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“... of superannuated Pinter. There is always a war with real life. Storey describes a rehearsal with John Gielgud (as Harry) and Ralph Richardson (as Jack) of Home, his play about England and everyday madness. The actors are navigating their way around two chairs and a table. Storey starts by showing the two actors before segueing into what’s happening ...”

“... it is a history of coercion and control. The figure who emerges from it most strongly is John Charles McQuaid, the Archbishop of Dublin between 1940 and 1972, who stopped Noel Browne, the Minister for Health in 1951, from introducing a health scheme for mothers, thereby bringing down the Government, and who insisted that ...”

“... them, it could mind them.’Feeney balances this material against evasion and omission – the John McGahern and Anne Enright school of hiding trauma in narrative cracks. As You Were is haunted by the abuses of women in recent Irish history. Between 1925 and 1961 a maternity home for unmarried mothers and their children operated in Tuam, a large town ...”

“... shadow cast by the revolution. The novelist who explored this period with the greatest acuity was John McGahern, a writer who (contrary to Foster’s view) was intensely alive to the contradictions and compromises of Irish postmodernity. His last book, That They May Face the Rising Sun, is set in a time warp, the characters caught in a strange limbo ...”

“... you feel, so that Kiberd could play his game with them. It is tempting to think that Shaw wrote John Bull’s Other Island and Brian Friel wrote Translations with Kiberd watching over them, egging them on. Both plays are full of the paradoxes proposed by England in Ireland and Ireland in England. The drama comes from the identity games which colonised and ...”

“... In 1993 John McGahern wrote an essay called ‘The Church and Its Spire’, in which he considered his own relationship to the Catholic Church. He made no mention of the fact that he had, in the mid-1960s, been fired from his job as a teacher on the instructions of the Catholic archbishop of Dublin because he had written a novel banned by the Irish Censorship Board (The Dark), and because he had been married in a register office ...”

“... Antrim (1901), a collection of slightly fey dialect poems, was much praised by the poet laureate, John Masefield, and set to music by the Irish composers Charles Villiers Stanford and Hamilton Harty. They were Edwardian popular songs of the sort that Bartell D’Arcy might have been asked to sing in ‘The Dead’, when he wasn’t having a go at ‘The Lass ...”

“... out herds bred over centuries in Wales. Small farmers, whelped on Common Market subsidies and John Constable idylls, were being priced out of existence by agribusiness and Tesco. In time, the three of us – Karl, Seamus and me – decided to go out there partly to see what we could see but also as a way of spending time in company with people who shared ...”

“... half-whisper that someone called Colm Tóibín was in the library looking at the correspondence of John Butler Yeats, which had been transcribed, then typed, then donated to the library by William M. Murphy, John Butler Yeats’s biographer. And now I looked up from the Yeats letters to find a man looking at me. It struck me ...”

“... they’re disparaged at the wedding dinner. Her position in this story is perhaps something like John McGahern’s. ‘The collapse of the Church’s absolute power’ in Ireland, he wrote in ‘God and Me’, an autobiographical essay, ‘has brought freedom and sanity in certain areas of human behaviour after long suppression’, but also ‘a new ...”