bith – -Translation – Keybot Dictionary

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  Malairt scéil: Nuascéal...  
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Scothscéalta le Donnchadh MacGillIosa agus Màrtainn Mac an t-Saoir, beirt den chomhluadar nua scríbhneoirí atá ag cur brí agus beatha i litríocht Ghaeilge na hAlban. Seo do chuireadh isteach i limistéar samhlaíochta a chuimsíonn Gaeltacht agus bailte móra na hAlban, an Nua-Shéalainn agus críocha nach bhfuil le fáil ar léarscáil ar bith.
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The best of stories by Donnchadh MacGillIosa and Màrtainn Mac an t-Saoir, both from a community of new writers who put life and soul into the Gaelic literature of Scotland. An invitation to open up the imagination in encompassing the Gaeltacht and large towns of Scotland, New Zealand, and places not to be found on any map.
  Freagraíonn Alex Hijman...  
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Gan amhras feicim ceangal idir an dá rud, ach aithním freisin go mbíonn contúirt na comparáide éasca ann. Is minic a cheapann duine nó dream atá faoi ionsaí gur ag a leithéidí féin – duine nó dream a mbeadh cos-ar-bholg á imirt air – a bhíonn an ceart i gcoimhlint ar bith.
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Of course there is a link between the two, and this is exactly why the viewpoint character in *An tearmann* is an Irish speaker. However, rather than using the plight of a (fictional) indigenous tribe in South America as a pat metaphor for the situation the Irish language and its speakers find themselves in, what I wanted to do was challenge the notion – common among minority groups – that the underdog is always right. Sometimes there is no ‘right’.
  Aois Fir – úrscéal nua ...  
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. De réir an údair féin, is finscéal é, a chuireann síos ar theacht in inmhe buachalla óig, agus é amuigh ar an bhfarraige i mbád. Tá athair agus uncail an bhuachalla gan aithne gan urlabhra leis an ól, agus tá air an bád a stiúradh isteach sa chuan gan chabhair ar bith ó éinne.
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Liam admits that he has had the story in his head for a long time, and is indeed surprised that there is not a greater tradition of seafaring stories by Irish writers, given our situation as an island nation. Recognising that the rich, evocative language he uses may result in an adult readership, rather than young readers of the protagonist’s age, he defends the novelist’s right to expressiveness. Indeed, the novel’s appeal is far broader and will appeal to
  Alex Hijmans ag Féile L...  
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Ceist ghaolmhar a d’ardaigh Michael Cronin ná ‘an amhlaidh go bhfuil claonadh sa ghearrcéal cás an duine imeallaigh a phlé?’ D’admhaigh Micheál Ó Conghaile go mbeadh sé sin fíor i gcás roinnt mhaith dá shaothar féin ach go mb’fhéidir gur mar sin a bhí toisc go mbíonn na daoine sin níos spéisiúla – bíonn siad éagsúil agus cuirtear spéis iontu dá réir. D’aontaigh Alan Titley leis an argóint sin (cé go ndúirt sé nach maith leis a bheith ag aontú le rud ar bith – leis féin go háirithe!) agus luaigh sé na carachtair sna gearrscéalta in
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The chair then asked the panel to share their thoughts about the theory that the short story tended to deal with people in the margins of society.  Micheál Ó Conghaile agreed that this coul certainly be said of many of his short stories but thought that this was the case because such people were simply more interesting than those in the mainstream – their very difference makes them of interest. Alan Titley concurred (adding the caveat that he rarely agreed with anyone else and never at all with himself!) and cited the characters in the short stories in
  Cailíní beaga Ghleann n...  
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'Sé cuspóir an fhiontair an léitheoir a choinneáil ag léamh agus éiríonn le Ní Dhuibhne sin a dhéanamh i dteanga thar a bheith bunúsach. X-ghathú den teanga atá déanta aici - is léir cnámha an choirp ach níl feoil ar bith air.
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On the surface it appears to be a straightforward narrative about a happily married woman with a quiet, gentle husband, a rewarding career, and two lovely children. We soon learn that her daughter has grown despondent, introspective and uncommunicative, and this prompts her mother to re-examine her own youth and childhood. This brings us back to a turning-point in her life when she attended an Irish summer college at the age of 10. The narrative is split complementarily between the past and the present, illuminating both. This deceptively simple story is a pleasure to read. The writing is clear, plain, lucid and stylish. The artistry on the surface goes a long way down. Everyday emotions are invested with a charge that becomes more clear when people talk to one another. Éilís Ní Dhuibhne is equally accomplished in dealing with the worry of a mother whose child has emotionally departed and with the pain of a young girl meeting people her own age in an environment of freedom for the first time. The petty jealousies, the backbiting and the bitchiness are truly terrifying, just as the small successes are hugely uplifting. In some ways, this is the story of a generation that went to a certain kind of Irish college, and of another generation that has lots of words for the ailments of modern living but no more wisdom than before. While the story is compulsive and drives the novel along, we are being invited to think of other things as well. Even the most organised lives can be taken over by events, and irrational beasts lurk in the undergrowth of the suburban garden. Small ticks of personality can turn the world upside down. The past can be revisited, but it is never the same place. Éilís Ní Dhuibhne has shown in her Irish and English fiction that she is a readers' writer. They deserve this.
  Cailíní beaga Ghleann n...  
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'Sé cuspóir an fhiontair an léitheoir a choinneáil ag léamh agus éiríonn le Ní Dhuibhne sin a dhéanamh i dteanga thar a bheith bunúsach. X-ghathú den teanga atá déanta aici - is léir cnámha an choirp ach níl feoil ar bith air.
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On the surface it appears to be a straightforward narrative about a happily married woman with a quiet, gentle husband, a rewarding career, and two lovely children. We soon learn that her daughter has grown despondent, introspective and uncommunicative, and this prompts her mother to re-examine her own youth and childhood. This brings us back to a turning-point in her life when she attended an Irish summer college at the age of 10. The narrative is split complementarily between the past and the present, illuminating both. This deceptively simple story is a pleasure to read. The writing is clear, plain, lucid and stylish. The artistry on the surface goes a long way down. Everyday emotions are invested with a charge that becomes more clear when people talk to one another. Éilís Ní Dhuibhne is equally accomplished in dealing with the worry of a mother whose child has emotionally departed and with the pain of a young girl meeting people her own age in an environment of freedom for the first time. The petty jealousies, the backbiting and the bitchiness are truly terrifying, just as the small successes are hugely uplifting. In some ways, this is the story of a generation that went to a certain kind of Irish college, and of another generation that has lots of words for the ailments of modern living but no more wisdom than before. While the story is compulsive and drives the novel along, we are being invited to think of other things as well. Even the most organised lives can be taken over by events, and irrational beasts lurk in the undergrowth of the suburban garden. Small ticks of personality can turn the world upside down. The past can be revisited, but it is never the same place. Éilís Ní Dhuibhne has shown in her Irish and English fiction that she is a readers' writer. They deserve this.