The Green Book 13

Green Book 13EDITOR’S NOTE

One perennial question about genre fiction centres around the notion of “tradition”: the influence authors and their works have on the next generation, and so on down the line. In posing this question, we ask whether or not an unbroken literary pedigree can be established. For example, an excessive amount of energy has been expended exploring links, both legitimate and spurious, between Le Fanu’s “Carmilla” (1871/2) and Stoker’s Dracula (1897) — and believe me, this seems to be an all-consuming pastime for some. But to me, Irish genre fiction has always seemed more a web of thematic shadows, authorial echoes, even social links, rather than a series of linear connections.

Those who read the editor’s note in Issue 12 will recall our endeavour to serialise biographical/critical sketches of Irish writers, which commenced in Issue 11. These entries are the results of an on-going project tentatively called the Guide to Irish Writers of Gothic, Supernatural and Fantastic Fiction, edited by myself and Jim Rockhill. What form this project will ultimately take is still uncertain, but until then we will continue to share the results here. This issue continues with fourteen further such entries, a new crop of names featuring authors with whom readers of The Green Book might already be acquainted, such as Cheiro and A.E., while the likes of Beatrice Grimshaw and Mary Fortune may be less familiar — but whom I hope you will find no less fascinating.

Earlier this year Swan River Press published Bending to Earth: Strange Stories by Irish Women, which I co-edited with Maria Giakaniki. In the introduction to that volume are more musings on the Irish genre tradition, or rather how Irish authors, with their disparate blossomings, are still connected through conversations in the margins. Indeed, with Ireland being such a small country, there are countless such communications between its authors, both direct and indirect. As you read this issue’s entries, along with those in previous instalments, you’ll certainly notice myriad connections and crossovers in the frequently overlapping lives of these authors and their writings.

Back in Issue 12, I outlined the criteria Jim and I used to select authors for consideration. The difficulty in this lies with the definitions of both “Irish” and “fantastical literature” — in the end always a fool’s errand. We continue to err on the side of inclusivity, fully aware that we cannot please everybody.

While editing this issue, the question of inclusivity reared its head when I noticed that, although we’ve a contributor line-up of the usual, impressive quality, there wasn’t a single woman among them. This is a glaring shortfall, one for which I, as editor, take full responsibility. The entries in Issue 13 are the sum total of what was available at the time of publication. Nevertheless, this is not a reasonable excuse for such a discrepancy. So with that in mind, I take this opportunity to remind people that The Green Book is open for submissions. And I would like to urge women in particular to submit. There are still a number of authors for whom we need entries, so please contact me for a current list of availability. General submission guidelines can be found on the last page of this issue, and also on our website. I hope this gender imbalance is something I can begin to redress in future issues.

As with each issue, I hope you will find something of interest, discover new authors, and that your list of books to read will grow ever longer.

Brian J. Showers
Rathmines, Dublin
16 May 2019

You can buy The Green Bookhere.

Contents

“Editor’s Note”
Brian J. Showers

“Thomas Parnell (1679-1718)”
Albert Power

“Thomas Leland (1722-1785)”
Albert Power

“Mary Fortune (1833-1911)”
James Doig

“Keith Fleming (1858/9-?)”
James Doig

“Dora Sigerson Shorter (1866-1918)”
Richard Bleiler

“Cheiro (1866-1936)”
Edward O’Hare

“George William Russell (AE) (1867-1935)”
Daniel Mulhall

“Beatrice Grimshaw (1870-1953)”
James Doig

“Shane Leslie (1885-1971)”
Derek John

“James Corbett (1887-1958)”
Reggie Chamberlain-King

“Oliver Sherry (1894-1971)”
Richard Dalby

“Francis Stuart (1902-2000)”
Mark Valentine

“Stephen Gilbert (1912-2010)”
Reggie Chamberlain-King

“Peter Beresford Ellis (1943- )”
Mike Ashley

“Notes on Contributors”

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The Green Book 13

Strange Stories by Irish Women

2019-01-25 Final Poster

Back in 2015, Jason Zerrillo and I designed the poster “Irish Writers of the Fantastic” as a response to the more ubiquitous “Irish Writers” poster that one often finds around Dublin. Instead of the typical faces — Joyce, Yeats, Beckett, Swift, etc. — we wanted to showcase the Irish writers we enjoyed reading — those with a more fantastical bent — Le Fanu, Dunsany, Hearn, etc. Our goal was to establish a sort of lesser known canon, but a no less important one. If you want to see “Irish Writers of the Fantastic”, and read about the thought that went into it, have a look at this previous post.

