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Stage Irish: performance, identity, cultural circulation

Levy’s use of dialogue in The Long Song (2010) is carefully scrutinised by Frątczak-Dąbrowska as it unfolds between Caroline Mortimer (sister of a Scottish planter overseer) and July (her adopted field slave daughter). Refreshingly, it is suggested that slaves and their masters decipher not only cruelty and subservience but “the economic dependencies resultant from the plantation economy and realize that they reach far beyond slavery” (112). It is the sympathetic actions of James’ Irish overseer Robert Quinn, which unveil complicity with the slaves as he is “able to see through the strategies they employ to please him” (111). Here contemporary fiction is inspiringly seen as a medium for contemporary colonial redress, if not the reframing of history itself. The Economics of Empire engages itself in an audacious renewal and refreshment of postcolonial critique that finds new language for reasoning materialist postcoloniality. So divergent are the concerns here that Irish studies scholars working with interdisciplinary material (postcolonial or not) would find novel analyses and inspiration, even beyond the Irishconcerned material cited in chapters 3, 5 and 6. The editors, in all humility, admit that this work and its contributors “[. . .] have come some way and that distance, however diminutive, is significant” (xxxviii). Arguably it is the momentum of this collection’s methodology that is “significant” and with its chapters considered in isolation, could instigate new scholars to take steps into broad, rich, multimodal and activistic research.