It’s safe to say that Irish writing is enjoying something of a purple patch. Between Molly McCloskey, Lisa Harding, Sara Baume and Lisa McInerney, the groundswell of new writers in particular has been a thing to behold; each of them confident, vibrant, and with an ear for the lyrical and a nose for innovation.
And now there is June Caldwell, a former journalist and prize-winning short-story writer whose debut collection has just been published. Caldwell has been on the radar thanks in no small part to her story ‘Somat’, a tale written from the point of view of a foetus whose mother is essentially dead of a stroke. Room Little Darker carries on this brilliantly inventive style with gusto.
Where some writers favour the lilt of poeticism, the cadence of beautiful prose, Caldwell has stirred up a bitches’ brew of anger, spiky rage and deft humour. She has captured the fetid air of Catholic Ireland, the pedestrian grey despair of the old folks’ home and the cloying stillness of suburbia. Yet the stories themselves are neither pedestrian, nor fetid. Each crackles with writing that doesn’t so much bristle the reader as approach them with a roaring chainsaw.
These stories may be relaying the familiar topographies of Ireland, but you’ve probably never read about contemporary Ireland quite like this. Chinese chicken balls, for instance, are described as “lava-hot balls of scrumptiousness, snowed in gorgeous lumpy rock salt… when you bit into them, the chicken played a strange trick on your tongue, opening up like a new expensive umbrella, pushing suitcases of hot batter around the gum-line”.
A scene on a Dublin street later on in the book features a “junkie with a pert arse (who) does a great car alarm with her toothless gob”.
This straight talking is Caldwell’s delicious, murky stock-in-trade, and every single sentence packs a similar punch. The alpine-fresh metaphors come thick and fast, and all of them land on target: a delightful, satisfying reading experience in and of itself.
Despite being a relative newcomer, Caldwell’s writing bristles with chaos and confidence. Her characters don’t always have the most charitable or charming worldviews, but they’re all the better for it. It’s clear there’s a strong, salty, swaggering writer behind such prose: better still, she has the literary nous to make her views on everything from dementia to contraception pulsate. The opening tale, ‘Upcycle: An Account of Some Strange Happenings on Botanic Road’, brings home the complexities of having a parent with dementia, while ‘Implant’ recounts the break-up of a long-term couple, albeit with an abortion inducement to complicate the tale. ‘The Man Who Lived in a Tree’, meanwhile, is visceral, shocking and malevolent.
All told, Caldwell has more in common with the likes of Irvine Welsh or Hubert Selby Jr than any of her homegrown contemporaries, but this is writing that does not lend itself easily to categorisation or comparison. Either way, consider our caps well and truly doffed.
This feels slightly weird but in the run-up to the launch of Room Little Darker next Wednesday, 31st May (Hodges Figgis, 6pm, all welcome!) I wanted to post this author interview Catherine Dunne did with me on her website as it discusses some of the stories in the book as well as wider themes. So excuse the narcissism, and enjoy!
1 – ‘SOMAT’ is also part of this new story collection. Narrated from the point of view of a foetus, it is, among other things, a howl of outrage against the Eighth Amendment to the Constitution which can reduce pregnant women in Ireland to the status of incubators. But it is the irreverent inventiveness of the language that really grabs the reader by the throat. Can you give us an insight into how you gave life to this particular voice?
J.C.: – There were two Frankensteinesque stories of women held captive in monstrous situations in 2014 that really smashed me in the gut and made me angry as hell. A woman from Texas called Marlise Munoz, who was 14 weeks pregnant with the couple’s second child when her husband found her unconscious on their kitchen floor. She’d suffered an pulmonary embolism. Though doctors pronounced her brain dead and her family explicitly said they didn’t want machines keeping her body alive, officials at John Peter Smith Hospital in Fort Worth felt differently.
The law in Texas is very like ours in Ireland. It required them to maintain life-sustaining treatment for a pregnant patient as long as there was a foetal heartbeat. Keeping a woman alive against nature’s will (her body was essentially rotting and she had to be drowned out in ‘somatic’ medicines to keep her ‘technically’ alive) as a human incubator when the baby/foetus is in no way viable was such a hideous scenario.
Her family fought their own grief and powerlessness for eight long weeks, having to go to court several times, before she could be taken off the machines. Think of the trauma of that? And the law is supposed to be there to ‘protect’ you?
Her husband, Erick Munoz, argued that sustaining her body artificially amounted to ‘the cruel and obscene mutilation of a deceased body’ against her wishes and those of her family. That was at the beginning of the year.
June Caldwell’s stories are the roar of fury and clarity that Irish fiction has been needing – no really, it has. You haven’t read anything like this before. You haven’t had anything before like the headspin that these stories will give you. And it doesn’t hurt that they’re gaspingly, gutsily hilarious, as well as formally brave and unbothered with the rules. Just brilliant – Belinda McKeon
At the end of the year, an almost identical situation happened in Ireland. A woman who had suffered a spontaneous ‘brain’ trauma who was 18 weeks pregnant, ended up at the mercy of bonkers legislation in an ‘unnamed’ hospital, being fought over by medical staff, legal eagles and the Catholic church. The hospital refused her family’s request to discontinue artificial life support, citing ‘the country’s strict abortion law’ as their guideline. Then there was the usual circus offerings: lawyers representing the rights of the woman and of the fetus, but not her family, said they accepted the ruling from the country’s second-highest court.
Pro-life organisations saw the lingering horror as a kind of triumph in real-time and the men in dresses were issuing statements from stained-glass windows on God’s law over woman’s fate.
It was insane and really upsetting to read about. One doctor commented that the fetus was essentially “facing into a ‘perfect storm’ from which it has no realistic prospect of emerging alive.”
Even the most cogent argument couldn’t alter the facts, the ‘baby’ had nothing but distress and death ahead. The hospital was afraid of being sued for negligence or having to face murder charges under a 1983 constitutional ban on abortion, the strictest in Europe. Keeping her deteriorating body functioning only with the help of machines and drugs deprived her “of dignity in death”.
It subjected her father, her partner and her young children to “unimaginable distress in a futile exercise which commenced only because of fears held by treating medical specialists of potential legal consequences,” the court decided.
And of course, Government officials said the ruling would be studied for possible exceptions to the blanket ban on abortion. We live in a time where we are contemplating colonies on Mars and yet there are women left lingering in this freakish state in our hospitals, with their families suffering ridiculously.
It boiled my piss.
I wanted to write a story that reflected the trajectory of horror and I felt that it was best told from the fetus’s perspective, to highlight the hideousness. After spending years in journalism and being restricted on what you could say and how you could say it, I firmly believe that fiction can be more effective, more politicised.
wrote the story in a fit of anger to the 3,000 word brief (which was hard to do and sent it into Sinéad Gleeson, who was editing The Long Gaze Back anthology).
I was really nervous about how it would be received, if it came across as offensive, if it would get people talking. It turned out to be one of the most talked about stories in the collection.
The Open University now want it on their MA in Creative Writing (fiction module) and have asked permission to use it for the next nine years. That gave me hope that I have it in me to make a difference. Up until that point I had no idea if I could write a short story or not. Writing the story helped me understand the stupidity of our laws and the need to Repeal the Eighth Amendment and go for a referendum. I hope it happens. It needs to happen.
June Caldwell’s writing is audacious, wicked and profoundly funny; her prose cracks and sizzles. The stories in Room Little Darker are literary electrical storms and Caldwell’s voice is a genuinely fresh, bold and welcome addition to the Irish scene – Nuala O’Connor
2 – The characters in your stories often inhabit a nightmarish world, such as that wildly imagined one in ‘Imp of the Perverse’. They are frequently transported there by the ferocity of sexual desire:
‘In the garden I watch the guests through the heat of amber eyes. Grasses bristle and jostle. I stretch forward to lie flat in the flimsy sunshine of early evening. The clouds are hungry and my mouth waters. Wind tears at itself as I pull layers from the sky to lay over me. Laughter grey and mocking. They do not know the danger love carries.’
Can you talk to us about this – about ‘the danger love carries’ in your stories?
J.C.: – Well, yes, in adult life we are obliged to be ‘civil’ always, aren’t we, to be well behaved?
We’re not marauding teenagers anymore.
But sometimes we can’t or don’t choose our desires and the people who counter-inhabit them. They choose us. They untangle us. They sweep in from the unconscious and take us over, eat us up, make fools of us, flood us. Crazy behaviour can only follow. Desire as the invisible puppeteer. And these desires are often strongest where hierarchies exist, where taboo beckons, where warped lust lurks. In this story I wanted to look closely at two stereotypes: the randy professor who has more choice than sense, and the love-struck MA student who at first is overwhelmed by a genuine admiration for him and his work, but pretty soon that morphs into a dangerous longing.
The longing takes over and acts as Theatre Director in the drama, leading into murky corners, embarrassing come-ons. He, of course, plays with this at first, before becoming sickened or appalled by her. He is used to seducing women with his mind, ‘pinning’ with his eyes, flinging provocative sentences, lassoing.
He sees himself as a Gingerman type character and everyone is fair game.
Until the game goes wrong.
His character is quietly psychopathic. He’s addicted to the pleasure he gets from luring people in, of women wanting him, lasciviousness. He pulls the strings, the wires, he cracks the whip. His position also allows for this. It is the milky environment of emotional cancer, the alkaline is missing. He has a vast brain and deeply abusive psychological patterns that direct him. He’s also a fail-safe opportunist.
She’s not a victim though.
She’s also very clever and plays the ‘little girl’ around him a lot, knowing he likes the dynamism of that. But then she loses control and spills overboard, along with her sanity, ending up in the freezing cold sea. The only way she can cope with the idea of him is to turn him into an animal in her head, where he is predator and she is [willing] prey.
All well and good, but the game goes wrong when she realises he has no interest in her. She cannot compete with what he normally goes for. She unravels. Self-annihilation and destruction consume her. It’s all a bit disgusting and shameful. On the surface she seems to be the gudgeon, the martyr.
But then she examines his behaviour inside the kaleidoscope of power and realises that he can behave as he likes. The expectations on her, in the ‘lower’ hierarchical role, are more demanding and rigid. She gets angry and this perpetuates even more destructive behaviour. It’s a no-win. Going back is futile, revenge is futile, going forward is futile. She is straitjacketed. He will never like her, consider her, want her. His available pool of lovelies who admire him endlessly is so large, he drowns in it. They both drown, but in different ways. In the end she wanders into the ‘den’ and has a breakdown. What will happen when she emerges from that desolate place and sees more clearly? Sees that he’s just a man (how boring!).
What then? Will she feel remorse, will she feel sorry for him? Will she learn important things about herself? He doesn’t care however, and formally complains, consequence pours in regardless. She’s punished severely for her ‘transgression’. He’s every right to do what he does.
He’s also every right to bob along never scrutinising his own behaviour because he never believes he causes damage. It’s all just light-hearted ‘stuff’ to him. Maybe he is the ‘victim’ here, maybe he did nothing wrong.
She could be just relentlessly nuts after all. I want the reader to consider the macro, to like and hate and understand both characters. The meaning of meaninglessness! I use Edgar Allen Poe’s ‘Imp of the Perverse’ as a type of metaphor or structure for the story. In his original short story, which Poe wrote in part as an essay, he first discusses the narrator’s self-destructive impulses, embodied as the symbolic metaphor of The Imp of the Perverse.
The narrator describes this spirit as the agent that tempts a person to do things ‘merely because we feel we should not.’ He talks about how we are compelled to ‘commit acts’ against our self interest in life, that this is part of our intrinsically destructive impulses as human beings. The guilt that’s produced afterwards (even if we ‘confess’ to our ridiculous behaviour, our sins) is also futile. No one cares! Poe’s character eventually commits murder, gets away with it, but the overwhelming desire [triggered by an ‘invisible fiend’ pursuing him, the conscience] to confess leads him to the hangman’s alley.
I thought it would be the perfect metaphor to look at destructive desire and the crippling lonely lows it can lead us into.
I use some of Poe’s text in the story, sneakily.
It’s there in some of the sentences, but the modern context of the setting submerges the original text.
The moral of the story is that desire can be as treacherous as love is relative. We need to know how to handle it, how to bury it, how to accept defeat and walk off, how to forgive ourselves. Ultimately how to accept that sometimes we have no control. Perhaps it’s the only way we can truly learn.
This story could also be written about a priest and one of his congregation, a paedophile and a child, an alligator zig-zagging towards a juicy deer strolling aimlessly by. Ying without the Yang, sexual chemistry in a cul-de-sac.
Poe’s theory of the Imp of the Perverse is an early notion of the subconscious and repression which would not be fully theorised until Freud.
When people meet they’ve no real idea what private psychologies they’re banging off. It’s why we have boundaries in life. Rules. When we ignore them, or evade our own splurging instincts, we get into trouble. It was too tempting to have the student protagonist ‘win’ in the end by ripping him to shreds for hurting her, but that’s not realistic. The end is deliberately anti-climactic. Maybe they are both still out there and have learnt nothing in their separate dusty cubby-holes. That’s what I imagine anyway. Love, lust, desire, even the ugly deluded kind, are potentially traumatic and betraying to the delicate self. There is no midway point, no resolve, no understanding. We become marked, spoiled, swinging off the rope forever. Tread carefully and make sure there’s rubber soles on your slippers to cope with the rain.
June Caldwell’s stories are savagely inventive, full-throttle snapshots of the creepy, pitiable world it seems we all now have to live in. If the ghost of Angela Carter and a hungover George Saunders ever got together, they might turn out tales as full of the righteous ire and strychnine wit as the uproarious stories in Room Little Darker – Colin Barrett
3 – Your writer’s imagination seems to me to be a heady mix of hilarity and horror. In the visceral tale ‘Upcycle’, a daughter recalls the chilling abuse of a now-demented father. Yet the tale is leavened with a hearty dose of black humour, such as the mother’s futile attempt, long ago, to ‘poison his stew’. There are many times when the reader laughs, and then feels uncomfortable for laughing. Can you talk to us about the role of humour in your stories?
J.C.: – I always see the funny even in the horrific or even just in the ‘every day’.
Maybe it’s a feeling of healthy dislocation, but I find a lot of life ‘unreal’, and that also includes how we cope with memory. I’ve never grown up, essentially. We forget too that there are always two in a tango, that everyone bears the weight of responsibility, for their relationships, for their actions, and most tellingly, for their lack of action.
The crime of nonchalance, of missing the point of life. The ‘wife’ character in ‘Upcycle’ is portrayed first of all as a bit of a victim but really we have to ask ourselves, what’s in it for her staying with a man like that? Is it societal pressure of the time (the story swings back and forth from the 1970s and 1980s to the present day where the ‘husband’ is in a nursing home)? Again it is a story about the shifting sands of power: a man who is a bully in his marriage but is now out of control with the mites of madness eating his brain, behaves accordingly.
He loses control but tries to regain some of that control by haunting his family. Is he really haunting them or is it their own conscience playing havoc in the aftermath of a traumatic situation? The house becomes a metaphor for the man’s strong seething will and starts to break up all around them (the wife and daughter).
I guess there’s unintentional humour in that.
In the scenario itself. Fun in the absurd. We expect justice in life, appeasement, release from hard situations. It often doesn’t arrive, it doesn’t grace our doorstep.
Life tells us, ‘You picked this shit, deal with it, smell it, stick it right up your nose.’ Humour is sometimes our only saviour. Without giving too much away, by the end of the story, the protagonist realises that the father was always terrified of them, while they lived it in real time the other way around. Humour in hopelessness, the wrangle for reason.
What else is there to do sometimes but laugh? I hope that there is fun and humour is most of these stories. In ‘Leitrim Flip’ for instance, the scenario is horrific, but again the couple’s predicament in the cage is a consequence of not thinking things through clearly. There’s buffoonery in the role reversal: the ‘submissive’ character relents and accepts her fate. The ‘Master’ continually fights their predicament and refuses to accept it. Yet in his traditional role he’d expect her to handle anything he’d dream of dishing out.
In ‘The Man Who Lives In A Tree’, the tree is seemingly a ‘friend’ but Rashi soon realises that he’s a malevolent git. A Facebook friend who was sent a review copy wrote to me today to say she had ‘nightmares’ after reading the story.
She dreamt Liam Neeson turned into the tree and chased her.
I couldn’t stop laughing at that image. If I give people nightmares or make them laugh, I’ve done my job as a writer.
My 83-year-old Ma asked me why I wrote about ‘a tree who could talk’, and I said, ‘why not?’ Hippies believe that trees whisper and have voices. Maybe they do. And we, as people, as wreckers of the environment must piss them off no end. But all we feel is pity for ourselves, not for the havoc we wreak. The tree doesn’t care too much for humans, even ones like Rashi who are homeless and desperate. Why should it? That shouldn’t be funny, but maybe it is. I also feel guilty sometimes about using humour in inappropriate ways.
In ‘Dubstopia’ we should feel nothing but concern for the heroin addict character, but we end up laughing at the pointlessness of his day, at his own lack of control, at a city sizzling in menace. When I worked at the Irish Writers Centre, I remember one day standing outside in the porch to get some air, and I saw this really dishevelled junkie, he looked in a terrible state, really emaciated… and he stopped to read the menu outside Chapter One (you know, that really posh expensive Michelin star restaurant!). He looked like he’d emerged from a crumby bedsit, woken by the pains of hunger that pulled him out onto the street. He was reading the menu out loud driving himself mad! I knew it wasn’t funny per se, but I couldn’t stop laughing.
I felt bad but laughed for two days over that.
I felt ugly for my own immorality of being able to find this funny. It made me uncomfortable. I want my stories to do the same. Humour, laughter, to just plomp your face in your hands and say, ‘For fuck’s sake!’, is a great balm. We laugh uncontrollably from the time we’re babies and everything is hideous and new and distorted, to the hilarious cartoons of childhood that calm and teach us, to our mortifying teenage romances, right up to the myriad of things that can and do go wrong for us as adults. Humour is also a close colleague of pain. There is so much in life that is privately hellish or impossible to cope with. If we can take a moment to laugh, then isn’t that great? We’re all strolling towards the crematorium anyway. Imagine taking any of this shit seriously?
There is a seriously charged imagination at work here. Line by line, page by page, Caldwell brings a dangerous new voltage to the Irish short story – Mike McCormack
4 – Your stories deal with characters who find themselves ‘unmoored’ in a strange and hostile parallel universe. Although dark and terrifying, the world that you create is kept vibrant and somehow optimistic by the sheer energy of the language that you use – your metaphors are arresting, startling, illuminating. Is language or character the starting-point for you?
J.C.: – I love language!
I listen to how people speak, not formally, but how, you know, we have conversations in the pub or even in our heads (have you ever taken time out to listen to your head, it’s terrifying!) With ‘Natterbean’ for instance: that came about one day in a taxi. A junkie walked out in front of the cab and the taxi driver said, ‘I hate them fucking Natterbeans’. I asked him what he meant. ‘Every time they get into the car, they’re all ‘I’m natterbean up at the clinic and yer man said…’ and so on. It was his word for ‘I’m after been’, said in a frenzy. I thought, ‘I’m robbing that!’ Language straight off the street, right from the gob of a taxi man, you can’t get more Joycean than that.
Taxi men are the modern-day carriers of all things Ulysses.
Their warblings are a great example of how language is used to best effect in ordinary ways, in storytelling. Taxi men always tell you stories and they do it brilliantly.
We learn how to write ‘essays’ in school in Victoriana English. Short story writing is the opposite of that, in any fiction, we’re trying to mirror reality as we live and experience it. In SOMAT the foetus is not really talking like a foetus (we all know they can’t talk, right?) and the voice is peculiarly adult and ‘knowing’, but at the same time it breaks up/away into baby speak sometimes.
I wanted to give a flavour of ‘what if’. Voice for me is the most important thing in any writing. How that character inhabits their own reality. I admire writers who use language in subtle beautiful ways, but that’s not me.
My heroine in this regard is Eimear McBride, what she does with language in ‘A Girl is a Half-Formed Thing’ is off the scale brilliant.
She knows how language is formed in the brain through her study of linguistics and she worked with that. It floored me. Seeing it performed on stage shook me to the core. It’s the best example of stellar use of language I can think of. I’m not in that league at all but I take inspiration from her.
I love reading a book where the character (and the writer in their role of occupying that character) seems almost possessed. Ross Raisin in ‘God’s Own Country’ or even ‘The Lovely Bones’ by Alice Sebold.
I hope that I use language effectively to make each of the stories different from one another. I’ve read short story collections where ‘the voice’ is the same throughout and while there’s great skill involved in achieving this, it’s not for me. I want each story to be so separate and identifiable from the next.
The average word usage for anyone using spoken English is between 20,000 and 35,000 words, but the Oxford English Dictionary lists at least 171,476 words with thousands of obsolete ones no longer in use. Look how much language has changed since the advent of social media? All those new buzz words and vowel-less offerings?
Language, like sexuality, is fluid, and it’s the writer’s job to exploit this to the best of their ability.
It’ll be interesting to see if some of the language in my ‘Oirish’ stories carries to an audience outside of here. Will it work or will it bore? Writers like James Kelman and Irvine Welsh have done Scottish street language proud. How will we move with the high-tech languages of the future and still stay true to our own unique way of expressing ourselves?
5 – After this blistering collection Room Little Darker, what’s next for June Caldwell, Writer?
J.C.: – I’ve a few short story commissions to write now (for The Lonely Crowd Welsh literary journal and Winter Papers here) and after that it’s time to return to an abandoned novella: a murderous tale about one of Ireland’s missing women, told from the dead, with a twist.
I was obsessed with the ‘triangle’ of missing murdered women that happened in the 1990s, but my story moves on a bit in time and looks at the idea of murderous intent and how so many men get away with the ultimate violence against women, and how as a country, we are still utterly unprepared to deal with that scenario.
I began the story on the MA in Belfast, but I’d never attempted fiction and it was very disparate and all over the place. That’s the next job at hand. After that, I may go for a ‘big’ novel. I also love hybrids: mixes of non-fiction and fiction. I feel like I’ve spent two decades in an incubator ‘waiting’ to write.
I can’t understand why I didn’t do it earlier. So I want to have all my babies now in quick succession. Then I’ll retire to the countryside to have as much sex as I can and look at the sea endlessly before I die. Well, hold on, I’m only in my forties so maybe there’s plenty of time to write a whole slew of disturbing books where I’ll be labelled a lunatic but one day someone will say ‘Yer one, she was a difficult narky character alright, but she could string a sentence together OK’. That to me, would be a life well lived.
Last year after the publication of my short story SOMAT in The Long Gaze Back, I was asked to contribute to various events and public readings. I decided to say a big resounding YES to anything I was asked to write/do as an important part (for me) of being a writer is taking on the challenge of reading in public. I took part in a lot of fun events, the Barrytown Trilogy Readings in Dun Laoghaire when Colm Keegan was Writer in Residence, The Bogman’s Canon Fiction Disco, Staccato, National Concert Hall, among others. (Next Monday: 7th November, I’ll be reading a new short story at The Monday Echo at The Mezz in Temple Bar. It kinda never stops! What I learnt was that writing for public readings demands a different type of narrative, one that is less complex than, say, a short story for the page, where the reader is deliberately left thinking about what is inferred – particularly with story endings – and instead these pieces should concentrate on entertaining the audience in the moment. You have about ten minutes to make yourself understood in these kind of settings. You can do this by concentrating more heavily on dialogue, making stories easier to comprehend and to the point. Who are the main characters, what’s going on, what happens them, what changes. Simple! When I was asked to take part in the Eastrogen Rising as part of the Five Lamps Festival I wanted to write about an ‘unknown’ woman who was caught up in the Rising in some way. Lots of ordinary Dubs were left short of vital supplies (no fridges, people shopped daily for their grub) and forced to loot in order to feed their families, it’s believed now that this is how a lot of the kids who got caught up in the gunfire, died. As reported in the Irish Examiner last March, most of the looting took place in the first three days, amid the crossfire between the rebels and the British, but before the fires took firm hold in the central streets. Lower Sackville St was a focal point, with clothes, sports, and toy shops proving popular. Noblett’s and Lemon’s confectioners shops were looted for chocolates and sweets; the toffee axe may have come from one
of these. The Cable Shoe Company had its windows smashed, and contemporary newspapers reported that people were seen trying on boots and shoes, and returning for another pair if the first selection failed to fit correctly. I tried to imagine a woman whose husband was a bit of an eejit, he desperately wants to pick off some of the glory for himself any way he can while she’s left at home with some leftover veg and a baby to look after, until her friend Molly calls around and takes her looting. This show is running for the last time on December 3rd at the Annesley House in North Strand as the 1916 commemorations come to a close. It’s a fast-paced celebration of those women, from Constance Markievicz to the messenger girls, the ordinary housewives and the widows of the executed men. The multi-media show includes songs, poetry, spoken word, theatre pieces, video and recorded soundscapes. Fireworks taken from Lawrence’s Photographic and toy emporium on Sackville Street opposte the GPO were thought to have been responsible for much of the fires in that part of the city centre. It was these fires, started by looters that spread from building to building, which caused the massive destruction. Here’s my short fiction piece from the show that was Highly Commended for the The Colm Toíbín International Short Story Award. Read it fast in a flat Dub accent or come to the show in December to hear me read it instead! Tickets are available at the door on the night…
‘A woman of set purpose’, he says, ‘In these stirring times Kathleen, it’s no worse a thing you could be.’ ‘Ah right’, says I, ‘Everyone lays a burden on a willing horse Jimmy, but not every Irish woman is Maud Bloody Gonne’. He flicked the baby’s snot in the fire, and prepared to leave, carrying a piece of chair leg with him. That’s what I loved about Jimmy; he could suck out the clogged pipes of a bairn in one hand, and take on the might of the oppressor with a bit of wicker in the other, and still be home in time for a shindig supper. ‘You’re not listening, it’s on for certain’, Jimmy says, ‘The rebellion, it’s full steam on’ – the whooping outta him – ‘D’ye hear me Kathleen? It’s STARTED!’
A fella shot hoisting a flag high above City Hall…crowds gathering up around Sackville Street, fixed bayonets, people digging trenches, fires scorching from pinched fireworks, running in all directions they were. ‘Pray for me darling Kathleen, that I arrive back safe in your bosom’. As last words, no less dramatic than his ideals. ‘I will,’ I says, looking at the half a sausage, butt of carrot and scabby onion on the table, that, along with a sly sup of water, was going to magic into this week’s dinner. ‘I’m hoping for all our sakes you do come back love,’ I says. ‘Not least of all so I don’t have to explain to your employer up at the Royal Barracks that they’ll have to get a new shit shoveller when your turnip gets blown off.’
That’s what got me in all this. Half dem fellas worked for the Empire or were away fighting into the afterlife for it. It’s not like we didn’t know how bad things were at home, but how would a Republic make our lives any different? We all knew scrabblers stuck in Tenements with just one flushable piss pot for twenty people! Sickness streaming down bannisters along with the dark lung. I saw a nipper feeding two childer a wet cloth to stave off the hunger, sucking a corner each, another cradled on the stone stairs in a half rag, brown smeared down the walls would turn the guts of a carthorse. A day here a day there down the docks when it came to work. I don’t mind tellin’ ye, all across the country, the men were drunk and the women were angry.
Out the door I see him swaggering towards Sackville Street to the GPO where a ‘certain comrade’ has confided in him the Big Barney is really kicking off. But knowing Jimmy, at the first sound of gunfire, he’ll drop the wood and slip down a side street until he’s at the back of The Gresham, heading north till he can knock up a couple of his cronies holed up in some kip near Dorset Street. Saluting two flags his new Citizens’ Army chums assure him will be flying on either side of the post office before he beats a sneaky retreat. Ah sure he’ll tell himself that he’s already ‘done his bit for the cause’, chucking four Lee Enfield rifles over the wall and into a blanket the rebels have spread out on the outside of the barracks. Humming ‘God Save Ireland’ until it’s drowned by the clatter of horses hooves of the British cavalry and the crick-crack of bullets whizzing to and fro. No problem to him to whistle a grand patriotic tune right up until he’s at the boarding-house overlooking the Royal Canal, hammering on the door until those bowsies let him in and invite the chancer to their card school. It’s well I remember Palm Sunday when he squandered the wages including pennies his newfound friends from Liberty Hall handed him for services rendered in the name of the Irish Republic.
It was a bitter night in January when he first brought Maud Gonne – who I later named ‘When is she gone?’ and Connolly to our lodgings. ‘Jesus Kathleen, the neighbours would be flabbergasted if they realised our company tonight!’ Jimmy said. I was flabbergasted as he expected me to have tea and brack, a drop of porter, fat logs on the fire and whatever else, and her with an accent you’d only hear back from a wall at a séance. ‘Such pretty little houses are these,’ Maud said, taking her bonnet and swishing it about her nostrils which were halfway up in the air trying to get away from the fish heads on the table. ‘And yet the enemy is intent on the wholesale destruction of these little habitats with their big brutish battering rams.’ Jimmy all impressed at her mouth swagger. ‘You should try living in one of these little houses Maud,’ I says. ‘That’s about the best way to know what you’re talking about.’ And as for Connolly! He sat there smoking a pipe like an American Indian, saying beautiful nought.
Jimmy is out prowling them streets, trying to get himself noticed with that chair leg. He couldn’t even do the decent thing and find himself a pike. There’s a rap at the window; the plump frame of Molly Gilroy crowned with a feathered hat beyond the pane. No, she won’t stop for a sup she says, when I come to the door to let her in. She’s swinging a box with twine over it dangling on her arm all excited and nodding her head to show off the fancy thing on top of her hair and a fox stole sporting an oversized head choking her neck-line.
