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By Christine St. Peter

In past times twenty-five years, eire has obvious an explosion of women's fiction - 1000's of released works that reimagine the inherited literary traditions and the social contexts of women's lives. altering eire examines women's use of ancient fiction, exile literature, Northern battle narratives, speculative fiction, and vintage 'realism', and appears on the neighborhood Irish kinds of foreign women's genres just like the romance novel and feminist fiction.

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Additional resources for Changing Ireland: Strategies in Contemporary Women's Fiction

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But in submerging the details of their lives, they reveal a sense that their lives and world are not the subject of art, not even of a humble epistolary self-expression. Perhaps nothing reveals the class differences between the Keatings, the Penders and the Cosgraves so effectively as this detail. 1057/9780230596467 - Changing Ireland, Christine St. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 nursing instructors, a British intern also professionally miscast, ironically remarks: 35 parents.

This passage reveals what I referred to earlier as the dual consciousness of the narrative voice. The slightly breathless and naive thought contains wisdom possible in an intelligent young woman, but the skillful, if lightly sketched, analysis about emotional/psychological bondage and freedom, destructive gender relations, suspect economic power, and its abusive potential in family life – this bespeaks the sophistication of a long life of observant political awareness. 47 Feminist awareness shapes other significant parts of the novel.

Everything . . but, Bridie, no flights of fancy. Just straight, put it down straight. No flights’ (p. 159). But in the final metafictional gesture of the novel, Bridie, although determined to obey the command about no flights, finds herself unable to avoid offering interpretation, shaping the plot. What is more, although she apologizes for doing it, presumably to Constance’s ghost, she persists, and so the ‘novel’ is the work of two women authors, both straining to control the problems attending the act of representing women’s writing.

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