Fintan O’Toole is a columnist with The Irish Times and Leonard L. Milberg Visiting Lecturer in Irish Letters at Princeton. His writings on Brexit have won both the European Press Prize and the Orwell Prize for journalism. (January 2018)
Balancing Acts: Behind the Scenes at London’s National Theatre
by Nicholas Hytner
Last summer, I saw a fine production of Alan Bennett’s best-known play, The Madness of George III, at the Shaw Festival in Niagara-on-the-Lake, Ontario. I had read the play before but knew it mostly from Nicholas Hytner’s 1994 film version in which, as Hytner puts it in his engaging and …
The Irish Question rises yet again, looming on the road to Brexit like the Sphinx on the road to Thebes. It threatens to devour those who cannot solve its great riddle: How do you impose an EU frontier across a small island without utterly unsettling the complex compromises that have ended a thirty-year conflict? The “people” part of the preliminary Brexit negotiations concerns the mutual recognition of the rights of EU citizens living in the UK and vice versa. The “money” part concerns Britain’s outstanding obligations to the EU budget and the calculation of the final divorce bill. Both are awkward and politically divisive issues, but it should be perfectly possible to reach a settlement.
Hemingway had imaginative access to two things he hid behind his outlandish public image—a complex sexuality and a deep trauma. Since the publication in 1986 of the unfinished novel The Garden of Eden, which he had worked on fitfully from 1945 until 1961, it has been obvious that he was drawn to the excitement of crossing sexual boundaries. The he-man was at least in part imaginatively a she-man. It was already clear that Hemingway was drawn to the erotic potential of androgyny.
Of all the great playwrights, Eugene O’Neill is undoubtedly the worst. At times, even late in his career, he produced work so gauche that without his name on the playbill, one might ascribe it to an overwrought adolescent. In 1936, O’Neill won the Nobel Prize. Just two years earlier, he …
From its first issue in 1963, Robert Silvers was either co-editor with Barbara Epstein or, after her death in 2006, editor of The New York Review. Bob worked almost to the very end of his life, which would be no surprise to those who knew him well, including those who have written these brief memoirs.
Ireland’s Immortals: A History of the Gods of Irish Myth
by Mark Williams
In 1811, Jean-Auguste-Dominique Ingres was commissioned to paint an image for the ceiling of Napoleon Bonaparte’s bedroom at the Palazzo del Quirinale in Rome. The former papal palace was being prepared for the French emperor’s visit to the city to assume the title King of Rome and make himself the …
Britain’s agreement to accept Ireland’s demands over Brexit and the border is an expression of its weakness: it can’t even bully little Ireland anymore. And this would have been bad enough for one day. But there was another humiliation in store. Having backed down, May was then peremptorily informed by her DUP coalition partner that she was not even allowed to back down. It is a scarcely credible position for a once great state to find itself in: its leader does not even have the power to conduct a dignified retreat.
Brexit is an elite project dressed up in rough attire. Because Theresa May doesn’t actually believe in Brexit, she’s improvising a way forward very roughly sketched out by other people. In Britain’s recent election, May’s phony populism came up against the Labour party’s more genuine brand of anti-establishment radicalism that convinced the young and the marginalized that they had something to come out and vote for.