‘They were just lying there among the mannequins in the smashed up shop and I says to myself I says ‘Go on Molly girl, now’s your chance. Even Edward’s war pension if he was to take one for King and Empire over in France would never get you into a place like this.’ Dublin’s difficulty is Gilroy’s opportunity…and yours too Kathleen,’ Molly shrieks as the booms and the bangs go off in the distance. I grab my shawl, stick the baby in his crib at the chimney and run out after her.
Molly has one hand on her hat and the other on her hip as she tea dances all the way down to the Liffey and back up as far as the shops near the bridge with their gouged-out fronts and broken glass. Oh God those Brit boyos are not going to be put off by troops of giddy blackguards swinging hurleys and anything else they can muster. Our lot are stupid as half-reared pigs with torn ears. There’s little left to scavenge when we get near Noblett’s sweet shop as all the ragged kids are wearing oversize boots and showing off stroked rings on their fingers. One lad is parading around in a liberated Aran suit from Clery’s while a jug-eared Monsignor from the Pro-Cathedral is clipping the neck of a scamp who has a box of Everton Toffees under his arm and who wont let go of his booty.
‘Take yer hand away from that chisler Father or I’ll have ya!’, Molly Gilroy bellows as she points to a green tweed cape lying amid slivers of glass outside Clery’s pavement. ‘Has there been anymore of our ones taken?’ says I to an old white head sticking out of a wool blanket in a doorway. ‘What’s all this for?’ he crackles back, looking more the worse for wear than aware. He may have been sleeping here a fair few days, more ragged ones being put out now when there’s not enough to go around. ‘Don’t you know?’ I says. ‘The Shinners have grabbed the city by its nethers this morning and they’re not going to stop until the whole place is sunk beneath itself’. He’s straining to look around. ‘Oh’, says he…’I could hear something alright, but on account of taking de drop, I thought it might be just in the ears.’ I tell him it’s going on since eleven this morning and no doubts will get hellsbells…he’d better get himself off the streets proper. ‘The Green is full of them too I hear and they’ve captured the Castle on top, and the Post Office, look at the smoke over there’. ‘My God’, he says, ‘The buggers are stirring up trouble for all of us.’
I pick up the garment Molly flings at me, her right hand now wristletted by a thick gold chain. I pretend I haven’t seen the sparkling jade brooch you’d see on one of those elegant ladies gliding into the Abbey Theatre of an evening. I’ll hide it from Molly, I’ll hide it from Jimmy. I’ll keep it planked in the pantry, maybe in the sugar bowl. If he loses at cards again this evening I’ll have something to take to the Pawn shops in Capel Street later in the week…if there’s a Capel Street still standing after all this is over.
Molly runs over and says, ‘Jesus Kathleen, your Jimmy’s up there, squeezed into a window at the very top of the GPO, screaming his lamps off, guns blazing!’ We lash up the pathway on the other side of the road, past the fruit sellers hiding under their stalls, a bread & milk van turned over, some youngones running with tins of bully beef, soldiers from our own side shouting: ‘Qut! Out! Get out of the way, looters will be shot!’, until we’re facing the main windows at the front of the building. By Jaysus there’s Jimmy, the big wide jawbone on him, and a gun alright, along with his gunner eye, pointing up into the sky shooting at any clouds that happen to be passing by. ‘He’s lighting up the sky over Ireland!’ Molly roars, busting her sides laughing, ‘Jimmy! Jimmy! The enemy’s down here!’ But he’s off with his own heavenly army in some other direction. ‘Grab what you can Molly,’ I says. ‘These are going to be tough times ahead for the likes of us, and I’ll deal with that eejit when he lands back down in the new Republic in the morning’.
Lisa Harding is a writer I truly admire. She nails *voice* like no-one else I know both in her short stories and in her newly-penned novels. This month (October) she signed with New Island Books for a controversial novel about trafficked teenagers (published next Spring) and she’s also Writer in Residence with Pavee Point in association with the Irish Writer’s Centre. I meet with Lisa fortnightly at our writer’s group in Brooks Hotel on Drury Street, so am familiar with her work and also with her struggle to stay earning while pursuing a life as a writer. I wanted to ask her some relevant questions that may be of use to other writers starting out on a similar track.
Let’s start with where things are at for you at the moment and that includes being on the radio recently to talk about your current accommodation difficulties. You made a very valid point that one in four people in Ireland rent and these numbers are growing, yet nothing solid has been done about the appalling conditions and escalating prices. You have your first novel coming out in 2017 with New Island Books; you are trying hard to contribute to society but as a freelance teacher, actress and writer, you feel that your own basic needs are being violated over. It’s a side to the writer’s life that’s maybe not talked about a lot. Can you elaborate?
This tension is a biggie for me: How to continue with my creative work while keeping a roof over my head? My balance isn’t what it used to be, and I don’t think I like teetering on that high-wire anymore…I moved back to Dublin almost seven years ago after thirteen years living out of a suitcase as an actress in London. That was all fine, then. But the time came when I wanted to move home to create some stability and focus more on writing. Since moving back I’ve had six moves in six years because of landlord’s vagaries: rent increases, taking back property for family members, selling under my feet and sometimes impossible living conditions such as no heat and damp.
How do artists live in a city where the average cost of renting a studio/one bedroom sub-standard dwelling is €1,000 a month? As Martin Doyle wrote in the Irish Times on the 7 Oct, the median income of professional authors is €12,000, but the typical median income of all writers is less than €4,000. So boohoo, some people say, grow up, get a ‘proper job’, or marry a rich man (yes, I’ve heard that one a few times!) or move out of Dublin, or share with a bunch of twenty-somethings. I love my hometown and happen to believe that the arts are an important, integral part of any society. Also, having spent over a decade in London, I don’t want to uproot again and be in a place where I know no one. Dublin has a rich tradition of producing writers, actors, theatre-makers. We pride ourselves on our culture, yet some prominent arts practitioners that I know live on less than the minimum wage.
I wish I knew the answer to this conundrum, but I know for sure that if I weren’t running around stressing and doing all my other jobs, which still don’t bring in enough for me to create a stable home I’d have much more time to spend on creating new work.
Tell us about your first novel, the genesis of the idea, how you decided to go about it?
When I was acting in Fair City, I was approached by a representative for The Body Shop to read some monologues written by girls who had been trafficked into this country. This was part of a campaign run in conjunction with the Immigrant Council of Ireland to stop the trafficking of children. I had no idea of the extent of the industry; how so many of these girls were so young and were being visited by men from all sectors of society, some of whom had daughters at home. I found the experience of reading the statements traumatic and wondered how their young bodies and minds could survive and assimilate this abuse. Or could they?
The testimonies I read aloud were true stories of girls who were now in safety, but I could feel their splintered psyches even in the simple language they used to relate the facts of their captivity. I really didn’t want to think any more on it, but I was haunted by their stories and couldn’t push these girls out of my mind. I tried. I wrote a series of unrelated short stories, but something was gestating and Iliterally felt compelled to write it. Some kind of a testament to these girls, to try to give ‘voice’ in some way. There was always the worry for me of ‘trespassing’ on other people’s misery, and not writing about something I’ve had no first-hand experience of, but once I became convinced that my motivation was coming from a pure place, I gave myself permission to write Harvesting. The novel has subsequently been read and approved of by a number of NGO’s who believe that the immersive accounts of two girls trapped in this world may raise awareness in a way that no amount of journalistic reports could.
You are currently the IWC Writer in residence with Pavee Point, what does this involve, what have you learnt so far?
My group is very varied in age and writing ability, so the sessions are mainly being mediated through discussion and aural storytelling. We are exploring the concepts of identity and purpose through the prism of inter-generational change. Some of the older women in the group are in their seventies and have lived through the enforced settlement and assimilation program of the 1960s. Others in the group are in their twenties and were born in houses and have never experienced life on the road. High levels of unemployment and suicide, are, the older generation believe, a direct result of loss of identity and purpose that the traditional traveller embodied in their roles as tinsmith, palmist, storyteller, voyager. They also cite a loss of connection with nature as instrumental in a growing depression. We are in the process of documenting these changes for each individual in the group. I want to record a series of podcasts addressing these issues, with personal resonances.
Your career before now was mainly acting, do you find that this has helped with ‘voice’ and ‘character’ in your fiction?
It’s definitely my strength in writing fiction, but also one of my limitations. I wrote a series of plays before attempting prose, and tend to approach all my fiction with that same dramatic intent. I always write in ‘voice’, even in a third person narrative, which is instinctive, but also highlights (for me) my lack of ability to write a long-lens third person, past tense narrative. I find the traditional form of the novel highly intimidating and have long put off attempting one, but now I just let what happens happen. It’s all story-telling at the end of the day, even if much more clever writers than me attest otherwise! I respond to character-driven work, where things happen on the page. I love beautiful prose too, but never at the expense of the truth of the psychology of the character or the sensibility of the world.
You write both short stories and novels. How do you manage the switch between genres?
I think everything I write is mediated through a dramatic lens, so my first short stories were really long monologues and mini-plays. Likewise my attempts at novels. I love short stories and find the process of writing them really freeing, especially with writers as diverse as Amy Hempel, George Saunders and Lydia Davis out there creating fresh forms. I enjoy writing scenes, where some conflict occurs, some tension in the central character is laid bare. Sometimes I write a series of disconnected scenes with the same characters and then lay them out on the floor like a patchwork quilt. My approach really is that lacking in technique! If the scenes about the same character keep coming then it’s more likely going to be bigger than a short story. I’m beginning to trust and luxuriate in the immersive process of living with characters for a longer period of time and fully inhabiting their psyches. I tend to step inside their skins, in much the same way I used to approach my acting roles. I don’t think I’m any good at ‘genre’ though. I just write in the way that comes naturally to me.
Do you have a writing routine?
My days are too varied, too caught up with making rent to allow a same-time-every-day approach. However, and I’ve only recently implemented this, I do try to write every day, at whatever time that particular day allows. As I’m in the process of first-drafting my second novel, I’m attempting to adapt the Stephen King approach of pushing out a set number of words a day. If I didn’t do this with the longer form, I’d lose momentum and energy. I’m also about to start into the editorial process with New Island on Harvesting and will happily carve out the time and space to do this.
You and I are both involved in Brooks Writer’s Group that meets fortnightly on a Monday afternoon. Have you found being part of a writer’s group useful? What are the pros/cons?
I have mixed feelings about writing groups as I believe sometimes remarks that come about because of another person’s need to sound knowledgeable or intelligent can be damaging, particularly at the beginning stages of a process. It’s important to be able to listen to other people’s opinions and yet not lose your instinctive flavour. I have attended groups where the tutor tried to corral writers into writing how they themselves would write. This is bad practice, and not one I would actively seek out. I have also participated in groups where the opposite was happening: where the individuality of each participant’s voice was nurtured. I believe that we are, in the main, highly critical of our own work anyway and don’t need further slamming, or excuses not to do it.
The pros of belonging to our particular group far outweigh any negatives for me, as we have a good deal of trust in each other’s motivations when critiquing. Everybody’s work is of a standard that means we can only get better by listening to each other. Also, as writing is a lonely undertaking, it’s great to be part of a group of like-minded passionate people. May I also say that I’m delighted to be debut-ing alongside yourself, my fellow Brooks Writer’s Group member, with New Island in 2017!
What keeps you awake at night?
Financial worries (and its attendant shame), family concerns, cruelty to animals, exploitation of vulnerable people… I could go on, but these are to the fore at the moment.
What [further] resources would you like to see for writers aside from workshops, retreats, etc?
In an ideal world I’d magic up more funding opportunities, particularly for writers who really are stressed financially. At the moment none of our funding bodies take the financial situation of the applicant into consideration. Perhaps some sort of a means-tested application would be helpful, alongside a foregrounding of the quality of the work of the applicant? Obviously, I wish publishing houses in Ireland were properly supported and resourced too.
Give me a few examples of fiction that really blew you away/had an emotional impact?
A Little Life by Hanya Yanagihara, My Name is Lucy Barton by Elizabeth Strout, The Narrow Road to the Deep Northby Richard Flanagan, Eyrie by Tim Winton, Cloudstreet by Tim Winton. At the moment I’m in a manic novel-reading phase hoping to unlock the secret code! I’m currently obsessed by Tim Winton: his storytelling voice, the beauty, brutality, grace, muscularity, humour, idiosyncrasies of his prose, his flair for writing exciting storylines, for creating colourful characters. He makes me want to read on and then read back again. Gorgeous stylist and masterful storyteller. Maybe some of it will leak through by osmosis. Sigh.
Lisa Harding graduated from the M Phil in Creative Writing, Trinity College Dublin. Three plays: Starving, And All Because, and Playground were performed at Theatre503, Battersea Arts Centre, and the Project Theatre Dublin respectively. Doghouse was work-shopped at The National Theatre Studio. She was awarded an Irish Arts Council Bursary and a Peggy Ramsay Grant for Playwriting. Short stories have been published in The Dublin Review, The Bath Short Story Award Collection 2014, and online on the Irish Writer’s Centre website. Her story ‘Counting Down’ was a winner in the inaugural Doolin Writer’s Weekend Competition. Other work has been short-listed for the Bath, Fish, Listowel, Cúirt, Over the Edge, and Penguin Ireland/RTE Guide short story awards. She has just completed her first novel.
People sometimes ask why I still bother with writing workshops. You get the: ‘But you’ve been published in journals, you’re on all these shortlists, you seem to know what you’re doing?’ Knowing it’s all a bit excruciating, obsessional, frustrating, maddening…that dealing with loneliness is a big part of being a writer. Not being sure if any of it is any good anyway: mollycoddling your own unmoveable masochism. Yet there is something really peculiar that happens your own writing when you’re surrounded by people pushing the boundaries with theirs. It’s contagious and corrupting; reading the crushed muffle of someone else’s secrets, their desires, their strange reveries, their intuitions, their truth. How others in the room perceive those words differently on the page/screen, how the tutor feels it could or should work better. What is the writer really trying to tell us? How can they show it more effectively?
At an eight-week short story course at the Irish Writers Centre this summer, taught by Sean O’Reilly, the notion of the ‘repressed voice’ came up a few times. ‘Go change your name,’ he advised. ‘Because the person who’s writing is not YOU! It’s a different being and you have to let him/her out.’ In response to how nauseated or shocked newbie writers sometimes feel at what they’ve lobbed on the page, a story will often form a bizarre and unimagined curlicue. One that sets out with a calm, eloquent narrative, morphs into an ugly malicious pisstake; an angry rant at a family member; vengeance towards an old lover; hidden hurt at something that refused to happen despite unyielding desire. Life, essentially, and how it regularly doesn’t work out. We love to read about it. Peepers of mishap. Oglers of shame.
‘The writer’s voice is not programmed to say ‘kind things’ that will make you or others feel good for reading it,’ O’Reilly told us. ‘You don’t like this person, they terrify you. They contain everything you’re unable to say. The one who wants to write is a bad article! However, this other is the one that will write something interesting, the one that will produce art’. Hearing a base truth like this can be a real comfort when struggling to start a new story or facing into another redraft of a long abandoned novel. Embarrassment dissolves, the ‘stuff’ that’s been burdening you, that’s been stopping you writing, heads off into a grubby corner, leaving you to get the job done. It’s at this juncture that judgement wastes away and a group of writers really get to know each other, get to know the work. There’s nothing more gracious or satisfying than being part of shared trickery like this. It’s why I find myself back at workshops even though I know, essentially, that writing is something you need to grapple with alone, in the joyless hours. What is it that Rilke said? Nobody can counsel and help you, nobody. There is only one single way. Go into yourself.
So what do we do with fiction at these workshops? At its most elemental writing is about keeping ‘story’ under control in a form. We learn pretty quickly through reading each other’s work and listening to feedback that we need to lure the reader in with comprehensibility, with ordinary story (but even better if it manages to be gripping). We achieve this via a network that keeps the characters together, that makes the story glide and grow. ‘Action is thought!’ is the workshop mantra. In each paragraph something must happen, the story must move forward. Who is telling that story, point of view, the role of the narrator (close or from afar) will all impact on how the reader digests it, both consciously and subconsciously. This will determine if a story works or not. The obvious is often really tricky, we are told. It’s what blocks a lot of people from writing in the first place. You have a bunch of characters but for some reason nothing happens because the writer is avoiding the obvious in an attempt to be clever. But the obvious is often necessary. It’s that little link between one character and the other, why they are connected, we need that little bit of information, we need to know the intricacies of their relationship, we need to see it on the page.
If you doubt the veracity of your own story, apply the oral test: can you tell another person the story and keep them listening to you as if you were sitting in the pub on a Friday night rattling off the plot? Is the person going to get bored hearing you tell the story in an unexciting way? Similarly on the page you have to keep the reader linked into the guts at all times. You do this with action, with movement, you do it through the protagonist’s eyes. The reader cannot fade out if they’re not following at any point, if they get lost. It’s that awful, that crude.
For example if you’re going to deal with obsession, a character is obsessed with a ‘thing’ or someone…you’re going to have to treat that as a theme in itself. Establish the obsession, show it to the reader at work without relying or giving direct statements that ‘this is an obsession’. Timeline is crucial when it comes to hanging the story off a workable architecture. Writers often make the mistake of setting a story over a very short time-span. While a short story is just a ‘sliver of something’, a delicate insight, that sliver can still be set over weeks or months. It doesn’t all have to happen at a ferocious pace over half a day. You can’t establish obsession as a back story, you have to open out the metaphor. Dramatise it so we [the readers] can see it flouncing and floundering. We need to cringe and be entertained. We need to understand how this obsession works, how it is crippling or capacitating the main character. Trying to shove too much into a tiny little bit of action and not letting the idea establish itself over time if why a story falls on its rump.
After you finish that arduous first draft, you will need to ‘go back and rub your nose in it’ even if you let it sit for a while. It won’t just sit there and change itself. O’Reilly said there’s nearly always feelings of nausea and revulsion at ‘first attempts’, but that this can be a good sign. ‘It’s a bit painful to go back and face into what you’ve exposed of yourself onto the page like it is to go confront any situation where you’ve made a fool of yourself. It’s embarrassing, a bit disgusting, a bit shameful. But in there somewhere is what you need, the material trying to get out.’ One tactic is to resist it, the other tactic is to cover it in words so you can’t find it. We are often hiding the material from ourselves that drove us to write in the first place. After the workshop finishes, you’re free to head to the pub for some sneaky pints and a packet of Tayto, press *delete* on your laptop and vow to start all over again. This malarkey is all about resilience. Without it your stories are dusty ideas that’ll never make the gloss of day.
*This was written as part of my Online Writer in Residence gig at the Irish Writers Centre this autumn. Every year the Centre will host four writers on their blog to talk about the arts and to showcase their own work.
He turned onto Moore Street where his Ma slipped on a rasher and croaked. That was a good while ago now though he couldn’t be sure, it was all mushed. ‘Coconut head’, she’d called him in her fond no vodka moments, not because of the shape of his noggin but for the way his Da kicked the nelly out of it, side to side, smashing him into navy dots. Army boots with a clown’s mouth rip covered from the inside with a plastic Knorr soup packet to keep the rain out. She thought it was gas. Seemed a bit twisted to him now. He still snagged memories of her freckle-splattered arms doing the octopus sway in the bingo halls here when he was knee high to an ashtray, small as a mouse’s diddy.
Aul Ones with Rothmans-stained chins shouting, ‘Two fat ladies, go on Jimmy, get up and run, thirty one…dirty Gertie, clicketyclick, staying alive, eighty five!’ Some were able to handle four and five bingo cards at a time, marking the numbers like Phil Collins on drums. Bash bash bash. He’d lay on his spindlies gazing up their A-Line skirts, musty whiff of brown tights on an afternoon in November 1970-something. Disco lights, apples sours, dusty bin.
Now he was out of the Seventies into a new Century where the whole world had descended onto the same street. “Anthony! Anthony! over here!” yer one shouted. A right carrot top. “This way!”
He hoped she wasn’t a social worker. Bottler, not Anthony. No-one called him Anthony these days. He couldn’t stomach those smug tarts from the Health Service Executive. He hadn’t practised what to say but his choice if she gave him one would be a course on computers. They’d blinked by him the years he’d been on the gear. Missed the whole digital revolution. Couldn’t even look up The Google now. Survived on stale pineapple cake and sloppy kebabs from out-of-date food skips outside Aldi. Got by on mobile phones. Plucking them from Luas carriages. Selling to teenagers in pink lycra. He felt bad about that shit. Pinching, grabbing, punching. Felt bad about not remembering. Found out in rehab over a cup of Rosie Lee that he’d slept in a dog kennel for a year, had half his guts removed, grew a batch of holes on his tongue the length of a scallion. But his Da was right, all you had to do in this life was survive no matter what and hope a rhinoceros doesn’t shit on your head.
She was standing on the corner at Buffet 79, holding a plastic folder, looking the mutt’s nuts.
“So nice to finally meet you! I tell you what, you’re a hard man to get hold of! We’ve been writing to you for weeks. Well look, you’re here now, thank God you answered your phone. I’m Aoibheann!” She was gripping onto his arm like they’d known each other since nippers. He was throwin’ a reddener on account of her being so over fucking familiar ‘n all.
“Howayea,” he said, unhooking her. “Ye alright, wot’s de buzz?”
“This is it here, what do you think, huh?” Hadn’t a crusty what she was on about. They were outside an orange building with spitting air vents and roast duck stink. A poster with ‘group love’ on the wall and a load of slappers in red Tulip dresses dancing in a circle. She stuck a folder into his hands. Snap of a man facing sideways with a giant hooter on the cover, military uniform, oval cloud of mist behind him.
“I know what you’re thinking, not much on the outside. That was the planners’ intentions, you know, to retain the façade throughout the lane way, renovating the inside a la modern day.”
Her voice trailed off as he glanced at more posters on the opposite wall: a gold man pulling his torso apart to get to the gold coins inside him. Paul Weller looking on in dark glasses, arms folded. Two dykes sitting up on new Audis, whipping the bonnets goodo.
“There’s only sixteen apartments Anthony. You’re in the Padraig Pearse suite. Well now ‘suite’ is a bit American isn’t it!? I prefer to call them apartments or you might like ‘flats’. Whatever you’re comfortable with. Sure we won’t argue over it!”
He’d slip her one alright. Queer bit of skirt. Air bags knockers. Cheese puff lips.
“Will we head in so, shall we? Do you know who this is Anthony?” she asked, pointing again to the big-nosed spamhead on the brochure. “It’s Pearse himself! This is where it happened. Well, here and up the road…whole block is on the Record of Protected Structures now. While the main building is a good bit up, this is where a lot of the men actually died. Though it was a new beginning for the rest of us, that’s for sure, but oh God” – she stopped to grab her heart through her mint lambswool jumper – “It’s a desperate sad story. Brutality of it. Dozens fell on the stones right here. Bled to death in the gutters. O’Rahilly, riddled with bullets, managed to pen a letter in his own blood to his wife and kids. Sure you wouldn’t even have time to send a text these days, can you imagine?”
Well yeah, he could. It was in an alley just like this that they dealt with Scuttler for a €500 debt. Still gave him the night rattles. Draino sticking the knife in just above the belly. Flipping the fucker over to get to the spine. Doin’ his girdle sack, screams, like a girls’. ‘Shut that cunt up till I get the work done,’ he told him. Slicing upwards to make sure he was paralysed. Chinee sticking his head out from the back of a restaurant door and shutting it again, pronto, bolts clanking. Rain coming down, steel pin rain in goose grey, washing yer man’s wails away. Bleeding out. They lit two joints, watched him wriggle. “It’ll be over in a minute, stop stressing!” Draino roared. “I thought you’d take it a bit better than this, for fuck’s sake!”
“This is the entrance hall to the apartments,” Aoibheann explained. “The walls tell the stories of the ordinary lives, OK, not just the heroes! See this little man and woman, James Rooney and his wife Cora…they were in their eighties…braved the machine gun fire to hide some of the men in their basement that day, 29th April, 1916”. She turned to her paperwork to double check the date. Then pointed to a laundry room out the back and a shared shed for storage and locking bicycles.
“Fair balls to them,” Anthony replied, though to be honest, they looked like a right pair of spanners. The woman in particular.
“And here we have The O’Rahilly’s letter to his wife. We got a calligrapher from the National College of Art and Design to do it in gold leaf and flecks of bottle green. Beautiful isn’t it?”
Darling Nancy, I was shot leading a rush up Moore Street, took refuge in a doorway. While I was there I heard the men pointing out where I was & I made a bolt for the lane I am in now. I got more [than] one bullet I think. Tons and tons of love dearie to you & to the boys & to Nell & Anna. It was a good fight anyhow.
Names of more hoagies doused on the plaster, fucking eejits who shot themselves trying to bash down doors with rifle butts to save their own arses. Whacked some of their mates in the scuffle. Others lying with bits of legs hanging off, firing off orders. James Connolly on a stretcher, guts dangling. Some wounded plank tripping over him with all the gunsmoke, grenades and other shit the Brits had at their disposal. Must’ve been a right bunch of psychos. Photograph of a nurse who’d booted around like a blue bottle with messages for the main boyos, trying to get them to grab the white flag. He remembered none of this from school. The Safe Cross Code, how clouds formed from condensation, Christmas carols in Irish. That’s what he remembered in eight years of primary school. Not these maggots.
“This is your apartment, No. 3, well, that was the date Pearse was executed: 3rd May, they’ve thought of everything.”
His apartment? Was she a fucking brandy snap short of a picnic? But he’d keep stum, say nothing, sign nothing. A short stroll around a sitting room painted in hospital white looking out over McColgan’s Butchers. Her talking shite about skirting boards a quarter up the wall for an easy clean, plug holes, an interactive Wi-Fi telly with built in CCTV, steam mop in the cupboard. It was a lottery system, with all their names bunged in from the Rehab gaff. Irish men and Irish women, in the name of God and the dead generations, and whatever else. His name, third pulled. Lifelong sublet deductible from the scratcher. Part of the planning regs for the commemoration block and new Insurgents Visitor Centre.
“You have twelve days to sign the lease and get the documents back to Dublin City Council, OK? The address is here,” she told him, rubbing her fingers up and down where Pearse’s hoop was at the back of the brochure. “Make the most of the opportunity Anthony. You’re a hero now in your own right, the way you’ve knocked the drugs on the head for good. How long is it?”
“Two years,” he told her. “This Christmas or thereabouts, anyways.”
“Well good for you,” she said, “You should be well proud!”
He knew plenty who died for Ireland or because of her. Hasslebat, with his ginger eyebrows lit up like hot worms in a snow of forehead. Face half eaten by his own Jack Russell after overdosing in a boat-house down the canal. Gonzo and Widearse Wendy in a car smash down the docks when they were sleeping rough in the Punto. Many more in slob fights, knife slices, ganger brawls. He’d been too out of it in those times to make any of the funerals. Didn’t see the point when they were already wormfood.
If Pearse could be President of his own Republic, then he could be too. Sixteen thousand troops swarmed into Dublin in 1916 to wreck the bleedin’ gaff. That was more than the entire Garda Drug Squad and army reserve now. Who the fuck did they think they were!? He’d call up his troops too:
Dickie who’d do anything for a six pack of Dutch Gold. Brains, the nasty little dwarf from up around Sheriff Street who’d stick a gun up your hole quick as a bum doctor in the Mater. The Finglas twins who loved to scrap for no reason, mad bitches. The preparation would have to be secret, no dribblers, no rats.
He could see himself in full Pearse pose swaggering down Moore Street commanding the charge: “We’re going to take on the Somali pushers,” he’d tell them. “Yez’ll horse up the lane here when I give the word”.
Each of them swinging a fifty euro shooter.
“We’re putting a stop to this Zimovane shite the kids are selling for €8 a pack. It’s feeding their gaming addiction. Only a matter of days or weeks before they’re snorting the yayo or chewing the gat, are yez hearing me?”
“Yes Bottler!” they’d roar. “Yes Bottler!”
“We’re gonna free all those hookers they send into Jury’s Inn to suck off concert promoters, there’ll be no women sellin’ their holes in my Republic.”
“We’re gonna clean up this town, no more stabbings or stupid fucking killings.”
“We’re gonna bring eternal peace to these poxy streets.”
“We’re striking for freedom, do yez even know what that means?”
He stared across the sitting room towards the microwave. Never thought he’d own one of those pingers. Draino would be out of the clink in two years and he didn’t forget. No matter where he was, he’d find Bottler. Oh his Ma always said he’d be kicked to death by some loon if she didn’t get hold of him first. Her arthritic claw reaching down the banisters, pulling him up onto the landing…stamping on his ankle bones when he was cowering on the ground before she’d start proper. It wouldn’t be that hard to find a plonker to sell a pizza warmer to. Had to be worth at least a tenner up around Argos. He took the SIM card from the phone, flicked it into the fancy swing bin, grabbed the keys. Snatched the €100 Dunnes Stores voucher Aoibheann left for ‘essentials’, mozied to the door.
“Losers!” he screamed at the faces pinned to the wall. “I’ve never seen a bigger bunch of fucking losers!”
** This story was short-listed for the 2016 The Sunday Business Post / Penguin Ireland short story prize. It was also read at the Bogman’s Canon Fiction Disco and Staccato Spoke Word night in Toner’s pub, Baggot St.
In 2010, I returned from Belfast to Dublin at the height of a miserable recession and it seemed everyone I knew was retreating back into the garret to write. The cocktails and carousing were finito.
Friends who had thrived in high gloss work environments, the architects, project managers, and bigwigs in PR were sidling up to social welfare windows like dehydrated cats.
