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Language, Identity and Liberation in Contemporary Irish LiteratureThe Misfit Chorus Line: Ireland from the Margins in Patrick McCabe’s Call Me the Breeze

Language, Identity and Liberation in Contemporary Irish Literature: The Misfit Chorus Line:... [The resounding acclaim and success Patrick McCabe may have enjoyed with two novels listed as Booker Prize finalists certainly escaped his efforts in Call Me the Breeze. “Beware of a story that comes bearing many type faces,” Lizzy Skurnick warns in “On the Borderline.” “While an aggressive use of italics and exclamation points is the intrepid writer’s prerogative…these graphical distractions, along with a jumble of increasingly unreadable fonts, serve only to partition what would otherwise remain an undifferentiated mash.”1 Journalists and mainstream media reviews were luke-warm in their reception of McCabe’s endeavor. And while some reviews were certainly more forgiving than others, like David Crane’s “A Refusal to Join the Ghosts” where he claims, “McCabe’s method does work, and the gradual move from chaos and randomness to pattern and form, the slow teasing of plot and meaning out of Joey’s incoherent junkie ramblings, cleverly mirror the central theme of the novel,” the resounding response to the ambitious work was certainly mixed at best.2 But was the novel anything more than a self-indulgent “writerly” text depicting a grown-up, less charming Francie Brady? Or had McCabe’s work aggravated a sensitive national and international response to his tender though unabashed portrayal of provincial Ireland waking up from decades of cultural and economic isolation?] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Language, Identity and Liberation in Contemporary Irish LiteratureThe Misfit Chorus Line: Ireland from the Margins in Patrick McCabe’s Call Me the Breeze

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2009
ISBN
978-1-349-31489-8
Pages
100 –135
DOI
10.1057/9780230275089_4
Publisher site
See Chapter on Publisher Site

Abstract

[The resounding acclaim and success Patrick McCabe may have enjoyed with two novels listed as Booker Prize finalists certainly escaped his efforts in Call Me the Breeze. “Beware of a story that comes bearing many type faces,” Lizzy Skurnick warns in “On the Borderline.” “While an aggressive use of italics and exclamation points is the intrepid writer’s prerogative…these graphical distractions, along with a jumble of increasingly unreadable fonts, serve only to partition what would otherwise remain an undifferentiated mash.”1 Journalists and mainstream media reviews were luke-warm in their reception of McCabe’s endeavor. And while some reviews were certainly more forgiving than others, like David Crane’s “A Refusal to Join the Ghosts” where he claims, “McCabe’s method does work, and the gradual move from chaos and randomness to pattern and form, the slow teasing of plot and meaning out of Joey’s incoherent junkie ramblings, cleverly mirror the central theme of the novel,” the resounding response to the ambitious work was certainly mixed at best.2 But was the novel anything more than a self-indulgent “writerly” text depicting a grown-up, less charming Francie Brady? Or had McCabe’s work aggravated a sensitive national and international response to his tender though unabashed portrayal of provincial Ireland waking up from decades of cultural and economic isolation?]

Published: Oct 9, 2015

Keywords: Speech Pattern; Literary Culture; Irish Society; Catholic Church; Irish Culture

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