Some people might question the role of modernism in the realm of contemporary Irish female writing and its connection to realism. However, Paige Reynolds strongly opposes this viewpoint and maintains a firmly held conviction that modernist elements consistently permeate Irish women’s literature. This constant presence adds depth and encourages a more provocative way of thinking.
Reynolds observes that during the peak of modernism, women were largely focused on experimental theatre and dance, with their creative contributions to literature primarily blossoming later through fictional works. In striving to maintain a close relationship with mainstream literature, women authors have often embraced realism in their prose. However, within this realistic framework, there are experimental modernist aspects that add depth to the narrative structure. In Sally Rooney’s predominantly realist novel, “Normal People”, evidence of subtle modernist influences was found by Reynolds in her detailed analysis. Reynolds believes that if Marianne, the protagonist, had a more modernist perspective, she could show a higher degree of self-awareness than portrayed.
Reynolds’ book covers an awe-inspiring range of authors, stretching from Kate O’Brien and Elizabeth Bowen to Rooney, Eimear McBride, and Anna Burns. For Elizabeth Bowen, Reynolds discusses ‘Summer Night’, a short story published in 1941, set amidst Ireland’s wartime backdrop. The section focusing on Kate O’Brien is located in a chapter examining the theme of prayer, one of numerous modes of solitude explored in the book. The investigation of ‘The Land of Spices’, a novel by O’Brien set in a convent, truly encapsulates O’Brien’s complex sentiments towards the Catholic faith: her character’s uncertainty regarding the power of prayer mirrors O’Brien’s personal doubts regarding religion and ecclesiastical structures.
Irish women authors, particularly the late, renowned Edna O’Brien, have drawn heavily from the modernist style of Joyce. O’Brien notably penned a critical essay on Joyce, as well as the novella, Night, which offers a reimagined version of Molly Bloom’s musings. One of the most noteworthy works in recent times is Milkman by Anna Burns. This novel undergoes a sharp examination in the pages of Paige Reynold’s book, highlighting the protagonist’s use of reading as a method to ward off prying eyes. My personal criticism would be a desire for more, a sentiment that extends to almost all aspects involved here. This observation, however, is truly a compliment. Reynolds’s book demonstrates consistent acuity towards the numerous texts of Irish women writers that it discusses, swiftly marking its place as a significant contribution within this particular literary sphere.