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• W1569440557 abstract "Click to increase image sizeClick to decrease image size Notes 1. Many thanks to Selina Guinness, Gerardine Meaney and Clíona Ó Gallchoir for their careful reading of this article and for their many insights. 2. Kiberd Kiberd, Declan. 2000. Irish Classics, London: Granta. [Google Scholar], Irish Classics, 620. 3. Connolly Connolly, Claire. 2001. Theorising Ireland. Irish Studies Review, 9(3): 293–312. [Taylor & Francis Online] , [Google Scholar], ‘Theorising Ireland’, 301. 4. Graham Graham, Colin. 2001. Deconstructing Ireland: Identity, Theory, Culture, Edinburgh: Edinburgh University Press. [Google Scholar], Deconstructing Ireland, x. 5. See Conrad Conrad, Kathryn. 2001. Fetal Ireland: National Bodies and Political Agency. Éire-Ireland, 36(3&4): 153–74. [Crossref], [PubMed] , [Google Scholar], ‘Fetal Ireland’, 153–74, for a persuasive argument regarding the expression and assertion of Irish nationalism and the management of female reproduction in the Irish Republic and in Northern Ireland. 6. Kelleher Kelleher, Margaret. 2003. The Field Day Anthology and Irish Women's Literary Studies. Irish Review, 30 [Google Scholar], ‘The Field Day Anthology and Irish Women's Literary Studies’, 84. 7. Elizabeth Butler Cullingford's essay on Seamus Heaney is a notable exception to this, and brings together questions of nation and gender in the same space. See Butler Cullingford Butler Cullingford, Elizabeth. 62. Seamus and Sinead: From Limbo to Saturday Night Live by Way of Hush-a Bye-Baby. Colby Quarterly, 30(1): 1994–43. [Google Scholar], ‘Seamus and Sinead’, 43–62. See also Butler Cullingford Butler Cullingford, Elizabeth. 2001. Ireland's Others: Gender and Ethnicity in Irish Literature and Popular Culture, Cork: Cork University Press. [Google Scholar], Ireland's Others. 8. Heaney Heaney, Seamus. 1998. “Exposure”. In Opened Ground: Poems 1966–1996, London: Faber. [Google Scholar], ‘Exposure’, 143–44. 9. Heaney Heaney, Seamus. 1998. “Exposure”. In Opened Ground: Poems 1966–1996, London: Faber. [Google Scholar], ‘Exposure’, 143–44. 10. Vendler, ‘Echo Soundings’, 173. 11. Brown, ‘A Northern Voice’, 25–39. 12. The one essay that deals with the abundance of feminine imagery positively, Green's Green, Carlanda. 1986. “The Feminine Principle in Seamus Heaney's Poetry”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar] ‘The Feminine Principle in Seamus Heaney's Poetry’, 143–53, treats the feminine principle as an unpoliticised archetype, and resists unpacking the gendering of body and voice in such mythopoeia. 13. Parini, ‘The Ground Possessed’, 97. 14. Parini, ‘The Ground Possessed’, 111. 15. Maxwell Maxwell, D. E. S. 1986. “Heaney's Poetic Landscape”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘Heaney's Poetic Landscape’, 19. 16. Brown, ‘A Northern Voice’, 26. 17. Bloom, ‘Introduction’, 9–10. 18. Brown, ‘A Northern Voice’, 27. 19. Bloom, ‘Introduction’, 2. 20. Bloom, ‘Introduction’, 4. 21. Heaney Heaney, Seamus. 1980. Preoccupations: Selected Prose 1968–1978, London: Faber. [Google Scholar], Preoccupations, 47. 22. Bloom, A Map of Misreading, 16. 23. Heaney Heaney, Seamus. 1975. North, London: Faber. [Google Scholar], North, 43. 24. In his acceptance speech for the Man Booker Prize 2003, the author D. B. C. Pierre compared himself to the alpha ‘sperm’ that has beaten all the other sperms in the race to the egg. This speech seemed odd and sat awkwardly with the audience, but taken in the context of the metaphors of creative conversion that dominate literary theory it was indeed perfectly fitting. 25. Bloom, A Map of Misreading, 10. 