Next came the volunteer slots and “internships” to stay sane. The men I knew had a problem dealing with ego-collapse. They got awful angry, awful quick. No one knew what to do.
Themes began to emerge in the writing workshops I sat in on as an employee of the Irish Writers’ Centre. Men were writing about disaffection, not being taken seriously, displacement, lack of sex, intimacy and belonging. The writing was good, sometimes great, but it was startlingly similar.
Women who had, during the Tiger years, concentrated on romantic relationships and the pearls of materialism and diluted neurosis were turning to more serious issues: violence, misogyny, rape culture, crime, retribution. Chick-lit fell off the carnival float and was replaced with edgy young adult and high-end literary fiction.
Sarah Griffin began writing around this time. Her novel Spare & Found Parts is published next year with Greenwillow (Harper Collins); a story about a girl who builds herself a robotic companion.
Women who are writing for young adults are writing the work they wish they had access to when they were growing up,” she says. “They’re composing their own cautionary tales, assembling toolkits for the ongoing madness of being an adult woman. I think these novels are equipping the next generation with more than we had – like a new mythology, a different compass for the road ahead.”
Justine Delaney Wilson, whose novel An Ordinary Face is published next spring by Hachette Ireland, says that women are writing about what it means to live and cope in a fractured modernity, especially since recession. “The truth of human relationships, loss of self, coping with emotional turbulence – certainly these themes are prevalent now,” she says. “I wanted to write a tale about a family, about what’s left when the structures we’re used to collapse.”
New writers are emerging and focusing on the darker themes of women’s experience. “I chose to write a novel about two young female prostitutes and their experiences that could only happen to, and be felt by, a female body as a receptacle of the male gaze and desire,” explains Lisa Harding, whose novel Harvesting is published by New Island in April 2017.
“The book came about because I was involved in a campaign run by The Body Shop and the Children’s Rights Alliance to stop sex trafficking of children. I heard firsthand accounts of these girls’ stories. I wanted to give a voice to these invisible women.”
Selina Guinness, who is the current writer-in-residence at DLR LexIcon, maintains that Ireland has always had a tradition of strong women writers of literary fiction: Elizabeth Bowen, Kate O’Brien, Edna O’Brien, Jennifer Johnston, Deirdre Madden, and that list is expanding and warping all the time.
“I think society’s loss of faith in the authority of institutions, many of which were strongly patriarchal – banking as well as the church – means we now invest more hope in the informal communities which women have always sustained. And women tend to be supportive of other women writing,” she says.
There are some signs that contemporary fiction by Irish women may be consciously moving beyond female narrators, according to Guinness. “Sara Baume’s choice of a curmudgeonly old man as the narrator of her debut, Spill, Simmer, Falter, Wither, is brave for a young woman; Anne Enright is a straight woman who inhabits the voice of a young gay Irishman with effortless conviction in The Green Road; Belinda McKeon focuses on male gay sexuality again in Tender.”
McKeon says: “It wasn’t until a year or so after I’d published my first novel that I realised how firmly and obediently it sat with respect to a male literary tradition. That wasn’t a conscious decision.”
“Pushing myself in a different direction, with a female protagonist and a female consciousness, was a conscious decision and one about which I felt nervous. Social media has made a huge difference to me, and I think to other women writers as well.
“When I started out, I felt like a woman in one of those gentlemen’s clubs on St Stephen’s Green. Now it feels more like a decent party in someone’s house. A house with a view.”
*This article was originally printed in The Gloss on November 26, 2015, I’m republishing it here as I think it’s still applicable, especially for 2017. Here’s what to look forward to from independent publishers this year, including some of the names above.
Did I ever tell you about my youngfella? He’s passed now, bless him. I said, ‘Don’t go out, not today, I’m warning you, I’m a witch!’ That awful cheeky smile. ‘I won’t be late Ma!’ he roared. He was a bit of a rossi, like you. The two of you would’ve got on like nothing else. An old broom knows the dirty corners best. ‘We’re having gammon steak!’ I shouted after him. ‘Don’t be late!’ Him running like a hare on a skateboard. He loved my gammon with those fluffy crinkle chips. Actually you rarely see them around these days. Crinkle oven chips.
His friend with the one eye, always a heap of trouble, knocked up at 6 O’clock. Entire family were oddball. Red hair, rust tempers. Mother had been a bit of a pro in her heyday. Rigid as a wooden leg now. This kid was pure wild. Knife in the eye by his own hand. Said my youngfella had crashed on a motorbike up at the green. Come quick. His leg was caught. Stolen motorbike. We’re talking back in the day when the priest and the local guard could put you away for pinching a few sweets. Meaner than a butcher’s cleaver. Well my first reaction was to clout him around the ears. Give him a good puck. ‘I knew it!’ I roared. ‘I told him there’d be wigs on the green!’ Smashed in four places. Six weeks in the Mater. Pale as egg white. Hubby was furious. A wild goose never reared a tame gosling.
De hubby always kept the roof up which is more than I can say for a good few around here. Good at DIY. Planted a war garden. We’d everything out there. Marrows, even. You don’t get to see many marrows now. Marrow stuffed with spam. Marrow jam. Thrilled to the marrow I was. Then there were rhubarbs the height of giraffe legs. Spuds, peas, beans of all kinds, parsley and lots of it. He was hard on my youngfella. Very hard on all the boys. Ignored the girls. Well that’s what Louise says now. ‘No boys will queue up for the likes of you!’ he told her. She’s glad of it really because she feels around the same as a local anaesthetic for him. Though sometimes she can’t make up her mind. She’s like you. Indecisive. Rattle of fidgets and jumps. Won’t visit him in the home but wants it known to the rest of us she feels nothing. Makes a big almighty thing of it. Though I love her to the spine, she’d melt the fine hairs in your ears. I wish her luck with her own now. Her two are dreadful snobs. Though I will admit they speak very well. You can’t buy breeding and that’s the truth.
Well de hubby said he’d wait until my youngfella got home and he’d break the other leg. Took the motorbike to the Phoenix Park and went pure absurd on It. Tearing up the bark of trees, over newly planted corporation flower beds, into the groove of gates. Now de hubby can only take so much. He has a little bit of a temper. It’s not his fault. His nerves are in the ha’penny place. Always have been. I’m the only one who can deal with him. Know him like my own teeth. Never left me short of housekeeping. I always told Louise and Juliet to marry a man with money. It’s a miserable enough life. De hubby had a good job. Sure the ones around here were always saying that to me. ‘Your fella would buy and sell ye and rent your leg out in flats.’ Youngfella stayed with my aunt for a few weeks until de hubby calmed. ‘Let it be a lesson to you,’ I said to him. ‘I told you not to go out. I told you I was a witch!’
He’d ask me things after that, my youngfella. ‘Will I put in for that apprenticeship Ma?’ ‘Is there any point doing a stuntman course?’ I knew if he went off to England it’d be no good for good. This time I didn’t say as much. Sure he was a grown up, sure and simple. Years ago, before your time, people kept it fierce quiet when they went away to the sooty place. Bit of a shame attached to it. A golden ring can tie a man as tight as any chain. Aunt Florrie said the day hers left for England she had a proper wake for him at home because she knew that’d be it. Sandwiches and porter, a glass raised to the wind that carried him, may it bring him back if it had to. She was a diviner for sure. No-one down Clara way liked her. Told people they wouldn’t come back from the war. She was the one who cooked over an open fire, long after they had electric cookers. Amazing pot roasts. Caraway cake like I’ve never tasted before or since. My own mother couldn’t copy It, not for the job of trying. She read the flames in the fire. My mother, that is. Told people what might be ahead for them. What to look for. What to avoid. Who to love. Who to clear run from. Well that was her sister Florrie who was a bit of a witch. Like me.
When my youngfella went away to London, sure he was sheer lost. Never ask a fox to mind the hens, isn’t that what they say? Never buy bread from a butcher. He got the first one pregnant. That’s what they do now. Women don’t seem to take care. She ran off with the two kids up North. Got with dem Rastafarians. He never got over that. The second yoke, let me tell you, she was a right yoke of a thing. Jesus, the bake on her! You wouldn’t roast it on a fire. Upturned nose you could plant a fir tree in. That’s when the drinking got out of hand. I warned him to watch his health. ‘It’s in the family,’ I said. ‘A man too busy to take care of his health is like a mechanic too busy to take care of his tools.’ Oh he laughed alright. ‘Ah Ma, you still think you’re a clever old witch!’ Nonetheless he gave me that look. ‘I’m serious,’ I told him. ‘Look after your health…He who never was sick dies the first.’
Yer woman never cooked from scratch. Too busy throwing it about. I wouldn’t expect my youngfella to have a go. Sure de hubby could only boil an egg most of his life. The men need a good woman. A dishonest woman can’t be kept in and an honest woman won’t. In return my youngfella gave that yoke everything: new car every two years, six holidays a year. SIX! That’s some manner of madness. Ran off when he got too sick. Woman like a goat, woman of rushing visits. Her crowd, common as beetroot water. You could tell by the gait of them. Standoff at the grave was something else. Spread your cloth only as you can draw it. Even the priest came over to our side when he heard she’d deserted. Unheard of under the circumstances. What he must’ve gone through in that downtime, I can’t bear it! Oh Christ, such heartache! I’ve put my treacle jinx on her. Right bitch. Now I don’t say that too often about anyone. A closed mouth can only lead to a wise head. That’s how I would normally approach things.
The saddest part is that de hubby keeps asking about my youngfella now. Won’t accept he’s gone. Well that’s part of his condition. Can’t keep up. Doesn’t know one minute from the one sitting beside it. Louise says he’s half pretending. Suiting himself. A greyhound finds food in its feet kind of thing. Bit like yourself. Sure you suit yourself too, only coming in here when you’re looking for something! Must be a male thing. I told him the first few times he’d died. Then I said I’d go with it. Now I tell him he’s out planting in the garden. Trimming rhubarb so it won’t get too carried away with itself.
I saw de gettup of you earlier. If you keep behaving like that, I’m telling ye, there’ll be a sore price to pay. Be in here by 11pm. ‘Don’t be late. Don’t stay out. There’ll be wigs on the green!’ You might think fences have ears but if you’re not back in here by then, the flap is shut. Don’t blame me if you come to no good. You could get your backside eaten out there. When the sun puts her head down for the night, the raw moon is not as accommodating. I’ve seen you chasing your head in its own shadow, making a mighty show of yourself. Like a lame man’s legs which hang useless. You’d sauté your soul to grab hold of a scallywag. If the ones over the wall got hold of you there wouldn’t be a sneeze’s second before they’d savage your eyeballs, spitting them out for toast. I’m no daw. I know how it works. Everyone is wise till he speaks.
When my youngfella was lying in that hospital bed in terrible pain de hubby wouldn’t even look him in the eye. A right rossi, there is no expert without a fault, ain’t that the truth! ‘Da, I’m sorry Da, it was stupid, I won’t ever do anything like it again. I promise.’ It’s not like de hubby was extra hard, but he was the type who meant what he meant. Too much happened for him to act any different. One of the gang my youngfella hung around with ended up with The AIDS, doing half-witted robberies to feed his habit, before his lungs flooded him out of the picture. Another died at 21 from a beating in a public swimming pool in New York. Both their aulfellas were much harder than they ever needed to be.
If my two hadn’t have ignored each other for those years after – God never closed a gap but that he opened another one – the time now might be a different tide entirely. I will be honest with you here, I will, would my youngfella have been so quick to get himself over there, out of reach of here, had he have been able to patch things up? If de hubby just talked to him without the slippery ropes. Telling him that a bad path in life only rains soup and he’d have no hope going out in it armed with just a fork. But de hubby was always the belly depth of stubborn. He just stared out the hospital window into the car park beyond, the type that knows too well a silent mouth is musical.
*This story got an ‘honorable mention‘ in the Lorian Hemingway prize in the US and was long-listed for the 2015 RTÉ Guide/Penguin Ireland competition.
This year, the Irish literary scene has seen a nimble rise of female-crafted fiction. Women are rejecting tradition and giving much-needed voice to untold stories.
In 2010 I returned from Belfast to Dublin at the height of a miserable recession and it seemed everyone I knew was retreating back into the garret to write. The cocktails and carousing were finito. Friends who had thrived in high gloss work environments (architects, project managers, journalists, big wigs in PR, etc.) were sidling up to social welfare windows like dehydrated cats. Next came the volunteer slots and ‘internships’ to stay sane. The men I knew had more of a problem dealing with ego-collapse. They got awful angry awful quick. No-one knew what to do.
Themes began to emerge both in the writing workshops I sat in on as an employee of the Irish Writers’ Centre. Men were writing about disaffection, not being taken seriously, Camuesque displacement, lack of sex, intimacy or belonging. The writing was good, sometimes great, but it was startlingly similar. Women who had, during the Tiger years, concentrated on romantic relationships and the pearls of materialism, diluted neurosis, etc., were turning to more serious issues: violence, misogyny, rape culture, crime, retribution. Chick-lit fell off the carnival float and was replaced with edgy young adult (YA) and high-end literary fiction.
Sarah Griff began writing around this time. Her novel Spare & Found Parts is published next year with Greenwillow (Harper Collins); a story about a girl who builds herself a robotic companion. It takes the creation myth out of Victor Frankenstein’s hands and puts it back in the hands of a teenage girl.
“Women who are writing for Young Adults are, in some ways, writing the work they wish they had access to when they were growing up,” she says. “They’re composing their own cautionary tales, assembling tool kits for the ongoing madness of being an adult woman. I think these novels are equipping the next generation with more than we had – like a new mythology, a different compass for the road ahead.”
Justine Delaney Wilson whose novel An Ordinary Face is published next Spring by Hachette Ireland says that women are writing about what it means to live and cope in a fractured modernity, especially since recession. “The truth of human relationships, loss of self, coping with emotional turbulence – certainly these themes are prevalent now,” she says. “I wanted to write a tale about a family, about what’s left when the structures we’re used to collapse.”
New writers are emerging focussing on the darker themes of women’s experience.
“I chose to write a novel about two young prostitutes and their experiences could only happen to, and be felt by, a female body as a receptacle of the male gaze and desire,” explains Lisa Harding, whose novel is currently being sent to agents and publishers.
“The book came about because I was involved in a campaign run by the Body Shop and the Children’s rights alliance to stop sex trafficking of children. I heard firsthand accounts of the girls’ stories I wanted to give a voice to these invisible women and to try to inhabit their skin as closely as possible.”
Selina Guinness who is writer in residence at DLR Lexicon for 2015/16 maintains that Ireland has always had a tradition of strong women writers of literary fiction: Elizabeth Bowen, Kate O’Brien, Edna O’Brien, Jennifer Johnston, Deirdre Madden, and that list is expanding and warping all the time. “I think society’s loss of faith in the authority of institutions generally, many of which were strongly patriarchal – banking as well as the church – means we now invest more hope in the informal communities which women have always sustained. And women tend to be supportive of other women writing,” she says.
There are some signs that contemporary fiction by Irish women may be consciously moving beyond female narrators, according to Guinness.
“Sara Baume’s choice of a lonely old curmudgeon as the narrator for her debut, Spill, Simmer, Falter, Wither, is brave for a young woman; Anne Enright is a straight woman who inhabits the voice of a young gay Irishman with effortless conviction in The Green Road; Belinda McKeon focuses on male gay sexuality again in Tender.”
Belinda McKeon says: “My first novel is a novel I’m still proud of, but it wasn’t until a year or so after I’d published it that I realised how firmly and obediently it sat with and with respect to a male literary tradition. That wasn’t a conscious decision. Pushing myself in a different direction, with a female protagonist and a female consciousness fully and unapologetically on the page, was a conscious decision and one about which I felt nervous.
“Social media, the support network, the sense of people talking about the process and the accompanying anxiety and challenges of trying to be a writer, has made a huge difference to me, and I think to other writers who are women as well. When I started out, I felt like a woman in one of those old-fashioned Gentlemen’s clubs on St Stephen’s Green. Now it feels more like a decent party in someone’s house. A house with a view.”
**This article of mine was published in The Gloss Magazine, 1st October, 2015.
This story of how a widow deals with her grief is taken from The Long Gaze Back, An Anthology of Irish Women Writers edited by Sinéad Gleeson
She felt that she should do something to mark her husband’s passing – a personal project, some self-improvement – so she learned to drive. It was harder than she imagined. Her husband had made it look easy. He drove while consulting the map or groping under his seat for the Al Green CD he loved, one hand stroking the wheel, open-palmed. She drove with her hands clamped firmly at ten and two.
She got lessons from a boy forty years her junior from the local town. He always stared straight ahead, avoiding her eye, even when she pressed a fifty euro note into his hand at the end of every lesson. She knew it wasn’t personal; it was just her husband’s death, lingering like an awkward joke at a party. Nobody knew what to say to her.
The interior of the car looked different from the driver’s side. The seat was moulded to the contours of her husband’s body. There were remnants of him everywhere; the door pocket stuffed with music and chocolate bar wrappers; tangy traces of tobacco from his rolled cigarettes. She couldn’t bear to vacuum them away.
She practised every day; she had time, in her widowhood. Driving even infected her sleep: she dreamt of hill-starts, of endless three-point turns, of cars driving towards her in the wrong lane. She awoke with handbrake precision. When the time came she sailed through her test, and drove home feeling reckless and free.
In the last few weeks of her husband’s short illness, he told her not to be lonely. Go out, he said. Meet new people. Have a life. That’s what he would’ve done had she been the first to die. But then it was different for him. He was on parish committees and hurling backroom teams; he could hop onto a high stool at Kennedy’s and talk to whoever was beside him. The pure ease of him.
She loved him, but by no means had he been a perfect husband. There’d always been indiscretions – even a love child, about ten years into their marriage. The other woman had been local; though she didn’t know who it was, she fretted that it was someone she knew, someone she liked. When she went into town, she sometimes scrutinised the faces of twentysomethings, looking for the shadow of her husband.
She tried to honour his deathbed request. She developed a routine: every Saturday evening, she readied herself, got into the car and left. It took her two hours to reach the coast, driving in any direction. She would make for a city or a big market town. She’d wear every piece of jewellery she owned, a long dress, a shawl. She would go into a hotel bar, order a Jameson on the rocks, and wait. It was never long before a man approached, looking for company, asking if she was OK for a drink. She usually let them buy her one.
She knew she was a point of fascination. She drank steadily but was careful to never appear drunk. Men who were young enough to be her sons approached her, asking what was she doing out on her own, at her age. Their eyes skimmed over the curves of her body, the clinging swirls of fabric, her neat cap of downy grey hair. Some of them told her she reminded them of their mothers.
The men would drink themselves to the point where they had the courage to reach out and touch her face. Her skin was creased, but still soft. Sometimes she pulled back in a kind, maternal way, and they would splutter and apologise and blame the drink. Other times, she went home with them.
She thought she saw her husband, sometimes. A man coming towards her on the street, smoking a cigarette, would turn out to be a woman eating an apple. She stared at strangers who shared a trait with him: a beard, a dark coat. She began to harbour a belief in ghosts.
She willed him to reincarnate. She was alert for the way a crow might turn its head, or a cat yawn with its whole body, the way he used to. She looked into young mothers’ buggies and expected to see his knowing eyes smirking back at her. She was the one who hadn’t wanted children, and now she cursed herself for it, for failing to hold on to even a piece of him.
Tonight’s candidate watched her from across the room for two hours before summoning the courage to approach. He was in an armchair, hunched over a low coffee table, pretending to do the crossword. She bided her time.
He was a bulky man, but so was her husband. They bore it differently, though. Her husband’s heft was like a bulwark against the world; he seemed insulated inside it. This man wore his weight apologetically, like a ratty old coat. She felt a pang of pity; she allowed him in.
Later, at his apartment, all shyness melted away. When he bent her over the couch, the blood rushed to her head. She had the phantom sensation of hair tumbling, tugging at her scalp; the long hair of her youth. It was different from sex with her husband – there was no way she could pretend it was him. But she still enjoyed it.
Grief was like a creature from folklore, sitting on her chest while she slept. Her excursions began to leak into midweek. She tried to pick a quiet time when there wouldn’t be much traffic, when her only company would be the wildlife: the slink of small animals on the narrow country roads, or a flock of dark birds in the evening sky, like fragments blown from a fire.
She would enter the city in the murky dusk, the street lights just beginning to spark up, reminding her of the glow of her husband’s cigarettes as he smoked out the kitchen window before bed. It hadn’t even been the cigarettes that killed him, in the end – it had been some other, stealthy mutation. It could have happened to anyone.
Her lovers would ask her to stay till morning, offering to cook her breakfast, expressing concern about the long drive.I don’t mind, she’d reply. I like long drives. I can listen to music. Actually she did mind, travelling in the dark from Cork, from Galway, from Kilkenny, from Limerick. She minded being trapped in the dark capsule of her car, hurtling into blackness. She couldn’t see her hands on the wheel; the night seemed to invade the car. Her eyes were tricked by tail lights and she’d hallucinate hitchhikers, heavy machinery, trees blown into the road.
After every journey she’d arrive home, climb into their old shared bed, and whisper into the pillow what she’d done, and who she’d done it with. I’m meeting new people, she’d say. I’m living my life.
Six months into widowhood, she made the mistake of becoming attached. He was a tall, stringy Corkman, a businessman who told her he had no time for relationships. He said he found it hard to talk to women – except for her.
He talked about everything: how he really wanted to be a doctor but didn’t get the points; his mother’s early death; his disabled younger brother whom he worried about constantly. In return, she told him about the hotel bars, the men. How she’d been a virgin when she married. How she’d become convinced that her teeth were about to fall out; they tingled as if preparing to wrench themselves from their roots. She tongued them when she drove, daring them to make a crone out of her.
When they went back to his place, he only ever wanted to lie down, hold each other and talk. Sex was something he paid for, she gathered. She was irritated by the way he compartmentalised his life, but then, wasn’t she doing the same thing? Still, she liked him for his staccato accent, and because he reminded her of her husband – his directness, his sardonic humour.
Though she rarely saw the same man twice, this one became a habit. She would drive down midweek, or whenever he could meet. She would feel her pulse quicken as she drove through the tunnel at the outskirts of his city, with its puzzlingly inverted instructions painted on the tarmac, commanding her to LANE IN STAY.
When they were apart, she would text him from under the covers, curled up, the smartphone glow flooding her tired eyes, and thought of reading by flashlight as a child, her mother scolding her: You’ll ruin your eyesight.
He asked her to stay the night once, and for him, she broke the rules. He made her breakfast with charming nerves, checking that she had enough juice and coffee, forgetting where the spatula lived. It was a pleasure to watch him move about the kitchen, quiet and smiling, like a tall sturdy geisha. Her husband used to make her breakfast too, but with a flourish, as if conjuring French toast from the midmorning ether. This man, by contrast, made humble scrambled eggs, pouring in entirely too much salt. But she ate them with gusto, savouring the shrivelling saltiness on her tongue and lips like a kiss.
Something changed between them that morning, and they found themselves undressing again and going back to bed. The sex was warm and straightforward, like him. Afterwards, he cried in her arms and told her he’d never felt such intimacy in his life. She rocked him, dismay seeping through her. She’d thought he understood that this wasn’t about him. But he was coming undone in her arms, and she knew there was no way of explaining. She left as normal, giving him a kiss at the door, and drove home. In the tunnel, she weaved around the other cars, ignoring the directive to LANE IN STAY. As she was passing over the Blackwater, she pitched her phone into the river. She didn’t trust herself not to text him again.
She fell back into her old routine – Saturday nights only, different towns and cities, different men. She drove home from Kilkenny one night, slightly drunk, knowing she was tempting fate, that she’d be put off the road if she was caught. She wouldn’t know what to do with herself then, sitting at home, trying to distract herself with bad television, or the death notices on the radio, or by staring into the fire until her vision blurred. The things widows were supposed to do.
There was someone thumbing on the outskirts of the city, on the road that pointed home. He stood in the faint wash of a streetlight. She slowed down and squinted to make sure he was really there; most of the hitchhikers she saw turned out to be trees, or wheelie bins. But this one was real. When she saw who it was, she almost laughed – it was the boy who’d taught her to drive, whose name eluded her. He looked tired, unsteady on his feet. She stopped the car, skimmed her mind for his name. It was a new-fangled name – Darcy or Bradley or Cassidy – more a surname than anything.
Davin, she called, easing down her window. He looked shocked that someone had stopped for him, even more shocked that it was her. He ducked his head and peered in the window, and her heart quickened, keeping pace with the tick of the indicator.
She’d only ever really seen Davin in profile before, sitting sullenly beside her during driving lessons, deliberately not looking at her. But his eyes, the cast of his brow – they were achingly familiar.
I’ll take you home, she said. He got into the car.
He made small talk, though in her jolted state she’d have been fine with his usual silence. He’d been at a college friend’s birthday party, he explained. But there’d been a fight. Something stupid and drunken – he could see that now – but he’d stormed off, and it would just be hassle to go back. He’d been planning to walk home if necessary – all the way back to their sinkhole town in the midlands. It would have taken all night. She smiled at this. Aren’t you lucky I came along?
She looked at him; no longer the boy from the driving lessons, but a revelation. His arms looked coiled with strength. His jawline, dark with stubble, revealed no acne. He couldn’t see her watching him in the dark.
You’re a good driver, he said, but you’ve been drinking. He must have smelled it on her.
When they were nearing home, he turned to her and looked at her in a way he never had through all those lessons. He said he was sorry for his gruffness before; that he hadn’t known what to say to her. I don’t know if you know this, he said, but your husband – he was really good to me.
The turn for their town was coming up. The night sky spattered onto her windscreen; she flashed the wipers.
He was friends with my mother, he went on, and I suppose he was always kind of like an uncle to me.
They stopped at a set of lights. There was no other traffic this time of night. He seemed unaccustomed to talking about emotional matters and he stalled, puttering out of words like a broken engine. She put her hand on his knee, the way she used to with her husband when he drove.
Do you want me to take you home? she asked.
He didn’t object when she pulled up to her house, not his, and unlocked the front door. He followed her mutely. Inside he was nervous, asking for a cup of coffee – if it’s not too much trouble; it might sober me up.
When she came back from the kitchen, steaming cup in hand, he had taken off his jacket. He was crouching beside her husband’s CD storage tower, running his fingers over their spines. Her eyes lingered on the hollow between his shoulders, a space that would fit the flat of her hand exactly. He stood, holding up a CD. Sly and the Family Stone, he said. I love this record.
She took it from him in exchange for the coffee. His shy smile as their fingers touched nearly undid her. Davin, she thought – the one she’d brought home. She wondered if her husband had named him. She shrugged off her own coat, inserted the CD in the stereo, and pressed play.
Eimear Ryan’s stories have appeared in The Stinging Fly, The Dublin Review, Town & Country (Faber) and Young Irelanders (New Island). She is co-editor of the literary journal Banshee. From Co Tipperary, she now lives in Cork
**This story was published in The Irish Times today. Eimear Ryan’s stories have appeared in The Stinging Fly, The Dublin Review, Town & Country (Faber) and Young Irelanders (New Island). She is co-editor of the literary journal Banshee. From Co Tipperary, she now lives in Cork The Long Gaze Back – An Anthology of Irish Women Writers is published by New Island, €19.99
An orgasm in a caravan with a convector heater on full blast and a thousand rounds of toast popping. Nothing can adequately describe the frenzied claustrophobia in Elizabeth Smart’s By Grand Central Station I Sat Down And Wept. When I read it at age 22 in a damp smelly bedsit in north London in the clinch of obsessive love for a co-worker who’d chosen a brilliantly achieved woman over me, I understood the heart-stopping power of literature for the first time. This little book grabbed me by the hair and dragged.
She had been there in the 1930s, Canadian writer Elizabeth Smart, and was able to explain it to me six decades later. Swallowing the earth with a married man, putting the whole untidy world into a nest, declaring that ‘love is strong as death’, especially the vetoed kind. I was flailing around with delusion in Wood Green, a harpy of relentlessness, addicted to hummus kebabs, drinking too much, longing for life with this man I’d met in a pet insurance company, screaming at him in red phone boxes, being mental. It was all a bit ugly and engrossing as often young love is.
The stifling descriptions of how Smart felt for poet-floozy George Barker after enticing him and his young wife to America – the length and latitude she was prepared to go to in pursuit of carnal hunger (she’d planned seven kids with him, though reality & economics restricted her to four) – her long-lived love story and how she wrote it became a strange anchor for me. I was relieved by its lunacy. In some ways it helped me move on. I entombed my man in London, moved back to Ireland, grew up a bit and learnt how to behave. Though the book, like sea lichen, left its tidemark.
I re-read it again recently and wanted to puke! A nauseating and brilliant ecology of desire and mental oblation. The reader is a peeper, an ogler, a watcher, through something mad, thrilling and rare. We witness Smart baiting her lover while sacrificing his martyr wife, the steamy affair that ensues across America, Canada and England, the ‘real’ trouble they get into because of the social mores of the time, the disgust her family experienced (Parent’s imaginations build frameworks out of their own hopes and regrets into which children seldom grow, but instead, contrary as trees, lean sideways out of the architecture, blown by a fatal wind they never envisaged) and her own mercenary journey through marvellous filthy love, horrible loneliness and eventual abandonment by a man who went on to have 15 kids with a bunch of women, while never managing to nab a full-time job. By today’s standards, he really was a Casanova shithead.
