Then, on 21 July 1972-Belfast's Bloody Friday-Eve encounters the captivating Esther, who ferries Eve on a sequence of illuminating, metaphysical journeys. In order to make sense of the slaughter that surrounds her, Eve must first learn the truth of her perceived difference, and therein unravel the timeless purpose of the silver mist.

    For the first time the short story was to be taught as part of the English syllabus for the Intermediate Certificate. For the first time students of English were introduced to the work of Irish writers such as Liam O'Flaherty, Frank O'Connor, Sean Ó Faoláin, Mary Lavin, Brian Friel and Benedict Kiely. Exploring English has resonated with countless thousands of Irish students. For many it provided a gateway to a lifetime of reading and the enjoyment of literature. For even more it was an icon of their school days with its unmistakeable angular cover design. It is still a cherished possession in many households, taken out occasionally and nostalgically to read a story or two and, perhaps, even the accompanying notes which were so enlightening for some yet challenging for others.The Exploring English short story anthology is now being republished in an exact facsimile of the original. Times have moved on; many authors who were alive forty years ago are no longer with us but their biographical notes have not been changed. This is the book precisely as you will have remembered it. Read once more, and enjoy!

    You may find it for free on the web.

    With a passionate introduction by Enright, The Granta Book of the Irish Short Story traces this great tradition through decades of social change and shows the pleasure Irish writers continue to take in the short-story form. Deft and often devastating, these short stories dodge the rolling mythologies of Irish life to produce truths that are delightful and real. Includes Roddy Doyle, Elizabeth Bowen, Frank O’Connor, Seán Ó Faoláin, Edna O’Brien, Colm Tóibín, Clarie Keegan and William Trevor.The road to the shore / Michael McLaverty --The pram / Roddy Doyle --An attack of hunger / Maeve Brennan --Summer voices / John Banville --Summer night / Elizabeth Bowen --Music at Annahullion / Eugene McCabe --Naming the names / Anne Devlin --Shame / Keith Ridgway --Memory and desire / Val Mulkerns --The mad Lomasneys / Frank O'Connor --Walking Away / Philip Ó Ceallaigh --Villa Marta / Clare Boylan --Lilacs / Mary Lavin --Meles Vulgaris / Patrick Boyle --The trout / Seán Ó Faoláin --Night in Tunisia / Neil Jordan --Sister Imelda / Edna O'Brien --The key / John McGahern --A priest in the family / Colm Tóibín --The supremacy of grief / Hugo Hamilton --The swing of things / Jennifer C Cornell --Train Tracks / Aidan Mathews --See the tree, how big it's grown / Kevin Barry --Visit / Gerard Donovan --Everything in this country must / Colum McCann --Curfew / Sean O'Reilly --Language, truth and lockjaw / Bernard MacLaverty --Midwife to the fairies / Éilís Ní Dhuibhne --Men and women / Clare Keegan --Mothers were all the same / Joseph O'Connor --The dressmaker's child / William Trevor

    Left with two younger brothers, her closest family thousands of miles away in St. Paul, Minnesota, Clare begins a dangerous journey that takes her from Cork through the port of Queenstown to Ellis Island, New York, and finally St. Paul. Rich in historical detail, Clare allows the reader to live the sights, sounds, and smells of a 1906 journey of immigration.

    In her third collection, Flynn examines and dismantles a fugitive life. The first sequence moves through a series of rooms, reflecting on aspects of the author's personal and family history. Using the idea of the haunted house or the house with a sealed-off room, and Gothic tropes of madness, doubles, revenants and religious brooding, the poems consider ideas of inheritance and legacy. The second section comprises a magnificent long poem written in the months leading up to the banking crisis and presidential election of October 2008. Taking as its occasion a flat-clearing, it assumes a more public voice (inspired partly by Auden's 'Letter to Lord Byron'), and reflects on aspects of the rapid social and technological change of the last decade. An extraordinarily moving reflection on mutability and mortality prompted by the spring-cleaning of a life's detritus, 'Letter to Friends' evolves from a private reliquary to a public obsequy. Its collapse back into private griefs, including the poet's father's decline into Alzheimer's disease, is pursued in the third section of the book. Here the theme of a tallying of private and public balance sheets, of different kinds of profit and loss, widens to include poems of motherhood and marriage, the possibilities of hope and repair.

