隨著全球化的到來，殖民者與被殖民者之間的關係開始起了變化，而愛爾蘭多元文化主義的興起，即是後殖民全球化時代下的產物。一九九零年間的愛爾蘭和平進程，以及一些愛爾蘭作家如克爾尼、傅立爾等試圖超越現代國家主義一元論述所做的呼籲或嘗試，都是愛爾蘭多元文化主義在後殖民全球化時期逐漸興起的證據。在愛爾蘭從單一的國家主義轉向多元的後國家主義過程中，一些以往被排拒在現代國家主義論述之外的邊緣者有很大的貢獻。雖然後殖民的多元文化主義在實際執行的時候確有遭遇困難，但至少顯露出現代國家主義的許多假設是有問題的。在這樣的背景當中，法蘭克•麥基尼斯的劇作在愛爾蘭的後殖民全球化中應當佔有一份重要的位置。麥基尼斯劇中的同性性慾經常是國家主義的問題被突顯、或是基本教義國家意識形態被解構的媒介，而這也反映了多元文化時期中邊緣人的興起。麥基尼斯的愛爾蘭是個「怪胎愛爾蘭」，不只因為其筆下的愛爾蘭充滿同性戀者與怪異者，也因為麥基尼斯劇中的愛爾蘭已經不是以前那個傳統的、單一的、不同文化互相排斥的愛爾蘭了。

The relationship between colonizers and the colonized begin to change with the advent of globalization. In Ireland, the rise of post-colonial multiculturalism is the product of post-colonial globalization. The peace process in the 1990s and the attempts to think beyond modern nationalism by Richard Kearney or Brian Friel are examples of the emergence of Irish post-colonial multiculturalism. In Ireland’s move from nationalist to post-nationalist, some marginal outsiders who used to be excluded
from modern nationalism become significant contributors. Though it does meet with some obstacles when put into practice, post-colonial multiculturalism at least discloses many problematic assumptions of modern nationalism. In such an atmosphere, Frank McGuinness offers many plays that deserve a position in Irish post-colonial globalization. Homosexuality in his plays is an important metaphor through which
the grave problems of modern nationalism are exposed or essentialist ideologies are deconstructed, which reflects the contribution from the marginal outsiders in the discourse of modern nationalism. McGuinness’s Ireland is a queer Ireland not simply because it is crowded with homosexuals and queer people but also because it is no longer a traditional and homogeneous Ireland where different national ideologies are mutually exclusive.