While the language and depth of feeling is still affectingly brilliant, it reads a little indulgent for our time. Nature, birds, prophecy, insects, shame, cheap hotels, Macbethian blood, betrayal, weather systems, crazed sex, all the things that suffocated her senses would peter out in a string of maniacal text messages today. Smart seems not very smart in truth, a posh girl hell bent on self annihilation and pissing off her parents, but her ability to sculpture language into terrifying and wonderful reflections marks her out as a unique and brilliant writer whose ‘whoring after oblivion’ with claws of biology and pity and hysterical hypnotism will leave you reeling in the trees. There should be a penance of a lot of pints after finishing this book. My dear, my darling, do you hear me where you sleep?
*This piece by moi will be part of Colm Keegan’s We Are What We Read exhibition, taking place at the dlr LexIcon, Dún Laoghaire, from 28th August – 31st October 2015, featuring a range of writers talking about books that had an impact on them.
A quick advertisement now, but I’ll be reading at the dlr LexIcon, The Studio, Dún Laoghaire, 8-9.30pm with Colm Keegan & friends – Karl Parkinson, Stephen James Smith, June Caldwell (that’s me, yeah?) – musician Enda Reilly and singer Sinéad White. The reading includes both an extract from the infamous Barrytown Trilogy (The Commitments (1987), The Snapper (1990), The Van (1991)) by Roddy Doyle as well as fiction of my own.
This year marks the 10th anniversary of the One City One Book initiative, showcasing some of the great literary works which have become synonymous with the city throughout its history. It’s 28 years since The Commitments was published, the first instalment of the Barrytown trilogy which had us all in stitches and set a new precedence for realistic Irish fiction (read as you hear it). The ordinary going-ons of a bunch of working class hedonistic musicians based on the north side of Dublin marked the end in literature of a youth supposedly choked by the church and abandoned in a hopeless and endless recession/suppression. In the same way that James Joyce put the cuffs on a ‘modernist’ take on Irish culture, Roddy Doyle’s savage hilarity of 1980’s suburban life gave people permission to be themselves regardless of where they came from and what they wanted to do in life. Unlike Joyce, this fiction was as accessible as it was memorable. The ‘success’ of the book’s band was irrelevant as one of the protagonists in the novel would later claim, ‘Sure we could have been famous and made albums and stuff, but that would have been predictable. This way it’s poetry.’
Do you not get it, lads? The Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So say it once, say it loud: I’m black and I’m proud.
In a recent Irish Times article Doyle maintains little has changed for the residents of Ireland’s capital despite the events of intervening years. ‘People still get pregnant I think, don’t they? People are still unemployed, young kids still form bands, they still talk in much the same way they used to. The city has changed but it’s still the same place. The books came out of a recession. We didn’t use that word back then, it seemed like normal life in Dublin. The difference with this recession was that we had seen what life could be like so it came as an almighty shock. I think it took a while for the city and country to catch up with its sense of humour, there wasn’t much laughter in the first couple of years. Hard times seem to give birth to good humour’.
The Commitments was voted best Irish film of all time in a 2005 poll sponsored by Jameson Irish Whiskey and launched a generation of Irish musicians and actors. It also won a BAFTA for Best Film. A follow-on The Snapper (my own personal favourite) revolved around unmarried Sharon Rabbitte’s (surname ‘Curley’ in the film) pregnancy, and the unexpected effects this has on her conservative family (Jaysus, me fanny!). Again it was made into a 1993 movie, this time for TV, directed by Stephen Frears and starring Tina Kellegher, Colm Meaney and Brendan Gleeson. The third in the series, The Van, was shortlisted for the Booker Prize in 1991. Jimmy Rabbitte Senior (Sharon’s dad) is unemployed, spending his days alone and miserable. When his best friend, Bimbo, also gets laid off, they keep by being miserable together. Things seem to look up when they buy a decrepit fish-and-chip van and go into business, selling cheap grub to the drunk and the hungry–and keeping one step ahead of the environmental health officers.
Doyle went on to win The Booker Prize with Paddy Clarke Ha Ha Ha in 1993 and has since published a glut of adult novels, novels for children, plays, screenplays, novellas, short stories and works of non-fiction. In 2013 he won the Bord Gáis Energy Irish Book Awards (Novel of the Year) for The Guts.
There are over 60 events organised by Dublin City Council for the month of April to celebrate. I am delighted to be taking part in one of them.
I’m ethically pinching the text of an article (below) from The Irish Times as it mentions The Long Gaze Back, an anthology of Irish women’s fiction I’ll be published in next year, edited by the lovely Sinéad Gleeson and published by New Island in autumn 2015. I look forward to sharing sacred print space with some fantastic writers (living and dead) such as Éilis Ní Dhuibhne, Anne Enright, Christine Dwyer Hickey, Mary Lavin, Eimear McBride, Belinda McKeon, Mary Costello, Lia Mills, Lucy Caldwell, Nuala Ní Chonchúir, Maria Edgeworth and Elizabeth Bowen. In January I’m on a much-needed writing break to Salthill for a few days, in March I’ll be attending the Doolin Writers’ Weekend (invited back as a *guest* in return for helping with the first two years’ programming). I’ve been short-listed by Over The Edge to read at Cúirt International Festival of Literature 2015 (but will have to wait to see if I make the grade!). In May I’ll be in situ in the Loire Valley in France working on the novel at Cirlce of Misse – which is my reward from the 2014 Moth Short Story Prize – and on April 23rd I’ll be taking part in the Barrytown Sounds with Colm Keegan, dlr Writer in Residence and Friends at the The Studio, Dún Laoghaire, so already, even before the Auld Lang Syne sets in…an exciting and productive New Year. The very best of luck to all my writer friends spilling their dauntlessness as they do. Make 2015 a year that counts.
Next year brings plenty of emerging talent to the bookshelves, both in Ireland and internationally.
Four brothers deal with a madman’s prophecy of violence in 1990s Nigeria in Chigozie Obioma’s The Fisherman (One, February). In Emma Hooper’s Etta and Otto and Russell and James (Fig Tree, January) Etta, an octogenarian, goes on a 3,000km journey to see the Canadian sea. Sara Taylor’s The Shore (William Heinemann, March) maps out the secrets of generations of women living off the coast of Chesapeake Bay, in Virginia. Sara Novic’s Girl at War (Little, Brown, May) explores the devastation wreaked by the Serbo-Croatian conflict. More Saras as we move to Ireland, with the Davy Byrnes 2014 winner, Sara Baume, one to watch for her poetically titled Spill Simmer Falter Wither (Tramp Press, February), which tells of an unlikely friendship between two outcasts in rural Ireland.Weightless (Bloomsbury, March), by Sara Bannan, focuses on cyberbullying with the arrival of a new girl at an Alabama high school. A murder in Lisa McInerney’s The Glorious Heresies (John Murray, April) affects the lives of five misfits in postcrash Ireland. From Ireland to Illinois, Paula McGrath’s short novel Generations (John Murray, July) delivers interlinked stories of multiple characters as they seek to rebuild their lives after loss. Set in Victorian England’s theatre district, The Curtain Falls (Ward River, March), by Carole Gurnett, details the secret life of a gay writer. Henrietta McKervey’s What Becomes of Us (Hachette Ireland, April) looks at the role of Cumann na mBan in the 1916 Rising from the perspective of a journalist in 1960s Ireland. Debut authors are also well represented in the short-story form, with Andrew Fox’s Over Our Heads (Penguin, April) and Thomas Morris’s We Don’t Know What We’re Doing (Faber, August). The Stinging Fly continues its tradition of publishing new talent with Claire-Louise Bennett’s Pond (April) and Danielle McLaughlin’s highly anticipated collection due later in the year. Short Fiction Ireland’s love affair with the short story continues to grow, with a host of new anthologies and collections on the way. The Hennessy Book of Irish Fiction 2005-2015, edited by Dermot Bolger and Ciarán Carty (New Island, March) is the third anthology in the series chronicling an emerging literary generation.
The Irish Times contributor Sinéad Gleeson is at the helm of a collection of Irish female writers, among them Éilis Ní Dhuibhne, Anne Enright, Christine Dwyer Hickey and Nuala Ní Chonchúir. New Island also releases the seventh instalment in its Open Door series, featuring novellas by Roddy Doyle, Catherine Dunne, Colette Caddell, Ciara Geraghty and Claudia Carroll. As Gaeilge, Micheál Ó Conghaile makes a welcome return with Diabhlaíocht Dé (Cló Iar-Chonnacht, May), his first collection in 12 years. A combination of traditional prose, poetry, monologue and music, Alf Maclochlainn’s Past Habitual (Dalkey Archive Press, March) depicts an Ireland struggling with the effects of war. Edited by Deirdre Madden, All Over Ireland (Faber, May) is a mix of emerging and established Irish writers, including Colm Tóibín, Eoin McNamee and Mary Costello. Under the Rose (Faber, June) is a new collection of previously published stories by Julia O’Faolain, with an afterword from the author looking back on her work. In keeping with the themes of his novels, the human cost of loneliness and displacement is at the centre of Donal Ryan’s first collection of short stories, A Slanting of the Sun (Doubleday Ireland, September). Collections from international authors to watch out for include Honeydew (John Murray, January), by the American writer Edith Pearlman, and the Impac winner Juan Gabriel Vasquez’s The All Saints’ Day Lovers.
I don’t know who/what I loathe more: the grandstander goons hopping about on the nation’s paint-chipped bargain patios or the government and health agencies who’ve pulled much-needed funding for life-sapping human diseases, but either way I’ve a pain in the proverbial with the ice bucket challenge (IBC). I found the ‘no make-up selfie’ frenzy aggravating enough [women reassuring other women that they still looked ‘pretty’ or ‘lovely’ without the splat while being utterly convinced of their own sincerity] but there’s something about this latest on-line delirium that marks the end of autonomy as we know it. What would’ve been considered ugly chain mail in more saner times is now a marker for cyber success and skewed social acceptance. If you don’t comply, you’re anti-charity, a spoilsport, uncompassionate, selfish, a schismatic ne’er-do-well.
As the Premiership kicks off today, lifelong Everton and Cliftonville supporter Henry McDonald appeals for true fans to forego the plasma-screen TV and go along to a match.
by Henry McDonald
On a freezing late-November afternoon last year, with a stinging Arctic wind whipping off Cave Hill, I uttered a blasphemy inside the old stand of Solitude stadium.
Amid fellow Cliftonville fans celebrating the Reds carving Linfield to pieces in a 3-0 drubbing, I objected to a small section of our support haranguing and ridiculing our rivals, tightly packed and frozen behind the goal to our left.
By which I meant the hordes of so-called football “fans” in Northern Ireland, whose idea of following their club is to don the colours of the Premiership’s billionaires – the likes of Chelsea or Manchester United – and head down to watch the big game on Sky, or BT Sport, in the warmth and comfort of their local.
For if there is one element of those who watch the beautiful game that I find contemptible it is those who prefer to line Rupert Murdoch’s, or BT’s, pockets every weekend of the season, while never darkening the door of any soccer stadium on either side of the Irish Sea.
Although we will all succumb to temptation and watch our preferred English and Scottish teams on the bar’s big screen some time this season, if you call yourself a true supporter you should at least once in 2014-15 (or even once in your life) walk through an actual turnstile, whether that be to see Liverpool or Lisburn Distillery.
None of the above is meant as an attack on the fans of the mega-rich clubs, like Manchester United or City, Arsenal or even our friends from across Stanley Park on Merseyside that play in a place called Anfield.
There are legions of local fans who board boats and planes every weekend, spending large amounts of cash to watch their teams in action, rather than take the easy option and stay in the local.
There are authentic fans of Manchester United, for instance, whom I have known for decades, who have made the journey over to Old Trafford, in some cases even when the Red Devils were playing in the old Second Division back in the mid-1970s.
There are also supporters of Liverpool I am, ahem, acquainted with who kept supporting the Kop side during the years of Manchester United domination. (Although among the many mysteries of Northern Ireland Premiership fan culture is where have all those Chelsea supporters been hiding all the pre-Abramovich/pre-Mourinho years?)
As a lover of the game, I particularly admire the Rangers fans who have stuck by their team even after the Ibrox side were relegated into the third tier of Scottish football and who follow, follow the ‘Gers to every small stadium at away matches every fortnight.
They remind me of the Man City supporters who stuck by their club when they were mired in the old English Third Division at a time in the 1990s when the oil riches of the Gulf sheikhs that took them over were as chimerical as a desert mirage.
But if you are looking for one exemplary supporter who epitomises the authentic fan, then take the example of Ormeau Road man Pat McGrath, one of the greatest Evertonians I have ever come across.
McGrath has been following Everton all his life, through the glory days of the 60s, the fallow periods of the 70s, the conquering of England and Europe in the 80s, the relegation-threatening 90s and far beyond.
Now based on Merseyside himself, this Belfast Evertonian has followed the club even on pre-season tours of Scandinavia and the United States, and criss-crossed the continent on Everton’s adventures in the European Cup, the Cup Winners’ Cup, the Uefa Cup and, latterly, the Europa League.
Just one example among many will tell you how devoted “Paddy”, as he is affectionately known by the Everton faithful from around the world, is to the club.
About 15 years ago we were sitting in the lounge of John Lennon Airport, waiting for a delayed flight back to Belfast in the period when our club hovered just above the relegation zone. We passed the time over a few pints, following a home win that Saturday over Sunderland, musing on the away grounds we had been at to see Everton over the years.
One stadium had always intrigued me and it was one I had never been to: Molyneaux, the home of Wolverhampton Wanderers. On mentioning the Black Country team’s ground, Paddy recalled, “Ah, Molyneaux, yes. Boxing Day 1975. We lost 2-0.”
When I butted in, asking how the hell he got there, given the paucity of air travel from Belfast back in those dark days of the mid-70s, he regaled us with a travel-story that involved taking the boat the day before Christmas Eve and sleeping over the Christmas in Birmingham’s New Street rail station so he could get a ticket for the Wolves game on St Stephen’s Day.
There are other possibly more stranger-than-fiction, true-life stories Northern Irish Evertonians could tell about Paddy’s journeys, which together would make for a great cinematic or novelistic study in sporting devotion.
And there are other local Evertonians too who constantly fly and sail across the sea to follow the Mersey Blues, including a very close group of friends from the village of Coagh who are among the most decent, amusing and kind people you would have the pleasure of attending a football match with.
Some might object, rightly, that the rising costs of Premiership tickets, as well as the extra burden of paying for flights, boats and hotels, will deter most from putting their money where their mouths are most Saturdays, Sundays, or even Mondays.
Looking around Goodison Park sometimes, I see parents with a couple of kids beside them, all wearing the royal blue and white, and you can’t help wondering how financially crippling it must be in the age of austerity to take your family to a game; or, conversely, how much cheaper it would be to take them somewhere else to watch a live match on a giant TV screen.
Yet, if you call yourself a true follower of the game, and really can’t afford this season to support your English, or Scottish, team in whatever division they may be, then here is a challenge: at the very least, to demonstrate your love of the sport, ditch the comfort zone of the Sky screen, the central heating and the clink-clink of the pub pint glasses just this once and give your local team in the Irish League some support.
Do yourself and the clubs struggling to survive here a favour and, perhaps, even turn up a few times this season.
Meanwhile, some of us will go on enjoying the best of both worlds and escape the pressures of life outside for 90 minutes inside the two old grounds whose names alone can still lift the heart – Solitude and Goodison Park.
** This article was originally published in The Belfast Telegraph on 15th August 2014.
Bro, you haven’t bothered getting in touch since you died a year ago today. In my head … the barmy idea that you still look like a slab of Edam and that I never got to say goodbye. The chipmunk breeder Alice you shacked up with in terminal time, when Duck Arse left for a pub bouncer with a metallic four–by–four, has now lost over six stone, inspired by the story I guess. Alcohol & gluten free; she’s even ditched the sloppy pillow burgers in blood sauce, the ones from your holiday pics when you told us, ‘Bad days are in the post but for now it’s business as usual!’ Half the kids, the older ones, are fine. Edel is on her way to becoming a science buff in London even though, well c’mon, we must be honest here, you expected her to be a hairdresser or something low-key but Christ has she started to fly! Saul is taller than you ever dared imagine, as if when you went skyward he did a Jack & the Beanstalk to get you back down again. At sixteen it was more than he could bear. I’ve kept all your emails, eyeballing them from time to time.
Driving to France on Saturday with the kids just for a long weekend, Paddy cancelled his summer camp in York with the scouts so he could come and yer one is a complete cunt (Sorry, I just had to add that). Really looking forward to my first holiday with the kids only and staying on a campsite near Calais so a short drive will be better to contain Princess Lara’s immense puking skills. Saul & Edel are making their own way, old enough to travel solo would you Adam & Eve it? Booked a three bed mobile home this time so we are all a little excited! Divorce is ready to go, Duck Arse admitted in writing to adultery. How are you and your pet mice? And why 10 months off the booze?
Etch-A-Sketch of a year where I still ride the blanks and hope no one in the library notices. I set off most days with Arvo Pärt’s Spiegel im Spiegel playing in my head. Out past the squiggle of purposeless shops and homeless men who nudge their heads up like broken birds from splintered eggs in the basement of the church, and on to the Tolka Bridge where an orange city fox once followed me in the first draft of morning. Conversations become cataracts of sorts. ‘Wouldn’t it bite the toes right off ye?’ a woman said at the bus stop in October. ‘I can’t be doing with this heat!’ the same woman said the following summer. Only then did I realise so much time had slipped by.
I’m booked in to see the oncologist at 9.30am Monday morning to discuss an action plan involving chemo and some new drugs on trial. I’ll take anything that’s going if it means squeezing a few more years, if possible. Remaining focused and positive. It was a hell of a shock for everyone as we were all expecting a routine operation and the surgeon was pale faced explaining to me why he could not operate. I will know more Monday afternoon. Been one mad year or what?
Aul ones on buses constantly bitching about fluoride in water, men in pubs, chemicals in clothes, joyriders in cars. It’d do your bake in. Aside from the militia of junkies in Phibsborough, idiot bankers, gym bunnies, people who tie terriers outside Tesco, absolutely nothing in Oirish suburbia changes. They’re still slamming car doors, hauling kids to over-priced crèches. Sometimes, stupid I know, I find myself getting jealous of the ones who stayed and did it all by the smug pudgy book … bought houses with the charmed approval of grannies and aunts and far-off oil-owning uncles in Australia, purged children into the world and who now stroll through parks laughing their freshly-washed heads off, pull perfect shepherd’s pies out of high-gloss ovens, who know what they’re about, really about,, what they were planted here for. Little girls with springy curls, tubby-bellied boys full of, ‘But mammy look!’ and ‘Daddy look!’
I think if we hadn’t of gone to London, you know, if we’d stayed and done it properly, rewrote the late eighties, jobs in IBM or IDA or any abbreviation of anything that would pay the way to a Semi-D and a bit of stability. But over you came and I was never stable anyway! Kipped on my couch, slept with nearly all my friends, laughed into the early hours too many nights to recall. Do you remember when a load of us went on the piss in Richmond, there wasn’t enough room in the taxi, so you said, me being your little sister, I had to go in the boot!? God, yes, bombed out of my brain, roaring at the driver, ‘Turn left now!’ and ‘Turn right here!’ even though I couldn’t see a damn thing.
A year later we lived in Jersey where you worked the bar and I the lounge of a rundown pub, dolling out terrible abuse to geriatric millionaires who’d travelled the world ten times over but had nothing left to do except grow holes in their jumpers and get pissed all day. ‘She was the worst barmaid ever!’ you told the chipmunk breeder Alice later. It’s true, I was. A year after that again we shared a cockroach-infested house in Stratford in London’s east end. Your stunt as a cappuccino salesman was a dreadful failure but we had machines steaming away in every room of the house, every night was a party. When I was at uni, you ran a pub just up the road, we were never far away. Two kids with the first wife (but she had great thighs!) and later, more disastrously; it was round two and another two kids with Duck Arse and her litany of hell. Your snooker buddy Darren told me before the funeral. He told me it all, out in the back garden with a stack of San Miguel. I wanted to bash your head in for keeping it all a secret. I wanted to dig you up and kick the crap out of you for never letting me know how bad it all was.
‘I can’t have another disaster,’ you told him, ‘I can’t lose my kids again.’ Water meets its own level, our ma used to say, but your women were never bobbing anywhere near your level and somehow all of it must’ve dragged you down.
I drank water before I went in. ‘I would recommend it, Madam,’ top hat man said and you would’ve laughed at the whirring fan receptionist with the bovine ankles whose job it was to spray disinfectant when no one was looking. Viewing chamber the size of a High Street dressing room: yoghurt stale & browner than a bum moon.
A dance with neutrons and protons. That’s what I imagine it is for you now. Sliding up and down wallpaper. Watching us in our daily drudge. Can you see me and the other women working in the library? We all pretend to get on, but aside from readjusting each other’s hormones into an assemblage of demented bitching and chocolate splurging, we’ve bog all in common. The building is Georgian, a carved wedding cake, crafted cornicing, walls of tedious green and piercing yellow, corridors cropped in spiderweb wigs where the elderly shuffle through to read or snore or attend ‘literary readings’ upstairs. Almost everyone who strolls in wears glasses and carries a spiked umbrella. There’s a small cafe in the basement that serves tea, fair-trade coffee, tray bakes and ham sandwiches made at the curvature of dawn by an old crooked cook who reeks of rotten lilies. I always meant to show you around.
In the quiet clammy armpit of early afternoon I’m haunted by the grammar system we made up as kids – berry nide – a kind of warning system for people who might do us wrong. He’s not berry nide. But you’re berry nide. No, you’re nider! You’d already been through it by then. Bogeyman in a house, up mountains, on holidays. Oh he got a mass said for you afterwards, your own special mass, how’s about that! Dirty hypocrite, cheddar cheese chin of a wife, curse their life! Mass to make themselves feel good, exonerated, whole. No one speaks to them anymore. Not that we can make sure-fire connections. Medicine is a long way off that kind of jump.
Thanks for your long email and words of advice. Yeah, I was happy and loyal and Duck Arse is the most horrible person I’ve ever met and I care not a jot about her now. Saw her today when I dropped the kids back. Still not allowed in her tiny house whatever that’s about? I just felt relief. The look on her face on Sunday was priceless when she dropped Lara & Paddy off. I told them in advance not to eat as I was cooking a Sunday roast on the phone the night before. I could hear her howling in the background, ‘But your Dad can’t cook!’ like, even at this juncture, she still wants to put me down. When they got dropped off Lara ran back out the front door screaming at the top of her voice: ‘Alice is here with her chipmunks and she’s cooking, not Daddy!’ Duck Arse’s chin hits the ground and she boots off like a rocket drive on Top Gear. Yet I know she’ll poison their heads when I’m gone. The older ones will be fine, but try your best to sort the younger ones. You are welcome here any time, nice spare room with a new double bed. I’ll pick you up at Stanstead and spoil you rotten while you’re here!
Hubby-One-Day will be up soon, singing in the shower, shuffling after me in the kitchen, soggy, smelling of boy spray. He talks about you every time there’s a football match, especially when Liverpool is playing. ‘The hell he gave me!’ he says. ‘He called me blue and white shite!’ Still hasn’t the energy for his own divorce, but like Duck Arse, yer one is living with someone new: A, B, C, D: to the soulless it hardly matters. Hubby-One-Day makes me curtsy for him in my Victorian nightdress in the mornings, up and down the kitchen, crab sideways, around in circles, a slice of McCambridges’ toast in my gob. Hey, it’s the little things!
The town peacocks, de geezers, your Hawaiian shirt Jägerbomb mates, the ones you told (only towards the end) what happened, they never did smash up the Bogeyman when it was over. Somehow it didn’t feel like you to insist they would. That bit jarred with me. There was rumour, conjecture, but a great big nothing happened. No grand retribution. No staged revenge. Instead your friends stood in a line outside the church, over half a mile long, hands behind their backs. I’ve never seen such colour, ever, even though the colour has seeped from my life since. Aero & acid blue, amber, blush and violet. A woman head-to-toe in cameo pink. Duck Arse and her gombeen family. First wife and the older kids too. All there. Who knows where Bogeyman was, but at least he wasn’t invited. His vile-denial Catholic wife, a headless woman struggling to gawp out her own body, forgetting she no longer has eyes. You don’t need me to tell you, especially at a time like this, but people like that, they’re not berry nide. Not nide at all. But you? There just couldn’t be nider. No one in this giant shit heap of a spinning world is nider than beautiful gone you.
He lived in an ancient place. His house of three rooms sat to the side of a fort. Stone walls ran through the fields.
His back yard was a field of whins and grey gravel. Beyond it was the railway line where a few trains a day ran over and back between Sligo and Connolly Station in Dublin.
He was always at the back door to watch them go by as he learned his lines. After the first train in the morning he made the porridge. After the second he ate the pancakes. The midday train meant a shot of Bourbon. The one heading the other way in the late afternoon meant climbing on the bike, and heading for Henderson’s pub where the carpenters, plumbers and house painters gathered and met up with local farmers.
They talked of nothing but money, local deaths and shouted out laughter in a nearly insane manner.
He grew to hate that laugh.
It was not humour.
He could not enter the banter. He grew to hate that talk of hard times as more drinks were ordered. His face grew grim. They thought he thought he was above them. Sometimes his face would suddenly appear in an ad on the TV, and there’d be a momentary silence as they grinned and looked at him, and then at each other, and shook their heads before they re-entered the aggression of the recession while he checked the time.
Good luck men, I have to go, he said downing his glass of gin.
Goodbye Mister O’Hehir, nodded the barman.
Good luck Joe, called the plumber.
I would not like to be here after I’m gone, he thought as he stepped out the door.
Joe O’Hehir hopped on his bike and rode to The Coach Inn which was surrounded by cars. He sipped his Sauvignon Blanc and ordered goujons of cod with chips, and then sat by himself for two to three hours watching the old folk collect for meals alongside groups of young folk. Old professors, architects and electricians, sat alongside ancient nurses, doctors and secretaries. A nun and priest led a funeral party all in black to a table. In the background Frank Sinatra was singing, then along came Dean Martin as soup bubbled in spoons and prawns slipped through leaves of rocket. Joe read his books on Ghosts and Mysteries, then headed back to his script and began mouthing the lines to himself.
For weeks he’d disappear, take the train to Dublin and enter rehearsals, and eventually take his place on stage. He always stayed in the same B&B, a place filled with tourists and backpackers and computer screens. Amidst the entire furore his silence grew.
He’d stand under the bridge down the street to hear the train pass over his head. He reread old scripts in Mc Donald’s Café. The hallucinations grew.
Then on the opening night of the play towards the end he dried up. The others waited. He stared out at the audience. It was a sad moment in the script, and the distress the audiencre saw in his face they read as part of the character’s inner self as he approached the bad news.
Off stage a cue was whispered.
It looked like a tear appeared in one of his eyes.
He lay his head down, and the other actors watched their mate’s extreme trauma. In rehearsal the sadness lasted only a minute. Now it had reached three minutes of silence. Then suddenly he threw up his head and out of his mouth came all the mad laughs from Henderson’s, the laugh at what was not a joke, out came scattered lines with always the Ha-Ha, Jesus there’s not a penny to be had, Ha! Ha! Bastards, give me a half one, Ha! Ha!; he bobbed to and fro tossing imaginary glasses into his mouth, read imaginary papers for a second, Look at what’s going on down there he said prodding the non-existent article, Ha! Ha! They know nothing, nothing, do you hear me, nothing! Win a stroll in Christ! and he roared laughing as the curtain came slowly down and the lights went off, ten minutes before they should have.
I have inherited the gene, he said to himself as he ran down to his room, undressed and prepared to go.
Joe, stay there please, shouted the director. We need to talk. Badly.
Joe eyed him.
What happened? he asked.
His books include Banished Misfortune (stories), The Bend for Home (memoir), Fighting with Shadows, and Long Time, No See. which was selected for the International IMPAC Literary Award by libraries in Russia and Norway.
He also wrote and directed plays including The Long Swim, On Broken Wings and Mister Staines. He won the Hennessy Award (1974 and 1976), the Tom Gallon Award (1983), and the Encore Award (1995). In 2011, he was short-listed for the Poetry Now Award for his 2010 poetry collection, A Fool’s Errand.
Born in Finea, Co Westmeath, Mr Healy spent his childhood in Cavan before moving to London and back to Ireland, to Sligo.
The totally wonderful and short story obsessed Paul McVeigh – whose blog on all manner of creative writing is the best I’ve ever read – invited me to join this blog tour, though I’m horribly late given the month that was. Paul is a short story writer, blogger of renown and curator of the London Short Story Festival at Waterstones in Piccadilly. I took part in a blog hop last year too, asked by another wonderful writer and having read what I wrote then, I haven’t moved an inch. Sick family members aside (one dead too soon, one toying with the notion, the other hoping for renewed life beyond), it’s very hard to etch mental space to write but it’s still not a legitimate excuse either. Two months ago I pulled the old musty back bedroom apart, got the walls slopped in ‘warm grey’, carved out some book space (well, IKEA billy book cases), shoved in a cheapo writer’s desk, a lovely new bed, lobbed Annie Sloan chalk paint on the woodworm wardrobes, bribed a mate for an old rocking chair and away I went. This is the year it happens, says I. God belss June and all who ride and confide in her.
1. What am I working on?
I’d love to say I’m working ‘on a collection’ of short stories, because that’s oh so in vogue. Something’s happening with Irish writers at the moment a bit like the property bubble. Nothing less than a collection and even better if it’s a disaffected theme: gouging the retina of the young male psyche, drug-addicted Georgian basement flat living, a swanky flâneur destined to skim the city sewers in a terminal loop looking for mislaid love, stories from a fucked-up suburban street (twitching curtains, lawnmowers, Shepherd’s pies), or the ageing psychopath’s screaming regrets in rural Ireland, all rolled into a tar barrel with a dead woman decomposing in a purple wedding dress. Humour and intolerance get in the way. Once I tell myself to write on a certain theme, I can’t be arsed with the mental rigidity of it. I hate being told what to do.
