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A History of the Irish Short Story, by Heather Ingman
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Though the short story is often regarded as central to the Irish canon, this text was the first comprehensive study of the genre for many years. Heather Ingman traces the development of the modern short story in Ireland from its beginnings in the nineteenth century to the present day. Her study analyses the material circumstances surrounding publication, examining the role of magazines and editors in shaping the form. Ingman incorporates recent critical thinking on the short story, traces international connections, and gives a central part to Irish women's short stories. Each chapter concludes with a detailed analysis of key stories from the period discussed, featuring Joyce, Edna O'Brien and John McGahern, among others. With its comprehensive bibliography and biographies of authors, this volume will be a key work of reference for scholars and students both of Irish fiction and of the modern short story as a genre.
- Sales Rank: #4329050 in Books
- Published on: 2011-07-14
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .71" w x 5.98" l, 1.00 pounds
- Binding: Paperback
- 336 pages
Review
Review of the hardback: 'This volume will be a key work in the history of Irish literature.' Irish Post
About the Author
Heather Ingman is Adjunct Lecturer of English at Trinity College, Dublin.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A Very Good History of the Irish Short Story
By Mel u-The Reading Life
The Irish Quarter
A History of the Irish Short Story by Heather Ingman is a very well done work of literary history with a lot to teach readers like me without academic training in the history of Irish literature or the short story.
Ingman did a very good job of explaining how the Irish short story became such a dominating literary form. She says, as does pretty much all who write on the short story, that Edgar Alan Poe was the first writer to produce self-consciously atristic short stories without a primary didactic purpose. The first Irish short story writers, people like William Carleton and Maria Edgeworth were caught in a cultural and economic dilemma. They were committed to the Irish but they were educated as if they were English and the audience for their stories was much greater in London than Dublin or Galway. She also talks about writers like Edith Sommerville and Violent Martin (AKA Ross Martin) who wrote stories which seem on first glance to be making fun of the Irish as buffoons who need an English magistrate to run their lives for them. Ingman does a good job, and for what it is worth, I think she is right, of explaining that there is a lot more depth in their stories than this. She talks about William Carleton as a transition figure from works in the tradition of the story teller with a primarily moral purpose to George Moore whose The Untilled Field she tells us marks the start of the modern Irish short story.
She talks about the role that magazines, which began in Ireland in the mid 1830s, had in the development of the Irish short story. This parallels exactly the development of the Australian short story sixty years later. William Trevor has said that the short story was a dominant literary form in Ireland because the Irish did not have a large enough body of people with the leisure time and the education to read long novels whereas the English did have these conditions which explains why the novel dominates in England and the short story in Ireland. The exact same conditions prevailed in Australia up until after WWI and you see a similar domination of the literary world there by short stories published in two magazines.
Ingman goes on to explain how The New Yorker's willingness to publish and pay top money for short stories came to shape the Irish short story in that writers wrote stories they thought the editors of the magazine would like. It also imposed length requirements. This same need to satisfy the requirements of magazine editors, especially those of The Hindu Times, shaped the modern Indian short story.
Ingman covers all of the big name writers. I think what I most found edifying in the book was the account of the transition from the 19th century short story to the modern era story. What I liked best about the book was the many reading ideas I got from it. I already have in mind an idea for a project for Irish Short Story Week Year 3 set to start March 1, 2013. Elizabeth Bowen wrote seven stories set in Ireland and I think I will do a series of posts on them. Ireland was neutral during WWII while Bowen was deeply committed to the English side and spent the war years in London. Ingman spends a lot of time in the book dealing with the question of the Irish identity of Irish short story writers.
I think anyone with an interest and at least a starting level of erudition in the Irish short story will enjoy and profit from this collection. I would classify it as sort of half way between a pure academic book and popular history. If I lived in Dublin I would love to take a class or two from Professor Ingman.
0 of 0 people found the following review helpful.
good
By Sheila McQuaid
great shape for a used book. it looks barely used and there are no words written on any of the pages which is great.
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