I have endured the scholastic training worthy of someone of learning.
I am versed in the twelve divisions of poetry and the traditional rules.
I am so light and fleet I escape from a body of men without snapping a twig,
without ruffling a braid
of my hair, I run under branches as high as my ankle and over ones high as my head, I scrape thorns from my feet
(not mine) while I run, I dance backwards away from myself, these rites
are quite common among primitive nations,
I am seldom admitted into the companionship of the older, the full privilege of the tribe, without them.
from: “A Meditation on Ireland, Women, Poetry and Subversion” by Kathy D’Arcy at The Honest Ulsterman
There is a narrative gap in Irish poetry that appears to the woman poet, her reviewer, and the poet essayist as ‘absence’, indeed as a type of intellectual privation. That a new generation of women writers are confronting Irish women poets absence from the canon, along with its previous attendant tokenism, is truly delightful to me. We are busily exploring emergent genealogies in Irish Poetry, or it could be stated that we are unhappy with what Eavan Boland refers to as a suppressed narrative.
To bring forward a skewed national cultural narrative that disavows the woman poet’s place in the canon is to my mind culturally damaging. Not alone is it culturally damaging to present part of a narrative that claims the intellectual impetus in the imaginative creation of a nation, it is personally and professionally damaging to women poets and to nascent writers who are now devoid of their narrative heritage.
Alex Pryce confronts the absence of Northern Irish women poets in her thesis “Ambiguous Silences ? Women in Anthologies of Contemporary Northern Irish Poetry” I read about Pryce’s worthy thesis in Moyra Donaldson’s blog under The Influence of Absences sometime ago. I was so interested in what Pryce had to say that I downloaded the PDF from her Academia.edu account. At the same time, I was in conversation with Emma Penney who had sent me a copy of her thesis Now I am a Tower of Darkness: A Critical History of Poetry by Women in Ireland. Penney and Pryce are investigating and confronting the constructed heroic post-colonial narrative that has really has done its time by now. The post-colonial narrative beloved of some critics who would view the whole world as an extension of their ideation has been flogged to death. It’s over darlings. I grew up not knowing or studying any Irish women poets. The women writers that I read in college were Elizabeth Barrett-Browning (in epic poetry and quasi-feminism) and Virginia Woolf. It was as if women poets did not exist in Ireland.
Irish women poets have never quite left us however, despite their historical absence from anthologies and from third level academic study. There has been a slight recent improvement in the publication of women poets and in their critical review, but it is not enough. Our women poets emerge whole and singing in essays, in current blogs like in Billy Mills Elliptical Movements, and in lines of melody put through mine and others’ search engines. It is time to celebrate our absent poetry foremothers and to confront the indignity conferred upon Irish women poets who were thrown to the side in the search for a heroic poetry to express our chosen political-cultural narrative.
In her thesis, Now I am a Tower of Darkness: A Critical History of Poetry by Women in Ireland, Emma Penney challenges the critical reception of Eavan Boland and the restrictive criteria, developed in the 1970s, under which poetry by women in Ireland has been assessed. She considers the subversive nature of women’s poetry written between 1921 and 1950, and calls into question the critical assumption that Eavan Boland represents “the first serious attempt in Ireland to make a body of poems that arise out of the contemporary female consciousness”. In Object Lessons, Boland concluded that there were no women poets before her who communicated “an expressed poetic life” in their work. Emma’s thesis reveals how this view has permeated the critical landscape of women’s poetry, facilitating an absurd privation of the history of poetry by women in Ireland and simplifying it in the process. Emma Penney’s work centres around the poet Freda Laughton, her thesis was picked up by Jacket2 Magazine and The Bogman’s Cannon blog.
Kathy D’Arcy looks at the absence of Irish Women Poets in anthologies, and at literary feminism, in her “A Meditation on Ireland, Women, Poetry and Subversion” at the Honest Ulsterman,
Once there was a woman – no, two women. Then they became beasts, then trees, then stones then even stars. How they fought! And that woman was Cú Chulainn.[4] And that woman was Fionn Mac Cumhaill, daughter of Cumhall. And that woman was Queen Maeve. And that woman was Brian Boru. And that woman was Eibhlín Dubh Ní Chonaill, and that woman was her husband Airt Uí Laoighire. And that women was Pope John Paul the Second. And that woman was Declan Kiberd.
