Titlebook: Irish Urban Fictions; Maria Beville,Deirdre Flynn Book 2018 The Editor(s) (if applicable) and The Author(s), under exclusive license to Sp

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Introduction: Irish Urban Fictions,ebrating Ireland’s literary icons. Claiming that Dublin ‘has words in its blood’, the project explored Ireland’s literary traditions across a range of urban settings and continued work on the importance of literature to Dublin which has been ongoing since the city was designated as a UNESCO City of

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Whose Dublin Is It Anyway? Joyce, Doyle, and the Citye about the city from memory while abroad seems to make little difference. The centenaries of the writing and publication of . have been commemorated by . (edited by Oona Frawley in 2005) and . (edited by Thomas Martin in 2014). Though these collections offer different portrayals of Dublin in the tw

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That Limerick Lady: Exploring the Relationship Between Kate O’Brien and Her Citycularly the development of its social milieu over the late nineteenth and early twentieth centuries, as well as the expansion and commercialisation of the 1960s. Though she travelled and explored settings familiar in a European paradigm of modernism, Limerick remained a central concern and the influ

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Migrants in the City: Dublin Through the Stranger’s Eyes in Hugo Hamilton’s onduit of Irish shame amidst revelations of abuses of institutional power during the Celtic Tiger period. As a migrant worker in Dublin, Vid’s position outside of citizenship allows him to register the fundamentally unequal treatment of both migrants and women in Ireland and the reversion to colonia

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Phantasmal Belfast, Ancient Languages, Modern Aura in Ciaran Carson’s ts apotheosis in his prose memoir . (1997) and, most recently, continues with the philosophical novel . (2012). Carson’s introspective fascination with Belfast’s inscrutability links him to mid-nineteenth-century writers about cities, such as Edgar Allan Poe and Charles Baudelaire, and to theories a

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John Banville: The City as Illuminated Imageis personal experiences, and repeatedly conjures resonant topological literary metaphors rather than offering representations of actual urban settings, with the topos of the house acting as an acutely self-reflexive metaphorical frame in many of his novels. Nonetheless, all of the novels after . (19

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The Haunted Dublin of ,: Two Modes of Time in the Second City of the Empirethe logic of two different temporal orders. On the one hand, coincidence structures the narrative to position individual characters alongside others and to render their shared moments significant in a style typical of national imagining. On the other hand, figural time marks Joyce’s Dublin as a colo