Joyce & Costello

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Estudios Irlandeses , Number 2, 2007, pp. 78-84_______________________________________________________________________________________ AEDEI

James Joyces Home Rule Comet,Elvis Costellos Anglo-Irish Agreement

By Dermot KellyCollege of the North Atlantic, Carbonear Campus

Copyright (c) 2007 by Dermot Kelly. This text may be archived and redistributed both in electronicform and in hard copy, provided that the author and journal are properly cited and no fee is charged foraccess.

Abstract. It is a truism that Anglo-Irish relations did not progress in the eighty odd years between

Joyces Trieste lectures and articles and Elvis Costellos King of America album. If anything theyregressed. As Declan Kiberd and others have noted, Joyce foresaw the partitioning of Ireland and, asGreil Marcus has shown, the dark melodies of Costellos 1986 album are an acrid response toThatcherism. Tracks like Sleep of the Just and Little Palaces are threnodies of diaspora. Of courseJoyce was prophetic and my reading of Ulysses enables me to fill in the backstory of Marcussvisceral lines about Little Palaces in his 1986 Artforum review: for instance, Blooms speech fromthe dock when he is accused of assaulting the serving girl Mary Driscoll actually reveals theunhappiness of this immigrants son. My paper traces continuities of Irish dispossession from JoycesIreland, Island of Saints and Sages lecture to Costellos Little Palaces on the one hand and fromthe Trieste lecture on Mangan to Sleep of the Just on the other. I conclude with reflections on Irishabsurdism and the seachange in Joyce studies occasioned by the work of critics like Seamus Deanewho foreshadowed the Northern Ireland peace process with essays like Joyce and Nationalism

(1982).Key Words. James Joyce, Elvis Costello, discrimination, Catholicism, punk, diaspora,emigrants, nationalism.

Resumen. Es un lugar comn que las relaciones angloirlandesas no progresaron en los aproxidamenteochenta aos que median entre las conferencias y artculos de Trieste de Joyce y el lbum Rey deAmrica de Elvis Costello. Ms bien experimentaron un retroceso. Como Declan Kiberd y otros hansealado, Joyce previ la divisin de Irlanda y, como Greil Marcus ha mostrado, las sombrasmelodas del lbum de 1986 de Costello son una agria respuesta al thatcherismo. Temas como Elsueo de los justos y Pequeos Palacios son lamentos sobre la dispora. Sin duda Joyce fue

proftico y mi lectura del Ulysses me permite clarificar el trasfondo de las viscerales lneas de Marcus

sobre Pequeos Palacios en su resea de 1986 en Artforum: por ejemplo, el discurso de Bloomdesde el banquillo de acusados cuando se le imputa haber asaltado a la criada Mara Driscoll enrealidad revela la tristeza de este hijo de inmigrante. El artculo traza continuidades de desposesinirlandesa desde la conferencia de Joyce Irlanda, Isla de Santos y Sabios a Pequeos Palacios deCostello por una parte, y desde la conferencia de Trieste sobre Mangan a El sueo de los justos porla otra. Concluyo con reflexiones sobre el absurdismo irlands y el cambio radical que para losestudios de Joyce ha supuesto el trabajo de crticos como Seamus Deane, quien prefigur el proceso de

paz de Irlanda del Norte en ensayos como Joyce y el nacionalismo (1982).

Palabras clave. James Joyce, Elvis Costello, discriminacin, Catolicismo, punk, dispora, emigrantes,nacionalismo.

____________________________________ISSN 1699-311X


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Racial oppression was a living memory forJoyce, as it is for Elvis Costello. You only haveto read through the list of rights extended to theemancipated Catholic in the Ireland, Island of

Saints and Sages lecture to hear how thetrauma of discrimination runs through familiesand communities. Victims always think it canhappen again and bullies count on this fear.Can the back of a slave forget the rod? Joyceasks in the Trieste lecture, a line Declan Kiberdquotes with relish. And then Joyce sounds thekeynote of Catholic punk: The truth is that theEnglish government increased the moral valueof Catholicism when they banished it. Thenext paragraph is worth quoting in full,keeping in mind that this is the twenty-five

year-old who will soon complete The Dead.Now, thanks partly to the endless speechesand partly to Fenian violence, the reign ofterror is over. The penal laws have beenrevoked. Today, a Catholic in Ireland canvote, can become a government employee, canpractice a trade or profession, can teach in apublic school, can sit in parliament, can ownhis own land for longer than thirty years, cankeep in his stalls a horse worth more than 5pounds sterling, and can attend a Catholicmass, without running the risk of being

hanged, drawn, and quartered by the commonhangman. But these laws have been revokedsuch a short time ago that a Nationalistmember of parliament who is still living wasactually sentenced by an English jury to behanged, drawn, and quartered for the crime ofhigh treason by the common hangman (who isa mercenary in England, chosen by the sherifffrom among his mercenary colleagues forconspicuous merit in diligence or industry)(Mason and Ellmann 1989: 168).