Last year I was stuck in rigamortis fiction, some stories published about my dead brother in literary magazines. It seemed a great way to process the shock. I thought that maybe this could be a theme if I worked on it backwards, from death to life, a bit like Jim Grace did in Being Dead (I love this book!) but off I ran on the Elipsos overnight train to Spain with my repackaged grief. I toyed with the idea of a ‘Dublin city’ book of stories but it seemed so vague and pointless, the kaleidoscope of packed place is no longer interesting or fun. Phases of life. A collection based on lovers. Places I’ve lived. People I’ve met and hated. My years as a journalist shouldn’t be wasted. I could take snippets of real stories, steal the kernel and crumple into something new. A plotless story I wrote for Literary Orphans in the USA is based on a real snippet from a journalist pal: a junkie having his ass robbed [of drugs] in Talbot Street…it never made the papers. The editor thought it was too unsavoury, so I stole it instead. Another story remnant I sent off for a competition was based on a man who lived in a tree in Broadstone in Dublin 7 for the last few years, before he was dispatched, unmourned, to the madhouse. So, real stories, with an unreal twist, maybe. Where an ex journalist sees some unholy scrap of truth and does something with it.
After that’s over, it’s back to the Domestic Blitz novel that’s more a ‘movel’ – part fiction, part memoir – a longer project that’ll take me into winter and some of next year. There’s already periphery interest in this from a potential agent in UK so I have to take my time (now that my time is back to being my own) and feel satisfied with what I write and how I write it. At the moment it’s blather fragments written in two time frames and it’s not exactly gelling. I know instinctively it will work if I get into it. It has universal appeal. My heart is in it. The story is worth telling.
I even know what I’ll write after this is done, a story I ditched about one of the missing women, told backwards from two perspectives. I tried that on the MA at Queens’ and got caught in a hamster run. Stories for when I’m distracted, novel as a means of protracted focus, a novella I promised a dead woman I’d write if it killed me on the situation that killed her. In a nutshell.
2. How does my work differ from others in the genre?
Er, dunno. Social surrealism. I write like Joyce, says one (being all tea party nice), but I don’t at all! A nice lady whose course I was on a while ago said I write like Eimear McBride; the new best thing since the electric waffle maker. Anne Enright, sort of (yeah right!). An old humper from the past (now a novelist himself in London) emailed to say I write like David Foster Wallace, though his marriage recently ended and he might be trying to get his cyber leg over. I think comparisons with other writers are silly, hard to live up to, useless. I value and look forward to difference in writers, not sameness. I don’t know who I write like but I just know I get in a zone where sometimes I don’t even fully understand the language incursion, or the voice that ‘happens’ or the tone or the story or the need to write a certain way. There’s definitely a rage there and a feeling of ‘I don’t have a reputation to lose, so I’ll write it like this anyhow’. I even know when I’m writing something that it won’t be popular, will probably make a decent editor barf and a reader unfriend me on Facebook, with any luck. I also feel it could be different because part of me never wants to write for publication, so I don’t target it that way. The freedom of an affair! What I do know is there’s a lot of good people giving me the thumbs up at the moment and it feels very odd and reassuring.
3. Why do I write what I do?
I’ve no idea. Am I supposed to say it’s cos I’m lonely? I’m not. Writing is hard. But there really is nothing else.
4. How does my writing process work?
Snippets of mind dust. A journo interview I did a decade ago still haunts me. A woman being told in the early days of training to ignore a phone box in O’Connell Street where boys were being brought to and abused. The magazine in question didn’t want the feature in the end, as it seemed a bit libellous and kooky, but I still have that info and want to write it as a fictional story. Another who sought out a journalist to expose a cult who allegedly forced her to have tantric sex and when her husband found out, he dumped her. If the group was exposed then the husband would leave her best friend he ran off with and take her back (I’m not even kidding!) The radical feminist with the tea cosy on her head who’s spent a lifetime already living off men but fails to see the structural flaw in her politics. The man who chopped off people’s fingers in the Troubles and kept them as souvenirs. A swinger who travels the length and breadth of Ireland shagging abandoned wives but cries his lamps out because his own wife won’t dish up the turkey. A child who told her teacher that mummy ‘makes fire’ on her legs. An alcoholic taxi woman raped as a child by a farmer who used butter so he wouldn’t hurt her too much. Stories we tell each other in semi-occasional moments of privacy or hilarity: ‘I can’t print this but wait ’til I tell ye…’. Stories full of holes and for the birds. Start with a sentence that makes you sick or scud. I don’t want to write about good or perfect people. I don’t see the point. At the moment I’m writing Jesus of Wexford for a competition in July. I haven’t sent anything off all year so it’s a good self-recruitment exercise. He lives in a wheelie bin and his bible is a pizza box.
At some point I always manage to disturb myself and leave whatever I’m trying to write aside…I may dump a work in progress for good or come back to it. I don’t really know why I write, but as I said in a recent Irish Times article:
This is about spilling your guts in a dignified way, but don’t be frightened if a speckle of madness rears its head, too. Let it bring you where it will; don’t look back. Be excited. This compulsion is a courtesy, not a curse. Don’t compare your writing to others’. Instead get totally obsessed with what you want to write and start chewing the cud of the storyline or idea every day. Feel the words, develop a voice, put manners on your demons, write regularly.
I’ve nominated three writers I love to answer these same questions how they see fit… look out for their blog posts! Two are in a newly-formed writer’s group (with me!) and all are friends! Oh and one I roamed the streets of Dublin with at age 13/14 during the feral mod years. They’re all stupidly talented, dedicated, quirky and wonderful. Enjoy.
Alan McMonagle has published two collections of short stories, Liar Liar and Psychotic Episodes. Earlier this year his radio play Oscar Night was produced and broadcast as part of RTE’s Drama on One season. It’s about two sweet old ladies who go to the bad when their annual ritual is interrupted by an escaped felon.
Doodle Kennelly was born in Dublin and spent her early years there. As a teenager, she moved to the United States, to Massachusetts, where she completed her secondary education. Later she returned to Ireland and attended the Gaiety School of Acting. In addition to her regular newspaper column, she has published autobiographical essays relating to the subject of female identity and body image. She has also appeared on national television. Doodle is the proud mother of three daughters; Meg, Hannah and Grace Murphy.
Lisa Harding completed an MPhil in creative writing at Trinity College Dublin in September 2013. Her short story Counting Down was a winner in the inaugural Doolin writer’s prize 2013. This summer she has been short-listed for Doolin, Cuirt, Listowel and the Bath short story awards. A story Call Me Moo is to be published in the autumn issue of The Dublin Review. Playwriting credits include Starving at Theatre503, And All Because at Battersea Arts Centre (as part of an emerging writers festival: Connect Four) and Playground at the Project Theatre Dublin. She is currently working on a new play Pedigree for which she was awarded an Arts Council bursary and a Peggy Ramsay award. As an actress she has appeared at the Gate, the Abbey, the Lyric and on RTE, among others. Her collection of sixteen short stories Crave is a work in progress, alongside an embryonic novel with the working title: Transaction.
Sorry to have missed this interesting discussion in Smock Alley yesterday on the short story. Nuala Ní Chonchúir’s latest novel ‘Closet of Savage Mementos’ is available here: http://newisland.ie/product/the-closet-of-savage-mementos/
Today I was at a very interesting discussion led by Thomas Morris, editor at The Stinging Fly magazine, as part of the Dublin Writers Festival. It was a colloquy about the short story between two practitioners of that form, Nuala Ni Chonchuir and Mike McCormack, the latter my tutor during my MA in Writing twelve years ago (God, I feel old. Again.) I felt like a bit of a poacher-turned-gamekeeper as I haven’t written a short story in well over a year, and one of any considerable length in more than two. But it was interesting hearing what the short story had to offer and where short story writing, particularly in Ireland, might have lost its way somewhat.
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Dubstopia is a long short story where nothing and everything happens junkie Gonzo as he wanders around Dublin – and his head – on a dodgy errand. It’s deliberately ugly & experimental and has plenty of swear words, bad grammar and other unsavoury linguistic bits flung in. It was written on a short story course at the Irish Writers’ Centre a few years ago now and was published recently [in April 2014] in US journal Literary Orphans, ISSUE 12: Swift (Ireland & the Irish). The journal also features work from:
–Background Art & Illustration for this story is by Zak Milofsky
–Photo Art of building by Sarah Hardy
Scrambled egg beside a steaming gee-pad Carol left on the mattress. Lidl brownie with ants. Two packs of Amber Leaf. Wet jeans. Sun tearing in the window through an A-Line skirt she stole from yellow teeth bag-face in Oxfam. Book of Yeat’s poetry open on a fumble in a greasy till and add a halfpence to the pence. Leather Joe’s address book with dead dealers whacked by the Nike gang in Finglas. A picture of his granny curled on a couch holding a bunch of Chrysanthemums; monster Holy Mary in a Punto blue dress peering down her seersucker top. Carol’s shoe stuck in an antique trumpet. His passport. Loose turf. Sunglasses mounted on a Stanley knife.
It was too late in the morning to leave The Old Bank: PinStripe would be downstairs showing clients around giving it the high-dough this and that: sash windows, safe room intact, De Valera around the corner, locked horses on the towpath, ladies with hats, worth a packet when the stock market convulses back, priceless mirrors, legend says there’s a ghost, sixteen rooms; would make a cracking hostel, Real McCoy Victorian chimneys. Gonzo decided to hang back a while and have a wank.
He wanted to bang the nurse in The Mater who took bloods. He wanted to bang her cos she talked down to him. He wanted to bang her cos of the dirty way she leant over and smacked the vending machine, pillow tits blobbing all over the gaff and well she knew it and well the old codgers with the fucked hearts knew it and well the pleated receptionist with the tall latte knew it and well the trolley-pushing hunchback in plastic green knew it and well he knew it: they’d jelly when he gave it to her goodo. She’d have to shut the fuck up saying shit about Hep-C, muscling, skin-popping, if Carol took mushrooms when breastfeeding the day the baby died. He wanted to bang her for saying things he didn’t understand – subcutaneous – posh words for abdominal bloating and liver damage, infertility and testicle shrinkage. He wanted to bang her.
She’d be down at the Old Mill on the canal sucking off Leather Joe for a bag. Willy would be there too with the scab-ho wrestling over a lukewarm tin of Stonehouse, suckin’ her face off. Beamer the old tramp with the no veins. Hasslebat, his ginger eyebrows lighting up hot worms in a snow of forehead. Smell of piss hacking the sun-up. Widearse Wendy with her tales of Berlin, before Guzz floated down the river with a bag of leaves in his mouth. Guzz who survived winters in Leeds in the eighties sleeping under truck stop Lorries, draining antifreeze through slices of white bread under the engine holes. Phib, their Jack Russell in a rusty pram lickin’ stolen Satsumas. They’d be swaying by now, talking bollox, tapping passers-by. ‘Scuzzz me scuzzzz me scuwizzzzmeee. Do you want me to be like you? Is that it, do you want me to be like fuukin’ you?’
He didn’t mind what Carol did as long as no-one came in her. She’d be back with the gear in the afternoon, giving it the full candy: ‘Darlin baby I fuckin’ lurv you, d’ye know dat? I’d fuckin’ keel over fur yew.’ They’d lie on the wet mattress and roll into the Mournes biting sweat gashes off rivers, green slime, bits of broken helicopters, church bells in ears, cold tinny blue and God’s feet, big as cheese urns, landing unceremoniously in a crumpled scared heap, pulling at Carol’s scraggly hair to see was it a bastard lion’s head, vinegar swish-crash, fluff cellophane greed stirrup blood mount. Sometimes the bank would turn into a spinning barrel turning shrill pork belly with them naked rolling and banging into the ridges with running whiskey gag, the wood burner he nicked farting out leftover specks of fire on cling-film skin, until they couldn’t breathe alone or together and then Carol would hear the ghost of the bank inside the old windows, telling her to pick up the horse shit and bring it to the man in the Botanic Gardens for the flowerbeds.
“D’ye hear hiyim?” she’d say.
“He’s in heeyore, talk’n aggen.”
“Curse he is, shurrrup an’ he’ll go ‘way, fuuksaike!”
She’d hear the dead baby too, asking for his doo doo. ‘Gimme boy doo doo, doo doo mine!’, and he’d have to pretend to hand the absent baby something, anything that might look like adoo doo and then he’d slap it into her to get her to stop seeing the baby and she’d ask for another one – tits well gone since they’d started using again – nipples were teacher’s eyes squintin’ at the crap way he pronounced Irish words. Sometimes he’d bash them, but she never seemed to give out about that.
“Gimme a baybeee, I want mi babee back”.
He stopped bursting into her cos all three kids were reefed away. No way would he be doin’ that again. So he’d pull out and squirt on the wood floor, and she’d slip on it going to the jacks and call him a ‘prick’, falling asleep until the others came later. He’d collect them on the fire escape, one by one, no way hosay during de day in case PinStripe got to know about the squat. Couldn’t use the burner until late at night cos of the smoke snakin’ and they weren’t able to cook in it just on a camp hob so over and over again went without food for days sambo’d into a lot of other days. Lucky to have de place. Most had to sleep in the bandstand on the canal or in de laneway behind Doyle’s Pub that burnt down, sausaged in giveaway blankets with Leather Joe screamin’ inside night terrors of ginger arse rape Da until the sun flew up over the broken roof tiles and car beeps gnashed at them, pong of Spar hash browns, burnt dry, useless as donkey pelt.
By three o’clock the pains were rippin’ and no sign of her, so he lashed down the ladder with its shitbag of miry snails, out onto the North Circular Road. Chink Man was outside his shop with its windmill of sweeping brushes, Jesus clocks and Sudoku toilet roll. ‘You no come in here!’ he shouted. Carol dipped him too many times, taking a slash-swipe at his Mrs another time when she was packing the window with animal motion sensors. ‘Mine’s a beef satay bud!’ Gonzo hissed back, sticking his middle finger up in the air. ‘You complete b.a.s.t.a.r.d!’ Chink Man roared. Only once did Gonzo wonder why he hated him so much for taking a job he’d never want.
Quick glance down Goldsmith Street and onto more bump of side road. Every step up step down hurt like fuck. Fatsos by the cattle-cart stomping into Curves gym to the lyrics of I Will Survive. He sang along to stop the pain from slit-sucking out his intestines. And now you’re back from out der space…I jus walked in to find ye ‘ere with dat sad look on yer face. ‘C’mon now ladies, knees up and up and up again, that’s it, keep going, let me see those knees!’ The Russian tattoo shop and Made By Mary with its calf hole carvery, Brenner in De Joy on the left, IRA prick, dying for Mother Ireland in a 15 X 20 exercise yard, the hospital with its wheelchair morgue; militia of swollen ankles, around by the battered yellow flower shop and on and on, holding onto his guts like a stolen Christmas present. Sweats horsin’ down under denim, face the dye of fresh snot. Passed the launderette where his Ma used to wash the boy’s clothes on a Saturday before packet potato soup with dinosaur lumps. ‘Don’t sit on the machines Patrick, what did I tell you Patrick, are you listening to me Patrick?’ When he was small enough to be growing that snorkeler that would give him ‘Gonzo’ for all his days. He’d probably never see her again. She certainly didn’t want to see him again. Most days he’d clear forgot what she looked like.
Outside Reproductive Choices on Berkeley Street: he could see a scrape-load of them, redder than Mars moons, holding up placards for their right to life like taxi drivers at Dublin airport on the pick-up. He read in The Sun that Obama got rid of aborted baby cell flavours in fizzy drinks, the ones that make you belch. Bowed de corner onto North Frederick Street bucklin’ to puke; stream of moss green gooey liquor pouring into slick brick. “Look at de state of ‘im!” he heard a voice bellow from a basement flat. Gonzo wiped de puke with the corner of his jacket, using the other sleeve for his eyes. The worst was the misery of desperation. Digging up dead people for pocket watches, the scrap metal run, bashing old people in old houses for a twenty euro bag. He could hear more voices. More laughter. More bawl. Howling from inside the ancient sewers under Dublin filled with fibre-optic cables, calp, acorn turds, fermented Vikings, diagonals of dead birds flying through Centuries of tidal pools to get here to nowhere. ‘Down here ye wankorrrr! Gonzo, ‘ere!’
At Bustlers’ Gym, the ugly bake of Dessie Kearney peekin’ up, a cortege of dagged ewes geekin’ out from the slip of lace curtain with meringue holes for suckin’ in the day. ‘Have you got any gear?’ Gonzo asked. ‘I’m in de bads’. Dessie beckoned him down the spinal. In the sitting room on the table, he could see the spoon, tang of cotton fever. Plug-in neon wolf picture on the wall to send heads carroty spinners. Two cans of UHT cream on de mantle. Skinner in a Sideline jacket handed him a leprechaun head of Nescafé. They could sort him out, Dessie said. He could sort them out too, with a favour. Gonzo wasn’t known, or wasn’t that known, or cared about. Bob’s your uncle. Fannywollop’s your aunt.
Dessie held him down like a barber might do with a six year old boy. ‘Scank the Russians are sellin’ is drivin’ the cops plinky plonky,’ he explained. ‘Low grade cack that makes punters scrabble around dem streets like hogs. Dublin City Council having a right old mickey fit with collapsing junkies everywhere and those Triad muppets fucking about chopping gigot chops off wackos owing as little as a tenner. Kip so it is. It’s not how we ever did things. Even dem grannies are gettin’ in on it selling horse tablets down the Boardwalk till new stashes arrive. Bitches used to be happy shifting cauliflowers & pears. All of it needs sorting or we’re toast’.
Skinner piped up: ‘Going for a song as well, so it is. And they’re lobbing chemical splatter into the gear Gonzo. No competition. More addictive than Big Whippet or Mullingar Mud’.
The drug scene in Dublin had got boiled egg bad. Four friends in as many months had dropped dead from bad gear. He looked at Dessie who was eyeing two lesbos on the couch. One of them, skinny as rashers, was pretending to grate her tongue. ‘Yewer fuukin’ gas’, she said to her mate, bending over to kiss her full on the gnashers. Both wore matching Dolphin necklaces.
‘There’s small kids farting about on bicycles picking iPods like apples off O’Connell Street,’ Skinner told him. ‘Muggings are up a thousand per cent, robbed cars selling for under €500, all cos of this new shit that’s on the streets. Havoc. Operation Stilts Gardaí are calling it. Clamping down like steel clips on a dirt-bird’s nipples’.
Gonzo hated Dessie even in school when he lobbed custard out the window at passing priests and pensioners, chasing after seagulls on de Buckfast zig-zag, giving his 15 yr-old girlfriend a black eye for buying de wrong smokes. Skinner was worse, he could tell. Grade-A psycho who’d snap yer fingers off quicker than a fat kid at de zoo smashes a Kit Kat. Now they were turkeychesting with Russians dealers, taking on the entire muscle-for-hire empire. Russian gangsters in silver jackets trafficking teenagers by day, raping dogs of an evening. Ghetto of mayhem and fear papers were calling it. Funnel-dump from ringworm roads right up to Talbot Street, Gardiner Street and down the flank of docks to Fairview, casting into surf and howling out of rust-caked eyes into waves, sand shifting beneath drug boats, narrow little sea gods sucking at gravel and dancing a slithery leap. Low-cost booze and spat-back-up methadone from lippy whores in slippery capsules was all you could see in the city centre before one o’ clock in the day. By early afternoon the needle peddlers creaked into the gush of lanes behind Moore Street, Abbey Street and beyond, sliding to a stop the same way drops of water do on Carol’s shampooed hair. Cops didn’t give a gypsies’ as long as people like him hurried de fuck up and died. Junkies only made news when they snuffed out at tourist sites or were found lynching from concrete tongues high up between those buildings on Dame Street.
He didn’t take much convincing. Skin’s hands spread his furry cheeks apart to do the business. Arse was a humongous burger, the ones he used to get in Wendy’s in O’Connell Street when it first opened in 1987: spongy warm baps, melted Easi-singles, hot pickle sauce. Slip slop, slip slop, up with de cacks. Three bags of scank in his butcher’s bin, street value: €90,000. He’d drop de sludge and be back by three ticks, home to Carol for around five.
The city tipped down in a duck beak towards the Garden of Remembrance, rain scattering Swarovski beads on the path as he plonked along. He thought of Carol’s fresh face at 18. Cement angels leaned chin forward from Georgian chimneys. Dogs of light barked down. ‘I’m out of me bleedin’ nugget!’ he said, out loud. Pains fostered out elsewhere, he felt boundless, happy. Met her roight here with a gang of inner-city boys from de flats around Dominic Street, drinking cans and dancing to U2 songs on a ghetto-blaster sometime in the middle of 1994. She’d weight on her then, chubby sweet smile, horse-tail of hair whooshing from end to end in de sunbeams. They kissed for an hour without stopping: wet balmy tongue slosh he’d never done with any other burd. Sometimes he still felt guilty, but Leather Joe said, ‘There’s no stopping some, and ye never forced her to take it.’ The counsellor from NewPaths also explained that ‘damaged people have a knack of stumbling on one another no matter what, in the way that water always seems to meet its own level.’ It made sense that first time they tried to get off it together. Both their dads were alcos and bashed them. Both their Ma’s couldn’t see anything wrong with their Da’s and bashed them. Few weeks later, they fumbled and gorged and slopped into one another under the flat-leaf bushes in the Gardens. ‘What ye doin’ to me boy, wot ye bleedin’ doin’ to me!?’ Lads circling de railings, clutching chimps, uuumphin’ them on. ‘Slapper! Do her one!’ Afterwards they said Gonzo was a right grunter, like those fuckin’ mating seals on RTÉ. ‘It’s you and me babe, no-one else babe, you’ll do me babe.’
At the edge O’Connell Street where pigeons shat on the cement noggin of Charles Stewart Parnell, a crowd of mallets warbled about pay cuts. Aulone clutching a salad cutter was ranting blue horror about pension rights. ‘Sixty four billion to those feckers in the banks so they can fix their own balance sheets!’ Grey-haired Sinn Féin geezer smellin’ of haddock was giving it welly about Éire needing a game changer. Group of girls, no more than five or six with banners: It’s My Ireland Too. Normally he’d stick around for de dip, but Dessie warned him not to feck about, get it done & dusted ‘pronto’. Skinner held onto his social welfare card and Carol’s dead Ma’s gold locket she asked Gonzo to keep safe for always. Cash and more gear when the job was done.
Gonzo wolfed sideways shrieking his childhood battle cry: ‘Me head! Me head!’ He spottedHot Wok on North Earl Street, stomach doing a Hare Krishna pink salmon drum. Thai waitress with ladyboy lips looked like a hot slapper off the internet with a rake of sausages slithered in so her shaggy wangle was a filtering system inside an astronaut’s suit. He sat at the window starin’ out at so many formless faces, then back down at strips of steaming courgette. ‘Tolkuchka’ was the word Dessie used to describe the Russian drug cartel that had taken over. All those words ended in a choke. Carol had done a few down the canal when they were clear out of dough…said they were rough as horseshoe crabs, cocks reeking of sauerkraut.
‘Every bit of ‘em smells like a belch,’ she said. ‘Love slappin’ their wimmin’ as well’.
Pumped up on steroids, egg hatch maggot breeders, dripping sex trade, artificial money, begging scams. He could even see those Soviet-bloc prozzies too, a whole PVC red army of them soggy-spread over the back seat of metallic Audis’, slurping on mafia peckers. Head nut was like Keyser Soze from The Usual Suspects except taller again, well able to giraffe over the walls of Mountjoy Prison, boiled eggs in his gob crammed full of heroin, dropping straight into famished jaws. Baba Yaga they called him, because of his man boobs. Lived in a steel hut at the edge of Rooster fields in North County Dublin. A gaff that stood on electronic chicken legs, garden fence emblazoned with teeth he’d personally knocked from debtor’s heads.
When the crowd in Foley Street got this new gear that Dessie and Skinner had messed with out onto the streets, napalm vomit and bedlam would rain down on Dublin town. Hail struck down everything that was in the field in all the land, both man and beast. ‘Nuclear button is up me crack,’ Gonzo murmered. He had a looming vision of advancing Russians from every stone wall and crevice in Ireland, marching into Dublin, fat knuckles fisting indigo sky. There’d be black smoke meandering their necks, hiding bricks in plastic bags, Glocks in socks, AKs, MAC-10s with their spray and pray facility, lumpy grenades, nail bombs, acid pellets, even animal traps to pull down the enemy at window displays outside Cleary’s. Вы ирландского народа умрут самой ужасной смерти! Где твой Бог сейчас!
He spotted Widearse Wendy out de window crouching down at the door of Dunnes, knickers on display, damp with piss maps of the Philippines. She was swinging a bottle of Old Cellar at passing shoppers scouting cut-price gizmos from the pop-up shops. ‘Gonzo, ah me old bud, GONNNNNZO!’ she spattered.
‘Carol was reefin’ for ye,’ she said. ‘Some onion head lookin’ for you, says ye owe him a wormload of Euros’.
She was sitting with a Roma pleb, trombone full of bronze; old feet smashed up for begging bone pickle. He was only ten minutes now from de clop. ‘I owe no-one nutin’,’ he said, trying to figure out who yer man might be. ‘Is Carol alright?’ he asked. ‘Hope she’s not giving dem uns much grief?’ She could get snarky sometimes when juiced up to de girders. ‘Ah she was givin’ Phib a bit of a kickin’ cos he was in and out of the water,’ Widearse said. ‘Leather Joe says yez should get rid of the smelly little fucker, more mischief than worth. But I says ‘no way’ sure it wouldn’t be nutin’ round ‘ere without him, mad little yoke. Ah Gonzo ye shoulda seen him, in and out of dat water, de little ears on him, smellin’ of knacker nappies so he was. Have ye any odds for uz?’
Gonzo told her discretely he’d no spondoolies but he’d soon be in de loadser if a certain thing worked out later on. They’d have ‘em around the squat in de morrow, beer and boiled cocktail sausages, Bord na Móna goat turds in de burner, enough gear so they could all stay stub for a few days, sopping in boogie. He leaned over slowly, down to her waxy ear crack where he murmured de score as a morning prayer O Lord open our lips told her what was inside him in anyways in the darkness of this age that is passing away. If she said ought to any fucker dem Russians would make sure he was floating beetroot body parts in a stinkin’ pot of Zharkoye in some nameless side-door soup kitchen down the quays.
‘You always end up on your feet while the rest of us are on our bleedin’ heads,’ Widearse Wendy laughed, handing Gonzo de Old Cellar. Then she bowed over and whispered in Trombone’s ear. ‘Don’t be tellin’ that cunt anything of a consequence!’ Gonzo snapped, sorta raging now she’d trust a metal nicker with anything he prized on dem der Russians. ‘Don’t be a mean bollox! Ferka’s me good pal an’ he doesn’t have an easy go of it ‘ere’. He looked at Ferka who was by now grinding his teeth, some of ‘em small wallets of gold. Gonzo wondered if he picked this patch deliberately cos it looked out onto the towering stainless steel spire stuck in the Vena cava of O’Connell Street. ‘Him and his crew are probably going to melt dat fuckin’ thing down and live off de pickings for the next forty years and you won’t see him for angel dust!’ Gonzo told her, taking another glug. Metal was big business for his lot and they seemed to be spreading across Europe melting whole cities and trapping as much heat as possible. ‘Youza faggot fucker!’ Ferka roared, punching him in the crotch with his trombone. ‘I’ll bash de fucking granny outta ye with dat poxy yoke!’ Gonzo said, lunging at Ferka, crushing Widearse Wendy in the push forward. She started roaring and banging at the window: ‘Stop, will yez fuckin’ stop dis!’
Two security guards ran out of the shop to see what was going on. Big black blokes in fiend blue, large dangly batons, torches on their belts, fortified faces, boulder braces mineral ore. ‘If it isn’t the all-important rent-a-cops!’ Gonzo quipped, still gripping Ferka’s greasy swab of hair. ‘Dis fucker needs to know his place, but it’s nothing to do with youse, no trouble here.’ Widearse was beside herself, leaping about like Marlin. ‘He’s not bashin’ my mate’s head in, he’s not!’ she told the taller security brawn, smashing Ferka from Gonzo’s grip. ‘They’re both having a go for no bleedin’ reason,’ she wailed, deep now in her tiny grief of fly speck and goose egg, big fat smelly daddy raging up into life to bang her head off the rusty washing machine one more time in the small Cabra garden. Rolling around she was – from Marlin of the Seas off Cotez to a cuntarse cement mixer in an industrial sandpit on the outskirts of a Cappagh horse camp – too drunk to see what was really going on.
‘Get out of this doorway now! Our customers do not appreciate this!’ Ruby eyes looked like he’d seen his fair share of gang rape and coercive migration. He was pointing his liverwurst finger up the road where the curtains flailed in the wind outside Guineys’. ‘Fuck off back to Bangurawopa or wherever it is that youse eat one another, fukksake,’ Gonzo said, trying once more to kick one over at Ferka’s head. Ferka had fear soldered onto his face: wankstain nomad from North India following the Bisto fart of Alexander the Great to fertile lands where they settled on roundabouts melting metal and washing scarves. ‘It’s in his trousers!’ Ferka began to roar, ‘He is up to no good that bastard!’
