According to Stanley Kubrick, “[i]f it can be written, or thought, it can be filmed”. This is true for award-winning Irish short story writer Claire Keegan (1968) whose sparse and effective prose has hit the core of audiences struggling to process the lingering impact of national trauma. Keegan confronts it all head-on, highlighting social issues that loom large in evocative narratives where thoughts, situations and scenarios spill over into the space between the words. What is left unsaid says (...) it all. The silence that reigns in a space of ‘NON-sayability’ in Keegan’s stories is anything but opaque. In Small Things Like These she navigates treacherous territories in a dark Christmas tale about the widespread and notorious Magdalene Laundry apparatus that keeps weighing heavily on our collective conscience. How can we remain passive in the face of wrongdoings and how does Keegan unlock the past and urge us to scrutinise history? (shrink)

Clausewitz made the intuitively appealing claim that wars tend to “absoluteness,” and that all limitations imposed by law and morality are in theory alien to it. Clausewitz of course knew that there are in practice many limitations to how wars are fought, but he saw them as contingent to what war is. Since then, however, historians such as John Lynn (Battle: A History of Combat and Culture [Westview Press, 2003]), John Keegan (A History of Warfare ([Random House,1993]) and Victor (...) Davis Hanson (The Western Way of War [Oxford University Press, 1989]) have taught us to see things differently: war is a cultural phenomenon, and the limitations that rituals and taboos impose are essential to what war is. With Conspiring with the Enemy, her intelligent and erudite book on cooperation in war, Yvonne Chiu builds on that work by showing the wide variety of forms cooperation in war can take—something that, Chiu claims, we tend to overlook and take for granted at the same time. (shrink)