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In 1957, Frank O’Connor, a master of the genre himself, laid down the law for future generations of students and critics of the Irish short story. O’Connor thought that the modern Irish short story was “a distinct art form,” that it sprang into being when it had shed “the limitations of its popular origin” after being cross-fertilised by Russian and French models. Following O’Connor, there have been numerous attempts to establish what the specific qualities of the Irish short story and the reasons for its pre-eminence are. The tradition of Irish story-telling, the Irish gift of the gab, and linguistic self-consciousness resulting from Ireland’s (post-)colonial condition are regularly cited in this context. Required / Recommended Reading:
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The Irish Short Story