Wed Nov 17 06:37:33 2010 UTClccn-n50-1905Authors, Irish--20th centuryAuthors, Irish0.510.650.86Brian_O'Nolann 50001905oca00037593aO'Brien, Flann,1911-1966Na Gopaleen, Myles,1911-1966O'Nolan, Brian,1911-1966Nagcopaleen, Myles,1911-1966Nagopaleen, Myles,1911-1966Copaleen, Myles,1911-1966Gopaleen, Myles,1911-1966Nolan, Brian,1911-1966Nag Copaleen, Myles,1911-1966Knowall, George,1911-1966Na gCopaleen, Myles,1911-1966lccn-n90-631771Rowohlt, Harrytrllccn-n88-662029O'Nolan, Kevinedtlccn-n79-43488Steadman, Ralphilllccn-nr92-11383Jackson, John Wyseedtlccn-n87-114549Power, Patrick C.trllccn-n79-56824Joyce, James1882-1941lccn-n80-108969Cronin, Anthonylccn-n95-110240Norton, Jimnrtlccn-nb97-79113Clune, Annelccn-n84-95469Green, Martin1932-edtO'Brien, Flann1911-1966O'Brien, Flann1911-1966100Humorous fictionBlack humor (Literature)SatireFantasy fictionExperimental fictionDetective and mystery storiesHumorous storiesTales--AdaptationsSuibhne GeiltLegendsEnglish wit and humorLiterature--ExplicationIrish wit and humorAudiobooksPerec, Georges,--1936-1982Literary formGamesReader-response criticismAuthors and readersBeckett, Samuel,--1906-1989Irish literatureExperimental fiction, EnglishClarke, Austin,--1896-1974Wall, Mervyn,--1908-Satire, English--Classical influencesFiggis, Darrell,--1882-1925O'Duffy, Eimar,--1893-1935English fiction--Irish authorsBakhtin, M. M.--1895-1975Satire--Classical influencesManners and customsWorld War (1939-1945)CivilizationPuns and punningOrphansHumorous stories, EnglishPostmodernism (Literature)BrothersHumorous storiesIrish fictionSatire, EnglishAdaptationsTalesIreland--DublinFolkloreMythology, CelticPoorMurderIntellectual lifeBiographyAuthors, IrishLiterary collectionsLiteratureCriticism, interpretation, etc.FictionO'Brien, Flann,--1911-1966Ireland191119661938193919401941194219431946194919501951195219541959196019611962196319641965196619671968197019711972197319741975197619771978197919801981198219831984198519861987198819891990199119921993199419951996199719981999200020012002200320042005200620072008200920102214654017561book823.912pr6029.n56257874231550202791ocn038112511sw000991327:lccn-n50-1905Truebook19980.64O'Brien, FlannFantasy fictionExperimental fiction

Parodi på den konventionelle prosa.

+-+K63632910614592013118ocn040489146sw000020904:lccn-n50-1905Truebook19990.61O'Brien, FlannBlack humor (Literature)Detective and mystery stories

The Third Policeman is Flann O'Brien's comic novel about the nature of time, death, and existence. Told by a narrator who has committed a botched robbery and brutal murder, the novel follows him and his adventures in a two-dimensional police station where, through the theories of the scientist/philosopher de Selby, he is introduced to "Atomic Theory" and its relation to bicycles, the existence of eternity (which turns out to be just down the road), and de Selby's view that the earth is not round but "sausage-shaped." With the help of his newly found soul named "Joe, " he grapples with the riddles and contradictions that three eccentric policeman present to him.

+-+K967329106991128176ocn001100016sw000899856:lccn-n50-1905Truebook19740.65O'Brien, FlannSatire

Roman.

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A comic look at Irish life. The narrator is Finbarr, an orphan raised amid the odor of good whisky and bad cooking. With a mixture of admiration and unease he watches his brother, Manus, turn into a young man of business, successful enough to move to England.

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"At War is a collection of Flann O'Brien's columns written for the Irish Times under the pseudonym Myles na Gopaleen. Taken from the war years of 1940-45, these writings provide plenty of acerbic wit and persistent prodding of "the good people of Ireland." And in typical O'Brien fashion, no one is safe from his opinionated attacks. His oftentimes hysterical musings include discussions of theater, what it means to be Irish, ideas for alternative pubs and liquors, advice for children, and ways to improve the home."--BOOK JACKET.

