Charles Haughey's political career has spanned the past 35 years of Irish politics and has been controversial throughout much of that time. He rose quickly, fell often. He became leader of his party and formed four different administrations, all of which provoked wildly diverse criticisms and reactions. He dominated his period as no other politician has done since Eamon de Valera, yet ultimately his downfall came as a result of scandals. His were "unlucky deeds" contained in Othello's last speech, which Haughey quoted when announcing his resignation. This biography looks at Haughey's life as well as the history of his period. The arms crisis was the most dramatic of the many scandals in his career which created the famous "whiff of sulphur" so often associated with the mercurial, but ultimately ill-fated performance of this most enigmatic politician.

Haughey: His life and unlucky deeds

ARNOLD, Bruce

Biographies & Memoirs

Harpercollins

Teacher's guide Love and betrayal: A Catullus reader (A Prentice Hall latin reader)

Reference

PRENTICE/HALL

A Concise History of Irish Art

Arts & Photography

History & Criticism

Oxford University Press, 1977

The continuing and complex evolution of Irish art through three millennia has drawn upon diverse European traditions including Celtic, Anglo-Saxon, Norman, and Mediterranean sources. Many aspects of it parallel the unhappy history of the Irish people. Yet the richness of this art -- the paintings and sculpture, the illuminated manuscripts, the metalwork, the architecture -- tells a very different story.Artists emerge already familiar in other contexts. Many of the more gifted Irish painters have been forced by circumstances, or persuaded by ambition, to seek a better fortune in London. Two great English narrative painters, William Mulready and Daniel Maclise, were Irish artists; so were George Barret and the academicians James Barry and Nathaniel Hone.Eight years after this book's first publication, much new information on the history of Irish art has been uncovered, notably on its fine flowering in the eighteenth century. The revised edition, both in its text and illustrations, takes of the insights thus provided.Contents: The Celtic Era -- From the Viking Invasion to 1700 -- The Age of Swift -- Ireland Her Own -- Landscape into Art -- The Celtic Revival -- Jack Yeats and The Moderns.Bruce Arnold was born in London and educated at Kingham Hill School, Oxfordshire, and Trinity College, Dublin, where he took a degree in Modern Languages. He is Chief Critic of the Irish Independent, writing about art, theatre, music and politics.

A Concise History of Irish Art (The World of Art)

Frederick A. Praeger

William Orpen was the last of the great society painters, succeeding Sargent and becoming, in his turn, the most successful artist of his day. He was also the wealthiest, earning staggering sums each year from portrait commissions. Born in Dublin, he grew up during the Parnell era, and its tensions left an indelible impression of his uncertain roots: cultural loyalty to Ireland, political loyalty to Britain, ultimate loyalty only to himself. He was an exceptional student, first in Dublin, then at the Slade, carrying off medals and prizes, exploring in early works of great brilliance the impact of teachers and contemporaries, among them Walter Osborne, Henry Tonks, Philip Wilson Steer and Augustus John. A realist, enormously hard-working, and devoured by an interest in people, he set out during the first decade of this century to establish himself as a portrait painter. He did so with an instinctive feeling for character, as well as warmth and sentiment, 'Not the painting of a man, but the painting of a man's soul,' was how Winston Churchill described his own portrait, one of the maturity. He had a passionate nature. It led to the disruption of his marriage, though he did try, with uncertain success, to keep up the form of it for the sake of his children, whom he adored. At one point Orpen was firmly committed to a ravishingly beautiful French mistress - his 'bebe blonde' - in Paris. He had other love affairs with models. And most remarkable of all was the long and at times scandalous liaison with an American heiress, Mrs Ts George, by whom he had a child. More than six foot tall, to Orpen's stocky five foot three, she was flamboyant and willful, and very much the Edwardian society hostess. The two f them became known in London as 'Jack and the beanstalk'. Orpen's perception, from which his success in portraiture derived, came from his detached objectivity. An Irishman, successful in England, he was never entirely accepted in either country. Active in the Irish Cultural Renascence, he was a friend of its leading figures, many of whom he painted: George Moore, 'AE', Lady Gregory, Hugh Lane, as well as Irish political leaders. In 1917 the same perception produced a remarkable body of drawings and paintings of the First World War which gained him the title of 'the Samuel Pepys of the Western Front'. The works constitute one of the great visual documents of the war, a complex tapestry of battles, disasters, wastelands, mutilated corpses, portraits of generals, prisoners, the fighting men, and the politicians at the Peace Conference that followed. Throughout the 1920s Orpen dominated the social scene, far more famous than his wealthy and illustrious sitters. His output was phenomenal, his earnings among the highest of any painter at any time. He was dapper, beautifully dressed in his hand-made shoes and silk shirts, his Saville Row sits, and his silver-topped cane. His enthusiasm for leg-pulling, his adopted soubriquet, "ickle Orps', were more suited to music-hall entertainer than to a great painter. Yet behind the practical jokes and Irish stories there lay the shadow of death and experience, toil, passion and fulfillment. 'A handful of his paintings are among the great and original works of art of this century,' writes Bruce Arnold. 'A score or so more are major statements, both in portraiture and the genre subjects to which Orpen turned his talent. A profusion of drawings reveals fluency ad softness, together with an acute observation, that few English artists have equaled.'