26. See chapter 21, ‘Fathers and Sons’, 380–95, in Declan Kiberd's Kiberd, Declan. 1996. Inventing Ireland: The Literature of the Modern Nation, London: Vintage. [Google Scholar] Inventing Ireland for a detailed analysis of self-fathering in the modern nation. 27. Irigaray Irigaray, Luce. 1991. The Irigaray Reader, Edited by: Whitford, Margaret. Oxford: Blackwell. [Google Scholar], The Irigaray Reader, 39. 28. Irigaray Irigaray, Luce. 1991. The Irigaray Reader, Edited by: Whitford, Margaret. Oxford: Blackwell. [Google Scholar], The Irigaray Reader, 39. 29. Irigaray Irigaray, Luce. 1991. The Irigaray Reader, Edited by: Whitford, Margaret. Oxford: Blackwell. [Google Scholar], The Irigaray Reader, 39. 30. For instance, William Bedford writes that ‘the language [is] almost physically struggling to assert a mastery of form and metaphor over experience’. Bedford Bedford, William. 1986. “To Set the Darkness Echoing”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘To Set the Darkness Echoing’, 11. 31. Parini, ‘The Ground Possessed’, 109. 32. Coughlan, ‘Bog Queens’, 105. 33. Coughlan, ‘Bog Queens’, 90. 34. Bloom Bloom, Harold. 1986. “Editors Note”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘Editors Note’, in Bloom Bloom, Harold. 1986. “Introduction”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Crossref] , [Google Scholar], Modern Critical Views, viii. 35. Parini, ‘The Ground Possessed’, 119. 36. Parini, ‘The Ground Possessed’, 103. 37. Bloom Bloom, Harold. 1986. “Introduction”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Crossref] , [Google Scholar], ‘Introduction’, 2. 38. Bloom Bloom, Harold. 1986. “Introduction”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Crossref] , [Google Scholar], ‘Introduction’, 2. 39. Heaney Heaney, Seamus. 1989. The Place of Writing, Atlanta: Scholar's Press for Emory University. [Google Scholar], The Place of Writing, 23. 40. Heaney, The Place of Writing, 30. 41. Heaney, The Place of Writing, 24. 42. Heaney, The Place of Writing, 47. 43. Heaney, The Place of Writing, 24. 44. Heaney, The Place of Writing, 29. 45. Heaney, The Place of Writing, 36. 46. Heaney, The Place of Writing, 29. 47. Butler Cullingford Butler Cullingford, Elizabeth. 1985. “The Unknown Thought of W.B. Yeats”. In The Irish Mind, Edited by: Kearney, Richard. Dublin: Wolfhound Press. [Google Scholar], ‘The Unknown Thought of W. B. Yeats’, 228. 48. W. B. Yeats as quoted in Heaney Heaney, Seamus. 1980. Preoccupations: Selected Prose 1968–1978, London: Faber. [Google Scholar], Preoccupations, 74. 49. Heaney, Preoccupations, 75. 50. W. B. Yeats as quoted in Heaney, Preoccupations, 75. 51. Irigaray, Reader, 41–42. 52. Brown, ‘A Northern Voice’, 4. 53. Bloom Bloom, Harold. 1975. A Map of Misreading, New York: Oxford University Press. [Google Scholar], A Map of Misreading, 10. 54. Christopher Bollas describes ‘the Sophoclean tragic vision’ as a ‘violent action that breaks things up, followed then by reflection, seeing and sizing up what's occurred. This Sophoclean vision, cast in Oedipal terms, is of devastation, and involves the realisation of the unwitting dimensions of the devastation.’ Christopher Bollas in interview with Anthony Molino Molino, Anthony. 1997. Freely Associated: Encounters in Psychoanalysis, London: Free Association Books. [Google Scholar], Freely Associated, 13. 55. Lloyd Lloyd, David. 1993. Anomalous States: Irish Writing and the Post-colonial Moment, Dublin: Lilliput. [Google Scholar], Anomalous States, 69–70. 56. Padraic Pearse's ‘Mise Eire’ and ‘Mathair na Piarsaigh’ explicitly express this desire to ‘mother’ the nation. My thanks to Gerardine Meaney for alerting me to Ruth Dudley Edwards' relaying of Pearse's transvestism. 