In Dialogue with Writing. Clare Boylan’s Non-Fiction

In 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers’ work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan’s non-fiction work includes essays on Kate O’Brien and Molly Keane, as well as an introduction to Maeve Brennan’s posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan’s critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work.

CSV2018: The 2nd Symposium of the Canadian Society for Virology

The 2nd Symposium of the Canadian Society for Virology (CSV2018) was held in June 2018 in Halifax, Nova Scotia, Canada, as a featured event marking the 200th anniversary of Dalhousie University. CSV2018 attracted 175 attendees from across Canada and around the world, more than double the number that attended the first CSV symposium two years earlier. CSV2018 provided a forum to discuss a wide range of topics in virology including human, veterinary, plant, and microbial pathogens. Invited keynote speakers included David Kelvin (Dalhousie University and Shantou University Medical College) who provided a historical perspective on influenza on the 100th anniversary of the 1918 pandemic; Sylvain Moineau (Université Laval) who described CRISPR-Cas systems and anti-CRISPR proteins in warfare between bacteriophages and their host microbes; and Kate O’Brien (then from Johns Hopkins University, now relocated to the World Health Organization where she is Director of Immunization, Vaccines and Biologicals), who discussed the underlying viral etiology for pneumonia in the developing world, and the evidence for respiratory syncytial virus (RSV) as a primary cause. Reflecting a strong commitment of Canadian virologists to science communication, CSV2018 featured the launch of Halifax’s first annual Soapbox Science event to enable public engagement with female scientists, and the live-taping of the 499th episode of the This Week in Virology (TWIV) podcast, hosted by Vincent Racaniello (Columbia University) and science writer Alan Dove. TWIV featured interviews of CSV co-founders Nathalie Grandvaux (Université de Montréal) and Craig McCormick (Dalhousie University), who discussed the origins and objectives of the new society; Ryan Noyce (University of Alberta), who discussed technical and ethical considerations of synthetic virology; and Kate O’Brien, who discussed vaccines and global health. Finally, because CSV seeks to provide a better future for the next generation of Canadian virologists, the symposium featured a large number of oral and poster presentations from trainees and closed with the awarding of presentation prizes to trainees, followed by a tour of the Halifax Citadel National Historic Site and an evening of entertainment at the historic Alexander Keith’s Brewery.

No ‘Help to the Imagination’: Kate O'Brien and the Emergency

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.

Kate O'Brien and Virginia Woolf: Common Ground

Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien conceived and designed The Flower of May (1953), one of her most experimental and misunderstood novels, to paid homage to Woolf's oeuvre.

‘The Devil Era’: The Presence of Éamon de Valera in Three Novels by Kate O'Brien

This essay argues that Kate O'Brien's novels set in a contemporary Ireland engage directly with the political and public character of that society. O'Brien focusses her critique on Eamon de Valera, Taoiseach from 1932 on. Pray for the Wanderer (1938) directly responds to the 1937 Constitution and its relegation of women to the home. The Last of Summer (1943) is set just before World War Two and takes critical measure of the political and cultural isolationism dominant in Ireland by the end of the 1930s. In O'Brien's historical novel That Lady (1946), King Philip II of Spain is a thinly veiled portrait of de Valera, aging and conservative, confining the spirited woman who challenges him to incarceration within her home.

Kate O'Brien in the Theatre

Kate O'Brien initially made her literary reputation as a dramatist rather than a novelist. Her debut play Distinguished Villa (1926) won acclaim in London when first produced onstage, and critics compared her with Seán O'Casey. However, O'Brien's dramatic work manifests some key differences to O'Casey, not least O'Brien's recurring concern with the behavioural norms and sexual predilections of the English middle-classes, and her early awareness of the requirements of the British censor. Although O'Brien is remembered as a figure who transgressed the censorship rules of the Irish government, it was the British system of censorship she first had to navigate.