Word: irishness
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Dates: during 1980-1989
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...phone calls to a local journalist an hour later, the outlawed Irish Republican Army called the attack "a well-planned operation" that "indicates our ability to strike when and where we decide." Indeed, after a long period of relative calm in Ulster, the I.R.A. had killed more police in this attack than in any other single episode since violence between Protestant and Catholic militants first erupted in 1969. British Prime Minister Margaret Thatcher, who escaped an I.R.A. bombing attempt on her life last October at Brighton, in the south of England, called the attack "barbaric." Echoing her sentiments, the Irish...
Thatcher's voice took on a harder edge as she attacked the terrorist tactics of the Irish Republican Army. Without referring directly to her own close call last Oct. 12, when an I.R.A. bomb ripped through the Brighton hotel where she was staying, the British leader warned that Americans should not "be misled into making contributions to seemingly innocuous groups," an obvious reference to the Irish Northern Aid Committee (NORAID), a U.S. organization with suspected links to the I.R.A...
...year ago, Seamus Heaney, 45, offered his incandescent version of Mad Sweeney, the legendary Irish king who was turned into a bird-man and condemned to live in the trees for slaying a psalmist. In this new collection of verse, Heaney moves to an even higher and madder style. In the process, Station Island reinforces his reputation as the best poet that Ireland has produced since Yeats...
...poem's final stanzas the accusations cease, and Heaney, like many another Irish artist, confronts the shade of James Joyce and his own destiny. The great Irish exile warns Heaney to forget his preoccupation with the past: "That subject people stuff is a cod's game/ in- fantile, like your peasant pilgrimage . . . it's time to swim/ out on your own and fill the element/ with signatures on your own frequency...
...casual, debonair and refreshingly free of pretension. Gordon, whose own Pick Up Co. uses dialogue as well as tapes and movement in performance, manages to shift smoothly into the more formal vocabulary of classical ballet. Field, Chair and Mountain is set to a noisy concerto by the 19th century Irish piano virtuoso John Field (thus the Field in the title). In commissioning the piece, Artistic Director Mikhail Baryshnikov asked only that Gordon use a set, and Gordon came up with an inventive one. Executed with cheeky wit by Santo Loquasto, it unfolds from left to right like a Japanese screen...