Oral Textuality, Gender and the Gothic in Doireann Ní Ghríofa’s A Ghost in the Throat (2020)

Lawrenson, Sonja ORCID: https://orcid.org/0000-0002-2821-6386 (2023) Oral Textuality, Gender and the Gothic in Doireann Ní Ghríofa’s A Ghost in the Throat (2020). Estudios Irlandeses, 18 (2). pp. 28-42. ISSN 1699-311X

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Abstract

In Doireann Ní Ghríofa’s A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire – the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator’s intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh’s origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implications of such historical retrieval. Caught between a desire to recover Ní Chonaill’s voice and presence and a recognition of the illusory nature of such longings, Ní Ghríofa’s text probes the interstices between the Caoineadh and its myriad iterations in performance, transcription, and translation. In this way, Ní Ghríofa confronts longstanding European anxieties regarding the relationship between writing and orality. Drawing on Jacques Derrida’s seminal critique of this eighteenth-century crisis of writing, this article commences by revealing the caoineadh as an unacknowledged yet ongoing flashpoint in Enlightenment debates concerning orality and textuality. The article then turns to a discussion of Derrida’s associated reflections on haunting to consider the ways in which Ní Ghríofa responds to the marginalisation and silencing of the matrilineal tradition of keening in which she engages. Departing from Derrida’s genealogy of political inheritance, it argues that Ní Ghríofa’s narrative rehearses an alternative gothic textuality in which the oral and the written are intricately interwoven within Ireland’s past, present, and future. In so doing, it eschews the androcentric, ethnocentric and, as the text’s conclusion lays bare, anthropocentric hierarchies that continue to impinge upon both the Caoineadh’s legacy and the Irish literary canon in the twenty-first century.