EFACIS Bibliography of Criticism on John Banville

Source: Extracted from the full Banville bibliography of works and criticism at
https://johnbanville.efacis.eu/materials/bibliography/bibliography - online [accessed 20.11.2025].

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  • Joan Acocella, ‘Doubling Down: John Banville’s Complicated Lives’, in The New Yorker (8 Oct 2012) [available online].
  • Kevin Boyle, ‘Benjamin Black and John Banville: The Legitimacy of the Irish Literary Persona’, in New Voices in Irish Criticism: Legitimate Ireland [The Peter Froggatt Centre, Queen’s University Belfast [QUB] (19 April 2012).
  • Françoise Canon-Roger, ‘John Banville’s Imagines in The Book of Evidence’, in European Journal of English Studies 4, 1 (2000), pp.25-38.
  • John Connolly, ‘Joining the Criminal Fraternity’, in The Irish Times (30 Sept. 2006) [‘Now we must add John Banville to this roll call’ - available online].
  • Patricia Coughlan, ‘Banville, the Feminine, and the Scenes of Eros’, in Irish University Review, 36, 1 (Spring-Summer 2006), pp.81-101.
  • Seamus Deane, ‘“Be Assured I Am Inventing’: The Fiction of John Banville’, in The Irish Novel in Our Time, ed. Patrick Rafroidi & Maurice Harmon [Villeneuve d’Ascq; Publications de l’Universite de Lille III] (1975/1976), pp.329-39.
  • Elke D’hoker, ‘“Everything has to be qualified”: Reading as Misreading in John Banville and Paul de Man’, in Critique: Studies in Contemporary Fiction, 59, 5 (2018), pp.536-46. [available online - https://doi.org/10.1080/00111619.2018.1427546.
  • Carol Dell’Amico, ‘John Banville and Benjamin Black: The Mundo, Crime, Women’, in Éire-Ireland, 49, 1 & 2 (Spring-Summer 2014), pp.106-20.
  • Elke D'Hoker, ‘Portrait of the Other as a Woman with Gloves: Ethical Perspectives in John Banville’s The Book of Evidence’, in Critique, 44, 1 (Fall 2002), pp.23-37.
  • Brian Donnelly, ‘The Big House in the Recent Irish Novel’, in Studies, 254 (Summer 1975), pp.134.
  • Brian Duffy, ‘Banville’s Other Ghost: Samuel Beckett’s Presence in John Banville’s Eclipse’, in Études Irlandaises 28.1 (2003), pp.85-106.
  • Monica Facchinello, ‘“The Old Illusion of Belonging’: Distinctive Style, Bad Faith and John Banville’s The Sea’, in Estudios Irlandeses, 5 (2010), pp.33-44.
  • Anna Fattori, ‘“A Genuinely Funny German Farce’ Turns into a Very Irish Play“: The Broken Jug (1994) - John Banville’s Adaptation of Heinrich von Kleist’s Der zerbrochne Krug (1807)’, in Angermion: Yearbook for Anglo-German Literary Criticism; Vo. 4: Intellectual History and Cultural Transfers/Jahrbuch für Britisch-Deutsche Kulturbeziehunge, ed. Rudiger Gorner (Nov. 2011), pp.75-94.
  • Ruth Frehner, ‘The Dark One and the Fair: John Banville’s Historians of the Imagination and their Gender Stereotypes’;, in ELJLS: Barcelona English Language and Literature Series, ed. Mireia Aragay & Jaqueline A. Hurtley (Barcelona: PPU 2000), pp.51-64.
  • Hedda Friberg-Harnesk, ‘In the Sign of the Counterfeit: John Banville’s God’s Gift’, in Nordic Irish Studies, 9 (2010), pp.71-88.
  • Hedda Friberg, ‘“In the Murky Sea of Memory’: Memory Miscues in John Banville’s The Sea’, in An Sionnach: A Journal of Literature and the Arts, 1, 2 (2005), pp.111-23.
  • ——, ‘Waters and Memories Always Divide: Sites of Memory in John Banville’s The Sea’, in Recovering Memory: Irish Representations of Past and Present, ed. Hedda Friberg & Irene Gilsenan (Cambridge Scholars Publ. 2007) [q.pp.].
  • Roberta Gefter Wondrich, ‘A Great, Sinister Performer: John Banville, The Untouchable’, in The Canadian Journal of Irish Studies, 23.2 (Dec. 1997), pp.123-129.
  • Roberta Gefter Wondrich, ‘The Familiar Otherwhere of Art: Awareness, Creation, Redemption. Art and the Artistic Imagination in John Banville’s Trilogy of Art’, in Prospero: Rivasta di culture anglo-germaniche IV (1997), pp.94-109.
