Presents a comparative study of fiction by late twentieth and twenty-first century women writers from Ireland, Northern Ireland and Wales. This work is of interest to students interested in women’s studies, gender studies, and cultural studies as well as Welsh, Irish and Celtic studies.

This book traces the development of the modern short story in the hands of Irish women writers from the 1890s to the present. George Egerton, Somerville and Ross, Elizabeth Bowen, Mary Lavin, Edna O’Brien, Anne Enright and Claire Keegan are only some of the many Irish women writers who have made lasting contributions to the genre of the modern short story - yet their achievements have often been marginalized in literary histories, which typically define the Irish short story in terms of its oral heritage, nationalist concerns, rural realism and outsider-hero. Through a detailed investigation of the short fiction of fifteen prominent writers, this study aims to open up this critical conceptualization of the Irish short story to the formal properties and thematic concerns women writers bring to the genre. What stands out in thematic terms is an abiding interest in human relations, whether of love, the family or the larger community. In formal terms, this book traces the overall development of the Irish short story, highlighting both the lines of influence that connect these writers and the specific use each individual author makes of the short story form.

Imagining Motherhood in Contemporary Irish and Caribbean Literature undertakes a comparative transnational reading to develop more expansive literary models of good mothering. Abigail L. Palko argues that Irish and Caribbean literary representations of non-normative mothering practices do not reflect transgressive or dangerous mothering but are rather cultural negotiations of the definition of a good mother. This original book demonstrates the sustained commitment to countering the dominant ideologies of maternal self-sacrifice foundational to both Irish and Caribbean nationalist rhetoric, offering instead the possibility of integrating maternal agency into an effective model of female citizenship.

This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.

The short story is moving from relative neglect to a central position in the curriculum; as a teaching tool, it offers students a route into many complex areas, including critical theory, gender studies, postcolonialism and genre. This book offers a practical guide to the short story in the classroom, covering all these fields and more.

This study pairs selected Irish and British women novelists of three periods, relating their voices to the women's movements in their respective nations. In the first wave, nationalist and militant ideologies competed with the suffrage fight in Ireland. Elizabeth Bowen's The Last September illustrates the melancholy of gender performance and confusion of ethnic identity in the dying Anglo-Irish Ascendancy class. In England, suffrage ideologies clashed with socialism and patriotism. Virginia Woolf's Mrs. Dalloway contains a political unconscious that links its characters across class and gender. In the second wave, heterosexual romantic relationships come under scrutiny. Edna O'Brien's Country Girls trilogy reveals ways in which Irish Catholic ideologies abject femaleness; her characters internalize this abjection to the point of self-destruction. Doris Lessing's The Golden Notebook pits the protagonist's aspirations to write novels against the Communist Party's prohibitions on bourgeois values. In the third wave, Irish writers express the frustrations of their cultural identity. Nuala O'Faolain's My Dream of You takes her protagonist back to Ireland to heal her psychic wounds. In England, Thatcherism had created a materialistic culture that eroded many feminists' socialist values. Fay Weldon's Big Woman satirizes the demise of second-wave idealism, asking where feminism can go from here.

This pioneering study introduces readers to key themes from animal studies, as a frame within which it examines the representation of animals and animality in the work of a range of authors. In this new approach to animal studies, the concept of a relational universe that has emerged in recent natural and physical science is argued as being central. With fresh readings of Welsh literary and non-literary publications, including the Welsh press and Welsh-language manuals, the book explores relationships among animals and between humans and animals, to approach subjects such as intelligence, sensibility and knowledge from an animal perspective. The possibility of redrawing and reclaiming a history of rural and industrial Wales is suggested according to an animal history and agenda. This innovative contribution to Welsh and animal studies illuminates fascinating and controversial subjects, including animal domestication, captivity, communication, biopsychology, human exceptionalism, zoos and farming.

Welsh Environments in Contemporary Poetry’ examines the question of how recent English-language poetry from Wales has responded to the diverse physical environments of Wales. The first volume to offer a sustained assessment of Welsh poetry in English within the context of recent developments in environmental literary criticism, this book also draws on aspects of human geography to explore the rich contemporary poetics of Welsh space and place. Opening with an examination of poets from the 1960s as well as the early work of R.S. Thomas, ‘Welsh Environments in Contemporary Poetry’ subsequently concentrates on the poetry of writers who have come to prominence since the 1970s: Gillian Clarke, Ruth Bidgood, Robert Minhinnick, Mike Jenkins, Christine Evans, and Ian Davidson.Close reading of key texts reveals the way in which these writers variously create Welsh places, landscapes, and environments – fashioning rural and urban spaces into poetic geographies that are both abundantly physical and inescapably cultural. Far from reducing Wales to mere scenery, the poetry that emerges from this book engages with the environments of Wales, not just for their own sake, but as a crucial way of exploring key issues in Welsh culture – from the negotiation of female identity in a land of masculine myths to the exploration of Welsh space in a global context.

The book takes a literary-historical approach to its subject which opens up new perspectives on the history of peace and pacifism in Wales which historical approaches alone have overlooked. It includes English- and Welsh-language texts and highlights the interdependence of English and Welsh culture in Wales. Quotations from Welsh-language texts are given in Welsh and in English translation to assist readers who are not Welsh speakers. The reader is introduced to the changing nature of pacifism, peace and anti-warism and how these terms have acquired different meanings over time. The historical narrative is designed to make this scholarship more accessible to the reader who is not a specialist in peace studies. The arguments of the book are illustrated and developed in accessible but original readings of key Welsh writers on peace and pacifism.

It is a study of the relationship between identity and religion in women’s lives in Wales today. It will help the reader have a better and more comprehensive understanding of the religious context in Wales to the present day. It will introduce the reader to theological and religious themes as well as reflections on identity in the work of several key female Welsh writers – Menna Elfyn, Jasmine Donahaye, Jam Morris, Charlotte Williams and Mererid Hopwood. It will help the reader to engage with issues of Welsh identity and religion and gain insight into challenges facing the churches today and engage with the lived experience of women in Wales.