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Edna O'Brien
Amanda Greenwood examines Edna O'Brien's representations of women in Ireland and beyond. The author focuses on issues of femininity, masculinity and the problems of terrorism, decolonisation and abortion law as discussed and elaborated upon by O'Brien in her writings.
Edna O'Brien
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Edna O'Brien and the Art of Fiction
Since the appearance of her first novel, The Country Girls, in 1960—a book that undermined the nation’s ideal of innocent and pious Irish girlhood—Edna O’Brien has provoked controversy in her native Ireland and abroad. Indeed, several of her early novels were condemned by church authorities and banned by the Irish government for their frank portrayals of sexual matters and the inner lives of women. Now an internationally acclaimed writer, O’Brien must be critically reassessed for a twenty-first century audience. Edna O’Brien and the Art of Fiction provides an urgent retrospective consideration of one of the English-speaking world’s best-selling and most prolific contemporary authors. Drawing on O’Brien’s fiction as well as archival material, and applying new theoretical approaches—including ecocritical and feminist new materialist readings—this study considers the pioneering and enduring ways O’Brien represents women’s experience, family relationships, the natural world, sex, creativity, and death, and her work’s long anticipation of contemporary movements such as #metoo.
Girl
** Winner of the Kerry Group Irish Novel of the Year 2020 ** Longlisted for the 2020 Women's Prize for Fiction Shortlisted for the 2020 Orwell Prize for Political Fiction Shortlisted for the James Tait Black Memorial Prize 2020 A Times, Evening Standard and Financial Times Book of the Year I was a girl once, but not any more . . . A young woman, barely more than a girl herself, must learn to survive with a child of her own, in a world which seems entirely consumed by madness. As she navigates a landscape of terrors and trials, can she find a place of safety within a society blinkered by mistrust and denial? 'Astonishing.' New Statesman 'Raw and transfixing.' Observer 'Miraculous . . . Extraordinary.' Mail on Sunday 'A masterpiece.' Irish Independent 'Mesmerising.' Sunday Times 'Devastating and moving.' Daily Telegraph By the author of The Country Girls.
Edna O'Brien
As part of Pegasos, Kuunsankosken Kaupunginkirjasto of Finland presents a biographical sketch about the Irish writer Edna O'Brien (1932- ). O'Brien has written plays, children's books, essays, screenplays, and nonfiction about Ireland. Some of O'Brien's works include "Country Girls" (1960), "The Love Object" (1968), "Night" (1972), "Mother Ireland" (1976), and "A Fanatic Heart" (1984).
The Little Red Chairs
The legendary Edna O'Brien's tale of a mysterious stranger spellbinding an Irish village 'reminds you why you read books in the first place' ( Observer). 'The great Edna O'Brien has written her masterpiece.' Philip Roth 'Extraordinary . . . Courageous.' J.M. Coetzee 'Fierce and beautiful.' Anne Enright 'Exemplary.' Colm Tóibín ONE OF THE SUNDAY TIMES' TOP 100 NOVELS OF THE TWENTY-FIRST CENTURY When a man who calls himself a faith healer arrives in a small, west-coast Irish village, the community is soon under the spell of this charismatic stranger from the Balkans. One woman in particular, Fidelma McBride, becomes enthralled in a fatal attraction that leads to unimaginable consequences. 'Magnificent' ( Sunday Times) 'Beautiful' ( Financial Times) ' Enthralling' ( Times) 'Extraordinary' ( Independent) ' Astonishing' ( New Yorker)
Mother Ireland
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In the Forest
In the Forest is a newly reissued edition of the terrifying novel from "one of the greatest writers in the English-speaking world" ( The New York Times), Edna O'Brien. "O'Brien brings together the earthy and delicately poetic: she has the sound of Molly Bloom and the skills of Virginia Woolf." — Newsweek O'Brien takes her reader into the mind of Michen O'Kane, a murder who terrorizes the countryside of western Ireland, and traces his transformation from a neglected child to a twisted killer. In the Forest is based on a true story of local horror, and O'Brien provides fragments of O'Kane's story while leaving her reader to try and make sense of his psyche.
