북아일랜드의 현대사 중 가장 비극적인 사건인 블러디 선데이는 시, 소설, 영화 그리고 팝음악에 이르기까지 다양한 작품을 통해 재현되어 왔다. 블러디 선데이 사건의 발생 배경에는 북아일랜드 공동체를 둘러싼 영국과 아일랜드 가톨릭의 대립적인 정치적 입장과 당시 국제 정세와 분위기 등이 반영되어 있다. 본 글에서는 1972년 1월 30일 당시 사건의 장면들이 토착민들과 공동체에 어떤 기억을 남겼으며, 이 사건을 다룬 시들에서는 이를 어떻게 재현하고 있는가를 분석하고 있다. 아울러 당시 사건의 목격자들의 증언들을 바탕으로 제작된 영화 『블러디 선데이』를 통해 공동체의 파편적인 트라우마 기억이 어떻게 하나의 내러티브로 만들어지는지를 분석하고 있다.

It seems that macro-history has no relationship with family history at first glance. A close look at macro-history reveals that people in the micro-history are helplessly governed by macro-history regardless of their willingness. John Montague, a contemporary Northern Irish poet, has sought to investigate his tragic, painful familial history resulting from the macro-history of Northern Ireland which also turns out to be in predicament in political, religious, and educational terms. He was born in Brooklyn, New York, where his father had to be in exile because of his involvement in political activities in Ulster, Norther Ireland. Yet when Montague was quite young, he was sent to Garvaghey, Northern Ireland, his father's hometown. He was brought up there under the tutelage of his aunt. His early experience of separation from his parents has become the central theme of his poetry along with the political turmoil in Belfast. Thus, a number of his poems address his familial distress as well as his own. This essay seeks to examine how the poet recreates in his poems his painful experience involved in his family members, the victims of Northern Ireland's history. Many poems in Rough Field and Dead Kingdom are evaluated to be successful in terms of maintaining his temper even if they deal with painful matters of his family. As Montague himself reveals in his proses and interviews, his poetry seems to place its focus not only on praise but on liberation from his burdensome family history. To Montague, writing poetry is an inevitable means to overcome harsh realities given to his own family, himself and Northern Irish history. Particularly in his later poems, Montague arrives at reconciliation with the two corresponding histories he had to face.