One City One Book Dublin

Listen back to recorded events from Dublin: One City, One Book 2018, when we celebrated The Long Gaze Back, and the female voice in Irish literature. This wonderful anthology of 30 short stories is edited by Sinead Gleeson.Dublin: One City, One Book is an award-winning Dublin City Council initiative, led by Dublin City Libraries and Dublin UNESCO City of Literature, which encourages everyone to read a particular book during the month of April every year.Thanks to our partners New Island Books; the Department of Culture, Heritage and the Gaeltacht; RTÉ Supporting the Arts, and especially to all the organisations, venues, speakers and performers involved in 2018 programme.

one city one book dublin

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This year's Dublin: One City One Book is The Long Gaze Back, edited by Sinéad Gleeson. Spanning 300 years, the book contains thirty stories from some of Ireland's best women writers.

Dublin One City One Book aims to encourage everyone in Dublin to read a designated book connected with the capital city during the month of April every year. This annual project is a Dublin City Council initiative, led by Dublin City Libraries and encourages reading for pleasure through a myriad of free public events throughout the month, held in libraries, galleries, theatres and museums. Tatty will be available to borrow from all public libraries nationwide. To read more about the One City One Book initiative see here:

Back in 2015 one of my stories 'Infinite Landscapes' was selected for inclusion in a very special anthology... This year, The Long Gaze Back, an anthology of short stories by Irish women writers, has been chosen as the book choice for the Dublin One City: One Book festival. I couldn't be happier for all the fantastic women writers involved in this groundbreaking literary project, and for New Island Books.

Throughout the month of April there will be readings and other events to celebrate The Long Gaze Back. The book has been selected as the choice for the Irish Times Book Club, and the Book on One for RTE radio. The event listings are now live on the Dublin One City: One Book website. Here are a few photos from the launch...

The festival will be running events every week throughout the Autumn in the run-up to the festival, many in collaboration with publishers, arts organisations and other literary festivals, for families, schools and book lovers of all ages to enjoy from the comfort and safety of their own homes.

The programme will showcase the wealth of talented authors published in Ireland, supporting our home-grown talent and publishers. Events will be presented from many of our usual attractive and intimate venues throughout Dublin city, even if audiences cannot attend in person, authors will bring the unique character of these Dublin locations to their virtual events.

One of the best Irish novels of the twentieth century and an enduring classic. Set in Dublin during the Lockout of 1913, it is a panoramic novel of city life. It embraces a wide range of social millieux, from the miseries of the tenements to the cultivated, bourgeois Bradshaws. It introduces a memorable cast of characters: the main protagonist, Fitz, a model of the hard-working, loyal and abused trade unionist; the isolated, well-meaning and ineffectual Fr O'Connor; the wretched and destitute Rashers Tierney. In the background hovers the enormous shadow of Jim Larkin, Plunkett's real-life hero. The novel's popularity derives from its realism and its naturalistic presentation of traumatic historical events. There are clear heroes and villains. The book is informed by a sense of moral outrage at the treatment of the locked out trade unionists, the indifference and evasion of the city's clergy and middle class and the squalor and degradation of the tenement slums.

The idea behind One Dublin One Book is to encourage everyone in Dublin to read a designated book connected with the capital city during the month of April every year. To celebrate, there will be discussions, readings, music performances, film screenings, book club events and lots more in various venues across the city, as well as in Dublin City Libraries, DLR Libraries, Fingal Libraries and South Dublin Libraries. (You can find the full list here.)

Hundreds of copies of NORA have been purchased by Dublin City Libraries and are available to borrow from all public libraries nationwide, and on e-book and e-audio format through the free BorrowBox library app.

