If the dominant image of the writers’ culture of Dublin has been shaped by the male-dominated literary pubs of the mid-twentieth century, this image eclipses another side of Dublin literary life at the time. Situated in the heart of Baggotonia, off the Grand Canal, was the childhood home of Elizabeth Bowen. This chapter starts with Bowen’s memories of the area in the early 1900s, then takes her book on the Shelbourne Hotel as a base from which to explore other writers who lived in the area, including Lady Morgan in the nineteenth century, George Moore in the early twentieth century, and others such as Mary Lavin, who lived nearby and frequently wrote in the National Library. The chapter also looks that the adjacent St. Stephen’s Green, which produced its own eighteenth-century literary culture, and later features in one of the key moments in James Joyce’s A Portrait of the Artist as a Young Man. What emerges from a consideration of the writers who, over the centuries, have lived and written near one of the city’s main parks, is a sense of the many ways in which a writer can be a public figure.

Lady Morgan’s celebrity has come to be defined by her aptitude for self-fashioning, as she embodied her fictional heroine Glorvina for an enraptured English readership. Morgan’s self-conscious representation of herself in her Memoirs (1862) as ‘the poor butt that reviewers, editors and critics have set up’ suggests an equally acute awareness of her literary reception and legacy. Taking these notions of literary celebrity and self-fashioning as its starting point, this chapter focuses on Morgan’s national tales, arguing that her writing provides a self-conscious account of the cultural circulation of Irish identity. Morgan’s layering of multiple genres and discourses in her national tales indicates a writer deeply engaged with processes of both cultural and literary transition and the chapter suggests that this engagement is best understood through Morgan’s fictional appraisal of Enlightenment philosophical constructions of history and nation. In their alertness to the politics of sympathy and the performance of national suffering, the novels construct Ireland as a site of multiple and competing modes of perception and representation. In doing so, they reveal Morgan as a self-conscious reviser of form who both registers and shapes the dynamic literary transitions taking place during the romantic period.