Wendy bundled up the street, her chondrite meteorite arse blocking out the sun. Ferka too, gone in search of iron seraphs. Arms grabbed Gonzo from behind, smashing him forward, bursting his face open on the pleated gravel below. Arms, maybe even more arms (the city seemed so full of them) reefing his jeans down. ‘Fuck’s sake, stop it, I ain’t done nothing!’ But still the voyeurs fanned in, mud-puddling butterflies to blood. Three, maybe four or more fingers…drilling turnin’ twisting into his insides deep inside his trousers. Never crazed up pain like it. All the fists he ever knew in the big clench of years: priests, uncles, mad burds, the fat cat who owned the billboard company and beat the bollox out of him in front of faces outside Mass, nothin’ was worse than the arms smashin’ him up in this dirt-bucket of Dublin day. Blood, a lot of blood, that’d grow darker with the afternoon, if he ever managed to get out of it.
‘Shut it or ye’ll get it in the head,’ one of the arms said.
An aulone in brown bandaged legs shouted, ‘Bowsies, feckin’ bowsies!’
There was no way he could explain this to Dessie and his Basement Bandits. Already he could see Carol’s head mashed open; these cunts didn’t mess about. Arms conked like a discarded doll in the playground up de flats, broken bottle rammed right up there for good measure. He was flung and rolled, rammed and kicked down the street into a side lane, where the bashing went on for barbed eternity.
‘I’m fucked, I’m fucked!’ Gonzo roared as he saw two teenage girls pointing, laughing.
Dilly no douse no dee, dilly no douse no douse no douse dilly no douse no deeeeeee.
‘Yez ‘av no idea, I’m a gonner!’
Did he tell Dessie & Skinner where the squat over the bank was? Was he boastin’ about the gaff before they iglooed his arse? Carol would be back by now, pissing the mattress, eating a batter burger, waiting on Gonzo to come back with new gear. ‘Yer nothin’ but fuckin’ trouble,’ she’d say, ‘useless prick like ye, and ye gave dem yer card?’
Ring stinger, so much so, he could barely toddle up Church Street. Now he knew how she felt the first time he gave it to her in the arse. He had to use HB ice-cream to cool her down after. A seagull played the bodhrán gliding up the street squawking about ham. Nothin’ would ever be the same. These were serious heads. Dangerous heads. Mavericks. Think nothing of using shooters. Maybe they’d be OK just hidin’ out in the bank for a while. Rest of Ireland was doing the same. Stay gizmo’d until he heard of them being popped. All of ‘em uns ended up popped. Time & time again, saw it rolling. He wasn’t going back inside either, leaving her to her own devices.
The city tipped down in a duck beak towards the Garden of Remembrance, rain scattering Swarovski beads on the path as he plonked along. He thought of Carol’s fresh face at 18. Cement angels leaned chin forward from Georgian chimneys. Dogs of light barked down. He didn’t know if he was here already an hour ago. He didn’t know where he’d end up or how he’d come down and if he was really here or half here an hour or more ago. ‘I’m out of me bleedin’ nugget!’ he said. They’d have to lay still when he got back home, until a different kind of light shined. ‘Come out of charity, come dance with me in Ireland,’ that cunt Yeats said in the book under the mattress, but he didn’t know jack shit about the skank or de Russians or fiddlers like Carol, all thumbs and kettledrums, sucking off ghosts at the window in The Old Bank on Doyle’s Corner.
I will be reading more fiction in Cavan town on May 6th:
A flash fiction piece I wrote is published in the Spring 2014 issue of THE STINGING FLY, a literary magazine I really love. This particular issue is guest-edited by Irish writer Nuala Ni Chonchúir and features an eclectic mix of flash fiction, short stories, poems, literary criticism and reviews. An obvious play on words with the title and the rest should be plain sailing!
1.very pale, thin, or bony.“he was gaunt and cadaverous”
synonyms: (deathly) pale, pallid, white, bloodless, ashen, ashen-faced, ashy,chalky, chalk-white, grey, white-faced, whey-faced, waxen, waxy,corpse-like, deathlike, ghostly;very thin, as thin as a rake, bony, skeletal, emaciated, skin-and-bones,scrawny, scraggy, raw-boned, haggard, gaunt, drawn, pinched, hollow-cheeked, hollow-eyed;informallike death warmed up, like a bag of bones, anorexic;datedspindle-shanked;“his cadaverous face”
There’s a fan whirring and a smell of slag intestines snaking through to where I sit waiting to see a dead body for the first time, yours, of course. And that Remains of the Day arsehole in full hat-tip regalia telling me it’s a good idea to sip some water before I go in, like I might not even recognise you, uses the word ‘Madam’ from the Co-op Funeral Book, abbreviated ‘Mme’, plural Mesdames, who happen to be walking about outside smoking at the corrugated bins, talking about cheap cuts. You’re fucking dead. Straight as a pea shoot. Let’s get that out of the way from the getgo. Barley brushes of hell tickling sky-chin of a giant torn tuna with a blood clot at the end of your nose for sucking brains through. White jelly shoes a gardener might like to stick small plants in to cheer someone up. Tumour mash scoops, mole hills, speed bumps, a face of sheer beaver. Wax hands, ten embedded wicks, historically used as a method of timekeeping and picking up flame-grilled chicken tits layered with emmental cheese and back bacon, hickory-smoked BBQ sauce, seasoned fries and buttered peas. I walk outside. The roofs of Britain are pretty much cardboard same, piss ball up in the sky shining down on an awful lot of dogs and scratched cars, those street shores small children throw cutlery into all summer. Seems pretty meaningless to me. So I suggest we go for a pint. It’s the icing bar the two neon trannies from Blackpool own, where they bring other trannies for card games, dress-up nights and tin-can karaoke. The barman eyes you up pretty mean as if you’ve stolen the celebrity supplement of the Sunday paper, though he gets ‘the look’ back from me and serves us both to avoid some sort of face-off. You say nothing, gooing all around you, Mr Magoo, as if already, only twelve hours into rock-clot, you’ve forgotten the drama of being alive, the shit-arse boredom of it, the handing out of small change and tiny snatches of courteous dialogue in places like this that always have a launderette and enormous drive-in gizmo nearby with ATMs and small bags of rip-off coal. Ah sure, where would ye be going without a bell on yer bike? Better out than in. Like. If I don’t see ye I’ll see ye when I see ye. Phone calls have been made, sure, cos the door keeps beepin’ ‘n’ creakin’, a series of nods, string-boom of ‘It can’t be him!’, followed by what I would call collective anger not felt since the skinny nurse of war years sucked off a German soldier behind a plum tree in a public park and tried to keep it quiet. ‘He’ll have to go!’ the barman says. ‘Oh yeah, really?’ I say, turning around to take them all on, one by one if needs be. ‘Out!’ he says. You were gone, I was there. I could not have hated you more.
Pain in me love spuds. On Moore Street the aulwuns are wailin’ bananas four for €1.50! while Madikane is tryin’s to drag me ta’ Wire Corner where Ruskies in blacked up four by fours drop off bags a’brown under the gawk of a goon with binos above in the unwashed windows of the apartments over Tesco. Slug killer she said to nab to mop up fat, black slime-balls trailing across the carpet. There’s an iPhone booth stuffed with hookers’ ad-cabs offerin’ smartin’ arse cheeks for bad-boy trainin’ and a fat pleb sweepin’ up nose gravy.
Not even the dill pickler Poles providin’ brassers for horny and abandoned nugs inside Jury’s Inn, or the Somali crack-hustlers <”Meth €20 a rock!> stop off at this spot. Best ta’ get out of dis hole Madikane I tells her and keep yer whims about marryin’ a gangy for a baby, bling alive as hive any which way you want it.
Two hefty yanks in tartan shorts and puke green & yellow polo shirts butt in. “Excuse me sir, where’s the spire, the O’Connell Street spire?” squashed nose asks. Scuzze me, scuzze me, are ya’ blind or wha? roars Midikane with her anti-Gathering gobbin’ and her pointing backwards. Doin’ me bit for da country I jump in: Ya see that giant needle stickin’ straight up God’s jacksey, right there..that’s it! Oh my, yankee doodle says. Oh my.
Before Madikane has de tramp’s claw out for da price of a cup a tay me head jerks and turns to a horsebox of knocked up wimmin outside da Rotunda; balloon-bellied in frog pyjamas puffin’ away while scangie-gangies in Adidas play rocks, scissors, paper guns with each other. Air bullets in the atmos. Gulls plop their spunky payloads on the pavement, King Leers smirk from taxis and bus stops, kids squashing their kidneys in railings, drills and beeps and howling, cranking umbrellas open on the dozen.
There‘s no slugs I says to her dat morning. Eyes on me like it’s ten seconds to go on the X-Factor final. Hoppy hoppy. Curse ders bleedin’slugs I ain’t no thick mo-fo she says. I says it’s the garden. You’re not used to having a garden and the shed going in is after freakin’ ye right out. I can ask the landlord to get rid if you’ll only calm down a minute. It’s not the fucking shed I’m not mad she says I’m skiing on the fucking things. Ders something wrong with you not clocking dem! Slugs on her legs. In bed. On saucers. Inside the hotpress. They’re even in the high gloss kitchen she says. Wot? Your head is blowin’ since ditching de skank with my noggin’ taking a right rumble on top, not easy doing it like this, I says, maybe we were better off back then in de squat with half-o-nothing. It’s not my fault you’re blind as a crow, she says. I never knew crows were blind, but I’ll take your word for it I says. Off I go.
There’s a church in Parnell owned by the prods. Black calp, dark in rain, murky baked banana cake. Backwards after midnight under full moon, devil’s yours. Not the kind of gizmo for a priest with a beard and guitar singing Stairway to Heaven to make the likes of me feel all furry. I don’t bash grannies no more, dat’s gone. Clean as a spleen five hundred and thirty three days, going backwards, learning about computers and plants, painting walls and budgeting. I go there to pray, ye can laugh yer nebs off but it’s been happening sure as shit, and him talking back sayin’ he knows I’m taking some gamble, appreciates what I’m going through ‘n all, but I gorra shun the bad road ahead, narrow, strewn with thorns; dem people who walk along it, spine tears and all kinds of suffering befalling, big cunting wheelie-bin of vile words, curses and blasphemies, each eye ball looking on to another of the eyeballs, twice the size of earth, gummy as honey, seeing on to nowhere. You don’t want to be doing that son. No way hozzay, I says, no way Mr Righteous, Top Man, you know more than most, took the bullet for us. Well keep coming back here to pray then he says.
It’s hot as snot in here. She’s never in the mood and me forever on the soft. So I took the Moore Street card into the church, Deirdre the Dominatrix. Wonderful Corporal Punishment. Tie & Tease. Guaranteed Happy Ending. Sitting on red sofa red tartan slippers red PVC red sky. Has Peter been a naughtie boy? Well, yeah, I suppose. Suppose is not enough she says. Suppose is for morons. Has Peter been a naughtie boy? Yeah, a dreadful boy, totally banging I says. And then him hanging there kinda implying I’d take the lad out and sorta sayin’ I’d be cottoned onto, with the caretaker coming in, his big lumpy head, asking what I was doing. Me putting the lad in an envelope on my lap, one of those church offering envelopes with a flower stuck on it. Well give it ‘ere then he’d say, me scarpering, wood and musk laughing, candles burning, God’s pantyhose worn by a thousand shitarse clerics, all them fuckers gooing. He’s only gone and wrecked me buzz, and there was me hiding from da’ slugs in me head by playing fingermouse down the crotch, thinkin’ of Deirdre-the-Dom swaggerin around the pulpit, all proddy-proud and in full control. The lad’s no longer at half mast, flyin’ the flag now, upright and uprooted, on the road back to Phibsborough.
I get back and she says, dead casual, have ye got the bleedin’ slug killer? I left it in the church I says. You’re a stupid bollox she says. I know, I says, but I’m learning.
Galway-based author Ken Bruen is an enormously prolific, and celebrated author of crime-noir fiction. His many works include the Jack Taylor series which began with the Shamus Award -winning The Guards. As the series grew, it garnered many more awards. More recently, a selection of novels from the series have been adapted for a series of TV movies (one which was screened in 2012 and two more to follow in 2013). Ken’s novel Blitz was also adapted for the screen in 2011 starring Jason Statham, Aiden Gillen and Paddy Considine. In 2010, London Boulevard was turned into a film starring Colin Farrell and Keira Nightly. Other works include Dispatching Baudelaire, The Killing of the Tinkers, The Magdalen Martyrs, The Dramatist and Priest (nominated for the 2008 Edgar Allan Poe Award for Best Novel), all part of his Jack Taylor series, which began with The Guards. Bruen is also the recipient of the first David Loeb Goodis Award (2008) for his dedication to his art. Ken will be reading at the Irish Writers’ Centre on Friday 22nd February at 1.05pm as part of the celebrated Lunchtime Readings series.
We knew about it, heard about it, sensed it, listened to the battenburg gossip as kids in shit brown velvet dining rooms: wayward girls, missing aunts, those forever gone to a ‘London’ somewhere, women who went off ‘nursing’, ones who were ‘a bit touched’, wanton, promiscuous (“there’s a want in her”), the ones who returned comfortably dumb, “not all there”, the bastard smug carbo nuns, angry priests, grey institutions that cost a bob or two, we knew because it was roared red on church podiums what would happen those who tempted men in raincoats, hapless lads, civil servants, men with prospects, farmer’s sons, those who pissed in lane-ways, felt your arse at bus stops, spat in betting shops, bent over shop counters at pre-pubescent bumps, pulled skirts up at weddings or taught in schools but liked a yarn or two with girls after 4pm, the ones who dropped the hand, made a squeeze, chased on lawns, tapped a window or two, unzipped, insisted, grabbed, cajoled, raped, spunked and ran off besides. Women were to blame, no matter, and sure God on earth is in a dress just to keep an eye. Shock. Horror. No official apology. Misogynistic Ireland…Quelle Surprise.
It is possible that a lack of modern awareness of these Acts may have contributed to confusion or a mistaken sense that the Magdalen Laundries were unregulated or that State referrals of girls and women to the Laundries occurred in all cases without any legal basis.
- The first Magdalene asylum was established in Ireland in 1767 by a Protestant benefactor as a home for ‘penitent prostitutes.
- The first Catholic home was founded in Cork in 1809.
- Penitents were required to work, primarily in laundries, since the facilities were self-supporting and were not funded by either the State or the Religious denominations.
- A newly published report estimates that 10,000 women and girls were incarcerated in Magdalene laundries since 1922 with more than a quarter of referrals made or facilitated by the State, but other estimates are saying 30,000.
- Irish laundries were run by the Sisters of Mercy, Sisters of Charity, Sisters of our Lady of Charity of Refuge, and the Good Shepherd Sisters in Waterford, New Ross, two in Cork, Limerick, Galway, and four in Dublin at Dún Laoghaire, Donnybrook, Drumcondra and Seán MacDermott Street.
- The report states that the women were sent to the laundries via: referrals by courts, mostly for minor or petty offences; by social services; from industrial and reformatory schools; rejection by foster parents; girls orphaned or in abusive homes; women with mental or physical disabilities; poor and homeless women and girls placed by their families for reasons including socio-moral attitudes.
- Referrals were made or facilitated by the State made up 26.5 per cent (2,124) of the 8,025 cases for which reasons are known (as reported in The Irish Times).
- Almost 8 per cent were referred from industrial schools, another almost 7 per cent from health and social services and almost 4 per cent from mother and baby homes. Some women were referred to laundries by the health and social services because it was cheaper than State-run facilities.
- Average/Median age at time of entry 23.8 years/ 20 years, age of youngest known entrant: 9, age of oldest known entrant: 89.
- 26% of the women who entered the laundries were referred there by the state. The authorities also inspected the laundries, funded them, and registered the departures and deaths of the women there.
- The state gave lucrative laundry contracts to these institutions, without complying with fair wage clauses and in the absence of any compliance with social insurance obligations.
- Routes of exit included women who “left” or “left at own request” (23%), who returned home or were reclaimed by their families (22.2%), who transferred to another Magdalen Laundry (10.3%), who left for employment (7.1%) and who were dismissed or “sent away” (7.1%). An additional 1.9% were recorded as having run away, while others are recorded as departing for homeless shelters, hostels or other places.
Two of the victim’s stories from The Guardian yesterday:
Maureen Sullivan was first sent to the Good Shepherd Magdalene Laundry in New Ross, County Wexford, in 1964. Two years later she was moved to Athy and finally to Dublin. She left in 1969.
“I was 12 years of age and my father had died, my mother had remarried and my home situation was abusive.
“They told me I would have a great education and I went off to New Ross from my primary school, actually in a laundry van. When I arrived there they took my books from me that my mother had bought. That was the last I saw of them; that was the last time I had a decent education. From then on it was laundry every day, where it was horrible, where you were not allowed to talk to anyone. All it was there in the laundry was work, work, work.
“There was physical abuse where they would dig you in the side with a thick cross off the rosary beads, where you got a thump on the side of the head and where there would be constant putting you down, shouting, verbal abuse. You got the cross in the side of the ribs if you slowed down on your way around the laundry.
“[The nuns] ate very well while we were on dripping, tea, bread. I remember another torture – one when we were all hungry – we could smell the likes of roast beef and cooked chicken wafting from where the nuns were eating. That was like another insult.”
“I had no education, no means of applying for a job and for several years I was on the streets. It wasn’t until I tried to take my own life in the 70s that I went for counselling and then it all came back, all the abuse and exploitation I had suffered in those places.”
Mari Steed is a second-generation victim of the Magdalene Laundry system. Her mother, Josie, was transferred from an orphanage to Sundays Well laundry, Co. Cork, when she was 14. She was there from 1947-57. Mari became a third-time victim of the system because she, too, eventually gave up her daughter to a Catholic charity in the US in 1978.
“She lost me to adoption after spending the first two decades or more of her life in these institutions. So when she was released into the world she was vulnerable and susceptible to any man that paid her attention. She was in her mind 10 years old rather than a mature woman. And as fair prey, she found herself pregnant and then got sent down to a home for single mothers and was forced to give me up.
“It was a generational chain reaction and … a cycle we see often in the Magdalene woman. The vicious cycle tends to continue.
“It was slightly less miserable than what my mother experienced, but it was still pretty bad with a lot of stigma, a lot of shame. This was the chain reaction going on.
“I tracked my mother down in the early 1990s and she was open at long last to talk. She had had no other children because she feared having any more. She told me right out: “Mari, I was just so afraid that if the nuns didn’t take another baby then God would.’ So out of fear she and her husband decided not to have any more children.”
Often criticised for stories that swerve uncomfortably close to truth, and yet hailed as a master of historical research, Eoin McNamee is one of those writers who never fails to cause a stir with his tales of dark, damp menace. The New York Times describes McNamee’s style as ‘refreshingly taut and spare, full of active verbs…He does not describe what his energetic characters are doing. He just lets them do it’. Eoin admits to having a strong interest in ‘people who have been corrupted,’ that this is what often drives his fiction. “My purpose as a writer is not to be controversial, it’s to explore themes and narratives…I draw things very close to me when I write and often emerge blinking into the sunlight”. For the next ten weeks he will be teaching a Writing The Novella course at the Irish Writers’ Centre on Monday evenings until 25th March. Here he answers a few strategic questions on the art of writing the short novel and why the term ‘novella’ is in need of overhaul:
Some of your novels, ranging from Resurrection Man to the The Blue Tango, are novelised versions of real life events, i.e. the Shankill Butchers and a pre-Troubles murder and fitting up of an innocent man. What are the pitfalls on basing fiction on factual events, and how close can you come to falling into what is known as ‘faction’? I’m still waiting for the ground to open under me, for someone to produce the definitive argument against the form, but it hasn’t happened yet. Defamation can be an issue. There is a moral dimension to entering other people’s lives and writing about them. I’ve always been wary about getting on an artistic high horse and claiming some kind of special pleading on the basis of art. I’d prefer to say that I’m drawn to these stories, that I want to write about them and I’m a writer not a priest and am prepared for messy compromises and sins of intrusion into other people’s lives if it gets me a good book at the end of it. If there is a wrong involved, and there may well be, then that’s my business.
There are lots of novels that deal with the Northern Ireland Troubles such as your books (see above) and The Ultras. However, while many authors deal with individual incidents or ‘spots of time’ in the conflict, there are no contemporary authors that have done the ‘fictional grand sweep’ of 1969-1994. There’s no War and Peace, no Life and Fate, covering a range of characters and their stories over three decades of war. Is this overdue? Or is it even necessary? There’s no rule that says that events get the art they need or deserve. If someone wants to approach what happened in the North the manner of War and Peace, then you’d have to see how good the work is. Whether people would need it or not….I’m not sure that explaining things back to people is a function of fiction. I’m sure you could find the stories though – there was plenty of epic going on.
With the novella, can you define its difference from the short story and the full-blown novel? As far as I can make out the novella is simply a short novel. Or at least it should be. It doesn’t require the precision of the short story, the formal demands that put the story somewhere between a poem and a film script. In a short novel you can veer off course a little, digress, even slip up here and there. Let’s say it bears more resemblance to the novel than it does to anything else. Perhaps the problem of definition lies somewhere with the word novella itself. It sounds like something fragrant and a little racy that you’d find lying on the chaise longue in a Victorian lady’s parlour. Maybe we need a better name for the form.
Does the novella lend enough space and time for key characters to ‘fill out’ both psychologically and in terms of the narrative? Depends what you mean by filling out. You can define a character in a sentence or in a hundred pages. What more would you want to know about any character in The Dead for instance? (A short story) Or the old fisherman in the Old Man and the Sea? (A novella). What more story would be needed?
What is your opinion on experimentation with the prose form? Is it mere literary pretentiousness and showing off? Should writers stick with telling stories? The only criteria for judging technique is whether it works or not. As for defining what works, you pretty much know it when you see it. It would seem that there are limitations on what can be done in the prose form and that invention has run up against the buffers. But maybe asking questions about experimentation is missing the point. I admire people who can tell stories but what I’m drawn to are how wide open a writer’s eyes are, how they see the world and then tell it.
Your course Writing The Novella at the Irish Writers’ Centre kicks off on Monday 21st January, what will it entail, how will it be taught? It will involve I imagine a bit of discussion about what the novella is, and then all the other things which go towards any piece of prose fiction. Story, prose technique, dialogue, character…It would be good if participants have a bit of work at the start to work on, and hopefully have added to it at the end of the course, but people shouldn’t feel under pressure. If participants come away feeling like better writers, and I have helped them towards that, then we’ll all have reason to be pleased.
Eoin’s ten-week workshop starts next week and is aimed at people who are working, or thinking about working towards completing a novella, those who have started a short story that looks as if it might outgrow the limits of the form, or a novel which may not fit the conventional length. It will be less concerned about the technicalities of what the form might be, and more concerned with getting words on paper, and hopefully having something to show at the end of the workshop. He is the author of fifteen novels including Resurrection Man (released as a film in 1998), Booker nominated The Blue Tango, 12:23 paris and Orchid Blue, and the novellas the Last of Deeds (shortlisted for the Irish Times Literature Prize) and Love in History. He was awarded the Macauley Fellowship for Irish Literature in 1990 and is Writer in Residence at Trinity College Dublin for the Hilary term, 2013. He lives in Co Sligo.
I’m not going to say very much about these *vile* posters that were on the inside of the toilet door in my local pub in Glasnevin, except to say they are utterly bizarre. Fetal arm that looks a tad photoshopped (reaching up for a latte in Cafe Sol or even the plastic property of a Sindy doll), the kooky ‘fridge magnet’ lettering, and perhaps most disturbingly, the text of the main poster which intimates if baby-in-the-making is saved from hideous pointless abortion, s/he will play for Ireland one day! Really! What does it say about the notion of ‘traditional values’ according to the pro-life sect? Will it be cuddly-toy anti-abortion embryo key-rings in branches of Carroll’s Gifts and Souvenirs next to remind us what is and isn’t fundamentally Irish?
So, I’m sitting there pissing some Guinness & Jägerbombs into the bog of this traditional conservative Fine Gael type bacon/carvery kip. Having been recently impregnated by a Denny-eating GAA red-pubed boyo, I’m pondering a quickie Nilfisking or what the pro-lifers are now calling a ‘social abortion’. Obviously I’m a selfish whore and don’t want the hassle of having a kid, what other explanation is there? I see this poster and start re-imagining the future. Tadhg in some Éire Óg prefab jobby on the outskirts of a sprawling housing estate training five times a week or perhaps it’s even Caoimhe (with her gentle graceful beauty, yet mysteriously able to knock the living shite out of any Buachaill on the field) and the day arrives for the All Ireland Final, when the joblot of worry and ire pays off. My precious non-aborted torso scoring a magic game-clinching goal, zoomed around the world by Setanta Sports (available on multiple platforms including Foxtel and Austar). Everything in the Universe making sudden peculiar sense, a cosmic arrow right out of God-licking supernovae. How lucky was that stray Christmas night in 2012 when I paid close attention to the poster on the toilet door! Proud father now spilling his giant bag of limited-edition Tayto all over the stands. He’ll be looking for a celebratory ride [no doubt] when we get home. It’s 2032 and still no male pill on the market and Ireland the only Catholic country in the world without female bishops or gender equality in the workplace or even in the government, where sentences for rape and sexual abuse are on a par with stolen designer jeans. But sure where else would ye be living and what kind of roguish craic would you be having and isn’t it grand altogether we did away with that silly notion of the individual a long time ago? Begorrah!
Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.
In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cosy parlour, the tinkling piano our guide.
So now it is vain for the singer to burst into clamour
With the great black piano appassionato. The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.
Three months since my brother died, laid out in his naff crocs & Hawaiian shirt, coffin stuffed with kid’s presents in a flat-pack funeral shed whiffing of piss, ulcers, Airwick and necrotic tissue. Since then there’s been a number of misadventures: his mate was found dead in the Orwell river a month later, an early morning gynae plunge from a doctor in Cathal Brugha Street after bleeding for a month (stress, it turns out), low-blood pressure blackout in the Botanics, an easily forgotten triptych, frenzied attack from a phlegminist with duck eyes, drink binges with a purple cauliflower and an unpleasant encounter with an S&M coked-up oily intellectual I mistook for a friend. All of it: a dance with neutrons and protons. The kind of weird shit ghosts probably do with each other. Grief is not what I imagined it would be. Some mornings I wake up kicking like a frog.
Days when I cannot slink out of bed at all. Ceiling seals me in and I crave the very thing that’s set to ruin me. Lanky spiders dangle as doom so often does, perilously, timidly, lowering and hiring like arcade claws.
I didn’t see my brother for months on end as he lived in the UK but I always went over for New Year, booking a flight around now. This year it’ll be early-February for a fund-raiser to pay for his headstone. Everything and everyone in the ever meantime is getting on my tits. Junkies sucking jam at the ATM, flat cap aulfellas snailing on crutches smelling of tobacco and cabbage, gym bunnies, crusties who tie terriers to the trolley train outside Tesco, colleagues talking incessantly, cultural crusaders who turn up to events blah-blahing for litre dollops of free wine, nosy neighbour frog-sprawling the compost bin to scavenge for news, backpedal/backtrack/capsize, geriatrics sky-diving into scones in the cafe. Isn’t it well for them, long life!? Remembering how shit and old and thin and tumoured my bro looked, dead in his 40s, neat little blood clot at the end of his nose where they’d drained him. “Madam, would you like a glass of water before you go in?”. Will I ever forget that day, limping into the cheap shit-arse industry job-lot of death, intestinal stench, tiny lobby where the receptionist filed her nails, fan buzzing on the desk, being led through a door to a pencil-case line of collapsible booths – one open at a time – other refrigerated bodies waiting for family members to park-up. Back home in Ireland, the witch in the off-licence around the corner counting the bottles of wine & winking, headless woman struggling to goo out her own body, forgetting she no longer has eyes.
I walk out past the squiggle of purposeless shops and homeless men who nudge their heads up like broken birds from splintered eggs in the basement of the church, and on to the Tolka Bridge where an orange city fox once followed me in the first draft of morning, calling me a slut.
