In response to some critics of contemporary Irish culture who have lamented the loss of Irish cultural distinctiveness, particularly in language use, this chapter draws on research in the sociolinguistics of globalization to argue for an alternative method of reading language in fiction. Rather than focusing exclusively on fixed language identities, it suggests a method of reading for the modes and values of expression that are produced by linguistic mobility, neoliberalism, and technology. The chapter considers this changing status of language as it appears in Sally Rooney’s Conversations with Friends and Naoise Dolan’s Exciting Times, including the ways in which economic globalization has prioritized language as a skill and a commodity while reinventing its function through technology. The chapter argues that Rooney’s and Dolan’s novels dramatize the shift from a fixed language identity to a global one based on the idea of linguistic resources in a way that leaves their characters in ambivalent relationships to Irishness, the English language, and globalization.

The Conclusion discusses the limits and achievements of Irish expatriate fiction and looks towards future developments. Because of a small domestic literary market, a globe-straddling diaspora and increasingly multiracial population, Irish literary expatriation appears likely to continue into the future though it will take new directions. World-facing expatriate novels can contribute usefully to the development of more internationalist-minded readerships and can stimulate rather than retard the domestic novel. However, it is never easy to surmount inherited ways of seeing the world and literature competes with stronger media that are corporate-owned or dominated by the leading states. The novel cannot create the world anew, then, but at its best can cultivate more worldly readers willing to think and act anew.

Chapter 2 surveys some different ways in which Asia features in the Irish literary imagination from Lafcadio Hearn and W. B. Yeats to the present. Ronan Sheehan’s Foley’s Asia, dealing with a celebrated nineteenth-century Irish sculptor of imperial monuments, and Naoise Dolan’s Exciting Times, set in Hong Kong against the backdrop of a ‘rising China’, are its contemporary examples. In early twentieth-century writing, Asia represented an exotic non-modern alternative to Western modernity. Later, it served as a backdrop to the fall of the British Empire. More recently, it suggests a strange new hyper-modernity with which the West will have to catch up. In all versions, Asia is conceived somewhere between the exotic and apocalyptic, a world at once tantalizing and threatening.