Awakening, Memory, and Reconciliation in Anne Devlin’s Belfast Trilogy
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Anne Devlin’s Belfast Trilogy, which comprises The Long March (1984), Ourselves Alone (1985), and After Easter (1994), received some unfavorable reviews when the plays were premiered, in that the playwright not only interrogated Republicanism and unionism, which had traditionally been male-dominated, but delineated women’s experiences, which had either been invisible or assumed to be coherent with those of their male peers. This paper argues that this trilogy, which has rarely been discussed as a whole, provides a matriarchal representation of the Northern Ireland Troubles, and chronicles women’s collusion, resistance, and/or self-healing during the political and militant conflicts. On the one hand, Devlin’s trilogy challenges the stereotype of Mother Ireland and its colonial and religious implications, so as to counteract the permissive patriarchal mechanisms in Irish politics. The anti-patriarchal nature of this Trilogy, on the other hand, unsettles the traditional romantic attitude toward heroes and female admirers, introducing a feminist interpretation of war and romance with an unconventional approach to mythological characters. A theatrical critique of her politically divided, working-class community, Devlin’s trilogy illustrates the process of reconciliation through which Irish women regain their subjectivities for the peace to come.
Abstract
Anne Devlin’s Belfast Trilogy, which comprises The Long March (1984), Ourselves Alone (1985), and After Easter (1994), received some unfavorable reviews when the plays were premiered, in that the playwright not only interrogated Republicanism and unionism, which had traditionally been male-dominated, but delineated women’s experiences, which had either been invisible or assumed to be coherent with those of their male peers. This paper argues that this trilogy, which has rarely been discussed as a whole, provides a matriarchal representation of the Northern Ireland Troubles, and chronicles women’s collusion, resistance, and/or self-healing during the political and militant conflicts. On the one hand, Devlin’s trilogy challenges the stereotype of Mother Ireland and its colonial and religious implications, so as to counteract the permissive patriarchal mechanisms in Irish politics. The anti-patriarchal nature of this Trilogy, on the other hand, unsettles the traditional romantic attitude toward heroes and female admirers, introducing a feminist interpretation of war and romance with an unconventional approach to mythological characters. A theatrical critique of her politically divided, working-class community, Devlin’s trilogy illustrates the process of reconciliation through which Irish women regain their subjectivities for the peace to come.
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