  • Mehdi Ghassemi, ‘Femininity, Ekphrasis, and Aesthetic Selfhood in John Banville’s Eclipse, Shroud, and Ancient Light’, in Estudios Irlandeses, 13.2 (2018), pp.30-43.
  • Mehdi Ghassemi, ‘John Banville’s (Post)modern Reinvention of the Gothic Tale: Boundary, Extimacy, and Disparity’, in The Irish Journal of Horror and Gohtic Studies, 17 (August 2018), pp.38-50.
  • Hugh Haughton. ‘The Ruinous House of Identity: The fictions of John Banville’, in The Dublin Review, 1 (Winter 2000-1), pp.107-115.
  • Rüdiger Imhof, ‘John Banville’s Athena: A Love Letter to Art’, in Asylum Arts Review, 1, 1 (Autumn 1995b), pp.27-34.
  • ——, ‘The Problematics of Authenticity”: John Banville’s Shroud’, in ABEI Journal - The Brazilian Journal of Irish Studies, 6 (June 2004), pp.105-128.
  • ——, ‘The Sea: ‘Was’t well done?’” Irish University Review, 36, 1 (2006), pp.165–81.
  • ——, ‘John Banville’s Supreme Fiction’, Irish University Review, 11.1 (Spring 1981), pp.52-86.
  • ——, ‘My Readers, That Small Band, Deserve a Rest’, Irish University Review, 11.1 (Spring 1981), pp.5-12.
  • ——, ‘Post-Joycean Experiment in Recent Irish Fiction’, in Ireland and France – A Bountiful Friendship: Literature, History and Ideas. ed. Barbara Hayley & Christopher Murray (Gerrards Cross: Colin Smythe 1992), pp.124-136.
  • ——, ‘Proust and Contemporary Irish Fiction’, in The Internationalism Of Irish Literature and Drama: Irish Literary Studies 41, ed. Joseph McMinn [assisted by Anne McMaster and Angela Welch] (Gerrards Cross: Colin Smythe 1992), pp.255-60.
  • ——, ‘Swan’s way, or Goethe, Einstein, Banville-The Eternal Recurrence’, in Études Irlandaises, 12 (Dec. 1987), pp.113-29.
  • ——, ‘The Newton Letter, by John Banville: An Exercise in Literary Derivation’, in Irish University Review, 13, 2 (Autumn 1983), pp.162-67.
  • Tony E. Jackson, ‘Science, Art, and the Shipwreck of Knowledge: The Novels of John Banville’, in Contemporary Literature, 38, 3 (Autumn 1997), pp.510-33.
  • Kavenna, ‘Pseudonymously Yours: The Strange Case of Benjamin Black’, in The New Yorker (11 & 18 July 2011) [available online].
  • Andrew Kincaid, ‘“Down These Mean Streets’: The City and Critique in Contemporary Irish Noir’, in Éire-Ireland, 45, 1 & 2 (Spring-Summer 2010), pp.39-55.
  • Vera Kreilkamp, ‘Reinventing a Form: Aidan Higgins and John Banville’, in The Anglo-Irish Novel and the Big House (NY: Syracuse UP 1998), pp.234-60 [Chap. 9].
  • Mark Lawson, ‘The Name’s Quirke’, in The Guardian (9 July 2011), R.10.
  • Elizabeth Mannion, ed. ‘Introduction: A Path to Emerald Noir: The Rise of the Irish Detective Novel’, in The Contemporary Irish Detective Novel, (London: Palgrave 2016), pp.1-15.
  • John McKenna, ‘Rage for Order", in In Dublin (13 Nov. 986), p.17.
  • Joseph McMinn, ‘An Exalted Naming: The Poetical Fictions of John Banville’, in The Canadian Journal of Irish Studies, 14, 1 (July 1988), pp.17-28.
  • ——, ‘Disturbing Fascination’, in Fortnight [Belfast] (June 1989), p.23.
  • ——, ‘Naming the World: Language and Experience in John Banville’s Fiction’, in Irish University Review, 23, 2 (Autumn/Winter 1993), pp.183-96.
  • ——, ‘Reality Refuses To Fall Into Place’, in Fortnight [Belfast] (Oct. 1986), p.24.
  • ——, ‘Stereotypical Images of Ireland in John Banville’s Fiction’, in Éire-Ireland: A Journal of Irish Studies, 23, 3 (Fall 1988), pp.94-102.
  • Audrey McNamara, ‘Quirke, the 1950s, and Leopold Bloom’; in The Contemporary Irish Detective Novel, ed. Elizabeth Mannion (London: Palgrave 2016), pp.135-48.
  • Mika Momoo, ‘Only Echoes and Coincidences: Textual Authority in John Banville’s Birchwood’, in Journal of Irish Studies [IASIL-JAPAN], 22 (2007), pp.41-47.
