The Thriller And Northern Ireland Since 1969

For the past 30 years, the so-called 'Troubles' thriller has been the dominant fictional mode for representing Northern Ireland, leading to the charge that the crudity of this popular genre appropriately reflects the social degradation of the North. Aaron Kelly challenges both these judgments, showing that the historical questions raised by setting a thriller in Northern Ireland disrupt the conventions of the crime novel and allow for a new understanding of both the genre and the country. Two essays on crime fiction by Walter Benjamin and Berthold Brecht appear here for the first time in English translation. By demonstrating the relevance of these theorists as well as other key European thinkers such as Antonio Gramsci, Louis Althusser, and Slavoj Zizek to his interdisciplinary study of Irish culture and the crime novel, Kelly refutes the idea that Northern Ireland is a stagnate anomaly that has been bypassed by European history and remained impervious to cultural transformation. On the contrary, Kelly's examination of authors such as Jack Higgins, Tom Clancy, Gerald Seymour, Colin Bateman, and Eoin McNamee shows that profound historical change and complexity have characterized both Northern Ireland and the thriller form.

This book uncovers a new genre of ‘post-Agreement literature’, consisting of a body of texts – fiction, poetry and drama – by Northern Irish writers who grew up during the Troubles but published their work in the aftermath of the Good Friday Agreement. In an attempt to demarcate the literary-aesthetic parameters of the genre, the book proposes a selective revision of postcolonial theories on ‘liminality’ through a subset of concepts such as ‘negative liminality’, ‘liminal suspension’ and ‘liminal permanence.’ These conceptual interventions, as the readings demonstrate, help articulate how the Agreement’s rhetorical negation of the sectarian past and its aggressive neoliberal campaign towards a ‘progressive’ future breed new forms of violence that produce liminally suspended subject positions.

The Routledge Handbook of the Northern Ireland Conflict and Peace is the first multi-authored volume to specifically address the many facets of the 30-year Northern Ireland conflict, colloquially known as the Troubles, and its subsequent peace process. This volume is rooted in opening space to address controversial subjects, answer key questions, and move beyond reductive analysis that reproduces a simplistic two community theses. The temporal span of individual chapters can reach back to the formation of the state of Northern Ireland, with many starting in the late 1960s, to include a range of individuals, collectives, organisations, understandings, and events, at least up to the Good Friday/Belfast Agreement in 1998. This volume has forefronted creative approaches in understanding conflict and allows for analysis and reflection on conflict and peace to continue through to the present day. With an extensive introduction, preface, and 45 individual chapters, this volume represents an ambitious, expansive, interdisciplinary engagement with the North of Ireland through society, conflict, and peace from a wide range of disciplinary perspectives, theoretical frameworks, and methodological approaches. While allowing for rich historical explorations of high-level politics rooted in state documents and archives, this volume also allows for the intermingling of different sources that highlight the role of personal papers, memory, space, materials, and experience in understanding the complexities of both Northern Ireland as a people, place, and political entity.

The conflict in Northern Ireland since 1969 has cost over 3,600 lives and about 100,000 people in Northern Ireland live in a household where someone has been injured in a troubles-related incident. This has been a key issue in British and Irish politics and the recent peace process in Northern Ireland and the current ‘War on Terrorism’ has stimulated international involvement and a desire to ‘learn the lessons’ of ‘the troubles’. Although Northern Ireland has a population of just 1.5 million people it is one of the most researched territories of the world. There is considerable controversy over the interpretation of the history of Northern Ireland, not least since 1969. This new addition to the Seminar Studies in History Series provides a comprehensive introduction to the difficult topic, reviewing different perspectives on the recent history of the conflict in Northern Ireland while at the same time providing an authoritative overview. Each book in the Seminar Studies in History series provides a concise and reliable introduction to complex events and debates. Written by acknowledged experts and supported by extracts from historical Documents, a Chronology, Glossary, Who’s Who of key figures and Guide to Further Reading, Seminar Studies in History are the essential guides to understanding a topic.

This book examines the recent expansion of Ireland's literary tradition to include home-grown crime fiction. It surveys the wave of books that use genre structures to explore specifically Irish issues such as the Troubles and the rise and fall of the Celtic Tiger, as well as Irish experiences of human trafficking, the supernatural, abortion, and civic corruption. These novels are as likely to address the national regulation of sexuality through institutions like the Magdalen Laundries as they are to follow serial killers through the American South or to trace international corporate conspiracies. This study includes chapters on Northern Irish crime fiction, novels set in the Republic, women protagonists, and transnational themes, and discusses Irish authors’ adaptations of a well-loved genre and their effect on assumptions about the nature of Irish literature. It is a book for readers of crime fiction and Irish literature alike, illuminating the fertile intersections of the two.

This volume reflects an evolving situation in the North of Ireland where fiction has overtaken poetry and drama as the most significant and vital literary form. Through an analysis of representative texts, Kennedy-Andrews explores fiction from or about the North from the outbreak of the Troubles in 1969 to the present day. The bulk of the study covers recent fiction by new young writers born in the 1960s that grew up during the Troubles. To what extent can this new writing be seen to penetrate new literary terrain through versions of a pluralistic postmodern humanism? To what extent does the new writing inaugurate new mappings of identity and culture beyond the simple binaries of Protestant and Catholic, Nationalist and Unionist, thereby suggesting new possibilities for the future? To what extent does it cross other borders to present a transnational vision informed by the rest of Ireland, Britain, Europe, and America? The study concludes by considering some of the questions raised by women's writing of the Troubles. The volume contains detailed assessments of such writers as: Tom Clancy, Jack Higgins, Gerald Seymour, Terence De Vere White, Eugene McCabe, Brian Moore, Maurice Leitch, Bernard McLaverty, Glenn Patterson, Robert MacLiam Wilson, Dermot Healy, Briege Duffaud, Deirdre Madden, David Park, Colin Bateman, Lionel Shriver, Danny Morrison, Ronan Bennett, Seamus Deane, Edna O'Brien, Mary Beckett, Kate O'Riordan and Mary Costello.

Through close readings of texts by playwright Anne Devlin, poet Medbh McGuckian, and novelist Anna Burns, this book examines the ways Irish cultural production has been disturbed by partition. Ruprecht Fadem argues that literary texts address this tension through spectral, bordered metaphors and juxtapositions of the ancient and the contemporary.

This book elucidates the ways the pained and suffering body has been registered and mobilized in specifically Irish contexts across more than four hundred years of literature and culture. There is no singular approach to what pain means: the material addressed in this collection covers diverse cultural forms, from reports of battles and executions to stage and screen representations of sexual violence, produced in response to different historical circumstances in terms that confirm our understanding of how pain – whether endured or inflicted, witnessed or remediated – is culturally coded. Pain is as open to ongoing redefinition as the Ireland that features in all of the essays gathered here. This collection offers new paradigms for understanding Ireland’s literary and cultural history.