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Eoin Flannery, in his chapter, examines what happens when the revivalist promise of the future has curdled into something else, an inevitability of history rather than the positing power of the artist. It is one thing to accept a faded ideal as the motivating trope of a latter-day revivalist novel; it is quite another thing to turn away from ideals altogether and to accept, even to embrace, a world defined less by cultural aspirations than financial schemes, debt and “ecosickness.” The refusal to adopt traditional revivalist reference points and temporal frameworks leads writers as diverse as Kevin Berry, Anne Haverty, Éilís Ní Dhuibhne, and Mike McCormack to offer narratives that range from financial degradation to social collapse. One result of this refusal is the effort to foreground language, style, voice, and the vitality and exuberance of storytelling that is a hallmark of revivalist art, an advancing light into a potentially dark future.
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