It started in 1845 and lasted six years. Before it was over, more than one million men, women, and children starved to death and another million fled the country. Measured in terms of mortality, the Great Irish Potato Famine was one of the worst disasters in the nineteenth century-it claimed twice as many lives as the American Civil War. A perfect storm of bacterial infection, political greed, and religious intolerance sparked this catastrophe. But even more extraordinary than its scope were its political underpinnings, and The Graves Are Walking provides fresh material and analysis on the role that nineteenth-century evangelical Protestantism played in shaping British policies and on Britain's attempt to use the famine to reshape Irish society and character.Perhaps most important, this is ultimately a story of triumph over perceived destiny: for fifty million Americans of Irish heritage, the saga of a broken people fleeing crushing starvation and remaking themselves in a new land is an inspiring story of exoneration.Based on extensive research and written with novelistic flair, The Graves Are Walking draws a portrait that is both intimate and panoramic, that captures the drama of individual lives caught up in an unimaginable tragedy, while imparting a new understanding of the famine's causes and consequences.
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by James Heneghan
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by Mick Herron
by William Joyce, Laura Geringer
by Val McDermid
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by Tony Parsons
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"What started with a single crop failure rapidly mushroomed into a pestilence of starvation and disease that killed a third of the population of Ireland in the mid-nineteenth century. Kelly's study looks at the crisis from several angles biology, disease, government response, economic downturn, religious intolerance, and emigration. Gerard Doyle's native Irish speech lends authenticity to the depressing saga of unending grief and desperation. He chooses a solemn, even tone that combines a factual narration with an inner horror at the conditions of the time. He rarely performs any of the occasional dialogue found in the text, instead relating it as though reading from a newspaper. His sober, yet compassionate rendering brings home the sorrow and tragedy with grace. R.L.L. (c) AudioFile 2012, Portland, Maine"
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