Road," probably the most widely known of all the poems authored by Patrick Kavanagh, was a County Kerry–born beauty named Hilda Moriarty. Quinn devotes an entire chapter of her biography of Kavanagh to the poet's romancing of Moriarty: from his first sighting of her on Raglan Road in the Ballsbridge area of Dublin in 1944, when she was a twenty-two-year-old medical student at University College Dublin, through their unlikely courtship that had begun to unravel even before she met in 1946 and then married in 1947 successful engineer and future Fianna Fáil politician Donogh O'Malley. That unraveling left
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallArs Poetica: The Dark Lady of Patrick Kavanagh's "On Raglan Road"2026-02-11text/htmlen-USArs Poetica: The Dark Lady of Patrick Kavanagh's "On Raglan Road"2026-02-112026TWOProject MUSE®697032026-05-11T00:00:00-05:002026-02-11Da capo al fine: Musical Form in Bernard MacLaverty's Grace Notes
https://muse.jhu.edu/article/982191
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bernard maclaverty's 1997 novel, Grace Notes, explores the possibility of reconciliation in a world of ongoing violence. Written during the years leading up to the Good Friday Agreement of 1998, the story of Catherine McKenna, a young female composer from Northern Ireland, illustrates the difficulty of repairing broken relationships, both at the individual and at the national level. Although critics have identified MacLaverty's deft use of musical terminology throughout Grace Notes, such analyses prioritize the repeated, music-like themes and phrases that punctuate both halves of the novel's two-part, "scallop shell" structure.1 Despite the novel's music-driven narrative, no significant attempts have been made to
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallDa capo al fine: Musical Form in Bernard MacLaverty's Grace Notes2026-02-11text/htmlen-USDa capo al fine: Musical Form in Bernard MacLaverty's Grace Notes2026-02-112026TWOProject MUSE®866992026-05-11T00:00:00-05:002026-02-11An Post Office: National Theater and the Role of Diplomacy in the Abbey Theatre's Productions of Rabindranath Tagore's The Post Office
https://muse.jhu.edu/article/982192
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the post office, Rabindranath Tagore's two-act play about a dying young boy who dreams of adventure and of receiving a letter from the King, has seen four separate productions at the Abbey Theatre, Ireland's national theater housed in Dublin.1 The productions spanned four performance spaces, dozens of cast members, several decades, and a wide range of implications both onstage and off. The story of The Post Office's history in Ireland involves several key figures, but few so central as Rabindranath Tagore and William Butler Yeats, both framed as literary beacons of modernism and nationalism for their respective nations. Nobel Prize–winner Tagore and Abbey Theatre cofounder Yeats (also, eventually, a Nobel Prize
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallAn Post Office: National Theater and the Role of Diplomacy in the Abbey Theatre's Productions of Rabindranath Tagore's The Post Office2026-02-11text/htmlen-USAn Post Office: National Theater and the Role of Diplomacy in the Abbey Theatre's Productions of Rabindranath Tagore's The Post Office2026-02-112026TWOProject MUSE®716332026-05-11T00:00:00-05:002026-02-11Stained Glass and Censorship: The Suppression of Harry Clarke's Geneva Window, 1931
https://muse.jhu.edu/article/982193
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Harry Clarke, the Geneva Window for the International Labor Building (1930), 71.5 inches x 40 inches, leaded stained glass. Photograph by Bruce White. Reproduced by kind permission of the Mitchell Wolfson Jr. Collection, the Wolfsonian–Florida International University, Miami Beach, Florida.in june 1925 the Irish stained glass artist Harry Clarke received a letter from the Irish government suggesting that Clarke "should advise as to the feasibility of installing stained glass" in the new International Labor Building of the League of Nations in Geneva as "a gift to the League from the Irish Free State."1 The matter of an official presentation to the league had been brought to the Free State's executive council in a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallStained Glass and Censorship: The Suppression of Harry Clarke's Geneva Window, 19312026-02-11text/htmlen-USStained Glass and Censorship: The Suppression of Harry Clarke's Geneva Window, 19312026-02-112026TWOProject MUSE®745072026-05-11T00:00:00-05:002026-02-11Reading Paul Howard: The Art of Ross O'Carroll-Kelly by Eugene O'Brien (review)
https://muse.jhu.edu/article/982194
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Paul Howard is a popular, prolific Irish writer across a range of genres and formats, including novels, plays, and a newspaper column; readers can "listen to Ross O'Carroll-Kelly read" the column in its accompanying podcast. Howard performing Ross O'Carroll-Kelly, or the sound of Ross's voice when reading the column in "the Oirish Times," as Ross would pronounce it, is what people are likely most familiar with when they think of Howard and his character Ross. As Kevin Power observed in The Stinging Fly, "we don't really read [Howard's] books. We hear them." Power was writing in 2021, the same year Howard's twenty-third Ross book, Normal Sheeple, was number one on the Irish Times bestseller list and bookshop Eason
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallReading Paul Howard: The Art of Ross O'Carroll-Kelly by Eugene O'Brien (review)2026-02-11text/htmlen-USReading Paul Howard: The Art of Ross O'Carroll-Kelly by Eugene O'Brien (review)2026-02-112026TWOProject MUSE®143622026-05-11T00:00:00-05:002026-02-11The Civil War in Kerry and Beyond: Histories, Memories and Legacies ed. by Bridget McAuliffe, Mary McAuliffe, and Owen O'Shea (review)
https://muse.jhu.edu/article/982195
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The Decade of Centenaries program, stretching from the anniversaries of 1916 through to the dark days of the Irish Civil War, has invariably resulted in some notable publications, of which The Civil War in Kerry and Beyond: Histories, Memories and Legacies is a significant addition. This Four Courts Press publication, drawing on a 2023 centenary conference, offers a series of essays highlighting many aspects of the civil war in Kerry, hitherto neglected or completely forgotten. Liz Gillis sets the tone with an excellent opening essay looking at the Battle for Dublin in the opening stages of the war. The street fighting around O'Connell Street contrasted sharply with the guerrilla tactics republican forces would
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallThe Civil War in Kerry and Beyond: Histories, Memories and Legacies ed. by Bridget McAuliffe, Mary McAuliffe, and Owen O'Shea (review)2026-02-11text/htmlen-USThe Civil War in Kerry and Beyond: Histories, Memories and Legacies ed. by Bridget McAuliffe, Mary McAuliffe, and Owen O'Shea (review)2026-02-112026TWOProject MUSE®137092026-05-11T00:00:00-05:002026-02-11The Soul Cages by Tate Adams (review)
https://muse.jhu.edu/article/982196
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the relationship between the Irish artist and the printed word is long, complex, and rewarding. Since the eighteenth century, Irish artists worked with British publishers who featured romanticized images of Ireland in travel guides, literary works, and histories. These illustrated volumes would traverse the western and colonized world, and among the artists involved were George Petrie, Daniel Maclise, and William Mulready. Toward the end of the nineteenth century and with the advent of the twentieth, printed revivalist images of Ireland celebrated a distinct Irish identity, one that argued for self-determination and encouraged individual expression, as seen in the work of Aloysius O'Kelly, Francis S. Walker, Harry
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/141/image/coversmallThe Soul Cages by Tate Adams (review)2026-02-11text/htmlen-USThe Soul Cages by Tate Adams (review)2026-02-112026TWOProject MUSE®127892026-05-11T00:00:00-05:002026-02-11