W. J. McCormack – författare

This, the first ever biography of John Hewitt, is based on archival material, both personal and literary. In many ways it is also a biography of his wife, Roberta (nee Black), whose manuscript journal is also in the public domain. To establish Hewitt''s late arrival as a poet, the book opens with a chapter recounting his negotiations with a London publisher over a long period and the eventual appearance of No Rebel Word (1949). Successive chapters trace hiseducation, courtship, literary apprenticeship, first employment as a junior gallery curator in Belfast, the political conflicts of the 1930s and then the War Years, his rejection for the post of director in Belfast''s Civic Museum and Gallery, and his utopian commitment to regionalism. Appointment to theHerbert Gallery in Coventry in 1956 brought recognition and confidence. His leanings towards socialist realism came to accommodate abstract art, and he defended the sculptor Barbara Hepworth against the penny-pinching ratepayers. Throughout this two-part career, Hewitt maintained his output as poet, culminating in the Collected Poems (1968). His Irish political commitments never wavered, though he became cautious about forms of nationalism which proclaimed themselves left-wing. RobertaHewitt''s work for the Coventry Labour Party provided an outlet for her energies and her domestic frustrations. Throughout these forty years, the poetry is kept constantly in view, sometime by reference to individual pieces and their origins, and some by means of longer ''breaks for text'' where more detailedcriticism is practised. In 1972, the Hewitts returned to Belfast whenthe Troubles reached an ugly peak. Committed to anti-sectarianism, Hewitt withheld support from all parties, though he took an interest in trade union activity. Publishing (perhaps too much) poetry in his last decade-and-a-half, he died very much in harness.

Ireland's footing within the United Kingdom in the period between Edmund Burke's last years and the generation of Yeats and Joyce, was unique and anomalous: in social terms this was evident in the prestige of the Protestant Ascendancy; and in literary terms in the values accorded to the notion of tradition. This study uncovers the bourgeois origins of Ascendancy ideology in the alarm of the 1790s, and traces its cultural significance by means of a series of detailed critiques of central texts and concepts.

This, the first ever biography of John Hewitt, is based on archival material, both personal and literary. In many ways it is also a biography of his wife, Roberta (nee Black), whose manuscript journal is also in the public domain. To establish Hewitt's late arrival as a poet, the book opens with a chapter recounting his negotiations with a London publisher over a long period and the eventual appearance of No Rebel Word (1949). Successive chapters trace his education, courtship, literary apprenticeship, first employment as a junior gallery curator in Belfast, the political conflicts of the 1930s and then the War Years, his rejection for the post of director in Belfast's Civic Museum and Gallery, and his utopian commitment to regionalism. Appointment to the Herbert Gallery in Coventry in 1956 brought recognition and confidence. His leanings towards socialist realism came to accommodate abstract art, and he defended the sculptor Barbara Hepworth against the penny-pinching ratepayers. Throughout this two-part career, Hewitt maintained his output as poet, culminating in the Collected Poems (1968). His Irish political commitments never wavered, though he became cautious about forms of nationalism which proclaimed themselves left-wing. Roberta Hewitt's work for the Coventry Labour Party provided an outlet for her energies and her domestic frustrations. Throughout these forty years, the poetry is kept constantly in view, sometime by reference to individual pieces and their origins, and some by means of longer 'breaks for text' where more detailed criticism is practised. In 1972, the Hewitts returned to Belfast whenthe Troubles reached an ugly peak. Committed to anti-sectarianism, Hewitt withheld support from all parties, though he took an interest in trade union activity. Publishing (perhaps too much) poetry in his last decade-and-a-half, he died very much in harness.

Covering a period from c.1450 to the present, this Companion is designed to serve the needs of readers whose interests lie well beyond the familiar boundaries of Irish culture.

Covering a period from c.1450 to the present, this Companion is designed to serve the needs of readers whose interests lie well beyond the familiar boundaries of Irish culture.

The first biography of the colorful life Madalyn Murray O'Hair—America's most famous (and despised) atheistIn 1964, Life magazine called Madalyn Murray O'Hair "the most hated woman in America." Another critic described her as "rude, impertinent, blasphemous, a destroyer not only of beliefs but of esteemed values."In this first full-length biography, Bryan F. Le Beau offers a penetrating assessment of O'Hair's beliefs and actions and a probing discussion of how she came to represent both what Americans hated in their enemies and feared in themselves. Born in 1919, O'Hair was a divorced mother of two children born out of wedlock. She launched a crusade against God, often using foul language as she became adept at shocking people and making effective use of the media in delivering her message. She first gained notoriety as one of the primary litigants in the 1963 case Murray v. Curlett which led the Supreme Court to ban school prayer. The decision stunned a nation engaged in fighting "godless Communism" and made O'Hair America's most famous—and most despised—atheist.O'Hair led a colorful life, facing assault charges and extradition from Mexico, as well as the defection of her son William, who as an adult denounced her. She later served as Hustler publisher Larry Flynt's chief speech writer in his bid for President of the United States.Drawing on original research, O'Hair's diaries, and interviews, Le Beau traces her development from a child of the Depression to the dictatorial, abrasive woman who founded the American Atheists, wrote books denouncing religion, and challenged the words "Under God" in the Pledge of Allegiance, "In God We Trust" on American currency, the tax exempt status of religious organizations, and other activities she saw as violating the separation of church and state.O'Hair remained a spokesperson for atheism until 1995, when she and her son and granddaughter vanished. It was later discovered that they were murdered by O'Hair's former office manager and an accomplice.Fast-paced, engagingly written, and sharply relevant to ongoing debates about school prayer and other religious issues, The Atheist tells the colorful life-story of a woman who challenged America's most deeply held beliefs.

