In the following excerpt, Maxwell compares and contrasts the plays of Samuel Beckett and Brian Friel.

In the following essay, Deane presents an overview of Irish literature between 1940 and 1980.

In the following essay, Cahalan discusses the fiction of Benedict Kiely, Brian Moore, John McGahern, Aidan Higgins, John Banville, William Trevor, James Plunkett, Edna O'Brien, Janet McNeill, Iris Murdoch, Eilís Dillon, Julia O'Faolain, Jennifer Johnston, Michael Farrell, Walter Macken, Sam Hanna Bell, Anthony C. West, John Borderick, Richard Power, Thomas Kilroy, and Anthony Cronin, as well as several writers in the Irish language.

In the following essay, Krans examines the lives and works of novelists born in Ireland and raised as Catholics, discussing in particular how these novelists portrayed the lives and character of the Irish peasant and middle classes.

In the following essay, Colin B. Atkinson and Jo Atkinson review the Irish novels written by Sydney Owenson, Lady Morgan, and demonstrate how Morgan's work was typical of that of the new and growing body of professional women writers. At the same time, the critics point out that Morgan, unlike her contemporaries, combined in her novels feminist and Irish patriotic themes, while establishing both personal and social success.

In the following essay, Dunne defends Lady Morgan's work against charges that it is "wildly imaginative and essentially frivolous," arguing that her Irish novels combine realism with Morgan's understanding of the forces which created distinct and contrasting perceptions of Irish history.

In the following excerpt, Cronin analyzes several of Gerald Griffin's novels, demonstrating Griffin's interest in and deep compassion for the Irish peasantry. Cronin argues that while Griffin's work is often flawed by melodrama, he nevertheless paints disturbing and realistic portraits of the wretched conditions endured by Irish peasants.

In the following excerpt, Kreilkamp discusses the “Big House” Irish novels of Aidan Higgins and John Banville.

In the following essay, Kerrigan compares and contrasts the poetry of Ciaran Carson and Nobel laureate Seamus Heaney.

In the following essay, Kiely assesses William Carleton's place in Irish literary history and explores how Carleton turned away from topics pertinent to the Irish peasantry in the writing of his later years.

In the following essay, Kearney discusses works by Flann O'Brien, Francis Stuart, and John Banville.

In the following essay, Booker discusses epistemology in the works of Samuel Beckett and Flann O'Brien.

In the following essay, Johnston compares works by Thomas Kinsella, John Montague, Richard Murphy, Seamus Heaney, Derek Mahon, Seamus Deane, Richard Ryan, and Paul Muldoon.

In the following essay, Howard analyzes Maria Edgeworth's treatment of Irish issues in her 1814 Ormond. Howard demonstrates how in this novel, an increasingly larger gap between Edgeworth's own views and those of the native Irish is revealed.

In the following essay, Imhof examines the fiction of Sean O'Faolain, Sebastian Barry, Dermot Bolger, Aidan Higgins, Kevin Kiely, Aidan Mathews, Brian McHale, and Robert McLiam Wilson.

In the following essay, Smyth examines feminist issues as presented in the poetry of several contemporary Irish female poets.

In the following essay, Law surveys the novels written by the most prominent nineteenth-century Irish authors and comments on the strengths and weaknesses of these authors' major works.

In the following excerpt, Peterson compares and contrasts the short fiction of Frank O'Connor with the works of Mary Lavin and James Joyce.

In the following essay, Torchiana compares the poetry of John Montague, Richard Murphy, Austin Clarke, and Thomas Kinsella.

In the following essay, Caswell discusses the fiction of Brian Moore, Kate O'Brien, Frank O'Conner, and Brinsley MacNamara.

In the following essay, Lubbers detects similar themes in Irish fiction since James Joyce, focusing on works by such authors as Brian Moore, Frank O'Connor, and John McGahern.

In the following essay, Brown discusses the poetry of Northern Ireland poets Michael Longley, Seamus Heaney, John Montague, and Derek Mahon.

In the following essay, Gwynn reviews the works of upper and lower class authors considered to be "native" Irish.

In the following excerpt, Teevan focuses on Greek tragedy adaptations in the Irish theater and poetry.

In the following essay, Garratt traces the evolution of Irish poetry from the Irish Renaissance to the international acclaim of Seamus Heaney.

In the following essay, Drexel reviews works by Ciarán Carson, Medbh McGuckian, and Paul Muldoon.

In the following essay, Ingersoll discusses humor in the works of James Joyce, Flann O' Brien, and Bryan MacMahon.

In the following essay, Flanagan argues that nineteenth-century Irish novels were all written, to some degree, with a propagandist goal of explaining or defending Ireland or the Irish character to an English audience; Flanagan contends that this was the weakest feature of the Irish novel.

In the following review, Deane assesses works by Seamus Heaney, Thomas Kinsella, Derek Mahon, and Richard Murphy.

In the following essay, Frazier presents an overview of Irish poetry after W. B. Yeats's death, focusing on Austin Clarke, Patrick Kavanagh, Ciarán Carson, Michael Longley, and Derek Mahon.

In the following essay, Schirmer examines the poetry of Irish women writers Sheila Wingfield, Blanaid Salkeld, Mary Devenport O'Neill, Maire MacEntee, and Eithne Strong.

In the following essay, Dunn discusses the contemporary poetry of Northern Ireland, including Seamus Heaney, Derek Mahon, James Simmons, and John Montague.

In the following essay, Freyer examines the fiction of Liam O'Flaherty, Sean O'Faolain, and John McGahern.

In the following essay, Reilly responds to Adrian Frazier's essay on “Irish Poetry after Yeats.”

In the following essay, Kennedy discusses modernism, politics, and religion as elements of contemporary Irish poetry.

In the following essay, Harmon presents a brief overview of the Irish novelists Patrick Boyle, Edna O' Brien, John Broderick, Richard Power, and Andrew Ganly.

In the following essay, Harmon offers an outline of nineteenth-century Irish literature, noting the ways in which the novels of the time period reflected the socio-political structure of the country.