In Catriona Crowe’s Testimony to a flowering, a marvellous essay on the erasures, faults, absences and blindness exposed for all to see in the first Field Day Anthology,
“When confronted about the near absence of women from the book, Seamus Deane stated that ‘To my astonishment and dismay, I have found that I myself have been subject to the same kind of critique to which I have subjected colonialism. I find that I exemplify some of the faults and erasures which I analyze and characterize in the earlier period.’ It is perhaps possible to compress these sentiments into ‘I forgot’, but he did not say the words. He said that documents relating to feminism would be his first priority for inclusion in the revised paperback edition of the anthology, expected to appear in one or two years.
And yet, privations occur and recur in poetry lists, in national celebrations, and in other media or tourist-led strategies that consistently and poorly neglect the woman literary artists’ voice. I do not know if it is intellectual laziness, or if it is that the cultural narrative is so engrained that no-one questions the historical absence of women in Irish poetry? Indeed also in the theatre arts, as can be seen in the recent Waking the Feminists debacle. Maybe it is time to look closely at the Irish view of women that is set in stone in the Constitution and confront the idea that women literary artists fought for our cultural heritage just as hard as men did, but for some lazy and elusive reason, we refuse to celebrate their work.
- “A Meditation on Ireland, Women, Poetry and Subversion” by Kathy D’Arcy at The Honest Ulsterman
- Alex Pryce on “Ambiguous Silences ? Women in Anthologies of Contemporary Northern Irish Poetry”
- Catriona Crowe’s Testimony to a Flowering at The Dublin Review
Both a page and performance poet, Anne Tannam’s work has appeared in literary journals and magazines in Ireland and abroad. Her first book of poetry Take This Life was published by WordOnTheStreet in 2011 and her second collection Tides Shifting Across My Sitting Room Floor will be published by Salmon Poetry in Spring 2017. She has performed her work at Lingo, Electric Picnic, Blackwater & Cúirt Literary Festival. Anne is co-founder of the Dublin Writers’ Forum.
Nicki Griffin grew up in Cheshire but has lived in East Clare since 1997. Her debut collection of poetry, 
Lorna Shaughnessy was born in Belfast and lives in Co. Galway, Ireland. She has published three poetry collections, Torching the Brown River, Witness Trees, and Anchored (Salmon Poetry, 2008 and 2011 and 2015), and her work was selected for the Forward Book of Poetry, 2009. Her poems have been published in The Recorder, The North, La Jornada (Mexico) and Prometeo (Colombia), as well as Irish journals such as Poetry Ireland, The SHop and The Stinging Fly. She is also a translator of Spanish and South American Poetry. Her most recent translation was of poetry by Galician writer Manuel Rivas, The Disappearance of Snow (Shearsman Press, 2012), which was shortlisted for the UK Poetry Society’s 2013 Popescu Prize for translation.
Maria Wallace (Maria Teresa Mir Ros) was born in Catalonia, but lived her teenage years in Chile. She later came to Ireland where she has now settled. She has a BA in English and Spanish Literature, 2004, an MA in Anglo-Irish Literature, 2005. She won the Hennessy Literary Awards, Poetry Section, 2006. Her work has been published widely in Ireland, England, Italy, Australia and Catalonia. Winner of The Scottish International Poetry Competition, The Oliver Goldsmith Competition, Cecil Day Lewis Awards, Moore Literary Convention, Cavan Crystal Awards, William Allingham Festival. She participated in the ISLA Festival (Ireland, Spain and Latin America), 2015, and has published Second Shadow, 2010, and The blue of distance, 2014, two bilingual collections (English – Catalan), a third one to come out within the year. She has taught Spanish, French, Art and Creative Writing. She facilitates Virginia House Creative Writers,’ a group she founded in 1996, and has edited three volumes of their work.
