Nótaí na nEagarthóirí:Editor's Notes Stefan Collini In trying to justify the humanities, as in trying to live a life, what may turn out to matter most is holding one's nerve. Presenting our spring issue of New Hibernia Review has in ways been a matter in holding one's nerve. As with many of us, the temptation, or order, is to "stay at home." This hibernation can be intellectual as well as physical. It is beneficent at times to shut your mind to the anxiety, disinformation, and disruption of the past few months. At the risk of sounding like a "first world solution" to a "first world problem," we think it is important to stay on track with this journal so as to provide reading, thoughts, and hopefully some sort of fructification, even if it's in the form of what some would consider a distraction. We thank our readers for your continued support. On a personal note, as we all work five hundred miles apart, I wish to thank Judy Gilats and Shannon Pennefeather for their wonderful work as design and managing editors, respectively. The business of living, if you're lucky, enfolds your actual business as well. In his important poem "Nightwalker," Thomas Kinsella wrote, "I only know things seem and are not good." We often say that, as now, "things don't seem right." The distinctions between the good and the right are important. The right is that which is morally imperative; you may, but should not, do otherwise. The good resembles St. Thomas Aquinas's concept of the pleasurable; you can pursue a pleasurable venture that brings you toward something that is right, but you do not have to do so. The moral and philosophical depth of Kinsella's work is matched in an interview in these pages by his very generous candor, which yields even more layers to his work. Kinsella and Adrienne Leavy have granted permission to print their interview that is appearing to subscribers of Reading Ireland and, later, in the United States in a Wake Forest University Press publication on Kinsella. Information regarding Reading Ireland is provided at the conclusion of these notes. As in each New Hibernia Review, we begin with a creative nonfiction piece. [End Page 5] Here, Seán Lysaght recounts the early days of the writers' movement in Limerick, bringing to life the characters and the literary efforts that populated this sometimes neglected (outside of Ireland) soundscape. Continuing our interests in the visual arts, Kathryn Milligan expertly investigates the staged visual representations surrounding the O'Connell Centenary in 1875. Complementing the importance of visual representation, The Poetics of Print by Conor Linnie looks at the exhibition of private print work and design and its place within the evolution of Irish writing and culture. In an indecisive world, comparisons—often specious—are made with previous times of upheaval. That said, John T. Crawford provides an insightful view of James Stephens's frequent lack of perspective in Stephens's The Insurrection in Dublin. Crawford traces how Stephens himself imposes meaning onto events about which he is not fully informed and ultimately creates a semblance of order out of chaos in his journalistic account of the Easter Rising. Our "New Poetry" features the work of the twenty-fourth O'Shaughnessy Prize winner, the Irish-language poet Ailbhe Ní Ghearbhuigh. The poems have been selected from her Gallery Press publication The Coast Road, and translated by some of Ireland's most distinctive poets, including previous O'Shaughnessy Prize recipients. Sadly, because of current conditions, we will not be awarding the twenty-fourth prize in 2020 as scheduled, but we look forward to awarding this prize—due to the generosity of the late Lawrence O'Shaughnessy and his family—to Ní Ghearbhuigh in spring 2021 in celebration of her work and, hopefully, in celebration of all of our nerve. Articles by Sarah Harsh and Alexander E. Callaway take a new approach to Elizabeth Bowen's work and to Irish Catholicism in America, respectively. Through analysis of the occasionally overlooked A World of Love, Harsh revisits the tradition of Bowen's Anglo-Irish Big House and shows some of the...