In her public persona, expressed in lectures, interviews and essays as much as in her poetry, Eavan Boland is all smooth surfaces, formal precision, and strong, lyrically-phrased protest.
But the core material, quoted above, vibrates with energy and awareness, causing the reader to speculate what the poet might have felt to be a significant limitation.
But as in all Faustian bargains, the details you fail to anticipate make the whole imaginary structure fall upon you woundingly at some point. 1944) is the youngest of five children of the Irish diplomat F. S., following poets such as Denise Levertov and Adrienne Rich as Writer-in-Residence at Stanford University, where she currently directs the Writing Program.
Her eight volumes of poetry, and her many published and collected essays since 1967 constitute a chronicle of a twentieth century woman's growth: from absorption by the patriarchy to an angry reviling of her "mimic Muse;" from a denial of her earlier struggles to a more politically-shaped vision; from an intellectual training which caused her to value the received tradition more than her own voice, to an intellectual rigor which persistently informs her ongoing technical explorations.
so [just as the British and successive generations of Anglo-Irish planters defined the Irish native; the new, post-colonized Irish native Establishment] labelled women as less intelligent, less rational, not strong enough, not having whatever the culture currently defines as necessary to take the reins of power.
(11) In practical terms for the Irish literary establishment, women found themselves confined to the small and irrelevant occupation labelled "writing for the women's audience," and shut out from the world of Significance.