57. Bedford, ‘Darkness Echoing’, 16. 58. Garber, ‘Cross-dressing, Gender and Representation’, 165. 59. Cited in Marjorie Garber, ‘Cross-dressing’, 167. 60. Heaney Heaney, Seamus. 1989. The Place of Writing, Atlanta: Scholar's Press for Emory University. [Google Scholar], The Place of Writing, 51. 61. Garber, ‘Cross-dressing’, 172. 62. Brown, ‘A Northern Voice’, 33. 63. Heaney Heaney, Seamus. 1998. “Exposure”. In Opened Ground: Poems 1966–1996, London: Faber. [Google Scholar], Opened Ground, 143–44. 64. Garber, ‘Cross-dressing’, 172. 65. Coughlan, ‘Bog Queens’, 91. 66. Coughlan, ‘Bog Queens’, 91. 67. Moreover, various psychoanalytical accounts of creative experiences and processes suggest that some sort of experiential return to the womb forms an important part of creativity. The problem is not with this semiotic understanding of creativity but rather with how such experience is cut off from physical source, made mystical and dehistoricised, which means that women have to be de-authenticated as creative subjects, and their work kept out of the historical body of creative works. See, for example, Ehrenzweig Ehrenzweig, Anton. 1975. The Psychoanalysis of Artistic Vision and Hearing: An Introduction to a Theory of Unconscious Perception, London: Sheldon Press. [Google Scholar], The Psychoanalysis of Artistic Vision and Hearing; Bollas Bollas, Christopher. 1993. Being a Character: Psychoanalysis and Self-experience, London: Routledge. [Google Scholar], Being a Character; and Bollas Bollas, Christopher. 1995. Cracking Up: The Work of Unconscious Experience, London: Routledge. [Google Scholar], Cracking Up. See also Coquillant Coquillant, Michèle. 2000. A Male Poetics. Women: A Cultural Review, 11(3): 223–38. [Taylor & Francis Online] , [Google Scholar], ‘A Male Poetics’, 223–38, for a detailed discussion of the way in which Rousseau's deployment of self-birthing practice and its powerful cultural legacy discriminates against women as cultural creators. 68. Kristeva Kristeva, Julia. 1986. “A New Type of Intellectual: The Dissident”. In The Kristeva Reader, Edited by: Moi, Toril. Oxford: Blackwell. [Google Scholar], ‘A New Type of Intellectual’, 296. 69. Helen Vendler writes that ‘these poems [‘Sweeney Redivivus’ from Station Island] form a dry and almost peremptory autobiography, stunningly different from the warm-fleshed account given in Heaney's early books’. Vendler Vendler, Helen. 1986. “Echo Soundings”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘Echo Soundings’, 176. 70. Helen Vendler writes that ‘these poems [‘Sweeney Redivivus’ from Station Island] form a dry and almost peremptory autobiography, stunningly different from the warm-fleshed account given in Heaney's early books’. Vendler, ‘Echo Soundings’, 173. 71. Helen Vendler writes that ‘these poems [‘Sweeney Redivivus’ from Station Island] form a dry and almost peremptory autobiography, stunningly different from the warm-fleshed account given in Heaney's early books’. Vendler, ‘Echo Soundings’, 171. 72. Bedford, ‘Darkness Echoing’, 16. 73. Parini Parini, Jay. 1986. “The Ground Possessed”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘The Ground Possessed’, 101. 74. Parini, ‘The Ground Possessed’, 103. 75. Bedford, ‘Darkness Echoing’, 16. 76. Bedford, ‘Darkness Echoing’, 12. 77. Brown, ‘A Northern Voice’, 37. 78. Brown, ‘A Northern Voice’, 37. 79. The ‘act’ is successful for it meets the requirements of artistic creation set out by Rousseau, when ‘one part of him [the creative artist] impregnates the other and the result is a work of art’. Coquillant, ‘A Male Poetics’, 236. 80. Parini, ‘The Ground Possessed’, 106. 