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By Carson, Ciaran; Alexander, Neal; Carson, Ciaran

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Ciaran Carson is among the such a lot hard and creative of up to date Irish writers, showing verbal brilliance, formal complexity, and highbrow bold throughout a remarkably diverse physique of labor. This examine considers the entire diversity of his oeuvre, in poetry, prose, and translations, and discusses the most important issues to which he returns, together with: reminiscence and historical past, narrative, language and translation, mapping, violence, and gear. It argues that the singularity of Carson's writing is to be present in his radical creative engagements with principles of area and position. the town of Belfast, particularly, occupies a crucially vital position in his texts, serving as an imaginitive point of interest round which his many different matters are constellated. town, in all its risky mutability, is an abiding body of reference and a reservoir of artistic impetus for Carson's mind's eye. hence, the publication adopts an interdisciplinary procedure that pulls upon geography, urbanism, and cultural idea in addition to literary feedback. It presents either a stimulating and thorough creation to Carson's paintings, and a versatile serious framework for exploring literary representations of area

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36. 23 ‘I don’t think I’m social at all! I wouldn’t see myself as being someone who has “something to say”. All I can do is observe things and invent stories about it all. ’ Niall McGrath, ‘Ciaran Carson Interviewed by Niall McGrath’, Edinburgh Review 93 (1995), p. 61. 2 4 Brown, In the Chair, p. 148. 25 Alcobia-Murphy, The Government of the Tongue, pp. 23–4. 26 Alan Gillis, ‘Ciaran Carson: beyond Belfast’, in Nicholas Allen and Aaron Kelly, eds, The Cities of Belfast (Dublin: Four Courts Press, 2003), p.

Similarly, while the shipyard cranes and taxi are initially opposed to one another as symbols of manufacture and disintegration, creation and decay respectively, this opposition is ultimately unstable and open to deconstruction. 9 Similarly, when considered closely the slow corrosion and decrepitude of the taxi by the motorway takes on a curiously generative, fecund aspect, as if to imply that what is taking place is a process of decomposition and transformation that may, in fact, be imaginatively productive.

This is presumably the same cross-border train that Jekyll travels on earlier in the poem and that is stopped by a bomb on the line between Dundalk and Newry: ‘Or Newry and Dundalk, depending/ Where you’re coming from: like the difference between Cambodia and Kampuchea’ (BC, 91). Carson’s shrewd deployment of cliché in these lines not only indicates the importance of how things are said but also underlines the extent to which location and origin (‘where you’re coming from’) can define identity in the North.

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