Burying The Wren

In Burying the Wren Deryn Rees-Jones returns to familiar preoccupations but with a new clarity and maturity of vision. With intense lyricism she calls on the Roethkean 'small things' of the universe -- truffles, slugs, trilobites, birds, stones, feathers, flowers, eggs -- which, mysterious, and magical as well as ordinary -- she sets up against loss. Her sequence of 'Dogwoman' poems, which draws on the work of artist Paula Rego, is a an extended elegy to her late husband, the poet and critic Michael Murphy. Above all these are poems of the body, "...the blue heartstopping pulse at the wrist", which are alive to the world and the transformative qualities of love.

A unique interdisciplinary study, this book examines the British and European tradition of the wren hunt, in which a bird ordinarily revered and protected for most of the year was killed around the time of the annual solstice. In focusing on this ancient ritual, Elizabeth Atwood Lawrence draws on her training in cultural anthropology and biology to cast a fresh light on the complexities of human-animal relationships.Following an introductory chapter on animal symbolism, Lawrence proceeds in subsequent chapters to describe the wren both as a biological entity and as the subject of numerous tales and legends, to delineate the details of the wren hunt ceremony and the various meanings ascribed to it, and, finally, to relate the ceremony to important contemporary issues in human-animal interactions and current attitudes toward the living environment. Whereas most other studies tend to concentrate solely on human perceptions of animals and fail to include the animal's role in the relationship, Lawrence's approach shows how the participation of both animal and human determines the symbolic status of the animal -- which in turn influences the treatment of that animal within a particular society.At a time when human destructiveness toward nature has reached tragic proportions, Lawrence contends, it is critical that we understand the processes by which certain cultural beliefs, in combination with observations about the natural history of a particular animal, result in emotional and mental responses that may ultimately determine the fate of that species. The author argues persuasively that the wren hunt -- with its ancient roots, associated beliefs, and complex meanings in thepreindustrialized world -- still has much to teach us.

For many people step dancing is associated mainly with the Irish step-dance stage shows, Riverdance and Lord of the Dance, which assisted both in promoting the dance form and in placing Ireland globally. But, in this book, Catherine Foley illustrates that the practice and contexts of step dancing are much more complicated and fluid. Tracing the trajectory of step dancing in Ireland, she tells its story from roots in eighteenth-century Ireland to its diverse cultural manifestations today. She examines the interrelationships between step dancing and the changing historical and cultural contexts of colonialism, nationalism, postcolonialism and globalization, and shows that step dancing is a powerful tool of embodiment and meaning that can provoke important questions relating to culture and identity through the bodies of those who perform it. Focusing on the rural European region of North Kerry in the south-west of Ireland, Catherine Foley examines three step-dance practices: one, the rural Molyneaux step-dance practice, representing the end of a relatively long-lived system of teaching by itinerant dancing masters in the region; two, Rinceoirí na Ríochta, a dance school representative of the urbanized staged, competition orientated practice, cultivated by the cultural nationalist movement, the Gaelic League, established at the end of the nineteenth century, and practised today both in Ireland and abroad; and three, the stylized, commoditized, folk-theatrical practice of Siamsa Tíre, the National Folk Theatre of Ireland, established in North Kerry in the 1970s. Written from an ethnochoreological perspective, Catherine Foley provides a rich historical and ethnographic account of step dancing, step dancers and cultural institutions in Ireland.

From the author of The New Irish Table comes this celebration of the Emerald Isle’s classic desserts, featuring eighty wonderful recipes. Everybody loves a fool—especially made fluffy with ripe strawberries or tangy apple. From lemony puddings and marmalade-slathered scones to fruit-filled tarts and berry-laden crumbles, these contemporary renditions of the traditional desserts of Ireland make perfect use of common staples such as oatmeal, fruit, dairy products, and, of course, whiskey. Steel-Cut Oat Pudding is enhanced with orange zest, nutmeg, and plump golden raisins. A chocolate, walnut, and caramel tart becomes a treat for grownups with a splash of the hard stuff. A final chapter offers the most memorable of holiday delectables including mincemeat tarts, Christmas pudding, and a really good fruitcake. A glossary and source list define and locate unusual ingredients. With gorgeous painterly photographs depicting the food and countryside, this wonderful cookbook serves as a sweet reminder of the people and cuisine of Ireland.

Wassail songs are part of Welsh folk culture, but what exactly are they? When are they sung? Why? And where do stars and pretty ribbons fit in? This study addresses these questions, identifying and discussing the various forms of winter wassailing found in Wales in times past and present. It focuses specifically on the Welsh poetry written over the centuries at the celebration of several rituals – most particularly at Christmas, the turn of the year, and on Twelfth Night – which served a distinct purpose. The winter wassailing aspired to improve the quality of the earth’s fertility in three specific spheres: the productivity of the land, the animal kingdom, and the human race. This volume provides a rich collection of Welsh songs in their original language, translated into English for the first time, and with musical notation. It also provides a comprehensive analysis of these poems and of the society in which they were sung.