These lines, written and delivered in 1907,

resonate for me as I listen to Little Palaces, atrack from Elvis Costellos King of America,the 1986 album Greil Marcus rates as one ofthe quietest punk records ever made and oneof the truest (1993: 7). Joyces acrid tone is aharbinger of the wrenching alienation givenvoice in Costellos stripped down ballad. Thisis so because of a boomerang effect wherebythe Catholicism of Irish emigrants and eventheir descendants became a mark ofdispossession in twentieth century Britain. Sowhile southern Ireland was being liberated,

some children of the diaspora foundthemselves living out a remake of Irish history.

Declan Kiberd understands the globaldimensions of colonial history and GreilMarcus has an intuitive grasp of CostellosIrishness. What I offer is a counterpoint of

Kiberd and Marcus illuminating the Joyceanstate of mind I call Catholic punk. Considerthese verses from Little Palaces:

And the doors swing back and forwardFrom the past into the presentAnd the bedside crucifixionTurns from wood to phosphorescent.And theyre moving problem familiesFrom the South up to the NorthMothers crying over some soft soap operadivorce.

And you say you didnt do it

But you know you did of courseAnd theyll soon be pulling down the little palaces.

Its like shouting in a matchboxMade of plasterboard and hope,Like a picture of Prince WilliamIn the arms of John the PopeTheres a world of good intentionsAnd pity in their eyes,The sedated homes of EnglandAre theirs to vandalizeSo you knock the kids about a bitBecause theyve got your name

And you knock the kids about a bitUntil they feel the sameAnd they feel like knocking down the littlepalaces.

(Costello 2005)

Greil Marcus hears some great socialdislocation and some great wrong in theKing of America album, acknowledging thatthe people in the tunes speak like exilesdogged by shadowy homelessness (1993:311, 313). Of course the great wrong is thehistoric subjugation of the Irish and the fact

that it did not automatically cease after thedislocation endured by emigrants.

Even though Marcus is not a student ofIrish political thought, he is too brilliant tomiss the shadow of the Ulster conflictsputtering on under Thatcherism and theundeniable fact that it was a kind of defiancefor a supposedly British pop musician to adoptan Irish idiom for a song like Little Palacesin 1986. As always, Joyce is prophetic and myreading of Ulysses allows me to fill in the

backstory of Marcuss visceral response to thesong in hisArtforum review. Take Costellos


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Catholic references first: they are dialogic, asbefits the changing times and places, but theghost of Stephen Dedalus still haunts his

bespectacled descendant across the Irish Sea.Softcore television martyrdoms compete with

the phosphorescent crucifix for the mothersdevotion. It is the lines about the picture ofPrince William in the arms of John the Popewhich cause Marcus puzzlement and which

beg for a Joycean explanation. Surely Costellois offering a kaleidoscopic eighties update ofStephens quip about being the servant of twomastersone English and one Italian (Joyce1986: 17).

Marcuss zinging one-liners capture exactlyhow the feelings Costello dramatizes have theirJoycean counterparts. Three lines from the

review which lodge themselves in the mindare: the struggle to communicate becomes itsown subject mattera form of speech is aform of moralityThe tale of dislocation isitself dislocated (1993: 312, 314). Think ofthe long unintelligible speech (Joyce 1986:376) Bloom makes in Nighttown to defendhimself against the charge of assaulting theserving girl Mary Driscoll. Remember theclichd picture the stage directions summaryof the speech painted of loveful households inDublin city and urban district of scenes truly

rural of happiness of the better land with

Dockrells wallpaper at one and ninepence a

dozen, innocent British born bairns lisping

prayers to the Sacred Infant (Joyce 1986:377). The opposite of a rebels speech from thedock, this is the protestation of a loyal Irishsubject, but what comes through themeaningfully inappropriate language of thestage direction is the unhappiness of animmigrants son. Like Costello or even Joycehimself, Bloom probably does not completely

understand what is eating at him. As Marcussays of Little Palaces, The singer cries outagainst some great wrong, but while he makesthe song impossible not to understandemotionally, the exact nature of the greatwrong evades him, forcing him into poetry,away from the plain speech the Irish balladwas made for (1993: 313).