Kimberly Campanello was born in Elkhart, Indiana. She now lives in Dublin and London. She was the featured poet in the Summer 2010 issue of The Stinging Fly, and her pamphlet Spinning Cities was published by Wurm Press in 2011 . Her poems have appeared in magazines in the US, UK, and Ireland, including nthposition , Burning Bush II, Abridged , and The Irish Left Review . Her books are Consent published by Doire Press, and Strange Country Published by Penny Dreadful (2015) ZimZalla will publish MOTHERBABYHOME, a book of conceptual poetry in 2016.
Alice Kinsella is a young writer living in Dublin. She writes both poetry and fiction and has been published in a variety of publications, including Headspace magazine and The Sunday Independent. She is in her final year of English Literature at Trinity College Dublin and currently working on her first novel.
Nicki Griffin grew up in Cheshire but has lived in East Clare since 1997. Her debut collection of poetry, 
Kevin Higgins facilitates poetry workshops at Galway Arts Centre and teaches creative writing at Galway Technical Institute. He is also Writer-in-Residence at Merlin Park Hospital and the poetry critic of the Galway Advertiser. He was a founding co-editor of The Burning Bush literary magazine and is co-organiser of over the edge literary events in Galway City. His first collection of poems The Boy With No Face was published by Salmon in February 2005 and was short-listed for the 2006 Strong Award. His second collection, Time Gentlemen, Please, was published in March 2008 by Salmon. His work also features in the generation defining anthology Identity Parade – New British and Irish Poets (ed roddy lumsden, Bloodaxe, 2010). Frightening New Furniture, his third collection of poems, was published in 2010 by Salmon Poetry. Kevin has read his work at most of the major literary festivals in Ireland and at arts Council and Culture Ireland supported poetry events in Kansas City, USA (2006), Los Angeles, USA (2007), London, UK (2007), New York, USA (2008), Athens, Greece (2008); St. Louis, USA (2008), Chicago, USA (2009), Denver, USA (2010), Washington D.C (2011), Huntington, West Virginia, USA (2011), Geelong, Australia (2011), Canberra, Australia (2011), St. Louis, USA (2013), Boston, USA (2013) & Amherst, Massachusetts (2013). Mentioning The War, a collection of his essays and reviews was published in april 2012 by Salmon. (SALMON)
Peter O’ Neill (1967) was born in Cork where he grew up before moving to live in France in the nineties. He returned to Dublin in 1998, where he has been living ever since.
Campanello
Katie Donovan has published four books of poetry, all with 
Lorna Shaughnessy was born in Belfast and lives in Co. Galway, Ireland. She has published three poetry collections, Torching the Brown River, Witness Trees, and Anchored (Salmon Poetry, 2008 and 2011 and 2015), and her work was selected for the Forward Book of Poetry, 2009. Her poems have been published in The Recorder, The North, La Jornada (Mexico) and Prometeo (Colombia), as well as Irish journals such as Poetry Ireland, The SHop and The Stinging Fly. She is also a translator of Spanish and South American Poetry. Her most recent translation was of poetry by Galician writer Manuel Rivas, The Disappearance of Snow (Shearsman Press, 2012), which was shortlisted for the UK Poetry Society’s 2013 Popescu Prize for translation.
Both a page and performance poet, Anne Tannam’s work has appeared in literary journals and magazines in Ireland and abroad. Her first book of poetry Take This Life was published by WordOnTheStreet in 2011 and her second collection Tides Shifting Across My Sitting Room Floor will be published by Salmon Poetry in Spring 2017. She has performed her work at Lingo, Electric Picnic, Blackwater & Cúirt Literary Festival. Anne is co-founder of the Dublin Writers’ Forum.
Alice Kinsella is a young writer living in Dublin. She writes both poetry and fiction and has been published in a variety of publications, including Headspace magazine and The Sunday Independent. She is in her final year of English Literature at Trinity College Dublin and currently working on her first novel.
Chris Murray 