While criticism of contemporary Irish poetry has largely focused on the reverberations of the post-imperial sectarian conflict in Northern Ireland, I have turned instead to the engagement of Irish poets with the effects of neoliberalism and globalization on Ireland, with particular attention to the Soundeye poets, in order to understand Irish literature as it exists outside the British-Irish binary. The coterie of poets I study are termed the Soundeye poets after their regular attendance at the annual Cork-based Soundeye Poetry Festival; the poets are Billy Mills, Catherine Walsh, Maurice Scully, Randolph Healy, and Trevor Joyce, all of whom draw inspiration from the radical forces of international Modernism and the historical avant-garde in their formal choices and in their attempts to revamp poetry to reflect the globalized Ireland in which they live. In the last half of the twentieth century, the Republic of Ireland turned away from isolationist policies and an agrarian economy to embrace the European community and the global market, which led to the economic boom of the late 1990s and early 2000s termed the "Celtic Tiger." My dissertation argues that the Soundeye poets reveal and critique, not only in content, but also in poetic form, the societal consequences of privatization and basement-level corporate taxes. I conducted interviews in 2009 with the five poets above in order to more deeply understand their experience of the economic and cultural shifts in Ireland and the impetus behind their formal experiments.