The new One Dublin One Book edition of NORA is also available to buy from all good book shops. The National Council for the Blind Ireland have created a Braille version of the book. NORA is also available in fully accessible digital formats (EPUB, BRF (Braille Ready File), DAISY and Word) from the NCBI Bookshare Ireland platform.

ecause that eminent Dubliner Leopold Bloom was himself essentially an outsider and an alien, a foreigner from America, spending enough time in de Valera's Eire to feel that he knows it passingly well, is likely to become increasingly conscious of his debt to Bloom's creator. It is a debt to James Joyce as a literary guide through the mazes of the fascinating Irish capital and to "Ulysses" as a physical and spiritual guidebook. The growing body of criticism which finds similarities between Joyce and Dante is completely understandable as the author of "Dubliners" unfolds for him the symbolic secrets of a hearty, bitterly humorous Gaelic Inferno with Bloom his foolish, touching and compassionate Virgil.

It was of interest, also, to discover that, as it became clearer that one book and one man had inescapably and immortally captured so much of the spirit of their city, the tendency among cultured Dubliners to speak lightly of his work became more obvious. The short stories that composed "Dubliners" were praised, but that, like the contrast the same people frequently made between the earlier and later plays of Sean O'Casey, served to emphasize the point that both Joyce and O'Casey destroyed their promising, although considerable exaggerated, talents when they left home. There is no doubt a certain amount of literary chauvinism in such remarks, but the view was held by men who were far from chauvinistic; who were, in fact, as bitingly critical of the faults they found in the Irish character as Joyce and O'Casey ever were. Oddly enough, the idea of the destruction of literary talent through transplantation from the home soil was rarely extended to cover Shaw, who was handsomely acquitted of any such indictment and proudly hailed as an Irish writer.

There are not likely to be any new critical judgments as a result of reading again what is provided in the Portable edition. As a drama critic this reviewer was sorry, for example, to find that Joyce's somewhat Ibsen-esque play, "Exiles," was just as dull, lifeless and essentially undramatic as he had remembered it to be. The stories that compose "Dubliners," singly and as a whole, continue to be amazingly evocative in capturing the essence of a city and people through commonplace incidents. Of them all, "Ivy Day in the Committee Room" remains the masterpiece. "A Portrait of the Artist" still seems a superbly paradoxical amalgamation of the impersonal and the egocentric. The poems, it is interesting to note, somehow seem lovelier than ever. The selections from that willful, prankish and bewildering epic, "Finnegans Wake," are properly fascinating and maddening. The selections from "Ulysses" are well chosen to suggest the quality of an incomparable work, but, to repeat an ungracious point, there are not enough of them.

In "Fabulous Voyager," Mr. Kain, an Associate Professor of Literature at the University of Louisville, presents a genuine labor of love and understanding. Since he is, among many other things, the sort of scholar who enjoys counting word formations, his book might have been of a perilously pedantic nature, save for the happy fact that he has brightened his illuminating critical study with such infectious enthusiasm and liveliness that it becomes a highly readable book in its own right and one that succeeds in imparting its author's excitement about his subject to the reader.

As we approach the end of our time her in Dublin, one thing that I have noticed is the number of my classmates that have had family and friends come visit them in Dublin; and even more people have plans for visitors when the program ends. I had not had anyone come visit until this weekend, until my brother came for the weekend from London. Before we left Portland our Lewis & Clark professor had warned us that if we had visitors for more than a couple days there would not be enough to do in Dublin; seeing as my brother was only here for two days I figured that we would be able to find plenty of things to do in the city. Having been in Dublin for about two months, I was confident in my knowledge of the city, and we also had a list of recommendations (all exclusively food related) from a friend of his that moved to Dublin about 4 years ago.

Our first stop was The Book of Kells at Trinity College, an illuminated manuscript of the Gospel Book created around 800 AD in either Britain or Ireland. I took full advantage of the fact that someone else was paying for the ticket. The book was incredible, I was in constant awe of the people that wrote out the pages and artists that made the decorations. We then visited the National Gallery and the National Museum of Archaeology, both of which I had visited before but there was so much more to see, they were definitely worth the second visit! 2ff7e9595c