Orpen: Mirror to an Age

JONATHAN CAPE.

The fourth and final volume of "The Coppinger Chronicle". In the early 1960s, the boy who endured a tormented adolescence is now a writer on fine art in London and engaged in a passionless love affair. Then he is plunged once again into the dramatic whirlpool of his reprobate father's life.

Running to paradise

Literature & Fiction

H.Hamilton

Margaret Thatcher: A study in power

Hamish Hamilton Ltd.

Jack Yeats (1871-1957) stands as a giant figure in Irish twentieth-century art. An isolated artist throughout his life, Yeats dominated solely through the talent, magic, and inventiveness of his painting. His vision and his standing, as well as many critical judgments during the forty years since his death, have provoked controversies which Bruce Arnold confronts in this major biography. The author tells the full story of the artist’s life and analyzes his prodigious output. This included not only some one thousand oil paintings and vast numbers of illustrations, comic cartoons, drawings, and watercolors but also seven novels and nine plays. An innately original man, Yeats eschewed all movements, took no pupils, taught only by example. Yet he exerted a fundamental and fascinating influence on Irish culture during his long and diverse life. Based on extensive research in primary sources, this generously illustrated book describes the life of Jack Yeats, son of the portrait painter John Butler Yeats and younger brother of the poet William Butler Yeats. Born in London, Jack spent his formative years in his grandparents’ home in Ireland. His first show was held in England, but the young artist was inexorably drawn to Ireland where he created in drawings and paintings an Irish spirit and language that increasingly captured and glorified the heroism, mystery, myths, and legends of the Irish people. This book explores Yeats’s friendships with John Masefield, John Millington Synge, Samuel Beckett, and others; his self-identification with his chosen country; and his struggle against indifference and mockery. It provides a compelling portrait of the complex and enigmatic artist whose reputation and artistic vision have become increasingly admired in the years since his death.

Jack Yeats

Yale University Press

Long before its first publication, Ulysses, the greatest novel of the twentieth century, was the cause of scandal. James Joyce's prose was denounced as obscene, and the book was banned in the United States and Great Britain. Controversy surrounded the work throughout Joyce's lifetime, and he claimed that the book would keep scholars busy for centuries. Joyce was right. The book has become a veritable minefield for scholars, and has led to one of the world's most lucrative literary industries. In The Scandal of Ulysses, Bruce Arnold compellingly traces the life of Ulysses from its inception, through the great publication scandals of the 1920s and 1930s, and concludes with a lengthy examination of the copyright wars that have engulfed the book in recent years. In this, the most complete history of Ulysses written to date, Arnold draws a vivid portrait of Dublin, London, and Paris in the period between the two great wars, through which we gain a more complete understanding of both early conflicts and more recent ones. Chief among these is Ulysses: The Corrected Text, which was hailed as the ideal version of the book when it appeared in 1986, and its German editor, Hans Walter Gable, as a brilliant scholar who had restored Joyce to the reading public in as near perfect a version as was possible. Two years later, he was publicly denounced by John Kidd, a young American Joyce scholar, and one of the most ferocious literary controversies of recent times erupted. Joyceans worldwide were deeply divided over the merits and defects of the new edition. Arguments against the Gabler version grew in volume. The earlier 1961 Ulysses was restored to the market place. New publishers came forward to edit and produce new versions. And the legal copyright, which ran out at the end of 1991, has caused more chaos, particularly in light of a new version of Ulysses edited by John Kidd, being published by W. W. Norton. In a lively work of literary detection, with an American introduction written for the new edition. Bruce Arnold sets out the background, examines the legal loopholes, analyzes the arguments on both sides, looks at some of the hidden agendas, including controversial letters, and comes up with surprising and provocative conclusions.

The Scandal of Ulysses: The Sensational Life of a Twentieth-Century Masterpiece

St Martins Pr

British & Irish

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