Charles de Gaulle was a traditional Catholic Christian. He rarely spoke of or even mentioned God but rarely failed to speak instead of France, the great stained-glass rose window in which the divine light had glowed through the centuries in radiance or in sombre melancholy.

Gilbert and Sullivan producer Richard D’Oyly Carte offered to sponsor Oscar Wilde’s American tour, hoping to drum up publicity for the comic opera Patience. The representative stock aesthete left London an understudy for the leaders of the aesthetic movement, returning a celebrity in his own right.

From 1820 to 1850, the sculptor John Hogan’s most productive period, he was largely based in Rome. Yet despite living abroad he was without question, and especially in terms of his subject matter and patrons – chiefly the Irish bourgeoisie and Catholic church – an Irish artist.

The internet is the most abundantly stocked pantry of grievance in the history of mankind, its users under constant surveillance. What future can there be for democracy if politics becomes a question of detailed statistical analysis and precisely targeted messages rather than ideas?

Anna Burns’s new novel explores the impact in the Northern Ireland of the 1970s of a level of violence that has become ordinary and a society where gendered violence is everywhere but remains unacknowledged in a context where ‘huge things, physical, noisy things’ happen on a daily or hourly basis.

Anti-Catholic riots in London in 1780 led to 1,000 deaths. It would be almost another fifty years before equality of citizenship was finally established, the brilliant campaigning of O’Connell and the determination of Wellington finally overcoming the hysterical opposition of the king.

Domenico Starnone’s novel ‘Ties’ explores the break-up of a marriage from multiple perspectives, casting some doubt on the notion that self-realisation can easily be found in a new relationship. It is also particularly interesting because of its relationship to the work of Elena Ferrante.

If historian Mark Mazower’s father was a quiet man, his reticence was nothing compared to his father’s. Starting from some diaries found in a wardrobe, Mazower has traced an epic and often tragic family history that played out against the turmoil and violence of the early twentieth century.

The eighteenth century in Ireland saw the vigorous transfer of literary objects and ideas between Castle Forbes, Edgeworthstown House, and other ‘big houses’ such as Charleville Forest in Co Offaly. Co Longford in particular seems to have been especially rich in literary life at this time.

With the waning of religious faith and practice in Ireland, the hope of eternal salvation is no longer available to a large portion of the population. A new study of the theme of death in the Irish novel takes us from a world saturated by religious ritual to one which mostly wishes just to forget the past.