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In 2007, at the Dublin conference where I presented my earliest work on Irish women writers and “modernist afterlives,” a prominent academic explained to me that there were no Irish women modernist writers, ever. Since then, I have watched with glee as scholars have proven this claim wrong and as the stature of Irish women writers from all periods has risen in the public eye. Nonetheless, Modernism in Irish Women’s Contemporary Writing encountered roadblocks on its path to publication, so my first thanks go to Oxford University Press for recognizing, immediately and without reservation, the value of this project centered on Irish women’s writing. Jack McNichol and Henry Clarke were impressive editors, Ellie Collins a helpful advocate, the anonymous readers fair-minded in their feedback, and Roopa Vineetha Nelson a thorough project manager.
This book can be attributed in no small part to the support and good humor of cherished colleagues. Margaret Kelleher, whose acumen so often is directed toward helping others flourish, was throughout an invaluable interlocutor, as were Claire Connolly and David James. From the very start, Emilie Pine refused to let me shelve this project, and Eric Falci pushed me to refine my conceptual categories. At crucial moments, Aeron Hunt asked important questions about realism, Lisa Ruddick about periodicity, Cara Lewis about mode. The intellectual range and indefatigable curiosity of Anne Fogarty and Steve Watt remain a particular inspiration. And Shawn Maurer, whose ability to see the forest for the trees in all things, including too many drafts of this manuscript, has been a gift beyond measure.
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