Critics such as Jim Miller were quick tonote that in Costellos songs personalrelations are perceived as a metaphor forrelations in society at large (quoted in Marcus

229). So the domestic violence that punctuates

the second half of Little Palaces is thediscipline required of minorities in anassimilationist society. The kids whoseexperience Costello sings about with suchchoked rage are like the postwar Harlem

teenagers James Baldwin writes of in his storySonnys Blues: they were growing up witha rush and their heads bumped abruptly againstthe low ceiling of their actual possibilities(1965: 104). The difference between theAfrican-American and Irish idioms is thatBaldwin, coming out of an evangelicaltradition, testifies while Costello and Joyce areinheritors of Jesuitical indirection. Similarly,the you Costello addresses in the second halfof the song is a spiritual descendant of MylesJoyce, the old Galway man wrongly hanged for

the 1882 Maamtrasna murders, a unilingualIrish speaker unable to understand or makehimself understood at his own trial, whomJoyce, in another 1907 piece, called a symbolof the Irish nation at the bar of public opinion(Mason and Ellmann 1989: 198).

Sleep of the Just, the final track on Kingof America, is a punk aisling sung by a manstricken with remorse over his complicity inthe betrayal of a woman. The song opens at anarmy checkpoint, but, rather than a statesanctioned love-across-the-barricades melo-drama, Costello offers a tough-minded uneasereminiscent of a Seamus Heaney poem or aHarold Pinter play, masterfully demonstratingthe choreography of avoidance necessitated byan obdurate, claustrophobic conflict.

The soldier asked my name and did I come herevery often

Well I thought that he was asking me to danceIn my holy coat and hat and him in his red bonnetWed have made a lovely couple but we never got

the chance

And now you say that youve got to goWell if you must you mustI suppose that you need the sleep of the just.(Costello 2005)

Perhaps this is the kind of intimate,unsettling material Costello had hoped ShaneMacGowan would write for the Pogues, morelike the parables Heaney was composing at thetime (which would appear in The Haw Lanternthe following year) than the strident approach

the London Irish band took to the Ulstersituation in Birmingham Six after they had


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decided not to work with Costello as theirproducer. The holy coat and hat costumemay well be indicative of Elviss own lookduring this period: Dave Marsh spotted himdressed like a rabbi (2004: 559) at BruceSpringsteens 1985 Slane Castle show. In thesecond verse, Sleep of the Just picks upsteam, words and music placing the singersunspoken love and the civil strife in achingcounterpoint:

Well it was a powerful day and there were blackcrows in the road

And I kept my strong opinions to my chestI suppose I should have told them that I was on

fire for youWhen the bus burst into flame, outside some

place The Poets Rest

(Costello 2005)

In fact Costello was moving to Ireland andwould soon give a song to Christy Moore. Ashe takes Sleep of the Just to the bridge, thesongs narrative reaches its climax with thedesecration of the girl who finds herselfpinned up upon the barracks wall in herhometown, presumably someone from arepublican enclave whose brother is in theBritish Army (she never mentions him), thewhole sad conflicted situation recalling nothing

so much as Joyces sentences about the DarkRosaleen figure at the end of his Trieste lectureon Mangan.

The figure that he adores has the appearance ofan abject queen to whom, because of thebloody crimes she has committed and the noless bloody crimes committed against her bythe hands of others, madness has come anddeath is about to come, but who does not wishto believe that she is about to die, andremembers only the rumour of voices thatbesiege her sacred garden and her lovely

flowers that have become pabulum aproram,food for wild boars. Love of grief, despair,high-sounding threats these are the greattraditions of the race of James ClarenceMangan, and in that impoverished figure, thinand weakened, an hysterical nationalismreceives its final justification (Mason andEllman 1989: 185-186).

There is criticism that captures the grimallure of Irish republicanism among those whofind in it a remote vindication of some obscurefamily shame. Think of Padraig OMalleys

characterization of the nationalist New IrelandForum report from 1984 as reflecting the

passive-aggressiveness that is often thehallmark of the emancipated victim whocontinues to take refuge in a culture of learnedhelplessness (1990: 218). And in the story ofIrish cultures long ascent from marginal statusto twenty-first century eminence, ElvisCostellos turn to the ballad form in theeighties has its part, the singers lyrics distilledfrom a thousand barroom discourses andkitchen conversations. It is thanks in no small

part to the cultural context represented bywriters like Joyce, Yeats and Beckett that anartist with Costellos talent would revisit thistradition after studiously ignoring it at the startof his career. Of course, when it came to

wrestling with the ingrained sense of CatholicIrish inferiority, Joyce got there first: we allremember Stephen Dedalus approachingTrinity College in Chapter V ofA Portrait,assailed by the fear that he would never be buta shy guest at the feast of the worlds culture(1999: 154).

