To what extent did the Irish disappear from English politics, life and consciousness following the Anglo-Irish War? Mo Moulton offers a new perspective on this question through an analysis of the process by which Ireland and the Irish were redefined in English culture as a feature of personal life and civil society rather than a political threat. Considering the Irish as the first postcolonial minority, she argues that the Irish case demonstrates an English solution to the larger problem of the collapse of multi-ethnic empires in the twentieth century. Drawing on an array of new archival evidence, Moulton discusses the many varieties of Irishness present in England during the 1920s and 1930s, including working-class republicans, relocated southern loyalists, and Irish enthusiasts. The Irish connection was sometimes repressed, but it was never truly forgotten; this book recovers it in settings as diverse as literary societies, sabotage campaigns, drinking clubs, and demonstrations.

This is the first textbook on the history of modern Ireland to adopt a social history perspective. Written by an international team of leading scholars, it draws on a wide range of disciplinary approaches and consistently sets Irish developments in a wider European and global context.

Law and Literature: The Irish Case is a collection of fascinating essays by literary and legal scholars which explore the intersections between law and literature in Ireland from the eighteenth century to the present day. Sharing a concern for the cultural life of law and the legal life of culture, the contributors shine a light on the ways in which the legal and the literary have spoken to each other, of each other, and, at times, for each other, on the island of Ireland in the last three centuries. Several of the chapters discuss how texts and writers have found their ways into the law’s chambers and contributed to the development of jurisprudence. The essays in the collection also reveal the juridical and jurisprudential forces that have shaped the production and reception of Irish literary culture, revealing the law’s popular reception and its extra-legal afterlives. List of contributors: Rebecca Anne Barr, Max Barrett, Noreen Doody, Katherine Ebury, Adam Gearey, Tom Hickey, James Kelly, Colum Kenny, David Kenny, Heather Laird, Julie Morrissy, Gearóid O'Flaherty, Virginie Roche-Tiengo, Barry Sheils.

This book asks how English authors of the early to mid twentieth-century responded to the nationalist revolution in neighbouring Ireland in their work, and explores this response as an expression of anxieties about, and aspirations within, England itself. Drawing predominantly on novels of this period, but also on letters, travelogues, literary criticism, and memoir, it illustrates how Irish affairs provided a marginal but pervasive point of reference for a wide range of canonical authors in England, including Wyndham Lewis, Virginia Woolf, D.H. Lawrence, Graham Greene, and Evelyn Waugh, and also for many lesser-known figures such as Ethel Mannin, George Thomson, and T.H. White. The book surveys these and other incidental writers within the broad framework of literary modernism, an arc seen to run in temporal parallel to Ireland's revolutionary trajectory from rebellion to independence. In this context, it addresses two distinct aspects of the Irish-English relationship as it features in the literature of the time: first, the uneasy recognition of a fundamental similarity between the two countries in terms of their potential for violent revolutionary instability, and second, the proleptic engagement of Irish events to prefigure, imaginatively, the potential course of England's evolution from the Armistice to the Second World War. Tracing these effects, this book offers a topical renegotiation of the connections between Irish and English literary culture, nationalism, and political ideology, together with a new perspective on the Irish sources engaged by English literary modernism.

The actions of Irish nationalists in Britain are often characterised as a 'sideshow' to the revolutionary events in Ireland between 1912 and 1922. This original study argues, conversely, that Irish nationalism in Britain was integral to contemporary Irish and British assessments of the Irish Revolution between the Third Home Rule Bill and the Anglo-Irish Treaty. Darragh Gannon charts the development of Irish nationalism across the Irish Sea over the course of a historic decade in United Kingdom history – from constitutional crisis, to war, and revolution. The book documents successive Home Rule and IRA campaigns in Britain coordinated by John Redmond and Michael Collins respectively and examines the mobilisation of Irish migrant communities in British cities in response to major political crises, from the Ulster crisis to the First World War. Finally, Conflict, Diaspora, and Empire assesses the impacts of Irish nationalism in metropolitan Britain, from Whitehall to Westminster. The Irish Revolution, this study concludes, was defined by political conflicts, and cultures, across the Irish Sea.