81. Coughlan Coughlan, Patricia. 1997. “Bog Queens: The Representation of Women in the Poetry of John Montague and Seamus Heaney”. In Seamus Heaney: New Casebooks, Edited by: Allen, M. London: Macmillan. [Crossref] , [Google Scholar], ‘Bog Queens’, 100. 82. Frazier Frazier, Adrian. 2001. Anger and Nostalgia: Seamus Heaney and the Ghost of the Father. Éire-Ireland, 36(3&4) [Google Scholar], ‘Anger and Nostalgia’, 19. 83. Heaney Heaney, Seamus. 1990. “Anahorish”. In New Selected Poems, 1966–1987, London: Faber. [Google Scholar], ‘Anahorish’, 21. 84. Heaney Heaney, Seamus. 1990. “Personal Helicon”. In New Selected Poems, 1966–1987, London: Faber. [Google Scholar], ‘Personal Helicon’, 9. 85. Bedford, ‘Darkness Echoing’, 16. 86. Irigaray's description of the unthought corresponds to Christopher Bollas's description of ‘the unthought known’, that which he also calls the ‘maternal aesthetic’, in which ‘the knowledge derived from the dialectic of the infant's true self and the subtle syllogism of maternal and paternal presence and care constitutes part of what will later be known but not thought’. Bollas Bollas, Christopher. 1987. The Shadow of the Object: Psychoanalysis of the Unthought Known, London: Free Association Books. [Google Scholar], The Shadow of the Object, 52. 87. See Kristeva Kiberd, Declan. 1982. Powers of Horror: An Essay on Abjection, New York: Columbia University Press. Translated by Leon Roudiez [Google Scholar], Powers of Horror, for a discussion of the abjection of the female body as a liminal space. 88. The sensory presence of the pre-Oedipal father, whom Bollas calls the ‘textural father’, is also lost to representation. Bollas, The Shadow of the Object, 52. 89. Godwin Godwin, William. 1976. Enquiry Concerning Political Justice, Edited by: Kramnick, Isaac. Harmondsworth: Penguin. [Google Scholar], Enquiry Concerning Political Justice, 109. My thanks to Clíona Ó Gallchoir and Graham Allen for bringing this to my attention. 90. Irigaray, Reader, 41. 91. Irigaray, Reader, 40. 92. Brown Brown, Terence. 1986. “A Northern Voice”. In Modern Critical Views: Seamus Heaney, Edited by: Bloom, Harold. New York: Chelsea House. [Google Scholar], ‘A Northern Voice’, 27–28. 93. Garber Garber, Marjorie. 1997. “Cross-dressing, Gender and Representation: Elvis Presley”. In The Feminist Reader: Essays in the Politics of Literary Criticism, Edited by: Belsey, Catherine and Moore, Jane. London: Macmillan. [Crossref] , [Google Scholar], ‘Cross-dressing’, 166. 94. Brown, ‘A Northern Voice’, 34. 95. Brown, ‘A Northern Voice’, 35. 96. Brown, ‘A Northern Voice’, 33. 97. Durant Durant, Alan. 1981. Ezra Pound, Identity in Crisis: A Fundamental Reassessment of the Poet and his Work, Brighton: Harvester. [Google Scholar], Ezra Pound, Identity in Crisis, 23. 98. Ezra Pound wrote the following poem to describe the appearance of The Waste Land and it very specifically situates Eliot as the mother of the poem that Pound himself delivers, making Eliot the mother of poetic high modernism, and Pound his midwife: 99. Irigaray, Reader, 41. 100. Brown, ‘A Northern Voice’, 26. 101. Bloom, ‘Introduction’, 9–10. 102. Irigaray, Reader, 40. These are the poems of Eliot By the Uranian Muse begot; A Man their Mother was, A Muse their Sire. How did the printed Infancies result From Nuptials thus doubly Difficult? If you must needs enquire Know Diligent reader That on each Occasion Ezra performed the Caesarean Operation … Pound quoted in Docherty Docherty, Thomas. 1990. After Theory: Postmodernism/Postmarxism, London: Routledge. [Google Scholar], After Theory, 162. 103. Irigaray, Reader, 41. 104. 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