Ireland. Eire. Part III. Фомина И.В. - 10 стр.

Kiely, a modern counterpart of Carleton, was born and brought up in Omagh.
John Banville, the novelist, comes from Wexford. But French authors provided a
model for short story writers, Frank O’Connor and Seán O’Faoláin who blended
continental realism with the native oral tradition to create the modern Irish short
story. The form expanded in the hands of Liam O’Flaherty, Mary Lavin, John
McGahern, William Trevor and Bernard MacLaverty.
        Throughout the twentieth century Ireland has continued to produce great
writers with prolific abandon, from Sean O’Casey, the dramatist whose raw ma-
terial was the slums of Dublin, to the ‘Big house’ mileau described by the An-
glo-Irish novelist Elizabeth Bowen, and Kate O’Brien, some of whose robust
novels were inspired by her love of Spain.
        Whole new generations of poets after Yeats have grown up, including
Patrick Kavanagh and John Montague, Louis MacNeice; and they were very
different talents. The Northern influence has been strong, from John Hewitt to
Michael Longley. Kavanagh’s example as a poet of rural realism inspired Sea-
mus Heaney (b. 1939) from County Derry whose vision of the redemptive
power of poetry earned him a Nobel Prize for literature in 1995. Seamus
Heaney is regarded by many as the greatest contemporary poet in the English-
speaking world. Among his contemporaries, Thomas Kinsella (b. 1928), John
Montague (b. 1929), Michael Longley (b. 1939) and Derek Mahon (b. 1941)
have explored the complexities of modern Ireland in work covering historical,
political and existential themes. Women poets, Eavan Boland (b. 1945), Eiléan
Ní Chuilleanáin (b. 1942), Medbh McGuckian (b. 1950) and Paula Meehan
(b. 1955) challenge the traditional male domination of Irish literature.
        Likewise, in fiction, women have been to the fore. Writers such as Somer-
ville (1858–1973) and Ross (1862–1915), Elizabeth Bowen (1899–1973) and
Molly Keane (1905–1996) were born into and chronicled the fading world of the
Anglo-Irish aristocracy. This world provides the setting too for many of the
novels of Jennifer Johnston (b. 1960). Writing of small-town life Pat McCabe
(b.1955) sustains the familiar note of black comedy in Irish writing.
        The relative darkness of these novelist’s work is absent from the romances
of Maeve Binchy, Deirdre Purcell and Marian Keyes. In a different vein the
snappy dialogue of Dubliner Roddy Doyle (b. 1958) earned him a Booker prize
in 1993.
        Drama has had a good revival, helped by Northern playwright Brian Friel
(b. 1929), author of Philadelphia, Here I come, Dancing at Lughnasa and other
plays. For all its experimental beginnings, Irish drama is resolutedly realist. Its
major exponents today are not only Brien Friel but Tom Kilroy (b. 1934), Tom
Murphy ( b. 1935), Frank McGuinness (b. 1953), Sebastian Barry (b. 1955),
Marina Carr (b. 1965), Martin McDonagh (b. 1971) and Conor McPherson
(b. 1971). In their work, lines of satire and dark comedy cross with a lyrical sen-
sibility to produce a disturbing vision of contemporary Ireland.

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