My head has been [and is] a tin of mushy peas. As of this week I’ve told friends to piss off till mid-2013 and have dived back into the novel. It’s about junkies squatting above an abandoned bank in D.7 who get mixed up with the Russian mafia. There’s a rake of Band-Aid fleeting characters; Beamer the old tramp with no veins. Hasslebat, his ginger eyebrows lighting up hot worms in a snow of forehead. Widearse Wendy: ‘Scuzzz me scuzzzz me scuwizzzzmeee. Do you want me to be like you? Is that it, do you want me to be like fuukin’ you?’ There’s end-of-rope junkies all over the city and everyone’s ignoring it in literature. Writers are still concentrating on haybarns, finches, the country-girl’s lightening exit to London, angry farmers and the phasing out of EU quotas, lonely men sitting on Calor Gas barrels in winter! That’s the global impression of Ireland in books. There are amazing Irish writers like Kevin Barry who are beautifully pissing about with form, with language, Mike McCormack’s dazzlingly strange short stories, Mary Costello’s quiet collection of small agonies. Few are writing about Shit City with the exception of maybe naff detective novels. I grew up in the city so I feel compelled to write about it. I was a Mod at 14, roaming the streets when the first heroin users were struck down with AIDS, that sliver of time when girls were still sent to laundries but the morning after pill was just available if you knew where to go. This novel is about Gonzo & Carol and their Jack Russell, Phib, a story of second-generation drug use, turgid love, the grisly struggle to survive. It’s grim, hairy, stupid, and it’ll be told from three different points of view. I’ve no idea if it’ll work but am determined as hell to give it a good go. Here’s a [wee taster!] on how they got together, part of the back story late in Chapter One:
The city tipped down in a duck beak towards the Garden of Remembrance, rain scattering Swarovski beads on the path as he plonked along. He thought of Carol’s fresh face at 18. Cement angels leaned chin forward from Georgian chimneys. Dogs of light barked down. ‘I’m out of me bleedin’ nugget!’ he said, out loud, pissing himself. Pains fostered out elsewhere, he felt boundless, happy. Met her roight here with a gang of inner-city boys from de flats around Dominic Street, drinking cans and dancing to U2 songs on a ghetto-blaster sometime in the middle of 1994. She’d weight on her then, chubby sweet smile, horse-tail of hair whooshing from end to end in de sunbeams. They kissed for an hour without stopping: wet balmy tongue slosh he’d never done with any other bird. Sometimes he still felt guilty, but Leather Joe said, ‘There’s no stopping some, and ye never forced her to take it.’ The counsellor from NewPaths also explained that ‘damaged people have a knack of stumbling on one another no matter what, in the way that water always seems to meet its own level.’ It made sense that first time they tried to get off it together. Both their dads were alcos and bashed them. Both their Ma’s couldn’t see anything wrong with their Da’s, and bashed them. Few weeks later, they fumbled and gorged and slopped into one another under the flat-leaf bushes in the Gardens. ‘What ye doin’ to me boy, wot ye bleedin’ doin’ to me!?’ Lads circling the railings, clutching chimps, uuumphin’ them on. ‘Slapper! Do her one!’ Afterwards they said Gonzo was a right grunter, like those fuckin’ mating seals on RTÉ. ‘It’s you and me babe, no-one else babe, you’ll do me babe.’
Balloon faces from years on the gear; bodies so thin they could thread through gaps in gates all across the lit grid of suburbia. They squalled and mauled their way around the city in the limp hours, hassling the likes of him trying to live out a life on his own. Most were just passing through the bend at Broadstone; heading on south towards Smithfield to score, or back down the crack in the road to Phibsborough and Finglas in the direction of home. “Story, bud!?” they’d shout up at him in unison, “Story?”
He wondered how they’d managed to spot him at all. For six months, four days and a couple of lean hours, he’d peeled off the pathways entirely and headed up the tree beside Comiskeys’ pub and the old abandoned factory that looked like a Sealink ferry flopped on its side. There was a small patch of avocado grass on the bend, where the houses tattletaled behind a hairy park, in front of redbrick flats (mostly boarded up) and the bulk of bus station with its kinked parked army poking out above a tall Victorian wall.
In the squiggle of high branches he laid out a single-plank bed using pilfered council clothing full of cotton wool to pinion him in. On the lower branches he flung bits of clothes, old bags, photographs, a leather satchel his father used as a revenue man, a tablecloth he’d stolen from Jury’s Inn, letters from his mother, Euro-shop tool kits, grilled crisp bags, and a lifelong collection of medals. If he lay on his side he could watch the locals paint their lungs in russet outside the pub,crowing about monies owed and goods stowed.
On his back, the 100,000,000,000,000,000,000,000 overcooked stars that seemed to have a lot in common with him. When he closed his eyes he was still able to muster up Lorna in their flat in Camden, pirouetting across the floor to Kate Bush’s The Whole Story, goading him about reconstituted spuds.
“One, two or ten?” she’d ask, cocking her leg behind her in a kind of chef-jest. “They taste of nothin’ but poxy water!”
For an entire summer they lived on tinned potatoes and Fray Bentos pies. She was taking a course in Contemporary Dance at a small amateur getup in North London and liked to prance about in the evenings in her blue knickers & bra, cooking up the same leaden fare on the one-ring cooker over and over. He adored her milky boobs and olive eyes, her animal cackle and the fact she could only fuck with her clothes on because she was so ‘County Wexford shy’.
On those smoky summer nights in ’88, he sprinted all the way from the building site in the still sweltering glare of evening to pin her to the bed for as many hours as he could. She found it impossible to look at him straight on but he’d stretch her elfin hands out behind her as far as the bed bars, jammed like a butterfly, until she gave in, squealing. He’d kiss and lick the sweat off her for ages afterwards. He would’ve sucked her up whole through a straw if he could.
It was a good six weeks before the tree spoke to him. Speckles of information at first: age (169 years); classification: Grey Willow; planting date (as yet unknown, same too for exactly how he got in the ground); how he loved the rain and sodden soil beneath him; the classic oval-shaped leaves that tickled all year ’round; his greyish green fleece-like belly; the sawflies, aphids, caterpillars and leaf beetles that populated his arms and legs since the primary days; things he’d seen and witnessed: famine, republican marches, car crashes, building booms, child rape, dog snatches, stabbings, carnivals, Christmas celebrations, guided tours, industrial strikes, Luftwaffe raids, surreptitious deals beneath his bough when the chickpea moon was at full-flourish; his hopes and dreams for any kind of future at all.
“Is me being here dragging you down?” he asked Willow, and the tree told him that all was “grand & dandy” as long as he didn’t spill chemicals on him or cut into the branches with any sharp objects. He handed back tips on the art of being indistinguishable, what was the best time of day to leave the tree to find food or other sundries he may need, all kinds of kind advice he never expected from anyone anymore under any circumstances at all.
Willow also told Miller about the escalation of drugs in the area, gangs hawking their trade in the all-encompassing daylight. “They’re as brash as you like,” he said,”knack-bags dropping off stacks of cash and even guns, young kids from the flats flailing about in the grip of addiction, that bloke form over there who bit off the security man’s ear outside McFrowans where nurses go sniffing for prison officer husbands.”
It was all drink, drugs, litter, loss and mayhem, according to Willow.
“The residents have a right pain in their hole,” he explained, “.complaining 24/7 that there’s nowhere safe for the kids to even kick a ball”.
The old abandoned railway line was now off limits even though all plans to develop the Northern Luas line had fallen off the government’s fiscal arm like a scab.
By early evening Miller was gathering his bob-bits from the grass from under the scrag of bushes beside Comiskeys. Across the way Lower Dominick Street was coming alive, the plywood apartments with artificial fireplaces and hoary Formica kitchens emptying residents out through the gates in search of something to do. He’d lived up that stink of road before, sold himself when his mother composted him for good and he could do nothing but guzzle himself into more torpor after Lorna’s death.
“You can’t stay around here destroying yourself, making a show of us, not caring a damn,” she whined. He understood. She had, after all, seen his father do it for a bucket of years.
German men on ‘culture holidays’ looking for a group jiggle, brawny truckers with a furtive hunger they’d prefer their A-line wives not know about, the mobile phone boss who needed to be sucked off before bi-monthly stock flotations. There was more sex on the streets of Dublin than could ever fit in the snug mousy insides. It didn’t bother him much, it even worked for a while, and he was able to pay for a small room in an apartment in Parnell Street near the cinema. But two winters in he’d been roughed up too many times and found himself back out on concrete, living at the back of a wall beside a restaurant fan. There was always food in the laneways, a vortex of throwaway, and some of the foreign workers would leave dregs out for him after they’d cleaned up the spillage of nightshift: bits of sloppy burrito, jerk chicken, wild wilted spinach and other khaki leaves plucked from the roadsides of Wicklow and Meath for the benefit of three stars in Dublin.
“Take it out here and be good to it,” Dhudha would tell him, passing out plates of food through the ventilator hole. All the way from Uttar Pradesh, his English was hilariously bad and nothing he emitted made sense. “My boss says you are the baggabond! He kill me if he knew I food you!”
Sometime in 2010, the Somali dealers moved in around the laneways of Parnell Street pegging their needle-loads to the retro-famished. A lot of the restaurants closed down because of racketeering. He never saw Dhudha again but dreamt he was back in India in a jam-packed town selling clunky wooden toys to foreign children on the side of a hill, spending afternoons pointing his donkey-skin feet into the eggy sunshine. Three people were done with blades in the laneways and two men pretty much like him were hospitalised after been beaten to beyond what he thought might be the level of atoms. It became a tracksuit catwalk of mêlée & mayhem – not a ruddy-faced Garda in sight – so once again he moved on to the porch of a deserted banana factory at the back of the Four Courts and later, when the gang of teenagers began throwing cans at him when he was out for the count, moving up towards Broadstone to a bandstand in Temple Gardens.
“You are better off here in any case,” Willow told him. “I’ll watch out for you in case those scallywags come back.”
How could he intervene if they did more than shout at him this time? Willow was begotten to the earth shaking him and not the other way around. And lately, just lately, he’d asked for a cut of Miller’s street profits. “This way, we’re both self-respecting,” he explained, but Miller was becoming less sure. There were even nights where Willow was ‘finding’ punters for Miller and in the depth of agladdening sleep, he’d be hauled out of the tree to do the business.
“Come out Tarzan ye mad yoke!” the punters would roar, and Willow would gently push him towards them with his large hairy branches.
In truth, he was exhausted running away for a living, worn-out with people badgering and hassling, of voices following and shadows prickling him. He be even better off as an addict himself, as if he could ever afford it! He didn’t get why they were so angry in general but also at him, blaming the recession on everything. It’s not like they even worked during the good times, like he’d done for so many years; and as for the women in the flats across the road who started shouting abuse out the barred windows at him: “Get off the grass ye mentler!” “Stop scaring the kids!” The old guys from the pub who said he was upsetting the little ones making their First Holy Communion; babe-in-arms bouncing in meringues on rubber apparatus to the side of the bus station, and the traffic cop who told him that the man driving the Ghost Bus almost swerved when he saw him up the tree. He could wring all their necks at once.
“There’s nothing illegal about me being here,” he told Willow. He’d looked it up in the National Library, the new-fangled anti-loitering laws; there was only mention of being firmly on the ground, outside ATMs, beggars holding out their hands to collect money in polystyrene cups, Roma who live on roundabouts. Some of the laws were so old at this stage even though it was surely teetering on an epoch of hovercraft; the statute books in Ireland still insist you carry a bale of hay with you to feed your method of transportation. No-one could tell him he was doing anything wrong and Dublin City Council itself was not aware of any deeds for the tree.
He imagined the end would come just as he was dozing off, when he rested his tender neck on a gnarl for the night, faint buzz of white noise approaching. Dosed up on blue and green shots, glops of Goldschlager, gobs of Guinness. The gang would hunch up the road from Parnell Street banging the railings with sticks and bars, jokes and jars, in search of him or anyone like him. It was the coke too, sending them clear bats.”Let’s kick the living shite out of him; head right open, the seagulls will have his brains scoffed by morning.”
In front of them Lorna’s ghost is teaching his dead mother how to dance: two sets of legs, knitting needles in the dark, clanking. Willow wakes in a rage, sees what’s happening and spurts his tree sap all over the gang and the ghosts, submerging them beneath the ground. How funny that Miller’smum didn’t know the jive before now. “Like this Mrs Malone!” Lorna tells her, “Just let yourself go!” They would dance on for him even when he lay on the grass, wholly broken.
Screenplays break down roughly on the lines of scene, action, and dialogue. Let’s take the first of these. In terms of scene what are the basic rules of writing? ‘Get in late and get out early,’ is the best rule for writing a scene. Sometimes writers have difficulty writing or constructing a scene for a film or TV drama or short movie, mostly because of the visual aspect. There are two basic things to remember. A scene exists as an ‘event’ to move your story forward – i.e. it should be about something and it needs to have a purpose. The ‘event’ can be as big as a crucial moment in a battle between soldiers in Saving Private Ryan a revealing disclosure between lovers (i.e. why Ilsa dumped Rick in Paris without an explanation) or some kids finally freeing an endangered whale or it can be as small as a car driving down a street or even a knowing look between two apparent strangers. The other thing to bear in mind is we are writing for a visual medium – let’s ‘SEE’ what your scene is about, rather than ‘hear’ it. Film is a ‘story told in pictures’. It’s not a play or a novel. Only what we can ‘see’ or ‘hear’ should go into your screenplay. There are no internal narratives.
In relation to action is it a case of less-is-more? Is there a danger of someone coming from say, a literary background, being inclined to write too much direction? Does a novelistic background work sometimes as a disadvantage? Visual Writing is important. It’s a new way of seeing the world. Once a literary writer or a playwright or a short stort writer or a poet gets the knack of writing for a visual medium, then I believe it helps their literary work as well. There is nowhere to hide in a screenplay. Anything that isn’t essential or crucial must be jettisoned. I spend a lot of time in my workshops on Visual Writing because I believe too many screenplays are dogged by long banks of descriptive novelistic prose or excessive expositional dialogue. Your scene can be beautifully written, contain lots of witty dialogue and demonstrate intelligence and flair but if it doesn’t move your story along then it has no place in the screenplay. Keep it visual. Keep the pace going. Free your imagination. Learn a new language and have fun with it.
Dialogue, is there also a potential problem in terms of the character saying “too much”, spelling out the plot when an image, a fleeting glance, scene dissolving into another can tell the story rather than words from thelips of a character(s)? You said it. Too many screenplays come across like stage plays disguised as films. I come at these workshops from the POVs of a director and producer as well as a screen and scriptwriter so I hope that I can steer students towards more visual, creative and effective ways of realising their story.
Are there any templates of scripts/screen plays you would recommend fledgling screenwriter look at? The best book for me is Syd Field’s Screenwriting. It’s straight forward and clear and puts over the basics better than any other work I’ve come across. If you want a guide book into screenwriting, Syd is your man. Almost all screenplays are free and accessible on the internet. You should be able to find the screenplay of your favourite movie – from Casablanca to Dawn of the Dead or even Critters 3 – or sites such as Drew’s Script-O-Rama or – Simply Scripts. Reading produced screenplays is the best instuction for a budding screenwriter.
What in your opinion is the perfect screenplay/script? Casablanca is up there. But my favourites are The Third Man and the French movie, Amelie. I also hugely admire The Insider, As Good As It Gets. Walk the Line and American Beauty and anything by John Hughes particularly Ferris Beuller’s Day Off. I also love When Harry Met Sally and Four Weddings and a Funeral. And the Swedish film, Let the Right One In. I also have a huge weak spot for Zombie/Horror flicks and low budget trash. I don’t want to mention Napoleon Dynamite but I will. There, I’ve mentioned it.
Who are your favourite screenwriters and list some of the films they are noted for? John Hughes (Ferris/Pretty In Pink/’Breakfast Club). Eric Roth (The Insider). Epstein Brothers (Casablanca). Anything by Walter Hill, John Carpenter, Nora Ephron, Kathryn Bigelow and John Hughes. I also like Charlie Kaufman who along with Tarantino, has probably the most recognisable ‘voice’ in modern cinema. The most exciting and enjoyable screenwriter I’ve come across recently is the Irish writer Kevin Barry – he really has a style of his own and that’s a fiendishly difficult thing to achieve in screenwriting.
Do you think directors always make for good screen writers because [as you well know] some like to combine the two? Sometimes but not always. There seems to be a big emphasis on ‘auteurs’ in our culture. Not sure if that is always a good notion. I like to think that screenwriting is a difficult craft and possibly the most undervalued and unappreciated writing genre. Screenwriting is often collaborate, unlike say, novel-writing. It’s a tough craft to learn but once learned, I believe it really helps with other writing genres. It helps cut out excess description and it helps shape and present fictional characters.
Very few extremes. Too many unconvincing gangsters. I think we make very conservative movies at the moment and I’m not sure than Irish film-makers or producers think in terms of targeting an audience.
What is Irish cinema lacking in? Not enough comedy? Too much The Field style rural idyll drama? A dearth of urban gritty realism? Or should we expand our imaginations further? I like the look of Grabbers. I’m going to see it this weekend. I wouldn’t be a huge fan of recent Irish flicks. Too many boxes being ticked. The politically correct box. The intellectually correct box. Redemption buttons being pressed on virtually every character. Very few extremes. Too many unconvincing gangsters. I think we make very conservative movies at the moment and I’m not sure than Irish film-makers or producers think in terms of targeting an audience. We seem more focused on festivals and awards and that sort of thing. I’d love to see a situation where word-of-mouth attracts Irish cinema-goers to Irish films. Perhaps it’s a transition time. Irish films reached audiences at home and internationally in the 80s and early 90s with My Left Foot, The Snapper and The Commitments. Perhaps the success of The Guard will change things for the better. There’s no doubting the talent and the actors and our short films are superb along with our animators. Let’s hope we are entering a new era. Like I said, I like the look of Grabbers.
Would you like to see the great Irish sci-fi script-cum-movie? Absolutely. And if it’s a creature feature, I’d like a walk-on part please.
If you were to recommend one recently released film – either out on cinema at present or now on sale in DVD/Blu Ray- for your students on the course to watch and analyse what would it be? I would go for a classic like Casablanca. Everything you need to become a good a screenwriter is in there. The best TV drama I’ve seen recently is Breaking Bad. I would urge students to have a look at Season One. And to access the scripts online.
Some say one of the greatest modern British screenplays is Bruce Robinson’s Withnail and I….do you agree? It’s brilliant, but it’s a one off. I just wish the writer would come up witty another wonderful maverick idea like that. But let’s be grateful it exits in the first place. It’s hard to get a film made and even harder to get a good off-beat indie flick to an audience. Outline the key differences between screenwriting for feature films and TV? Feature film writing is particular – you have 90 minutes or so to nail an audience. Usually it’s a three act structure that stands or falls on the set-up (i.e. the first fifteen or so minutes). If the audience doesn’t buy the first 15 mins, your film will usually fail. TV drama is quite demanding. It comes in many formats including what’s now known as ‘the 8 act structure’ ) mainly due to ad breaks on US TV. I’ll be looking at both film and TV drama in these workshops. Most of the best screenwriting is now happening on TV drama series such as Breaking Bad, Mad Men, The Wire or The Killing.
Which TV drama-soap context would you like to set in an Irish context? Our stuff isn’t much fun. I’d like to see some really engaging extreme characters being created. An Irish Walter White. Or an Irish Cracker. Or an Irish Amelie.
What Irish book-novel would you love to dramatise on television? A really good question. My vote goes to City of Bohane by Kevin Barry. I’m also surprised that nobody has tried to make a movie out of Dermot Bolger’s The Journey Home.
Are we in danger of following ITV’s route and putting on too many cop-based TV dramas? Dunno.
*BIG thanks to Ferdia Macanna for this Q&A.
Writer Sean O’Reilly is hosting an erotic writing course this autumn – a bit of an experiment for the Irish Writers’ Centre – at a time when sexy stories are being sucked up by the global publishing industry. How can we write about sex in a tasteful effective way, causing a stir in the reader, while giving enough insight into the character’s psychology to make the story believable, intriguing, real..? Irish writing seems to shy away from any attempt to represent the reality and complexity of our erotic lives. Sex is a secret. Desire is merely a plot-device. The story of a character’s erotic life or the growth of a character’s erotic taste seems to have no bearing on a convincing psychological portrait of a literary character.
This 10-week course looks at the history of the genre of erotic writing, examining classic texts in both prose and poetry, and concentrating on student’s writing in this field. Using both poetry and prose, participants will learn that the ‘erotic’ is more than the description of sexual acts but the context in which they take place, about power and phantasy, and in particular, about the representation of desire itself. O’Reilly has a unique approach – forensic even – to analysing words. He is deeply interested in people who are serious about writing, and will do to your writer’s block what Polish builders did to concrete here during the boom. A story I wrote on one of Sean’s previous courses made it to the ‘Top Ten’ in the 2012 RTE Guide/Penguin Ireland Short Story Competition and is published on the RTÉ TEN website. A second one [a Dystopian tale about Dublin junkies] is being edited for inclusion in a literary magazine and has developed into a novel-in-progress.
Below is a Q&A I did with Sean for the IWC blog on the erotic writing topic. His published work includes Curfew and Other Stories, the novels Love and Sleep, The Swing of Things and an experimental erotic novella: Watermark. [Click the book cover above to buy Sean’s book]. The Writing Desire: Flesh Made Word course runs from 25th September, on Tuesdays for ten weeks – 6.30pm to 8.30pm – and costs €280 or €260 for members. Places are limited so if you’re interested…See you there!
“Degenerates are not always criminals, prostitutes, anarchists, or outright lunatics,” the physician and journalist Max Nordau cautioned in 1893, “they are often writers and artists”…is there any truth in this statement!? In the current situation in Ireland, where the arts seem to be a branch of tourism, of green jersey consensus, yes, it’s important to remember that the artist may be an outsider, an angry voice, a twisted voice, a moral outlaw, jailed and loathed, or a voice that doesn’t give a damn.
What empowered you to want to teach a ‘writing desire’ course at the Irish Writers’ Centre…was there a literary gap that needed to be filled (no pun intended)? Not sure what ’empowered’ means. I’m interested in desire as a literary theme. As a subject. A premise. As the basic predicament for story. The question of pleasure for example. Anybody doing a deal with the devil will have erotic pleasure high on their list of demands. Or seduction. The magic of seduction. What is it to seduce, to cast a spell, to invade the fantasy life of another person? The story of a character’s desire-life is as interesting as the story of their intellectual or spiritual development. Or emotional. As morally interesting. In this course, I’d like us to look at how desire is represented in fiction, at how erotic tension is created, at descriptions of sexual fulfillment and disenchantment, at the body and its tastes but all of this with the aim of inspiring, reading and talking to inspire writing around these themes. People are there to write at the end of the day.
What is the core difference between ‘romantica’ and ‘erotica’ in fiction, given that our romantic and sexual lives are so inherently fused in real life? Are they? All I can say is good erotic writing is an investigation of the character’s world. The foundations and the Iimits of the self. Power. Society. The Law, the inner legislator. Bernard Schlink’s, The Reader, for example. Or Kundera’s hedonists in occupied Prague . Or Edna O Brien’s House of Splendid Isolation. Books exploring a culture, a time, through the story of desire. Or Angela Carter’s work; the sense we are backstage with the dramatis personae of desire, the bored divas, the villains with their false moustaches, the acrobats, the broken-hearted, all our dreams dripping with greasepaint. Or those poets interested in the physicality of the line, the tactility of the spoken.
Is there a long-strong tradition of good erotic writing that we’re not particularly aware of? There’s been writing about sex and sensuality for as long as there’s been storytelling. For as long as we’ve wondered about what the meaning of life is or been curious about other people. Long before there was even a notion of the individual self. We have some erotically charged early Irish poetry. Chinese literature has some very early examples. Boccaccio’s Decameron, published in the 1400’s, the source for Chaucer’s Canterbury Tales, is a good starting point for the European stuff. Or you can go right back to the some of the stories in the Old Testament. What was happening in Sodom that had to be stopped? Aside from the Marquis de Sade, and his forensic encyclopedias of pleasure, and censorship, I’d say the most powerful effect on the development of erotic writing in the West has been psycho-analytic theory. I’d point to Philip Roth, and books like Sabbath’s Theatre, as an example of a modern writer using desire as the driving force of his characters.
The ‘Writing Desire: Flesh to Word’ course will be taught by both you and poet Kimberly Campanello, how will this work in practice? Will participants have to be au fait at both prose and poetry or can they simply write in one genre if they prefer? The basic idea is to use the reading of both prose and poetry to inspire writing. Participants can write in whatever form they want but shouldn’t be afraid to read across a whole range of sources. For example I would encourage anyone to read Jean Genet’s play The Balcony. The course will suit anyone who is already working on/thinking about a piece of work with desire as the main issue. Each week there’ll be a loose theme, we’ll try to identify some of the different currents in erotic writing, the celebratory approach, the big Yes, as opposed to the more conflicted erotic text. Kimberly and I will take alternate weeks, using extracts from prose and poetry for discussion before we look at participant’s own work. Like I said, people should be there to write.
What do you think of the 50 Shades of Grey phenomenon? I think we’ll have to make it the starting point of the course. “This is wrong,” Anastasia says early in the first book during a romp with Mr Grey, “but holy hell is it erotic”. We’ll have a look to see if the writing actually manages to get above clichés and create any erotic tension, what makes a bad sex scene. And we’ll look at this notion of wrongness, of transgression, a common ingredient of erotic writing. But then again it’s interesting to think about reading and pleasure. Reading is sexy again. That can’t be bad. The book has now become a fetish object; it means much more than the words inside the covers.
There was a story recently in the papers about a court case involving a couple who had a row about the book, the man annoyed at the woman for reading the book again, for talking about it too much. The woman went round to her mothers. After a while, there was a knock at the door and when she opened it there was her boyfriend who, she told the judge attacked her with a bottle of brown sauce, pouring it over her head. Saucy? the man was shouting, You like saucy? I’ll show you what saucy means.
How do you delineate between the erotic and the downright pornographic? Or are we being unfair to porn….discuss? Does some porn contain literary value? I don’t think there’s any need to delineate anymore when artists in every medium play freely with them. Filmmakers, writers, cabaret, hip-hop, painters. Porn, like erotic art, wants to arouse. To stimulate. To turn the reader on. That used to be seen as not a fit ambition for literary art. A half-decent sex-scene should cause a bit of a stir in the reader. But when it’s a very good scene, I’d say, it should also be telling us something about the characters involved, about the meaning of the sex between them, and about the context in which it’s happening.
Is the widespread availability of internet pornography ruining natural erotic thinking/feeling, i.e., expectations of what a sex life should/could involve, the pull/drive that gets people together, how this is then expressed in literature & art? I’ve heard it said the 50 Shades of Grey phenomenon is a reaction against men and online porn. Against the infidelity of men on their machines. A rebellion. I’ve also heard it argued porn helps men NOT do certain things, a palliative so to speak. It keeps them off the streets. But the same was said about the use of prostitutes. And about sport! It could be entertaining to wonder what the 50 shades of Grey trilogy will help women NOT to do? Hopefully the internet is educating as much as it is ruining appetite. The sexual appetite, like any other appetite, can be sated and overindulged. It’s an old parable. The parable of excess. Think of Casanova. Those who have searched for wisdom in sensual experience. Enlightenment. Ecstasy. Think of Yeats poem, The Pilgrim. The sensualist, after years of erotic wandering, turns to fasting on Lough Derg, tired of “…passing around the bottle with girls in rags or silk/ in country shawl or Paris cloak” but by the end of it all, after excess and austerity, he concludes on his life’s journey, “I can put the whole lot down, and all I have to say / Is fol de rol de rolly O.“
What is your favourite piece of erotic writing and why? It would have to be JP Donleavy’s The Ginger Man. Published in Paris in 1955, it’s part of the uninhibited big Yes style of erotic writing. It was banned for obscenity. The central character is an American in Dublin, he’s got a wife and a kid, and money troubles. And when it comes to women, he just can’t stop himself. That’s his crime and his innocence. He can’t control himself. He is comically beyond any moral judgement or censor. His lust is all he has and leads him round in circles and deeper into the world of Dublin at the time, giving us a very real picture of the place, and even the predicament of women at the time. It’s the Dublin of Behan, Kavanagh, etc., and Cronin’s Dead as Doornails. He’s got a bigger appetite than any of them, free, guiltless. The writing, moving from sparse, short imagist sentences to rampant flows of interior randy monologues, will make you laugh from your guts as you savour and feel – and admire – his hunger: a powerful concoction. The flesh made word. I wish I’d been around to see Richard Harris in the stage version. Three nights it lasted in Dublin in 1959 before it was shut down!
What the heart is like (by Miroslav Holub)
Officially the heart
is oblong, muscular,
and filled with longing.
But anyone who has painted the heart knows
that it is also
spiked like a star
and sometimes bedraggled
like a stray dog at night
and sometimes powerful
like an archangel’s drum.
And sometimes cube-shaped
like a draughtsman’s dream
and sometimes gaily round
like a ball in a net.
And sometimes like a thin line
and sometimes like an explosion.
And in it is
only a river,
and at most one little fish
by no means golden.
More like a grey
It certainly isn’t noticeable
at first sight.
Anyone who has painted the heart knows
that first he had to
discard his spectacles,
throw away his fine-point pencil
and carbon paper
and for a long while
One of the major Eastern European poets to emerge after World War II, Miroslav Holub was celebrated for his surreal mixture of scientific exactitude and absurdist humor. The poet Ted Hughes called him ”one of the half dozen most important poets writing anywhere.’ In The Government of the Tongue Seamus Heaney praised Holub as a poet who could lay things bare, ”not so much the skull beneath the skin, more the brain beneath the skull.” Mr. Holub’s poetry, he wrote, is ”too compassionate to be vindictive, too skeptical to be entranced.”
Miroslav was born in Pilsen, Western Bohemia, on September 23, 1923. His father was a lawyer who worked for the railways and his mother was a language teacher. After World War II, he studied medicine at Charles University in Prague, and worked in a psychiatric ward there. His dislike of “poetical” embellishment, his concern that poetry should be rooted in plain, unadorned fact, is a product of years of Communist propaganda in Stalinist Czechoslovakia. As well as Poems Before & After: Collected English Translations(1990/2006), Bloodaxe publish The Jingle Bell Principle, a book of his prose pieces, and Supposed to Fly, a highly original and entertaining illustrated gathering of poems with some prose interruptions drawn from his native city of Plzen (same as the beer).
You have to wonder about gits with money when it comes to all things Titanic. In 2007, a ‘collector’ bought a [used] Titanic life jacket for £35,000 from a UK auction house. Battered, ocean-licked and torn, it had been worn by a 3rd class passenger sparring for survival in the Findus-cold waters of the North Atlantic 100 years ago today. A few months later another life jacket sold for a staggering €119,000 – thought to be worn by the secretary to the wife of Cosmo Duff-Gordon – accused of bribing crew members not to return their half-filled rowboat to the sinking ship to pick up survivors. Class division has a price tag, even in an era of relics.