As the vignette of photographic exploitationcomes to its militaristic denouement in Sleepof the Just what emerges is an ultrasoundimage of power relations. As with Pinters1988 drama of political detention, Mountain

Language, Belfast is not named as the locus ofcoercion, but any British audience would notethe telltale signs. Here are the songs finalverses:

A girl woke up in a naked light and said, Ohno not again

He even looked like her brother in the armybut she never mentions him

Hell be tucked up in his bed tonight with hisdirty pictures girl

Sayin Youre some mothers daughter youknow or is it immaterial girl

Now shes pinned up upon the barracks wallin her hometown

All the soldiers taking turns with her attentionAnd as they speculate what shed be like

beneath that thin nightgownHis family pride was rising up as he cast his

eyes down

(Costello 2005)

Greil Marcus ends hisArtforum review withthe albums last line.


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I suppose you need the sleep of the just,Costello sings as King of America closes sings it slowly, beautifully, as if the thoughthad cost him something but while it is clearthat everyone on the album needs that rest, itsalso clear that no one deserves it (1993: 314).

In the eighties militant Irish nationalismwas receiving its justification from anotherimpoverished figure, thin and weakened, thatof hunger striker Bobby Sands; the IRA nearlysucceeded in an attempt to kill MargaretThatcher and in 1986 Patrick Magee wasconvicted for his part in the Brighton bombing,an attack conceived as revenge for Thatchersintransigence in the face of the prison protests.The title poem of Seamus Heaneys 1987volume The Haw Lantern refers to the search

of Diogenes for one just man, ending up in amood remarkably similar to that of CostellosSleep of the Just:

The wintry haw is burning out of season,crab of the thorn, a small light for small

people,wanting no more from them but that they keepthe wick of self-respect from dying out,not having to blind them with illumination.

But sometimes when your breath plumes inthe frost

it takes the roaming shape of Diogeneswith his lantern, seeking one just man;so you end up scrutinized from behind the

hawhe holds up at eye-level on its twig,and you flinch before its bonded pith and

stone,its blood-prick that you wish would test and

clear you,its pecked-at ripeness that scans you, then

moves on (1987: 7).

By 1988 Harold Pinters searing prison

drama Mountain Language was performed atthe National Theatre and, although it may ormay not have been inspired by the treatment ofKurdish fighters in Turkish jails, it certainlyhad a particularly Irish resonance, as AnthonyRoche has pointed out (Michael Billingtons

biography includes Pinters acknowledgementof the connection). The eighties saw aseachange in Joyce studies, as critics likeSeamus Deane cast the novels in termssuggested by the late twentieth century Anglo-Irish dynamic. The decade had begun, it must

be remembered, with Hugh Kenner tartly

dismissing the Fenian Kevin Egan as a makerof political statements in the Irish mode(1980: 39). Consider the difference of

perspective in Deanes Joyce andNationalism essay, published in the centenaryof Joyces birth, just two years after KennersUlysses, where the Irish critic set the tone formuch of what was to come in the Field Day

pamphlets by observing of Joyce: He hadlearned from Irish nationalism the power of avocabulary in bringing to existence that whichotherwise had none except in the theatre ofwords (1982: 181).

It took almost a decade and a half for themain political players in the Northern Irelandconflict to catch up to the critics, althoughGerry Adams of Sinn Fein was reading the

Field Day pamphlets, particularly SeamusDeanes, as his 1986 bookThe Politics of IrishFreedom demonstrates. Adams was not theonly one who seemed to be monitoring thecultural tradewinds. In the mid-eighties it

became customary for British and Irishstatesmen to refer to the Catholic minority inthe North as alienated (Coogan 1995: 510), aword right out of the standard text for

beginners in Beckett studies, Martin EsslinsThe Theatre of the Absurd (1969: 361). So afaint shade of green was seeping into the

Anglo-Irish dynamic at the precise momentwhen, in the words of Peter Murphy, ElvisCostello was marrying the lyricism andmelancholia of Irish music with anAnglocentric sensibility (Lalor 2003: 886).

