The Writing Centre in Maynooth University, Ireland, is proud of its learner-centred approach (Biggs 1999, Lea et al. 2003. In the Centre we begin where students are, by asking them about their writing concerns. We also appreciate the need to recognise and build on their approaches to writing, their effective writing processes and their writing achievements. We see this under the broader heading of 'writing transfer'. In this article, we outline our strategies to promote transfer and thinking about transfer with students before and after one-to-one appointments. In a small-scale research project we conducted, our research questions accentuated two potential principles of transfer, as noted in the Elon Statement on Writing Transfer, that '[s]uccessful writing transfer occurs when a writer can transform rhetorical knowledge and rhetorical awareness into performance … [when they] draw on previous knowledge and strategies … [and] … transform or repurpose that prior knowledge, if only slightly', and that University programs can 'teach for transfer ' (Perkins and Salomon 1988) through the use of enabling practices (Elon 2013: 4). Our work suggests that highlighting transfer in the writing centre context reinforces our learner-centred approach while also acknowledging the literacy archives with which our students present.

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This essay reassesses Kate O'Brien's The Flower of May, and argues that the novel presents as close to a conclusion as practicable to the themes O'Brien worked on throughout her fiction – the freedom to choose one's path in life, the negotiation of cultural, ethical and familial mores, as well as the importance of education for women. A close reading of the text suggests that the mother-daughter relationship symbolizes the rejection by the heroine, Fanny Morrow, of her mother Julia, who represents Mother Ireland, its customs and conventions, towards the fulfilment of Fanny's ambition for independence through education. This aspiration is achieved by Julia's death, which leaves Fanny free to live her life on her own terms, outside the constraints of familial bonds. Intertwined with the unfolding of the narrative is the recurring motif of the lighthouse, with its haunting presence during key moments of the plot, which is utilized as a symbol of nation, as well as a means of framing the diverging paths of mother and daughter.

Sharon Tighe-Mooney’s chapter sees the divorce, contraception and abortion referenda of the 1980s and 90s as a watershed for Irish women, as these were issues that impacted directly on their lives. Tighe-Mooney examines the events of the past four decades in Irish society in the context of the weakening hegemony of the Catholic Church juxtaposed with the growing realisation by women, especially when the child abuse scandals broke, that their lives had been framed by a celibate male-dominated institution that displayed serious double standards in the area of human sexuality. She argues that in order to survive into the future, the Church will be increasingly dependent on women remaining active within the institution. As Irish women Catholics are demanding a central role in the running of a Church that has shown itself allergic to change, especially when it comes to gender equality, Tighe-Mooney wonders what the future holds for both groups.