Robert F. Garratt
![Modern Irish Poetry: Tradition and Continuity from Yeats to Heaney Robert F. Garratt]( "Modern Irish Poetry: Tradition and Continuity from Yeats to Heaney Robert F. Garratt")
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The many faces of modern Irish poetry 4 out of 5 stars.
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Robert Garratt argues that there was a shift in the nature of Irish literature around the year 1940; not as much due to the second world war, which certainly changed the entire European world dramatically, including the officially neutral Irish, but also due to the close-on-another deaths of Yeats in 1939 and Joyce in 1941. All Irish writers respond to and react to the influences of both Yeats and Joyce; the dominance of Yeats' romanticism gave way to the realism of Joyce in the post-war world. This is not a general history of Irish literature, nor even a general history of Irish poetry, but rather a tracing of developmental lines according to certain poets. These include Seamus Heaney and Derek Mahon, but also many others who are lesser known -- any collection of contemporary and very recent poets is bound to have names unknown, and names that might not in the end stand the test of time. That being said, Garratt concentrates on five post-Yeats poets in particular, while rounding out his criticism with the work of others.
Garratt begins with chapters on issues in Yeats (particularly his views toward tradition, romanticism, and also Yeats advice to new poets living in the now-free Irish state). He looks at the Revivalism movement and key figures, and finishes the preparatory chapters with a discussion of Joyce and his influence into the modern Irish poetic period.
The poets Garratt focuses upon are Austin Clarke, Patrick Kavanagh, Thomas Kinsella, John Montague, and Seamus Heaney. These poets variously continue or break with tradition in different ways -- for example, Clarke reaffirms a connection with tradition (medieval Irish and Catholic influences are strong) while simultaneously breaking with Yeats' style, and concentrating less upon pagan Celtic Ireland. Many of the poets are themselves poetic and literary critics, and writers of other materials. An example here is Kavanagh, often the outsider and sharp critic of others; Garratt includes passages of Kavanagh's critical work, including his self-criticism.
Indeed, the very idea of an Irish tradition of literature is new to this century -- prior to this time, it would have been seen as the poor cousin of English literature, an appendix or subsection in broader British literary tradition, or, in the case of the ancient Irish traditions, an historical piece no longer living. This loss of culture and language identity continues to factor into poetry, even as the Irish use of English continues to broaden and add colour to the English language.
Irish literary tradition has always had a political angle, and this continues on the divided island, with Ulster influences emerging as occasionally distinct from the larger Irish tradition. Garratt devotes a chapter to looking at this vital and Janus-like strand. Garratt also includes an epilogue, which brings up recent pieces, and expanded material, particularly with regard to Heaney.
This is a fascinating look at a strong and growing piece of literature, English in language technically, but Irish to the core.
