John Kerrigan

John Kerrigan is a professor of English at Cambridge and a convener of the Cambridge Group for Irish Studies. His works include Shakespeare’s Binding Language, Revenge Tragedy: Aeschylus to Armageddon and Archipelagic English: Literature, History and Politics 1603-1707.

Birth of a Náison

John Kerrigan, 5 June 1997

John Major’s vision of Britain is history by now: a unitary state north and south of the Tweed, secured by consent, subject to one monarch and funded by a non-tartan tax system. When Major first published his views, however, in the punningly titled Historia Maioris Britanniae (1521), his innovativeness upset fellow Scots. It was one thing for a North Berwick-born philosopher to refute the medieval legend which derived English claims to rule in Scotland from the overlordship of a Trojan called Brut; it was another for him to challenge the myth which traced Scottish independence back to an ancient Greek prince called Gathelus. Defeated at the Battle of Flodden, and fearful of Tudor encroachments, the Scottish élite resisted both Major’s historiography and his proposal that royal dynasties on the island should intermarry to unite ‘Greater Britain’. Not until 1603, when James VI succeeded to the English throne, would talk of union become orthodox.

Letter
Since I was unaware until I read Brendan Bradshaw’s CV (Letters, 3 July) that he had been educated by the Christian Brothers, I must plead not guilty to attempting ‘an ad hominem put-down’ in my review of The British Problem when I compared his Irish nationalism with the attitudes traditionally (and not always justly) associated with the sort of school I went to myself.Given my reservations about...

When Eyesight is Fully Industrialised

John Kerrigan, 16 October 1997

Plunging in free-fall, a parachutist just out of an aeroplane sees the Earth spread out before him with the steadiness of a map. As his eyes resolve the detail, however, at about 600 metres, the ground seems to rush towards him, then split apart with dizzying speed: ‘The apparent diameter of objects increases faster and faster and you suddenly have the feeling you are not seeing them getting closer but seeing them move apart suddenly, as though the ground were splitting open.’

Hand and Foot: Seamus Heaney

John Kerrigan, 27 May 1999

When Seamus Heaney left Belfast in 1972, to work as a freelance writer in the relative safety of the Republic, Northern Ireland was a war zone. Internment and Bloody Sunday had recruited so many to the Provisional IRA that Civil Rights marches had given way to carbombs. While Heaney in County Wicklow wrote the poems that would go into North, common ground was eroded. Moderates still hoped for power-sharing, but the prospects for compromise were damaged in February 1973, when the Loyalist Association of Workers called a general strike – flexing the industrial muscle which would later destroy the Sunningdale Agreement.

No one minds lending a friend an egg-whisk, but that’s my book, many people insidiously feel, when someone borrows a well-thumbed text (a text in which the reader has palpably invested their emotions), marks it, and makes it their own.

‘There is a touch​ of Shylock in this,’ John Kerrigan says of a moment in King Lear. There are touches of Shylock in many places outside The Merchant of Venice, and indeed outside...

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We never went on holiday to foreign countries when I was a child. Not to properly foreign ones, anyway. Although we lived on the South Coast, the family Hillman Minx would head not towards a...

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Getting Even

Adam Phillips, 19 September 1996

We wouldn’t think of anything as a tragedy if we did not have a deeply ingrained sense of order already there to be affronted. Tragedy in life, and as art, exposes by violation our mostly...

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Art of Embarrassment

A.D. Nuttall, 18 August 1994

Humane, learned, un-showily stylish and at times moving in their tender intelligence, these essays by Anne Barton, ranging from a richly ‘mellow’ piece first published in 1953 –...

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Mrs Shakespeare

Barbara Everett, 18 December 1986

It may be assumed that the Dark Lady and the Fair Young Man are at least in part merely Anne Hathaway: a woman seen in darkness and in light, masked and unmasked, always a shadowy haunter of the poet’s...

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