    The once-great city of Bohane on the west coast of Ireland is on its knees, infested by vice and split along tribal lines. There are the posh parts of town, but it is in the slums and backstreets of Smoketown, the tower blocks of the Northside Rises and the eerie bogs of Big Nothin' that the city really lives.For years, the city has been in the cool grip of Logan Hartnett, the dapper godfather of the Hartnett Fancy gang. But there's trouble in the air. They say his old nemesis is back in town; his trusted henchmen are getting ambitious; and his missus wants him to give it all up and go straight... And then there's his mother.City of Bohane is a visionary novel that blends influences from film and the graphic novel, from Trojan beats and calypso rhythms, from Celtic myth and legend, from fado and the sagas, and from all the great inheritance of Irish literature. A work of mesmerising imagination and vaulting linguistic invention, it is a taste of the glorious and new.

    This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

    Sensuous and resonant, these poems are votive offerings that possess musicality and are sensitive to the functional qualities language.

    The classic poem An Irish Airman Foresees His Death by William Butler Yeats

    Tóibín's captivating memoir is the story of a writer coming of age and his connections between home, work and love. It is a perfect gem of a book.

    From the romantic ballad to the rebel song, from devotional Christian verse to revivals of ancient Celtic myth, poetry has long been Ireland’s most eloquent response to its turbulent and colorful history. Irish Poems gives us a dazzling selection from a long and distinguished poetic tradition, ranging from the earliest Gaelic bards up to the present. Organized around such themes as politics, religion, Gaelic culture, the Irish landscape, and matters of the heart, the poems collected here come from a wide range of writers old and new, including such literary giants as Jonathan Swift, Oliver Goldsmith, Oscar Wilde, W. B. Yeats, J. M. Synge, Samuel Beckett, Louis MacNeice, Patrick Kavanagh, Paul Muldoon, Evan Boland, Seamus Heaney, and many more.

    Yeats.So dramatic and revolutionary was Yeats' impact on Irish literature that the writers and traditions that preceded him are often overlooked, just as his successors are often overshadowed by his achievement. In Words Alone, Roy Foster explores the Irish literary traditions that preceded Yeats, including romantic "national tales" in post-Union Ireland and Scotland, the nationalist poetry and polemic of the Young Ireland movement, the occult and supernatural fictions of Sheridan LeFanu, the "peasant fictions" of William Carleton, and the fairy-lore and folktale collections Yeats absorbed. As well as placing these nineteenth-century literary movements in a rich contemporary context of politics, polemic, and social tension, Foster discusses recent critical and interpretive approaches to these phenomena. But the unifying theme throughout the book is the self-conscious use Yeats made of his literary predecessors during his own apprenticeship, particularly in the construction of his path-breaking early work. T.S. Eliot famously observed that Yeats was "part of the consciousness of an age which cannot be understood without him," and Foster shows the many ways that Yeats both shaped and was shaped by the age in which he lived, despite his attempts to construct his own literary pedigree and present himself as entirely original.Returning to the rich seed-bed of nineteenth-century Irish writing, Words Alone draws out themes which had particular resonance for Yeats, offering a new interpretation of the influences surrounding the young poet as he began to "hammer his thoughts into a unity."

    Certain themes remain constant - the natural world, war, violence, love, friendship, art, death - but they also keep changing because the forms and genres of his poetry never stand still. In A Hundred Doors a sinuous short line complements his variations on pentameter and hexameter. And Longley's interlacing of individual lyrics, so that a diverse collection seems a single poem, intensifies in the shadow of mortality. A sequence about his grandchildren's births is counterpointed by elegies, including Longley's continuing elegy for the Great War dead. The Mayo townland, Carrigskeewaun, with its cast of leverets, otters, swans, wrens, lesser twayblade and bird's-foot trefoil, also takes on fresh guises. Longley is among Europe's foremost 'ecological' poets. Yet Carrigskeewaun is ultimately symbolic, a microcosm, a 'soul-arena'.A Hundred Doors roams in time and space. The title-poem evokes the oldest Byzantine church in Greece: Our Lady of a Hundred Doors on the island of Paros. The remains of a Greek temple 'ache' beneath its floor. Wild orchids, which crop up in Greece and the Italian Garfagnana as well as Ireland, are among the collection's multiple 'doors'. Others are music and paintings, 'cloudberry jam from Lapland', a Shetland pony. This is work of power, precision and delicacy: poems that 'bend and magnify the daylight', poems by a master craftsman.