Mary Dorcey: The Making of Poetry

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This group is dedicated to discussing, planning, purchasing, setting up, registering and maintaining Little Free Libraries in KW and environs. A books, movies, and more blog from the staff at the Carnegie Library of Pittsburgh - Main. Get me outta here! The planet goes on being round. In this land the children tear their hearts in half. I once told a joke about a straight person. They came after me in droves.

Do not fight fire with water. Do not fight fire with foam. Do not evacuate the people. Do not sound the alarms.

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Do not crawl coughing and choking and spluttering to safety. Do not barricade the door with damp towels. Do not wave a white flag out of the window. Do not take the plunge from several storeys up. Do not shed a tear for your lover trapped behind a wall of flame. Do not curse the combination of fuel, heat, and oxygen. Do not ask why the fire fighters are not coming.

What they mean is: Stand and burn. I became a criminal when I fell in love. Before that I was a waitress. I wanted her life to be like a play In which all the parts are sad parts. Does a good person Think this way? I deserve Credit for my courage— I sat in the dark on your front porch. Mynt Marsellus Musings, Mumblings and Grumblings. A Paralegal's Journey to Lawyerhood. Not Just a Dream living intentionally. Opening books to open minds.

Mary Dorcey - Wikipedia

My Goodreads Reviews and Book Musings. Mary Dorcey. Postcolonial Text Vol 3 No 3 Postcolonialism in the Poetry of Mary Dorcey Rose Atfield Brunel University In Irish cultural and political convention, the representational space of femininity has been colonised; it has been subjected to restricted and marginalised interpretation and representation.

In diagnosing the relevance of postcolonial readings to the work of Mary Dorcey, this essay will outline how her work is a collective process of recognition and exposure of a colonialism that denies and represses identity, and also how she achieves the restoration and reconstruction of female identity in political, sexual and literary contexts. Let the sceptics count our voices in the courts, the legislature, the church, the multi-national corporations. It will be quickly done. Mary Dorcey has endorsed this postcolonial development. The crowds terrifying in their intimacy. The near total repression of ideas and information.

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Dorcey highlights the plight of many women who spend their whole lives working for others without any acknowledgement of their own needs, subsuming their identities in those of their families. The challenging tone and fragmented structure of the poem implies wider social obligations to such individuals in a postcolonial context: And who are you come to that? All of you out there.

We remain. The entire force of Church and State, the entire weight of international culture, is not enough to suppress the strength of nature. When we thought only men Were the enemy and not —The women they've made. Finally the tension is broken as the poet challenges such covert disapproval: Strained beyond embarrassment or caution When i took your face between my hands And kissed your mouth a slow good bye An old woman comes to the door.

Like Joy in Season, Like Sorrow 5 The depersonalisation is effectively presented as cumulative, through the short, three-lined verses and the continuous enjambment: Each day A little more Is lost of her. Captured for an instant Then gone. It is thinking. Again, this can be read in a more extended context, and from a postcolonial perspective, suggesting unspoken support and encouragement for a more open and liberal understanding of sexualities, yet little direct respect for unorthodox relationships from the heterosexual majority who previously attempted to colonise, or rigidly control, sexuality in the state.

The last two verses fervently challenge the fleeting, capricious nature of the emotion, suggesting a wealth of sensuous pleasure which will remain a treasured memory and part of the participant despite the possibility of later break ups and difficulties. Another kind of colonialism exposed through her poetry is that of the power differentials of the literary and cultural establishment in Ireland and the consequent denial of the female voice.

From these, her words move out into more fluid forms, expressing her ideas and feelings, which clearly reflect this resistance. As Irish, our language has been devalued and marginalized by the colonisers from a culture, which has always sought by various means to appropriate Ireland and the Irish. As Irish women, we are thus doubly damned, doubly silenced. It was considered that Irish Catholic women were incapable of any other vocation other than the care of men and children.


This marginalisation emphasises the dual colonisation, still evident nearly ten years later in literary establishments and academic and publishing institutions. I wanted to find a way of writing that would not only express this way of life but embody it. In her poetry, Dorcey achieves this by exploring the different roles women play in the public and private world; in response to neighbours, mothers, lovers. This is especially apparent in her collection of poetry, Like Joy in Season, Like Sorrow, in which she combines the roles of daughter and lover and recreates the harrowing loss of the mother she knew, due to irrevocable senile dementia.

The costumes you wore. Sounds and metaphors mutually influence each other; important, significant words are stressed; the rhythm is less secure as the colonial stranglehold on the Irish state, symbolised by the ships of Empire forging trade, is diminished. The poem conveys the struggle to represent a universal and hackneyed theme from a fresh perspective; the idea of worn-out words and masculine linguistic structures hampering personal, individual expression.

Manchester: Manchester University Press, Archer, Nuala. VIII No. Boland, Eavan.

reviews, criticism, and events in poetry