Elizabeth Butler Cullingford, Ireland’s Other: Gender and Ethnicity in Irish Literature and Popular Culture (Cork UP 2001).

‘There’s Many a Good Heart Beats under a Khaki Tunic’ [Chap.], cites Kevin Nolan’s Irish Times contemporary review of Dolly Wests’ Kitchen: ‘“[T]he author wants to compare the loyalties and enmities in the dinner part with the loyalties and enmities of the parties engaged in, or neutral in the world war. Here he falls into a logical fallacy which is ultimately lethal to his drama. Sexual love or hate is not comparable to love or hate of country, so that to compare [...] the resolution of sexual relationships with the end of the war is merely sentimental.” If this assertion were correct, we might have to conclude that much of the Irish drama we have looked at is “merely sentimental”. I would reject this conclusion, along with the implied denigration of sentiment as a political and theatrical force. When Benedict Anderson categorises nationalism with kinship and religion he indicates that love of one’s country is closer to passion than to intellectual allegiance. That familiar analogy between sexuality and national that McGuinness uses to structure his play does not depend on a “logical fallacy” and it is inherent in the Irish dramatic tradition.’ (p.72.)

Note index refs to Edward Said, 1, 59-60, 132, 262n, 263n. Viz., Edward Said [60] identifies Sir Thomas Bertram’s slave plantation in Antigua as the “Other” space that guarantess the prosperity of his English estate ( Culture , pp.100-16). Also, Edward Said defined Orientalism as a “Western style for dominating, restructing, and having authority over the Orient” ( Orientalism, p.3; here 132. Author acknowledges indebtedness to Seamus Deane, and Cairns & Richards ‘who have adapted his [Said’s] theoretical model to Ireland’ [262n.]


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