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Papers by Keri Walsh

The Letters of Sylvia Beach, 2010

... Invoice showing Ernest Hemingway's borrowings (March 24, 1934) 22. ... She w... more ... Invoice showing Ernest Hemingway's borrowings (March 24, 1934) 22. ... She was also determined to make Yeats available to French readers: "Yeats, Irish poet and the greatest poet in the English language of our time ... "His daughter, Miss Ann Yeats, was shocked last year, when ...

In 1936, Simone Weil described Sophocles's Antigone to French factory workers as &qu... more In 1936, Simone Weil described Sophocles's Antigone to French factory workers as "the story of a human being who, all alone, without any backing, dares to be in opposition to her own country, to the laws of that country, to the head of its government, and who is, naturally, ...

In 1936, Simone Weil described Sophocles's Antigone to French factory workers as &qu... more In 1936, Simone Weil described Sophocles's Antigone to French factory workers as "the story of a human being who, all alone, without any backing, dares to be in opposition to her own country, to the laws of that country, to the head of its government, and who is, naturally, ...

This is the program for the 2019 Irish Women Writers Symposium at Fordham University on September... more This is the program for the 2019 Irish Women Writers Symposium at Fordham University on September 23, 2019. Speakers include Emilie Pine, Briallen Hopper, Belinda McKeon, Beth Boyle Machlan, Anwita Ghosh, Amal Zaman, and Gaby Hurtarte. The title of the event is "The Most Powerful Thing I Can Think of to Do:" Contemporary Women's Life Writing.

Although Elizabeth Bowen always rejected Futurism's links to fascism, Futurist aesthetics were an... more Although Elizabeth Bowen always rejected Futurism's links to fascism, Futurist aesthetics were an important influence on her fiction. In her 1932 novel To the North, she lampooned and condemned British fascism's borrowed Italian aesthetics, but in 1935's The House in Paris, Bowen took up some of the techniques of the Futurist painters, adapting them in order to draw attention to the situation of fascism's potential victims. What changed from one novel to the next was the tone and urgency of her critique, and the focus of her Futurist inquiry, which switched from Marinetti/Mussolini's "speed" trajectory to the "noctambulist" temporal and spatial experiments of Futurist painters.

A study of the reception of Jean Anouilh's Antigone in New York (produced by Katharine Cornell) a... more A study of the reception of Jean Anouilh's Antigone in New York (produced by Katharine Cornell) and London (produced by Laurence Olivier) in the late 1940s, featuring an analysis of the changes made to the play by its first English-language adapter, Lewis Galantiere.

This is the introduction to a discussion of Bonnie Honig's book Antigone, Interrupted (Cambridge ... more This is the introduction to a discussion of Bonnie Honig's book Antigone, Interrupted (Cambridge UP, 2013). The discussion featured an interdisciplinary panel of scholars including Vasuki Nesiah, Olga Taxidou, Stefani Engelstein, and Emily Wilson. Their pieces, and a substantive response by Honig herself, can be found in Philosophy Today Volume 59, Issue 3 (Summer 2015).

A Bloomsday piece for the Irish Times

A conversation about Ellis Avery's novel The Last Nude, including a discussion of Avery’s creatio... more A conversation about Ellis Avery's novel The Last Nude, including a discussion of Avery’s creation of a veritable who’s who of Twenties Paris: the painter Tamara de Lempicka and her lovers; Violette Morris (the butch French boxing champion of 1923); cult hero Sylvia Beach (founder of the Shakespeare and Company bookstore and the first publisher of James Joyce’s Ulysses); and Ernest Hemingway, whom Avery reimagines as Anson Hall, a writer blocked in multiple ways.

The Letters of Sylvia Beach, 2010

... Invoice showing Ernest Hemingway's borrowings (March 24, 1934) 22. ... She w... more ... Invoice showing Ernest Hemingway's borrowings (March 24, 1934) 22. ... She was also determined to make Yeats available to French readers: "Yeats, Irish poet and the greatest poet in the English language of our time ... "His daughter, Miss Ann Yeats, was shocked last year, when ...

In 1936, Simone Weil described Sophocles's Antigone to French factory workers as &qu... more In 1936, Simone Weil described Sophocles's Antigone to French factory workers as "the story of a human being who, all alone, without any backing, dares to be in opposition to her own country, to the laws of that country, to the head of its government, and who is, naturally, ...

