Kate O'Brien's 1943 The Last of Summer has been read as the novelist's riposte to an insular island that stifled both her publishing (through censorship) and her imagination (through cultural conservatism). Set on the eve of the neutral ‘Emergency’, O'Brien's sixth novel actually depicts Ireland as a complex space of negotiation, simultaneously desirable and condemnable, that challenges, rather than stifles, the individual imagination. The Last of Summer is a love triangle and a battle of wits, pitching a stage actress, the French ingénue Angèle, against an accomplished domestic performer, her potential mother-in-law, Hannah Kernahan. In the end, it is Hannah who wields ‘neutrality’ – both Ireland's in the war and her pretended neutrality in family matters – as a form of coercive power.
On Formal Maps Between Generic Submanifolds in Complex Space
