Drawing fascinating comparisons between two literary movements for social justice, Tracy Mishkin explores the link between the Irish Renaissance that began in the 1880s and the African-American movement of the 1920s known as the Harlem Renaissance.

Starting with evidence that Ireland's Abbey Theatre tours of the United States before World War I influenced such African-Americans as Alain Locke and James Weldon Johnson, Mishkin offers the first full-scale discussion of the historical similarities and differences of the two movements. Both rose from the ashes of history -- from people suffering years of oppression during which their native languages were lost or stolen -- to confront issues of language and identity; and both had to combat negative mainstream representation of their people, all the while debating how to create their own literature. Included throughout is the work of women who participated in both movements but who often have been marginalized in their histories.

Going beyond national boundaries, Mishkin takes the study of interracial literary influence across the Atlantic and establishes important parallels between the Harlem and Irish Renaisances.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

"e;An anthem against apathy"e; -Amelia Martens, author of The Spoons in the Grass Are There to Dig a Moat Read Tracy Mishkin's poems as an antidote to the "e;meat wheel full of teeth"e; that is the contemporary news cycle. Not because this dangerously clever collection soothes, or because it provides comfort, but because these lyrics are urgent without shallow or callous bids for the reader's attention, and instead render the heartbreak of America as gorgeously as an old master's Vanitas-it's the beauty of the poems that provides hope, even as the menace of the grinning skull cannot. This Is Still Life fully invests in the double meaning of the title as it uses the dirty minutia of domestic life to symbolically stand in for our ruin while pointing to how the sunlight gilds the dirt so sweetly, we can't help but get up again in the morning. "e;Talk radio, speak / to my heart of all that I have lost,"e; Mishkin's speaker prays, and we find ourselves praying, too, while the poems work polish into our hope.

Drawing fascinating comparisons between two literary movements for social justice, Tracy Mishkin explores the link between the Irish Renaissance that began in the 1880s and the African-American movement of the 1920s known as the Harlem Renaissance.

Starting with evidence that Ireland's Abbey Theatre tours of the United States before World War I influenced such African-Americans as Alain Locke and James Weldon Johnson, Mishkin offers the first full-scale discussion of the historical similarities and differences of the two movements. Both rose from the ashes of history -- from people suffering years of oppression during which their native languages were lost or stolen -- to confront issues of language and identity; and both had to combat negative mainstream representation of their people, all the while debating how to create their own literature. Included throughout is the work of women who participated in both movements but who often have been marginalized in their histories.

Going beyond national boundaries, Mishkin takes the study of interracial literary influence across the Atlantic and establishes important parallels between the Harlem and Irish Renaisances.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

First published in 1996. This volume includes a collection of essays that where collected after the inspiration of finding positive interactions between African-American and Irish Writers during the Harlem Renaissance, a time when these two groups were hardly on good terms. The essays look at theories and realities of literary influence that especially affect African-American writers.

"e;An anthem against apathy"e; -Amelia Martens, author of The Spoons in the Grass Are There to Dig a Moat Read Tracy Mishkin's poems as an antidote to the "e;meat wheel full of teeth"e; that is the contemporary news cycle. Not because this dangerously clever collection soothes, or because it provides comfort, but because these lyrics are urgent without shallow or callous bids for the reader's attention, and instead render the heartbreak of America as gorgeously as an old master's Vanitas-it's the beauty of the poems that provides hope, even as the menace of the grinning skull cannot. This Is Still Life fully invests in the double meaning of the title as it uses the dirty minutia of domestic life to symbolically stand in for our ruin while pointing to how the sunlight gilds the dirt so sweetly, we can't help but get up again in the morning. "e;Talk radio, speak / to my heart of all that I have lost,"e; Mishkin's speaker prays, and we find ourselves praying, too, while the poems work polish into our hope.