In 1936, Simone Weil described Sophocles's Antigone to French factory workers as &qu... more In 1936, Simone Weil described Sophocles's Antigone to French factory workers as "the story of a human being who, all alone, without any backing, dares to be in opposition to her own country, to the laws of that country, to the head of its government, and who is, naturally, ...

This is the program for the 2019 Irish Women Writers Symposium at Fordham University on September... more This is the program for the 2019 Irish Women Writers Symposium at Fordham University on September 23, 2019. Speakers include Emilie Pine, Briallen Hopper, Belinda McKeon, Beth Boyle Machlan, Anwita Ghosh, Amal Zaman, and Gaby Hurtarte. The title of the event is "The Most Powerful Thing I Can Think of to Do:" Contemporary Women's Life Writing.

Although Elizabeth Bowen always rejected Futurism's links to fascism, Futurist aesthetics were an... more Although Elizabeth Bowen always rejected Futurism's links to fascism, Futurist aesthetics were an important influence on her fiction. In her 1932 novel To the North, she lampooned and condemned British fascism's borrowed Italian aesthetics, but in 1935's The House in Paris, Bowen took up some of the techniques of the Futurist painters, adapting them in order to draw attention to the situation of fascism's potential victims. What changed from one novel to the next was the tone and urgency of her critique, and the focus of her Futurist inquiry, which switched from Marinetti/Mussolini's "speed" trajectory to the "noctambulist" temporal and spatial experiments of Futurist painters.

A study of the reception of Jean Anouilh's Antigone in New York (produced by Katharine Cornell) a... more A study of the reception of Jean Anouilh's Antigone in New York (produced by Katharine Cornell) and London (produced by Laurence Olivier) in the late 1940s, featuring an analysis of the changes made to the play by its first English-language adapter, Lewis Galantiere.

This is the introduction to a discussion of Bonnie Honig's book Antigone, Interrupted (Cambridge ... more This is the introduction to a discussion of Bonnie Honig's book Antigone, Interrupted (Cambridge UP, 2013). The discussion featured an interdisciplinary panel of scholars including Vasuki Nesiah, Olga Taxidou, Stefani Engelstein, and Emily Wilson. Their pieces, and a substantive response by Honig herself, can be found in Philosophy Today Volume 59, Issue 3 (Summer 2015).

A Bloomsday piece for the Irish Times

A conversation about Ellis Avery's novel The Last Nude, including a discussion of Avery’s creatio... more A conversation about Ellis Avery's novel The Last Nude, including a discussion of Avery’s creation of a veritable who’s who of Twenties Paris: the painter Tamara de Lempicka and her lovers; Violette Morris (the butch French boxing champion of 1923); cult hero Sylvia Beach (founder of the Shakespeare and Company bookstore and the first publisher of James Joyce’s Ulysses); and Ernest Hemingway, whom Avery reimagines as Anson Hall, a writer blocked in multiple ways.

On February 28, 2016, theatre practitioners and scholars come together at the behest of Prof. Ker... more On February 28, 2016, theatre practitioners and scholars come together at the behest of Prof. Keri Walsh at Fordham University, NYC for Waking the Feminists, the movement for equality for women in Irish Theatre. Practitioners will include comedian Maeve Higgins (of RTÉ’s Naked Camera) and Jonathan Bank, Artistic Director of NY’s Mint Theatre. Scholars will include high-profile Irish Studies Professors, Clair Wills of Princeton and Lucy McDiarmid of Montclair State. Panels will emphasize the history of the issues and share ideas for a more inclusive theatre in Ireland. Full details in attached program and at links.

Deevy's ability to conceive characters who are bursting with creative and emotional energies, who... more Deevy's ability to conceive characters who are bursting with creative and emotional energies, who are crazily ambitious, naïve, and unwilling to accept defeat, marks out her work as an important exploration of the contortions that result from lack of opportunity, prejudice, violence, and fear of women, while it is also a theatrical chronicle of wasted potential. Deevy's female anti-heroines (Ellie Irwin, Annie Kinsella, Katie Roche) are not mere victims; they are determined to grab hold of life, proud, infuriating, willful, and twisted into incoherence by the weight of disregard for their personhood, and by their extreme isolation in a society where they search in vain for an image of heroism or greatness within their reach.

This is the program for the Irish Women Writers Symposium held at Fordham University in New York ... more This is the program for the Irish Women Writers Symposium held at Fordham University in New York on September 22, 2016 on the theme of Building a Scholarly Archive.