Arming the Irish Revolution is an in-depth investigation of the successes and failures of the militant Irish republican efforts to arm themselves. W. H. Kautt’s comprehensive account of Irish Republican Army (IRA) arms acquisition begins with its predecessors—the Irish Volunteers and the National Volunteers—and, counterintuitively, with their rivals, the pro-union Ulster Volunteer Force. After the 1916 Rising, Kautt details the functioning of the Quartermaster General Department of the Irish Volunteer General Headquarters in Dublin and basic arms acquisition in the early days of 1918 to 1919. He then closely examines rebel efforts at weapons and ammunition manufacturing and bombmaking and reveals that the ingenuity and resources poured into manufacturing were never able to become a primary source of weapons and ammunition. As the conflict grew in intensity and expanded, the rebels encountered increasing difficulty in obtaining and maintaining supplies of weapons and ammunition since modern weapons in a protracted conflict used more ammunition than previous generations of weapons and their complexity meant that the weapons could not be clandestinely produced within Ireland. Thus, as the rebels conducted campaigns that became difficult to combat, their greatest limiting factor was that most of their weapons and ammunition had to be imported. Arming the Irish Revolution is the first work of research and analysis to explore in detail the Irish work inside Britain to establish arms centers and to conduct arms operations and trafficking. It also examines the full extent of the overseas or foreign arms trade and the arms operations of the War of Independence, including the continuance into the truce and treaty eras and up to the outbreak of the Civil War (1922–1923)—all of which reveals how the rebel leaders ran complex, maturing, and capable smuggling and manufacturing enterprises worldwide under the noses of the police, customs, intelligence, and the military for years without getting caught. Quite apart from the battlefield these groups and their activities led to political consequences, playing no small part in producing what were real concessions from Lloyd George’s government. In the last chapter Kautt offers observations and conclusions about overall successes and failures that establishes Arming the Irish Revolution as a landmark study of insurgent or revolutionary arms acquisition in both Irish and military history.

The Last Bohemian offers the first extended, critical evaluation of all of Brian Desmond Hurst’s films, reappraising the reputation of a director who was born in 1895 in Belfast and died in Belgravia, London, in 1986. Pettitt skillfully weaves together film analyses, biography, and cultural history with the aim of bringing greater attention to Hurst’s qualities as a director and exploring his significance within Irish film and British cinema history between the 1930s and the 1960s. The director of Dangerous Moonlight (1941), Theirs Is the Glory (1946), and his best-known Scrooge (1951) made most of his films for British studios but developed an exile’s attachment to Ireland. How in the early twenty-first century has Hurst’s career been reclaimed and recognized, and by whom? Why in 2012 was Hurst’s name given to one of the new Titanic Studios in Belfast? What were his qualities as a filmmaker? To whose national cinema history, if any, does Hurst belong? Richly illustrated with film stills and other visual material from public archives, The Last Bohemian addresses these questions and in doing so makes a significant contribution to British and Irish cinema studies.

Ireland has been shaped by centuries of emigration as millions escaped poverty, famine, religious persecution, and war. But what happens when we reconsider this well-worn history by exploring the ways Ireland has also been shaped by immigration? From slave markets in Viking Dublin to social media use by modern asylum seekers, Migration and the Making of Ireland identifies the political, religious, and cultural factors that have influenced immigration to Ireland over the span of four centuries. A senior scholar of migration and social policy, Bryan Fanning offers a rich understanding of the lived experiences of immigrants. Using firsthand accounts of those who navigate citizenship entitlements, gender rights, and religious and cultural differences in Ireland, Fanning reveals a key yet understudied aspect of Irish history. Engaging and eloquent, Migration and the Making of Ireland provides long overdue consideration to those who made new lives in Ireland even as they made Ireland new.

Winner of the 2022 British Association of Irish Studies (BAIS) Book Prize In the years following the Irish Famine (1845–52), London became one of the cities of Ireland. The number of Irish in London swelled to over 100,000 and from this mass migration emerged a distinctive and vibrant culture based on a shared sense of history, identity and experience. In this book, Richard Kirkland brings together elements in Irish London's culture and history that had previously only been understood separately or indeed largely overlooked (as in the case of women's' contributions to London Irish politics and culture). In particular, Kirkland makes resonant cultural connections between Irish and cockney performers in the music halls, Irish trade fairs, temperance marches, the Fenian dynamite war of the 1880s, St Patrick's Day events, and the later cultural agitation of revivalists such as W.B. Yeats and Katharine Tynan. Irish London: A Cultural History 1850–1916 is both a significant contribution to our understanding of Irish emigrant communities in London at this time and an insightful case study for the comparative fields of cultural history and urban migration studies.

This original study focusing on four Irish writers – Leslie Daiken, Charles Donnelly, Ewart Milne and Michael Sayers – retrieves a hitherto neglected episode of Thirties literary history which highlights the local and global aspects of Popular Front cultural movements. From interwar London to the Spanish Civil War and the USSR, the book examines the lives and work of Irish writers through their writings, their witness texts and their political activism. The relationships of these writers to George Orwell, Samuel Beckett, T.S. Eliot, Nancy Cunard, William Carlos Williams and other figures of cultural significance within the interwar period sheds new light on the internationalist aspects of a Leftist cultural history. The book also explores how Irish literary women on the Left defied marginalization. The impetus of the book is not merely to perform an act of literary salvage but to find new ways of re-imagining what might be said to constitute Irish literature mid-twentieth century; and to illustrate how Irish writers played a role in a transforming political moment of the twentieth century. It will be of interest to scholars and students of cultural history and literature, Irish diaspora studies, Jewish studies, and the social and literary history of the Thirties.