Flann OBrien, Dickens and Joyce: Form, Identity and Colonial Influence

Flann OBrien, Dickens and Joyce Form, Identity and Colonial InfluencesAll quotations from The triplet Policeman are taken from the 1993 Flamingo Modern Classic edition.In this strive I intend to examine Flann OBriens The Third Policeman in the condition of the time of its writing, 1940, its relation to certain face novelistic traditions and also the broader Irish literary tradition in which it belongs. Seamus Deane refers to Ireland as a Strange Country and thus OBriens own narrator recalls the words of his father . . . he would mention Parnell with the customers and grade that Ireland was a queer country. (7)Such a concurrence indicates to a head the peculiar nature of the Irish situation with regard to theoretical post-colonial models. on that point is a temptation to see all Irish work since the revival meeting in terms of decolonization. Cahalan, in The Irish Novel, traces the tendency of Irish writers such as Swift, Edgeworth and Maturin to employ fantastic elements and non-realism in direct opposition to English colonial models and in affirmation of certain Irish traditions. Mercier, in The Irish Comic Tradition, points also to the presence of exaggeration, absurdity and scatological detail in Gaelic heroic cycles and poetry. In Flann OBrien, Bakhtin, and Menippean Satire, M. Keith Booker begins by sayingIt has instantaneously become commonplace to think of Flann OBrien along with James Joyce and Samuel Beckett as the deuce-ace great Irish fiction writers...