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Provides in-depth analysis of the life, works, career, and critical importance of Flann O'Brien.

4234255ocn002002815sw002002815:lccn-n50-1905Falsebook19750.71Clune, Anne3833833ocn025048247sw025048247:lccn-n50-1905Falsebook19920.75Shea, Thomas F

Since the debut of At Swim-Two-Birds in 1939, Flann O'Brien's novels have delighted and perplexed generations of readers with a taste for creative havoc. But while praise has been plentiful, serious scholarly criticism has been lacking. Shea's book remedies this deficiency by analyzing O'Brien's novelistic career in the light of previously neglected material: his early, uncollected prose written for Comhthrom Feinne and Blather, two unpublished manuscripts of At Swim-Two-Birds, and his unpublished letters which reveal some of the hidden authorial strategies of the man behind the masks. Eight years prior to the publication of At Swim-Two-Birds, Flann O'Brien launched his writing career with a satiric essay in University College Dublin's student magazine. Through his writing that followed - first in the university publication Comhthrom Feinne, then in his own magazine Blather - O'Brien emerges as a subversive, experimental craftsman with words. An analysis of the early, unpublished manuscripts of At Swim-Two-Birds, composed between 1934 and 1938, is essential for a full appreciation of O'Brien's first and most exorbitant novel. These manuscripts reveal O'Brien in the act of constructing, reimagining, and radically revamping his fiction. Through these early manuscripts, we witness him experimenting with the activity of authoring, testing the volatile, unreliable propensities of words, styles, and narrative arrangements. The Third Policeman, written a year after At Swim, examines the potential of transgression for affirming and perhaps reinscribing a self. The novel focuses on an unnamed, nonexistent narrator who finds himself in a bizarre environment where none of the "normal" cognitive operations hold true. In this twilight zone, the procedures of language through which he has learned to make sense of "himself" and "the world" are abruptly invalidated. In response to his predicament, he probes irregular sorts of coherence, different methods of amalgamation, and modified criteria of communication. Through permutations of phrase making, newerfangled arrangements of words, and transgressive metaphors, he discovers the animating charge of authoring innovation. O'Brien's last two novels, The Hard Life (1961) and The Dalkey Archive (1964), share several attributes. Both were written twenty-odd years after the earlier novels; both appear unusually tame for O'Brien; and both are often taken lightly as enervated, end-of-career efforts by an author who once had good stuff. However, O'Brien's unpublished letters to his friends Niall Montgomery and Niall Sheridan; his agents at A.M. Heath, Patience Ross and Mark Hamilton; and his new publisher during the 1960s, Timothy O'Keefe, reveal that these novels are intended as experiments in subterfuge. The Hard Life masquerades as a tame, straightforward novel as it explores how discourses collapse, sounding only a desperately squalid void. The Dalkey Archive scoffs at the disposition of novels to revolve around character, determining predictable paths limited by spent serial arrangements. By conforming to conventional formats, O'Brien's last completed novel harkens back to his first full-length invention as it powerfully implodes continuity, development, and literary tropes of "redemption."

3243854ocn033189239sw033189239:lccn-n50-1905Falsebook19950.81Hopper, Keith

"Flann O'Brien's The Third Policeman was written in 1940 but his publishers rejected it for being 'too fantastic'. Since its posthumous release in 1967 it has achieved cult status, although critical appraisal of his work has focused almost exclusively on At Swim-Two-Birds (1939). In this first novel O'Brien had confronted two towering traditions: the jaded legacy of Yeats' Celtic Twilight and the problematic complexities of Joyce's modernism. With The Third Policeman O'Brien forges a unique synthesis between these two traditions, and the paraliterary path he pursues marks the historical transition from modernism to post-modernism." "This formalist study is a tribal retrieval of O'Brien's work which reconfigures him as a powerful voice within a dynamic and fertile landscape; indisputably Irish yet distinctly post-modern. It identifies The Third Policeman as a subversive intellectual satire, in the cutting-edge tradition of Swift and Sterne, and situates it as one of the earliest - and most exciting - examples of post-modernist fiction."--BOOK JACKET.

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