In the final analysis it has to be admittedthat the Irishness of artists as diverse as JohnLydon, Elvis Costello, Boy George andMorrissey endowed them with a healthy senseof absurdism. This absurdist sensibility isarticulated by Anthony Cronin in the chapterhe contributed to the novel Yeats is Dead!

Hilariously, Cronin praises Fianna Fail, theparty of de Valera, as twenty-first centuryinheritors of an absurdist tradition. Listen tothe Garda Commissioner briefing a subordinateas they go to report to the Minister of Justiceon the tangled case concocted by fifteen Irishwriters and edited by Joseph OConnor.

If it was one of the old gang now, Burke orsomebody who understood human failings andcomplications, then you could tell the wholestory. But this gang are not like that, the FineGaelers in particular. They have a limitedgrasp of the human aspect of things. Theyre


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limited both mentally and morally.They dont understand the grey areas,

what you might call the ambiguities. Theydont really understand human nature. Theywant everything cut and dried. Theres no usesaying to any of this gang that it looks very

complicated and its all a bit of a mysterybecause of the general oddness and confusionof human affairs. Theyre not prepared toadmit that aspect of things, what you mightcall the grotesque aspect, the unprecedented,the bizarre, you know what I mean, no twosituations ever being the same from the dawnof time. They want everything cut and dried,the reason for this, the reason for that, whosto blame and whos not to blame (2001: 102).

This is funny stuff from the author of one ofthe best chapters on Joyce, The Advent of

Bloom in A Question of Modernity (1966).But the really exquisite comedy of thegrotesque aspect, the unprecedented, the

bizarre, you know what I mean, no twosituations ever being the same from the dawnof time plays on an acronym, GUBU, forgrotesque, unbelievable, bizarre andunprecedented, devised by Conor CruiseOBrien from Taoiseach Charles Haugheyswords and, as The Encyclopedia of Irelandtells us, widely used to describe some of thestrange incidents that continue to dog Irishgovernments (Lalor 2003: 462). AnthonyCronin worked as cultural adviser to Haugheyand it may well have been his Joyceaninfluence that led to the Taoiseach quoting theline about the new Bloomusalem in the NovaHibernia of the future (Joyce 1986: 395)while announcing plans for the InternationalFinancial Services Centre in the Dublindocklands in June 1987.

What we are talking about here is the ideathat Elvis Costello experiences the Anglo-Irish

dynamic as a matter of painful complexity inhis own sense of himself, an experience sharedby Anthony Cronin and Seamus Heaney. Andeven Pinter, son of a Jewish family inHackney, has made the intuitive leap ofdiscovering his own Irish side after spending acrucial period of apprenticeship in Ireland. It isa truism that Anglo-Irish relations did not

progress in the eighty odd years betweenJoyces Trieste lectures and articles andCostellos King of America. If anything theyregressed. In the Ireland, Island of Saints and

Sages lecture, Joyce foretells the partitioning

of Ireland, personifying England as a cunningempress:

Her principal preoccupation was to keep thecountry divided, and if a Liberal Englishgovernment that enjoyed the full confidenceof the English voters were to grant a measureof autonomy to Ireland tomorrow, theconservative press of England wouldimmediately begin to incite the province ofUlster against the authority in Dublin (Masonand Ellmann 1989: 166).

Flash forward a few generations toThatchers hamfisted response to Irishnationalism and you see Joyces nightmarecoming true. The writer John Kelly was astudent at Queens University Belfast whenThatcher dismissed the nationalistic findings of

the New Ireland Forum in her typically high-handed way. He reproduces the mood oncampus in Sophisticated Boom Boom, a novelthat explains just about everything in terms of

popular music.

The vicious and cruel mouth of Thatcher waseverywhere. The berbitch with an umlaut.Students had protested, marched and shoutedMaggie, Maggie, Maggie! Out, Out, Out!

through bullhorns and indifference, but prettysoon we were a defeated and cowed shower spiritless and dulled.

That it was Northern Ireland made things farmore complicated and disappointing.Students Union meetings were grim shoutingmatches where the Young Unionist, Tory,Reaganite, Pro-Nuclear, Tweed Jacket,Support the Contras, Friends of Israel, no-sense-of-humour Christian faction wouldshout words like scum at the Marxist,Republican, Homosexual, Sandinistan,Shinner, Anarchist, feckless Alcoholic brigadeacross the room.And then they would shout back. It was ugly,depressing and tiresome stuff (2004: 171).

