Abstract
An analysis of the work of Eilis Ni Dhuibhne and Mary O’Donnell is away to honour the activities of the Brazilian Association of irish Studies, as both writers visited Brazil in 2016 and 2019, respectively, and their work has appeared in the ABEI Journal, along with critical essays on their creative production. Born in the same year, Ni Dhuibhne and O’Donnell are two of the most representative female voices in contemporary Irish writing, constantly crossing the borders between different interests, literary genres, and forms of artistic expression. In particular, both areconcerned with the awareness of the creative process, so that the conscious literariness of their fiction provides an interesting insight into the issue of writing itself. Throughout their careers, figures of artists, intellectuals, writers, students, teachers and academics constantly recur in their fiction, which displays an increasing concern with the figure ofthe artist and the writer, creativity and the act of writing. The purpose of this paper is to examine and compare artist figures in the fiction of Eilis Ni Dhuibhne and Mary O’Donnell and relate them to their narrative strategies, focusing on creativity and on the consciousness of the creative process, disclosing hidden layers of meanings in their literary affinities.
Highlights
An analysis of the work of Éilís Ní Dhuibhne and Mary O’Donnell is a way to honour the activities of the Brazilian Association of irish Studies, as both writers visited Brazil in 2016 and 2019, respectively, and their work has appeared in the ABEI Journal, along with critical essays on their creative production
Both Éilís Ní Dhuibhne and Mary O’Donnell had the opportunity to visit Brazil and come to the University of Sao Paulo in 2016 and 2019 respectively, and their work has appeared in the ABEI Journal, along with critical essays on their creative production
Not by chance have they crossed the Atlantic heading to Brazil, as this implicitly reveals more than one similarity in their diversity and casts attention on literary affinities in two of the most representative and resonant female voices in contemporary Irish writing
Summary
The proximity of the publication of Ní Dhuibhne’s 2007 novel Fox, Swallow, Scarecrow, and of O’Donnell’s 2008 second collection of short stories Storm over Belfast sheds light on the explicit concern with writing in the recurring characters of writers, artists and intellectuals, which turns out as a fil rouge. O’Donnell’s first novel The Light-Makers, first published in 1992 and reissued in 2017, intertwines difficult relationships with specific focus on visual arts, as the protagonist, Hanna Troy, is a photographer and her husband Sam is an architect Conscious of her skills and of what she does as a master of artistic expression, Hanna works with the immateriality of light, which in a way is a form of deception, being based on illusions or lies: How we distort light! Writing is juxtaposed to pregnancy, labour and birth, which counteracts the pause – the suspension of life and regeneration – of the context and the title
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