Debates about Irish culture have long been plagued by neat oppositions between conquering England and colonized Erin, Protestant and Catholic, stolid Saxon and dreamy Celt. Yet the greatest Irish poets have scorned such simplicities. In this avowedly interpretative anthology of Irish verse, W.J. McCormack traces creativity of contradiction through several centuries, finding poets productively at odds with their forebears, their contemporaries--even with themselves. From Yeats's tragic laughter to the quieter ironies of Seamus Heaney, from the rambunctious narratives of Merriman and Joyce to the pathos of Wilde's Reading Gaol, the same sparring spirit is found. This exciting anthology brings together the very best in Irish poetry to reveal a broad yet sharply-focused tradition of diversity and dissidence. W.J. McCormack's compelling collection provokes a wide-ranging reconsideration of one of the world's richest literatures.

Debates about Irish culture have long been plagued by neat oppositions between conquering England and colonized Erin, Protestant and Catholic, stolid Saxon and dreamy Celt. Yet the greatest Irish poets have scorned such simplicities.In this avowedly interpretative anthology of Irish verse, W.J. McCormack traces creativity of contradiction through several centuries, finding poets productively at odds with their forebears, their contemporaries—even with themselves. From Yeats's tragic laughter to the quieter ironies of Seamus Heaney, from the rambunctious narratives of Merriman and Joyce to the pathos of Wilde's Reading Gaol, the same sparring spirit is found.This exciting anthology brings together the very best in Irish poetry to reveal a broad yet sharply-focused tradition of diversity and dissidence. W.J. McCormack's compelling collection provokes a wide-ranging reconsideration of one of the world's richest literatures.

This collection, first published in 1982, brings together thirteen writers from a wide variety of critical traditions to take a fresh look at Joyce and his crucial position not only in English literature but in modern literature as a whole. Comparative views of his work include reflections on his relations to Shakespeare, Blake, MacDiarmid, and the Anglo-Irish revival. Essays, story and poems all combine to celebrate the major constituents of Joyce’s work – his imagination and comedy, his exuberant use of language, his relation to the history of his country and his age, and his passionate commitment to ‘a more veritably human tradition’. This title will be of interest to students of literature.

This collection, first published in 1982, brings together thirteen writers from a wide variety of critical traditions to take a fresh look at Joyce and his crucial position not only in English literature but in modern literature as a whole. Comparative views of his work include reflections on his relations to Shakespeare, Blake, MacDiarmid, and the Anglo-Irish revival. Essays, story and poems all combine to celebrate the major constituents of Joyce’s work – his imagination and comedy, his exuberant use of language, his relation to the history of his country and his age, and his passionate commitment to ‘a more veritably human tradition’. This title will be of interest to students of literature.

In June 1934, W. B. Yeats gratefully received the award of a Goethe-Plakette from Oberburgermeister Krebs, four months after his early play The Countess Cathleen had been produced in Frankfurt by SS Untersturmfuhrer Bethge. Four years later, the poet publicly commended Nazi legislation before leaving Dublin to die in southern France. These hitherto neglected, isolated and scandalous details stand at the heart of this reflective study of Yeats's life, his attitudes towards death, and his politics.Blood Kindred identifies an obsession with family as the link connecting Yeats's late engagement with fascism to his Irish Victorian origins in suburban Dublin and industrializing Ulster. It carefully documents and analyses his involvement with both Maud Gonne and her daughter Iseult, his secretive consultations with Irish army officers during his Senate years, his incidental anti-Semitism, and his approval of the right-wing royalist group L'Action Française in the 1920s. The familiar peaks and troughs of Irish history, such as the 1916 Rising and the death of Parnell, are re-oriented within a radical new interpretation of Yeats's life and thought, his poetry and plays. As far as possible Bill McCormack lets Yeats speak for himself through generous quotation from his newly accessible correspondence. The result is a combative, entertaining biography which allows Ireland's greatest literary figure to be seen in the round for the first time.