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TABLE OF CONTENTS Michelle Ryan-Sautour and Gérald PréherForewordBertrand CardinIntroductionPART ONE: TRACES OF ORAL TRADITION: VOICES, DIALOGUES AND CONVERSATIONSMarie MianowskiSkipping and Gasping, Sighing and Hoping in Colum McCann’s “Aisling”: The Making of a PoetCatherine ConanNarration as Conversation: Patterns of Community-making in Colm Tóibín’s The Empty FamilyEoghan Smith“Elemental and Plain”: Story-Telling in Claire Keegan’s Walk the Blue FieldsChantal Dessaint-Payard“The Moon Shines Clear, the Horseman’s Here” by Éilís Ní Dhuibhne or the Art of Reconciling Orality and LiteracyVanina Jobert-Martini“Black Flower”: Dichotomy, Absurdity and BeyondClaudia LuppinoThe Old and the New in Claire Keegan’s Short FictionPART TWO: RESONANCE, REVISION AND REINVENTIONElke D’hokerRereading the Mother in Edna O’Brien’s Saints and SinnersFlore CouloumaThe Irish (Short) Story, Level 1: Julian Gough’s “The Orphan and the Mob”Jeanette Roberts ShumakerQuestioning the Paddy Stereotype in Edna O’Brien’s “Shovel Kings”PART THREE :THE IRONIC OBSERVATION OF CONTEMPORARY IRELANDBertrand CardinCountry of the Grand by Gerard Donovan or the Chronicle of a Collapse ForetoldThierry RobinAnne Enright’s Short Fiction: “Post-Freudian and Post-Feminist and, of course (three cheers!), Post-Nationalist”?Eugene O’BrienThe Subjective Real in William Trevor’s “Justina’s Priest”PART FOUR: METANARRATIVE REFLECTIONSDebbie Brouckmans and Elke D’hokerRewriting the Irish Short Story: Emma Donoghue’s The Woman Who Gave Birth to RabbitsJohn McCourt“All Stories Overlap”: Reading Keith Ridgway’s Short FictionClaire Majola-LeblondWriting Aslant: Putting Chisel to Paper—William Trevor’s A Bit on the SideBertrand CardinSelective BibliographyContributors’ Notes