Search Results Heading

MBRLSearchResults

mbrl.module.common.modules.added.book.to.shelf
Title added to your shelf!
View what I already have on My Shelf.
Oops! Something went wrong.
Oops! Something went wrong.
While trying to add the title to your shelf something went wrong :( Kindly try again later!
Are you sure you want to remove the book from the shelf?
Oops! Something went wrong.
Oops! Something went wrong.
While trying to remove the title from your shelf something went wrong :( Kindly try again later!
    Done
    Filters
    Reset
  • Discipline
      Discipline
      Clear All
      Discipline
  • Is Peer Reviewed
      Is Peer Reviewed
      Clear All
      Is Peer Reviewed
  • Series Title
      Series Title
      Clear All
      Series Title
  • Reading Level
      Reading Level
      Clear All
      Reading Level
  • Year
      Year
      Clear All
      From:
      -
      To:
  • More Filters
      More Filters
      Clear All
      More Filters
      Content Type
    • Item Type
    • Is Full-Text Available
    • Subject
    • Publisher
    • Source
    • Donor
    • Language
    • Place of Publication
    • Contributors
    • Location
4 result(s) for "Americans Northern Ireland Fiction."
Sort by:
Northern Ireland’s Interregnum. Anna Burns’s Depiction of a (Post)-Troubles State of (In)security
This paper aims to present the main contours of Burns’s literary output which, interestingly enough, grows into a personal understanding of the collective mindset of (post)-Troubles Northern Ireland. It is legitimate, I argue, to construe her fiction (No Bones, 2001; Little Constructions, 2007; Milkman, 2018) as a body of work shedding light on certain underlying mechanisms of (post-)sectarian violence. Notwithstanding the lapse of time between 1998 and 2020, the Troubles’ toxic legacy has indeed woven an unbroken thread in the social fabric of the region. My reading of the novelist’s selected works intends to show how the local public have been fed by (or have fed themselves upon) an unjustified—maybe even false—sense of security. Burns, in that regard, has positioned herself amongst the aggregate of writers who feel anxious rather than placated, hence their persistence in returning to the roots of Northern Irish societal divisions. Burns’s writing, in the above context, though immersed in the world of the Troubles, paradoxically communicates “an idiosyncratic spatiotemporality” (Maureen Ruprecht Fadem’s phrase), namely an experience beyond the self-imposing, historical time limits. As such, it gains the ability to provide insightful commentaries on conflict-prone relations, the patterns of which can be repeatedly observed in Northern Ireland’s socio-political milieu. Overall, the main idea here is to discuss and present the narrative realm proposed by Burns as (in)determinate, liminal in terms of time and space, positioning readers between “then” and “now” of the region.
Dark chapter
Vivian is a cosmopolitan Taiwanese-American tourist who often escapes her busy life in London through adventure and travel. Johnny is a fifteen year old Irish teenager, growing up in a family where crime is customary, violence is necessary, and everything and anyone is yours for the taking. Their paths collide one afternoon in West Belfast, culminating in a horrific act of violence. Vivian tries to recapture the woman she was, as she struggles with a culture and judicial system that treats assault victims as less than human. Johnny flees to his transitory Irish clan, but is forced to confront the chain of events leading up to the attack. When Johnny is finally brought to reckon for his crimes, Vivian learns that justice is neither as swift nor as fair as she would hope. Told from both Vivian's and Johnny's perspectives, and inspired by true events, this novel explores how a dark chapter can irrevocably determine the shape of our lives.