Description
Ireland Is Changing Mother is Rita Ann Higgins at her edgy best: provocative and heart-warming poems of high jinks, jittery grief and telling social comment by a gutsy, anarchic chronicler of the lives of the Irish dispossessed, before as well as since the demise of the Celtic tiger. This was her first new collection after her retrospective, Throw in the Vowels, and was followed by Tongulish.
About the Author
Rita Ann Higgins was born in 1955 in Galway, where she still lives. She left school at 14, and was in her late 20s when she started writing poetry. She has since published twelve books of poetry and prose, including Sunny Side Plucked (Poetry Book Society Recommendation) (1996), An Awful Racket (2001), Throw in the Vowels: New & Selected Poems (2005), Ireland Is Changing Mother (2011) and Tongulish (2016) from Bloodaxe, and Hurting God: Prose & Poems (2010) and Our Killer City: isms, chisms, chasms and chisms: essays and poems (2018) from Salmon. Throw in the Vowels was reissued in 2010 with an audio CD of her reading her poems. Her plays include Face Licker Come Home (1991), God of the Hatch Man (1992), Colie Lally Doesn't Live in a Bucket (1993), Down All the Roundabouts (1999), The Plastic Bag (2008), The Empty Frame (2008) and The Colossal Longing of Julie Connors (2014). Her many awards include a Peadar O'Donnell Award in 1989 and several Arts Council bursaries, and she is a member of Aosdana.
Reviews
It shouldn't be unusual to hear a smart, sassy, unabashed, female working-class voice in Irish writing. But it is. Higgins's achievement doesn't depend on that rarity value, but it is certainly amplified by it. Higgins is, quite consciously, an artistic outsider - a unique fusion of wry, deadpan humour on the one side and absolute sincerity on the other. She doesn't congratulate herself for her sympathy with those who are (in this case literally) outside the world of art. She simply sees and writes. Her humour and playfulness keep sentimentality and self-righteousness resolutely at bay - She has made what is still the most direct and powerful statement of the class divide in Irish society - The boom years had no great effect on Higgins's voice, on her point of view or on her style. She had a manic linguistic energy long before the hysteria of the Tiger era quickened the pulse of the culture as a whole: Higgins could be regarded, in one of her guises, as Ireland's first rapper. - Her political satire hasn't lost its edge, but it no longer reads as a cry in the wilderness - Now the bubble's burst, we're left with our real treasures, and Rita Ann Higgins is one of them. -- Fintan O'Toole * The Irish Times *
A brilliantly spiky, surreal blend of humour and social issues. Her poems are a witty mix of the erotic and the upfront political from a female perspective, with wonderful rhythms that effortlessly incorporate direct speech. -- Ruth Padel * Independent on Sunday *
Book Information
ISBN 9781852249052
Author Rita Ann Higgins
Format Paperback
Page Count 72
Imprint Bloodaxe Books Ltd
Publisher Bloodaxe Books Ltd
About the Author
Rita Ann Higgins was born in 1955 in Galway, where she still lives. She left school at 14, and was in her late 20s when she started writing poetry. She has since published twelve books of poetry and prose, including Sunny Side Plucked (Poetry Book Society Recommendation) (1996), An Awful Racket (2001), Throw in the Vowels: New & Selected Poems (2005), Ireland Is Changing Mother (2011) and Tongulish (2016) from Bloodaxe, and Hurting God: Prose & Poems (2010) and Our Killer City: isms, chisms, chasms and chisms: essays and poems (2018) from Salmon. Throw in the Vowels was reissued in 2010 with an audio CD of her reading her poems. Her plays include Face Licker Come Home (1991), God of the Hatch Man (1992), Colie Lally Doesn't Live in a Bucket (1993), Down All the Roundabouts (1999), The Plastic Bag (2008), The Empty Frame (2008) and The Colossal Longing of Julie Connors (2014). Her many awards include a Peadar O'Donnell Award in 1989 and several Arts Council bursaries, and she is a member of Aosdana.
Reviews
It shouldn't be unusual to hear a smart, sassy, unabashed, female working-class voice in Irish writing. But it is. Higgins's achievement doesn't depend on that rarity value, but it is certainly amplified by it. Higgins is, quite consciously, an artistic outsider - a unique fusion of wry, deadpan humour on the one side and absolute sincerity on the other. She doesn't congratulate herself for her sympathy with those who are (in this case literally) outside the world of art. She simply sees and writes. Her humour and playfulness keep sentimentality and self-righteousness resolutely at bay - She has made what is still the most direct and powerful statement of the class divide in Irish society - The boom years had no great effect on Higgins's voice, on her point of view or on her style. She had a manic linguistic energy long before the hysteria of the Tiger era quickened the pulse of the culture as a whole: Higgins could be regarded, in one of her guises, as Ireland's first rapper. - Her political satire hasn't lost its edge, but it no longer reads as a cry in the wilderness - Now the bubble's burst, we're left with our real treasures, and Rita Ann Higgins is one of them. -- Fintan O'Toole * The Irish Times *
A brilliantly spiky, surreal blend of humour and social issues. Her poems are a witty mix of the erotic and the upfront political from a female perspective, with wonderful rhythms that effortlessly incorporate direct speech. -- Ruth Padel * Independent on Sunday *
Book Information
ISBN 9781852249052
Author Rita Ann Higgins
Format Paperback
Page Count 72
Imprint Bloodaxe Books Ltd
Publisher Bloodaxe Books Ltd
