Inklings
"Properly speaking," wrote Warren Lewis, "the Inklings was neither a club nor a literary society, though it partook of the nature of both. There were no rules, officers, agendas, or formal elections." As was typical for university literary groups in their time and place, the Inklings were all male. 
Readings and discussions of the members' unfinished works were the principal purposes of meetings. Tolkien's "The Lord of the Rings", Lewis's "Out of the Silent Planet", and Williams's "All Hallows' Eve" were among the novels first read to the Inklings. Tolkien's fictional Notion Club (see "Sauron Defeated") was based on the Inklings. Meetings were not all serious; the Inklings amused themselves by having competitions to see who could read the notoriously bad prose of Amanda McKittrick Ros for the longest without laughing.
Irish literature
C. S. Lewis (1898–1963) and Louis MacNeice (1907–63) are two writers who were born and raised in Northern Ireland, but whose careers took them to England. C. S. Lewis was a poet, novelist, academic, medievalist, literary critic, essayist, lay theologian, and Christian apologist. Born in Belfast, he held academic positions at both Oxford University, and Cambridge University. He is best known both for his fictional work, especially "The Screwtape Letters" (1942), "The Chronicles of Narnia" (1949–54), and "The Space Trilogy" (1938–45), and for his non-fiction Christian apologetics, such as "Mere Christianity", "Miracles", and "The Problem of Pain". His faith had a profound effect on his work, and his wartime radio broadcasts on the subject of Christianity brought him wide acclaim. Louis MacNeice was a poet and playwright. He was part of the generation of "thirties poets" that included W. H. Auden, Stephen Spender and Cecil Day-Lewis, nicknamed "MacSpaunday" as a group – a name invented by Roy Campbell, in his "Talking Bronco" (1946). His body of work was widely appreciated by the public during his lifetime. Never as overtly (or simplistically) political as some of his contemporaries, his work shows a humane opposition to totalitarianism as well as an acute awareness of his Irish roots. MacNeice felt estranged from the Presbyterian Northern Ireland, with its "voodoo of the Orange bands", but felt caught between British and Irish identities.