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Literary portraits of Ireland’s independence struggle, following advances in acoustic technologies, exhibit a pronounced sound consciousness. Elizabeth Bowen’s  The Last September  (1929) and Iris Murdoch’s  The Red and the Green  (1965), informed by listening as replicable experience, exhibit the incidence of aural incursion: the capturing and processing of sound into information to uncover the self’s place in the world. In Murdoch’s work, antagonisms develop among a family of Dubliners from secretions of sound, revealing the aural composition of social and national identity, the spatial politics of Britain in Ireland, and the perils of covert listening. Emphasising sound’s demarcative properties, Bowen’s chronicle unfolds through sonic overflow, articulating dichotomies between estate and state, origin and echo, and sonic overload and silence to expose a Big House’s contentious place in Ireland. Developing distinct Anglo-Irish soundscapes, both novels explore how the sonic realities of military broadcasting and surveillance infiltrate civilian life and signal revolution.

The Incidence of Aural Incursions in Elizabeth Bowen’s The Last September and Iris Murdoch’s The Red and the Green