With the release of Bending to Earth: Strange Stories by Irish Women, edited by Maria Giakaniki and Brian J. Showers, we thought it would be an interesting idea to repeat the exercise. Naturally we focused on the Irish women who contributed to literature of the fantastic and whose stories are included in the book.

In addition to the image above showing the full poster, the links below will give you a bit more information on the backgrounds of these writers. And if you’re still interested, do pick up a copy of Bending to Earth.

Anna Maria Hall (1800 – 1881)

Lady Jane Francesca Wilde (1821[?] – 1896)

Charlotte Riddell (1832 – 1906)

Rosa Mulholland (1841 – 1921)

L. T. Meade (1844[?] – 1914)

B. M. Croker (c.1849 – 1920)

Lady Augusta Gregory (1852 – 1932)

Katharine Tynan (1859 – 1931)

Clotilde Graves (1863 – 1932)

Ethna Carbery (1866 – 1902)

Dora Sigerson Shorter (1866 – 1918)

Beatrice Grimshaw (1870 – 1953)

Of course, as is always the case with these things, not everyone will agree with our choices. Two obvious omissions are Dorothy Macardle and Elizabeth Bowen. Given that they both appeared on our first poster, “Irish Writers of the Fantastic”, and are both served well in print, we decided not to include them again here. Instead we focused on lesser known contributors to fantastical literature. But the question stands: who would you include? And, more importantly, why would you include them?

As always, we hope this poster, “Strange Stories by Irish Women”, will lead you to discover new books and authors. If you have a further interest in Ireland’s contributions to fantastical literature, you also might want to check out our twice-yearly journal The Green Book, which features commentaries, articles, and reviews on Irish gothic, supernatural, and fantastic literature.


Bending to EarthBending to Earth: Strange Stories by Irish Women edited by Maria Giakaniki and Brian J. Showers

Order a copy of Bending to Earth.

Irish women have long produced literature of the gothic, uncanny, and supernatural. Bending to Earth draws together twelve such tales. While none of the authors herein were considered primarily writers of fantastical fiction during their lifetimes, they each wandered at some point in their careers into more speculative realms — some only briefly, others for lengthier stays.

Names such as Charlotte Riddell and Rosa Mulholland will already be familiar to aficionados of the eerie, while Katharine Tynan and Clotilde Graves are sure to gain new admirers. From a ghost story in the Swiss Alps to a premonition of death in the West of Ireland to strange rites in a South Pacific jungle, Bending to Earth showcases a diverse range of imaginative writing which spans the better part of a century.

Strange Stories by Irish Women

Dora Sigerson Shorter (1866-1918)

11 Dora Sigerson Shorter

“Up and down the streets I wandered till dawn grew gray, but no dawn arose in my heart, only black night for ever.” – “Transmigration” (1900)

Dora Sigerson Shorter (1866-1918) was born in Clare Street, Dublin. Both of her parents were writers—her father was the noted surgeon and poet George Sigerson (1836-1925). In 1895 she married the English literary critic Clement King Shorter and relocated to London. Early in her career she contributed to magazines such as Irish Monthly and Samhain, and became friendly with the political activist Alice Furlong and the author Katharine Tynan. Shorter’s volumes of poetry include The Fairy Changeling (1897), Love of Ireland (1916), and the posthumously published Sixteen Dead Men and Other Poems of Easter Week (1919). Shorter died in St. John’s Woods, London, on 6 January 1918; Tynan later wrote that she “died of a broken heart” which she attributed to the 1916 executions. Although chiefly known for her poetry (and to a lesser extent as a sculptor) Shorter also wrote prose, including sketches collected in The Father Confessor: Stories of Danger and Death (1900). She is now regarded as a significant poet of the Irish Literary Revival.


Bending to EarthBending to Earth: Strange Stories by Irish Women edited by Maria Giakaniki and Brian J. Showers

Order a copy of Bending to Earth.

Irish women have long produced literature of the gothic, uncanny, and supernatural. Bending to Earth draws together twelve such tales. While none of the authors herein were considered primarily writers of fantastical fiction during their lifetimes, they each wandered at some point in their careers into more speculative realms — some only briefly, others for lengthier stays.

Names such as Charlotte Riddell and Rosa Mulholland will already be familiar to aficionados of the eerie, while Katharine Tynan and Clotilde Graves are sure to gain new admirers. From a ghost story in the Swiss Alps to a premonition of death in the West of Ireland to strange rites in a South Pacific jungle, Bending to Earth showcases a diverse range of imaginative writing which spans the better part of a century.

 

Dora Sigerson Shorter (1866-1918)