  • Anja Müller, ‘“You Have Been Framed’: The Function of Ekphrasis for the Representation of Women in John Banville’s Trilogy (The Book of Evidence, Ghosts, Athena)’, in Studies in the Novel, 36, 2 (Summer 2004), pp.185-205.
  • Neil Murphy, ‘Crimes of Elegance: Benjamin Black’s Impersonation of John Banville’, in Moving Worlds, 13, 1 (Spring 2013), pp.19-32.
  • Neil Murphy, ‘Contemporary Irish Fiction and the Indirect Gaze", in From Prosperity to Austerity: A Socio-Cultural Critique of the Celtic Tiger and its Aftermath. ed. Eugene O’Brien & Eamon Maher (Manchester UP 2014), pp.174-87.
  • ——, ‘From Long Lankin to Birchwood: The Genesis of John Banville’s Architectural Space’, in Irish University Review, 36, 1 (Spring-Summer 2006), pp.9-24.
  • ——, ‘John Banville and Heinrich von Kleist: The Art of Confusion”, in The Review of Contemporary Fiction XXXIV, 1 (2014), pp.54-70.
  • Fintan O’Toole, ‘From Chandler and the 'Playboy' to the contemporary crime wave’, in The Irish Times (21 Nov. 2009).
  • Pan Huiting, Aesthetic Configuration [MA Thesis] (Nanyang Technological University Singapore 2013).
  • Lene Yding Pedersen, ‘Revealing/Re-veiling the Past: John Banville’s Shroud’, in Nordic Irish Studies, 4 (2005), pp.137-38.
  • Susanne Peters, ‘John Banville, The Sea’, in Teaching Contemporary Literature and Culture, 6 vols. ed. Susanne Peters, Klaus Stierstorfer & Laurenz Volkmann (Trier: Wissenschaftlicher 2006-2008).
  • Kersti Tarien Powell, ‘“Not a son but a survivor’: Beckett ... Joyce ... Banville’, in The Yearbook of English Studies: Irish Writing since 1950, 35 (2005), pp.199-211.
  • Kersti Tarien Powell, ‘Trying to Catch Long Lankin by His Arm: The Evolution of John Banville’s Long Lankin’, in Irish University Review, 31, 2 (Autumn-Winter 2001), pp.386-403.
  • Bryan Radley, ‘John Banville’s Comedy of Cruelty. ’, in Nordic Irish Studies, 9 (2010), pp.13-31 [available at JSTOR - online].
  • ——, ‘“Who if not I, then, is Amphitryon?’: Banville, Kleist, and God’s Gift’, at TFTV Presents - Amphitryon website (2017) [available online].
  • ——, ‘The Comic Uncanny in John Banville’s Eclipse’, in Irish University Review, 49, 2 (2019), pp.322-39 [available online].
  • Andrew Riemer, ‘The Blue Guitar Review: John Banville Generates Deep Aesthetic Satisfaction’, in Sydney Morning Herald (28 Aug. 2015).
  • Eoghan Smith, ‘It’s That Man Again’, review of The Blue Guitar, in Dublin Review of Books, 83 (Nov 2016) [dated 1/9/2015; available online].
  • Victoria Stewart, ‘“I May Have Misrecalled Everything’. John Banville’s The Untouchable’, in English: Journal of the English Association, 52, 204 (Autumn 2003), pp.237-51.
  • Romain Nguyen Van, ‘“According to all the authorities”: The Uncanny in John Banville’s The Sea’, in Études Anglaises, 65, 4 (2012), pp.480-99.
  • Eibhear Walsh, ‘“A Lout’s Game”: Espionage, Irishness, and Sexuality in The Untouchable’, in Irish University Review, 36, 1 (Spring-Summer, 2006), pp.102-115.
  • John Weretka, ‘The Guitar, the Musette and Meaning in the fêtes galantes of Watteau’, in EMAJ: Electronic Melbourne Art Journal, 3 (2008) [accessed April 23, 2016, https://emajartjournal.files.wordpress.com/2012/08/weretka.pdf]
  • Robin Wilkinson, ‘Echo and Coincidence in John Banville’s Eclipse’, in Irish University Review, 33, 2 (Autumn/Winter 2003), pp.356-70.
  • Joakim Wrethed, ‘“A Momentous Nothing’: The Phenomenology of Life, Ekphrasis and Temporality in John Banville’s The Sea", in The Crossings of Art in Ireland, ed. Ruben Moi, Brynhildur Boyce & Charles I. Armstrong (Bern: Peter Lang Publishing Group, 2014), pp.183-211.
Copied at 21.11.2025; modified to RICORSO formats and some URLs [online access] added.

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