It is not hard to see which side would belistening to King of America, the ClashsSandinista!, the Smiths Meat is Murder,maybe even Culture Clubs Kissing to BeClever. Irvine Welsh has shown himself to beremarkably sensitized to these nuances: themostly Catholic denizens of Trainspotting(1993) follow Irish-inflected artists likeCostello, the Smiths and the Pogues whileDetective Inspector Bruce Robertson, the

bigoted voice of the later Welsh novel Filth(1998), soothes his jingoistic breast with


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such established rock acts as Deep Purple,Ozzy Osbourne, Iron Maiden and Foreigner.

This is not to say that things would neverget better and that, with hindsight, the portentscannot be seen. Even as Costello was comingup with the dark melodies of Little Palaces

and Sleep of the Just a process wasbeginning, first with the immediate aim ofserving the interests of the administrations inDublin and London, that is, cutting offelectoral support for Sinn Fein. The Anglo-Irish Agreement of 1985, which gave theDublin government a consultative role in theaffairs of Northern Ireland, can now be seen asthe crucial first step in the long journeytowards parity of esteem for both sides in the

North. What came to be known as the peace

process would have been perfectly wellunderstood by Joyce, if the articles and lectureshe produced in Trieste are anything to go by.His indictment of the Irish parliamentary partyat the end of the Home Rule Comes of Agearticle, for instance, springs from the mind of

one who knew all about what could be calledthe root causes of physical force nationalism. I

believe Elvis Costellos Little Palaces andSleep of the Just are products of a similarmind and, not only that, they offer listenersinsight into the emotional and spiritual knot the

peace process would begin to undo not just inIreland but in such gateway cities asBirmingham, Manchester, Liverpool andLondon too.

Works Cited

Adams, Gerry. 1986. The Politics of Irish Freedom. Dingle: Brandon Books.

Baldwin, James. 1965. Going to Meet the Man. New York: The Dial Press.

Billington, Michael. 1996. The Life and Work of Harold Pinter. London: Faber and Faber.

Coogan, Tim Pat. 1995. The I.R.A. London: HarperCollins.

The Costello Show [Featuring Elvis Costello]. King of America. Rhino, 2005. Originally issued on Columbia,1986.

Cronin, Anthony. 1966.A Question of Modernity. London: Secker and Warburg.

Deane, Seamus. 1982. Joyce and Nationalism.James Joyce: New Perspectives. Ed. Colin MacCabe.Bloomington, Indiana UP.

Esslin, Martin. 1969. The Theatre of the Absurd. New York: Anchor Books.

Finance Dublin Milestones of the IFSC. 20 December 2005..

Heaney, Seamus. 1987. The Haw Lantern. London: Faber and Faber.

Joyce, James. 1999 (1916).A Portrait of the Artist as a Young Man. London: Penguin.

_______. 1986 (1922). Ulysses. New York: Vintage Books.

Kelly, John. 2004. Sophisticated Boom Boom. London: Vintage.

Kenner, Hugh. 1980. Ulysses. London: George Allen & Unwin.

Kiberd, Declan. 1995. Inventing Ireland. London: Jonathan Cape.

Lalor, Brian, ed. 2003. The Encyclopedia of Ireland. New Haven: Yale UP.

Leeming, David. 1994.James Baldwin. New York: Alfred A. Knopf.

Marcus, Greil. 1993.In the Fascist Bathroom: Punk in Pop Music 1977-92. Cambridge, Mass.: Harvard UP.

Marsh, Dave. 2004.Bruce Springsteen, Two Hearts, The Definitive Biography, 1972-2003. New York:Routledge.

Mason, Ellsworth and Richard Ellmann, eds. 1989. The Critical Writings of James Joyce. Ithaca: Cornell UP.

OConnor, Joseph, ed. 2001.Yeats is Dead! A Mystery by Fifteen Irish Writers. New York: Alfred A. Knopf.

OMalley, Padraig. 1990.Biting at the Grave: The Irish Hunger Strikes and the Politics of Despair. Belfast: TheBlackstaff Press.

Pinter, Harold. 1988.Mountain Language. London: Faber and Faber.

Roche, Anthony. 2001. Pinter and Ireland. The Cambridge Companion to Harold Pinter. Ed. Peter Raby.Cambridge: Cambridge UP.

Welsh, Irvine. 1993. Trainspotting. London: Secker and Warburg.

_______. 1998. Filth. London: Jonathan Cape.

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