Business man Mark Manning is banking on a £2 million sale by breaking up and selling a tiny piece of the liner’s hull. The fragment was a scientific sample from the larger of only two known segments of the hull salvaged from the wreck in 1998 (Mark acquired his piece last year for £12,000, according to the Chester Chronicle) and formed part of the ship’s adjoining cabins C79 and C81. While Mark’s lump of liner is ‘privately owned’, the two larger pieces of hull and the rest of the New York auction, valued at around £122 million, must go to a single buyer with strict conditions relating to storage and preservation. “I will sell it to the highest bidder,” he told the paper. “Or I can get a guy to cut it into just over 1,000 pieces and I can sell them for £2,000 a time, if you do the maths, 1,000 x £2,000 = £2m”. He also acquired a wooden segment of the grand staircase from first class, a lump of coal from the boiler room and a fragment of a discarded off cut of carpet.
Since 1985, when the wreck of the Titanic was discovered, thousands of sodden souvenirs have been hauled to the surface in seven expeditions: leather trunks, china plates, letters, shoes, wallets, candlesticks, keys to a first class toilet, rivets (one rivet made $15,000 at auction), a brass thunderer whistle, Clews teapot, creamer and sugar basin, tickets for the Titanic’s Turkish bath, Marconigram messages, White Star Line candy dish, deck chair, a steel section that broke away from the starboard side as the ship sank, lockets, gold coins, cuff-links, jewellery made with ‘authentic coal’ from the ship, have all found plenty of buyers. Titanic fanatics are also willing to pay $91,000 to get up close to the ship in small Russian submarines.
There’s no end to the line-dance of lucrative packrats prepared to pay top Euro/Dollar/Sterling/Ruble for lumps of the 46,329 tonne rust-bucket, in the hope of salvaging an ordinary piece of human anguish. A restaurant in Houston served up a $12,000 ‘last supper’ this week in honour of Titanic’s infamous Ritz restaurant. It hired top chefs to cook up an ice storm of consomme olga, poached salmon with dill-flavoured mousseline sauce, calvados-glazed roast duckling, pate de foie gras, asparagus salad with champagne-saffron vinaigrette, peaches in chartreuse jelly and chocolate eclairs. Titanic buffs and memorabilia hunters with lots of dough can jig like the dickens and fantasise goodo about herding bonnet-clad women into lifeboats, while smoking Garcia Perlas Finas cigars.
- Cigar box owned by captain Smith: £25,000
- China saucer: $20,000
- Postcard mailed from the Titanic: $2,068
- Rivet: $15,000
- Original launch ticket: $70,000
- Keys to a first class toilet: $53,000
- Menu found in 1st class purse: £76,000
- Letter written by Captain E J Smith: £28,000
- Titanic’s lamp trimmer: £59,000
- Letter by steward James Arthur Painton: £15,000
- Lillian Asplund’s personal collection (she was 5 years old when travelling on Titanic, her three brothers and father drowned): £120,000
- Locker key and postcard: £70,000
- Gilt pocket watch & gold chain, American money, a button, comb: £38,000
- Job lot including letters, postcards, telegrams from survivors and photographs of passengers: $193,140
- Deck log deck log from cable ship SS MacKay-Bennett: €100,000
- First-class passenger list: £24,000
- Victim’s watch [John Gill]: £25,000
- Fragment of lifebelt: £6,900
- First-class brochure: $ 11,380
Marine moonlighters & billionaire bandits could take inspiration from 47-yr-old Stan Fraser from Inverness. He built his own eco-friendly 100ft long Titanic model out his back garden complete with its own ‘Paris Bar’ without plundering a sea-morsel. Two caravans became the hull and over time he added a wooden shed and various cast-offs until his Ship of Dreams was complete. His model also features four funnels – three belch smoke, the fourth is just for show – just like the original. Any donations he receives from folk eyeballing his suburban compost ship go straight to the Royal National Lifeboat Institution.
The vast majority of the Titanic’s swanky furnishings remain in the two middle sections of the wreck but the ship is slowly being consumed by iron-eating microbes on the sea floor and won’t be around in another 50 years. It also rests in international waters, leaving it in a grey legislative area since no country can claim full responsibility for it. Now the UN’s heritage body Unesco is stepping in to protect the ship under a UN Convention on the Protection of Underwater Cultural Heritage, which covers wrecks only after a century has passed. It can impose fines and other civil penalties on anyone who disturbs the site and will hopefully pull the plug on a 27 year ghoulish treasure hunt. Maybe it’s now starting to sink in: “That’s the last of her.”
Denise Blake is reading this Friday at the Irish Writers’ Centre (1pm), the last in the popular Lunchtime series. She was a participant on a creative writing workshop I attended two years ago at the Boston College with Dr Brenda Flanagan, Cultural Ambassador for the United States Department. Denise’s first collection of poetry, Take a Deep Breath, was published by Summer Palace Press. Her second collection, How to Spin Without Getting Dizzy, was published in Spring 2010. She’s a regular contributor to RTÉ’s Sunday Miscellany and her work has been published in The SHOp, Poetry Ireland Review, The Stinging Fly and West 47. She is a founder of the Errigal Writers’ Group and received an MA in Poetry from Lancaster University through the Poets’ House. Here’s a quick Q&A I did with her this week:
When did you start writing poetry? Firstly, I know the moment when I started to love poetry, it was when I read Seamus Heaney’s poem, Docker. We were studying the poem as part of the English segment in a foundation course in Magee College and I loved the imagery in the line; He sits, strong and blunt as a Celtic cross. It was the first time that I could see into a poem for myself. The course was to be my return to education but instead it was my awakening to poetry. I was in my thirties and I had young children. I would never have considered writing a poem before that time. I started reading poetry and writing my own pieces. I was so thrilled with myself when I started producing work. The excitement of seeing new words appear has never left me. There were two strong forces in Co. Donegal at the time – The Killybegs Writers Group and Letterkenny Writers Group – so there were people who were supportive and showed great encouragement. Eventually a group of us evolved into Errigal Writers and we still meet twice a month.
What’s been the greatest obstacle to becoming (and remaining) a poet? The “who do you think you are?” chorus sitting on my shoulder. But the question could be; what has helped you stay writing? This is a great country for writing and I have had so much support, starting with my local community. There isn’t a week goes by that I am not asked “are you still writing?” by someone who is willing you on. When we first started Errigal Writers we organized Gerard Byrne to give us workshops and the Irish Writers Centre helped us out. We continued to bring other established writers to Donegal over the years and they have all treated us with a professional respect. I was lucky to be chosen for the Writers Workshop in UCG ( as it was then) with Paula Meehan as our facilitator. You can’t get a more professional, and yet compassionate, person to work with. I was fortunate also to be able to do the MA course in the Poets’ House in Falcaragh. There are so many established writers who are generous with their time and energy. I’m on the directory for Poetry Ireland’s Writers in the Schools and that experience is wonderful.
What gets you started on a poem—idea, image, personal experience? The greatest motivation I have is being a member of the Errigal Writers. When I know we are due to meet things start moving in the back of my mind for a while. I become more aware of my surroundings and more susceptible to imagery around me. I will read more poetry in those days and watch performances on you tube. And then I try to find a silence that lets creativity come into the room. I have found my favourite type of moleskine notebooks and I always write the first drafts in longhand. I just love that moment when the first draft is finished.
How did you go about getting your poetry published? You have to get work published in magazines; Poetry Ireland Review, the Stinging Fly, The SHOp were the magazines who first accepted my work. I also had pieces on Sunday Miscellany and I love recording for radio. Again I’m fortunate in that Joan and Kate Newmann of Summer Palace Press have a home in Donegal. They used to hold wonderful workshops and readings in their home in Kilcar. Eventually they accepted my manuscript and published Take a Deep Breath in 2004. They put so much work into the editing process that it is a gift when the book is published. My second book, How to Spin Without Getting Dizzy came out in 2010.
You’re very involved in community-based projects, how did this happen and why is it important to you? I’m not as involved as I should be but I live in Co. Donegal, we don’t have organisations running readings and workshops on an ongoing basis so the Arts Scene kind of works from the earth upwards. Our Arts Officer, Traolach O’Fionnain is very approachable and he encourages us to create events. There were times in the group energy where we needed to perform, or meet other writers, or work with established writers or publish work, so the only thing for it was to organise it ourselves. North West Words is a group who now hold readings with featured writers and open-mic on the last Thursday of every month. I do think there is a hunger for poetry readings here.
Are festivals a good outlet for poets? Festivals have the funding for organising events and advertising. Anything that gets poets and writers performing in an area is good.
Do female poets face particular challenges? Do young male poets seem to have a higher profile? Yes. But whether that means that female poets face more challenges I’m not sure. It is a very long road.
What are you writing next? I’m writing poems for now. That is what is coming when I put the pen to paper and I’m grateful for them. Hopefully it will shape into a third manuscript.
Any advice for emerging writers? Love what you are doing. Work at the craft. Read. Be prepared for the long distance not a sprint. Don’t be crucified by rejections. Look carefully at the word emerging, it carries hope and a future. It isn’t: never-going-to-happen writers, but emerging. I love the feeling that anything can happen once you are writing and sending out work.
Nuala O’Faolain terrified me. I met her in May 1997 at her home in Ranelagh for a student interview. “You’re ‘too sensitive’ to make a go at journalism, too wide-eyed for shitheads in a newsroom,” she concluded, after just half an hour. Her family history had parallels with my own and despite the fact that she was completely intimidating, we somehow clicked. She scoffed a sausage sambo and laughed at me for being vegetarian. I was obliged to throw sticks at Molly the Collie and admire the ‘Victorian blue’ paint on the sitting room walls (sourced by her lodger Luke from a stately home in UK). Her grand plan was to live out latter days “writing about other people’s cats & dogs” in a cottage in Clare. Three hours later she drove me home in a battered car that could’ve belonged to a learner driver in Wexford and not a woman whose book Are You Somebody? was topping the best seller lists worldwide.
When I sent her the typed interview she thanked me by dumping a cat in a basket on my doorstep with a £20 note & strict instructions where to buy ‘Sandra’ a hysterectomy. ‘Anyone who wants to be fully human should own a cat,’ the note said. I zipped around to Tesco on Baggot Street, turning the nice crisp hysterectomy dosh into a bottle of bacardi, fresh pasta & some scented candles. Sandra got duffed by the lesbians-in-the-basement’s ‘Felix’ and three years later, while Editor of a revenue magazine, I emailed her to come clean. She called me ‘despicable’, saying I was the worst type of person there was. Nuala’s emails were hilarious, often sad, always sickeningly candid. I was forever chuffed to hear from her, even when she told me not to have kids, that I’d make a lousy mother (and various other insults): ‘You can’t even look after yourself or a cat, imagine what you’d actually do to another human being!’ Another email read: ‘Perhaps an interesting job isn’t your destiny June, so boredom and sexual frustration will force you to write fiction.’ Every few months she’d write to ask me how I was, without fail. Her messages were always packed with funny little nuggets of advice: ‘Don’t go to male shrinks, they’re even worse than ordinary males.’
In 2002, she agreed to be my ‘referee’ for a Foundation Course in Psychotherapy at the Tivoli Institute, Galway. ‘After you’re done there, there’s a place in north Belfast that does great training at weekends, you’d be a brilliant counsellor, I’d go to you, just don’t ever ask me for a writing reference’. It transpired I was way too neurotic for counselling training and Nuala changed her mind about a writing appraisal when she read a feature I wrote for the Sunday Business Post. Once again she ended up as rent-a-judge, this time for an MA in Creative Writing at Queens’ University Belfast in 2007. ‘You will soar, eventually, but the effort will probably kill you,’ she said. After she died I wrote an article in The Guardian which I think would’ve surprised her. Last night when RTÉ aired Nuala, a profile by a cherished friend, Marian Finucane, I dug out the original interview I wrote 15 years ago, which I’m pasting below. Bear in mind it was my first attempt at a journalistic profile (it’s written in the present tense of 1997), so some of the language is manuka-sticky, but a few worthwhile insights survive.
Relations between men and women are in an awful state. The old world is dead, but there’s no new world yet, we don’t know what to do or which way to go. There’s young-ones with money taking over Temple Bar and old Dublin, Joyce’s Dublin, is dissolved into paltriness. The whole point to Dublin was that it was accessible, shabby, alive. People wandered around it all day. Now they go from A to B, spiritually impaired. The wandering has stopped and mass exodus towards apostasy has begun.
This is what Nuala O’Faolain feels today, 11 months after her book Are You Somebody? was released. This arresting memoir, by a dedicated controversialist, presented itself by pure accident and topped the best seller list for 20 weeks in 1996/7. The book indwells itself in the public and private life of Ireland, so much so, that Nuala herself is stunned at the emotional episode it has created. People wrote to her from Trinidad, Australia, China, Chicago, and even from a trekker’s hut in Nepal, to offer her images of themselves in response to hers. In an unpublished extract called ‘Afterwords’, she writes:
‘I never envisaged such cherishing. When I called my memoir Are You Somebody? it was largely to pre-empt the hostile people who’d say, at my writing anything about myself at all, ‘who does she think she is?’ I never imagined awakening something a bit like love.’
She was asked by New Island Books to write an introduction to a decade’s collection of journalism articles. She felt it was impossible without chronicling some fundamental aspects of her life. She had no intention of ‘writing a book’, rather the lengthy introduction was an unavoidable resolution to a complex and lacerated childhood.
‘Trying to live and push as much life into myself,’ is Nuala’s motto. “Sensation and feeling, that’s how I want to live. I want to really live. On the other hand I can hardly live because I am missing all kinds of skins that enable other people to live fully. I’m 57, but it’s as if I’m 17, trying to learn how to be happy. Yet sometimes I feel it’s not happening, because I’m the only person who knows about me.”
Her cat Hodge is so like Patrick Kavanagh it’s not funny! He has the same cynical pissed off expression and he’s a begrudger. I imagine PK’s eyes were as strikingly gold on occasion, when he woke half dead from alcohol. But Hodge doesn’t indulge in the ‘wrong’ kind of drink or write poetry. He’s a misanthropic feline, with attitude, Nuala adores him, despite his mucky personality. “I bought him off a sinister man for £150,” she explains. “They’re both the same, they don’t have very good personalities…ah sure Patrick had his good days too, like when he’d win on a horse and want to share everything with you!”
In her UCD years, Nuala shared a flat briefly with Patrick Kavanagh, who used to piss and groan out the doorway in the mornings. Dublin was dark and dramatic then…Noël Browne’s Socialist Party met regularly in Moran’s Hotel to discuss the future of Ireland. Students sat around Bewleys, scoffing potato pancakes, discussing ideas for short stories. Nuala spent many a night drinking bottles of Vintara in Leland Bardwell’s flat in Leeson Street, writing bits of scripts for Radio Éireann. There was an unselfconscious scattering of ideas all over the literary Dublin of the time. You were assessed in terms of yourself, and warmly welcomed if you fitted in.
In 1958, while studying English at UCD, things did not always run smoothly for Nuala. At one stage she had to drop out of University and work in a hospital kitchen in London. When she returned to Ireland, Mary Lavin gave her an allowance for six weeks so she could resit exams and finish her degree. Shortly afterwards she read ‘medieval romance’ at University of Hull and eventually secured a scholarship for a B.Phil in Literature at Oxford. After she graduated she taught English Literature (briefly) in Dublin, before moving on to the BBC in 1970.
She produced outlandish and stimulating programmes: protesting pornography with the Queen’s gynaecologist, querying religious sects that buried their prayers inside batteries at the San Andreas Fault, chronicling personal problems of Yorkshire transsexuals and a documentary on the Bogside Community Association. Yet she was never au fait with any aspect of her emigrant life. She became increasingly desolate and disaffected in the UK, to the point where she had not choice but to return home. The year was 1977. The same vigour that hauled her through those early years, was bulldozing her towards inescapable crisis. She signed herself into St. Patrick’s Hospital as a full-time alcoholic, addicted to tranquilizers, desperate for help. It became apparent that she had to go right back to the beginning of her life, and start again.
Nuala O’Faolain was born in 1940, in an era of art deco, when Cat Woman first appeared in comics, when faulty condoms were made out of sheep’s intestines and UFO sightings were reported on a world-wide basis for the first time. It was the same year John Lennon and Frank Zappa were born, and Scott Fitzgerald and Emma Goldman died. Irish ‘O’Faolain’ is a diminutive of ‘wolf’ and is among the fifth most numerous names in Ireland.
In 1939, Tomás O’Faolain joined the Irish Defence Forces, spending most of his spare time writing to his ‘chroidhe dhil’ (Nuala’s mother) with details of moving his young family to Donegal. The following year he cycled up to Dublin from Dunree on the Inishowen Peninsula to greet Nuala at the Rotunda hospital. Her mother and father were desperately in love. By the early 1940s, Tomás had metamorphosed into the auspicious Terry O’Sullivan. He began his journalism career by taking the ‘Radio Train’ to Killarney for Radio Éireann, and his ‘Dubliner’s Diary’ column for the Evening Press. His ostentatious career and social life, took him further and further away from home. Mrs O’Faolain, glorified wife and onlooker to numerous extra-marital affairs, began to feel totally cast aside. Increasingly, she sat in her armchair in the kitchen to drink and read. “This is how she chose to eventually die”.
Nuala attended seven schools in total, during these early years, when she lived in a farm-labourer’s cottage in North County Dublin. She was hauled off to boarding school in Monaghan in 1954, when puberty became ‘a problem’. There she nurtured her love of reading, and fostered an urge to learn. ‘My life only began when I learnt to read,’ Nuala once wrote. And she read everything she could get her hands on. Saul Bellow, Alice Munrow, Chekhov, Keats, Dacia Maraini, Dermot Healy, Joyce, Eoin MacNamee, Montherland, Richard Ford, Kaftka, Racine, Jane Eyre, Robert Lowell, T.S. Elliot, Shakespeare, Kawabata. For too many years novels were all Nuala cared about. She has read a book every few days of her life without fail. In later life, she sees the characters of decades, gathered around her, to keep her company.
“When I get on in age, I’ll have to write novels,” she insists. “Sure what else can I do here? I’m here on my own all the time: you can hardly call that living. I will go and live in Clare full-time and write my books, crammed with characters, men and women & other people’s cats and dogs.”
Her input in broadcasting has been sedulous and when she returned from England in the late 1970s, she took a job at RTÉ, producing the Open Door and Booklines programmes. Journalist Jonathan Philbin Bowman debated many issues with Nuala over the years, but states quite clearly that his various opinions of her don’t always fuse: “Nuala is a very fine writer, equally capable of great sensitivity and occasional near sanity. There are times when she is not sure herself, how to bridge that gap between intellect and passion. But overall, she is consistent in the amount of human compassion she shows people.”
Nuala joined the Irish Times in late 1980, following a conversation she had on radio with Gay Byrne, about elderly Irish women. Today, she is a highly respected columnist, who writes about all miens of Ireland in a unique, manifold way. Angela Bourke, writer and lecturer summed up her journalism in the following way: “They are essays that have urged us over the years, to pay attention to the weave of the society we live in, weft as well as warp. She notices always the threads that run always: the lives of women, of children, of quiet men, the hurts inflicted and forgotten or suffered and remembered. Class politics, gender politics, power relations. These are her particular themes.”
Some find her writing uncomfortable because she insists on adjusting to a certain understanding of how things really are. A certain amount of people recoil when truth flails around so unselfconcsiously, other embrace her honesty as if it were a long-awaited benefaction.
On Poverty: ‘If you live one of those local authority estates on the edge of small towns – the ones whose name appears predictably in the court reports of the local paper – who will care about you?’
On Drugs: ‘Hard drugs are the worst thing to happen to Ireland since the famine. But we forget, we lose interest, we fortunate ones can afford to.’
On Female Sterilisation: ‘Women are in no position to be airy-fairy about their bodies, they bleed, their wombs swell, they labour just like animals to bring forth children, then they feed them, wipe the waste from their bodies, shovel grunge into their mouths…to bring them through to independence.’
She writes her articles, pen avec paper, on a rough wood table in her kitchen, where we sit now. Molly the half Collie, runs in from the back garden with a stick for me. We fabricated a friendship in the isolated minutes after Luke, Nuala’s lodger, showed me in and handed me a cup of cha. Nuala trundled down the stairs, hair soaked, wearing a blue flowery dress and a big, amiable smile. There is an extraordinary expression in her eyes, as she talks unhindered, with a sausage sandwich hanging halfway out her gob.
“My lodger Luke is the dearest man in the world, but I am terrified of him coming in drunk, my whole life I’ve been watching people come in drunk.”
What comes across most fixedly about Nuala’s life is that she is dreadfully hurt by what she calls “one of those hugely damaged, big Irish families.” It is this unresolved ache that propels her to discover truths that would otherwise be unreachable. She has undoubtedly survived all the things that have entranced, beguiled, sickened and outraged her. Yet at this stage in her life, she feels she has no immediate or momentous purpose, and is very alone.
Sean MacConnell, Agricultural Correspondent in the Irish Times is probably Nuala’s closest confidant. He has known her well for ten years, and worked with her father in the Evening Press many years before. To sum up Nuala in a sentence he told me, “She is an amazingly bright, remarkably strong woman, with great integrity and great vulnerability.” His first impression of Nuala was that she was unbearably shy but had a suave charm. “Just like her father, the one thing that really stands out about Nuala is that life is a huge learning process, and because she is so open to new interpretation, she can be very unpredictable.”
Going back to the book where the explication of her life and success ultimately lies, I ask her why she began and ended with poignant accounts of her parent’s ill-fated marriage? “I hadn’t realised that I’d go back to them, I think out of some mixture of loyalty and being imprinted by pattern, I was trying to oblige them by ruining myself. I was tempted to join my mother in her despair all my life. I was actually very close to her, even though I didn’t like touching her or being with her. I pitied her so utterly that I copied her. I am very lucky they both died when I was about 40, it gave me a chance to live. I have been very lucky too, that there must’ve been some instinct for life in me, that I was lucky enough to get off with Nell, who insisted on life.”
She spent nearly two life-giving decades with Nell McCafferty until they split up last year  when their many differences became insufferable. “Back to whole relationship/family thing: take my brother Don, who just died recently in London. He had a family of his own, but couldn’t let go of the past. He sat in his room and drank and starved himself and drank again, until he could die. He was just following out the logic of it.”
She tells a story about ‘Michael’ and ‘Rob’, her two tremendous loves featured in the book. They haven’t even bothered to drop her a line, or pick up the phone in response to her story being published. Her whole life it seems has been flooded by moments of unimaginable intensity, followed by long spells of desert, and all-consuming work in between. Her mother had been the same in this respect; nothing matters except passion, mythos is something to covet, something to adore…
On the way out the door, Nuala points to the rocking chair in the kitchen and says: “You know I sit there and drink red wine and read and read and read, just like Mammy.” When the car chugs off up the road, almost of its own accord, I ask her if she travels around the countryside a lot. “I do,” she says, “just like Dad did.” So at 57, writing, reading, drinking wine and contemplating how to live, she is a synthesis of her mother and father. How could she be anything else?
How did you become interested in poetry? Betty McMahon. She was my primal Jean Brodie, my crème de la crème, my Sweet Afton twenty a day tab merchant, for five out of seven years at St Mirren’s Primary School. We had a text-book way back when, something like ‘Mainlining English’, so I was clearly a word junkie from around the ages of eight or nine I reckon. At home my Mother was a fierce reader of devoutly catholic tastes, still is, lovely pocket leather-bound sets of Dickens, Trollope, Thackery, Austen, the Brontes, Faery Tales – Grimm and Hans Christian Anderson. My Father was more of a Harold Robbins/Mickey Spillane/Willbur Smith kind of prod but as a young Glaswegian Merchant Seaman, he’d picked up a hard back copy of ULYSSES in some port of ill-repute – it’s the ‘durty’ Bodley Head 1967 Seventh impression, with the wrap around black & white cover of stills from Joseph Strick’s film version, with Blazes Boylan and mad-eyed Molly staring up from the crumpled bed sheets on the front cover and Milo O’Shea as Bloom, looking pleased as punch beneath his Homburg on the rear. The sleeve note talked about its wit, its poetry and it sat on the shelf with its white spine greying untouched and unread – my Da’ having quickly discovered it wasn’t the kind of filth he’d been led to believe during the ‘cultural revolution’ – until I was able to reach on tiptoe, able for the first few pages, to swim in its forty-foot echoes of Introibo ad altare Dei. Betty McMahon taught me poetry doesn’t have to rhyme. She also told me I wasn’t as green as my cabbage looked. I was and remain confused. And smitten.
Why poetry (as opposed to other forms)? I don’t think of poetry as being ‘opposed’ to other forms (see above). Look at Tarkovsky and the primacy of music in his compositional approach to cinematography, his ‘poetics’. Or Bill Douglas in his use of silence to embody specific sounds, amplify images that might otherwise go unseen. Paul Klee said, “Art does not reproduce the visible; rather, it makes visible”, and later you have Rilke saying of Klee, ‘even if you hadn’t told me he plays the violin, I would have guessed on many occasions his drawings were transcriptions of music’.
Your latest collection, eight years in the making: Daytime Astronomy covers topics as varied as abandoned love, prison camp, birds, birth, death, hill climbing, body painting, and recession. Do you choose the subject matter or is it the other way around? Me…Prison camp, birds, body painting? Sounds kinky. I’m reminded of Bertrand Russell citing Heraclitus, ‘The Lord who is the oracle at Delphi neither utters nor hides his meaning, but shows it by a sign’. Or as a wiser man than me once said, sometimes you eat the bar and sometimes the bar, well, he eats you.
Do you consider yourself a certain type of poet? If I’m any kind of poet, a lucky poet; lucky to be alive and out of hospital; lucky to be a peredvizhniki with a pen and a pot to piss in.
How long do you spend on a poem? How long’s a piece of string (theory). As long as it takes, I suppose is the honest and mundane answer. I used to measure them in cigarettes, but the price of a twenty deck these days, it’s just not on. I tend to work like the kind of painter who goes at several canvases at once, sometimes concentrated bursts, other times constipated fits of rage. I’ll stop that when the oul’ Duke of Argylls kick in.
What’s been the greatest obstacle to becoming (and remaining) a poet? My undiminished fondness for the road of excess leading to the palace of wisdom.
Do you think a poet’s power diminishes (or grows), as the poet gets older? Indubitably. Dependent on the tigers of wrath being wiser than the horses of instruction.
Is too much Irish poetry rooted in the soil, too much of it centred on rural existence and nature as opposed to the urban experience? As a blow in, I wouldn’t like to say. But between yourself and myself, It seems to me that for every Rough Field and Great Hunger there are five hundred poems about fuchsia and having the quiet pint in some Nama infested rural bog water. Bertie had the right idea with beacons of shite like Adamstown, a car park and a carvery for everyone in the audience and not a blackthorn bush or dry stone wall left standing.
Is poetry in Ireland perhaps too serious? Are we not in need in these gloomy times of some mock-heroic/satirical poetry? Proper order! My next collection is provisionally titled: I Rattled it into Gerty, While her Mother was out for Turf.
How much does poetry intersect with forms of popular culture such as music lyrics or rap? When its horses for courses, my horse is distorted, as Scroobius Pip would have it in his introduction to Distraction Pieces.
We have a president who writes poetry. Is Michael D Higgins’ elevation to the highest office in the land an opportunity for poetry in Ireland? Can he be a force for encouragement? That would be an ecumenical matter.
Who were/are your biggest influences? See first answer, above.
With the rise of electronic poetry and digital books—what do you see for the future of poetry? It will all end in tears, under a bridge or in some batshit besmirched cave, two fetid packs of homunculi gouging lumps out of each other with the sharpened ends of their iPad 3s and Kindle Fires. This way to the Zombie Apocalypse Ladies and Gentlemen.
Readers are often apprehensive about poetry; do you have any advice about how to approach poetry as a reader? Be wise before you rise. Protect your vulnerable brain. They will want to eat it.
Paul was born in Glasgow, Scotland, in 1971. He moved to Northern Ireland in 1995, completing an MA in Creative Writing at the Poets’ House/Lancaster University; studying under the late James Simmons. In 2002 The Edinburgh Review published his first collection, The End of Napoleon’s Nose. His work has appeared in several anthologies including: The New Irish Poets, ed. Selina Guinness (Bloodaxe 2004); Magnetic North, ed. John Brown (Lagan Press 2006); The New North, ed. Chris Agee (Wake Forest 2008); Landing Places, eds. Eva Bourke & Borbala Farago, (Dedalus 2009). He lives in Belfast and is currently researching a PhD on the work of the Scottish poet and cultural philosopher Kenneth White for the University of Ulster. Paul’s most recent poetry collection Daytime Astronomy was published in 2011 by Salmon Poetry. If you’re interested in seeing Paul Grattan perform, he’s taking part in the Irish Writers’ Centre Luncthtime Series, next Friday, 17th February.
Paul Murray is reading this Friday at the Irish Writers’ Centre’s ‘Lunctime Readings’ series. He’s the author of two novels: An Evening of Long Goodbyes (Penguin), which was shortlisted for the Whitbread First Novel Award and nominated for the Kerry Irish Fiction Award. His second novel Skippy Dies (Hamish Hamilton) was shortlisted for the 2010 Costa Book Awards and longlisted for the 2010 Man Booker Prize. Skippy Dies has been described as funny, rude, dark, sad, ambitious, imaginative, surreal, briliant. The Guardian said it was ‘one of the most enjoyable, funny and moving reads…a rare tragicomedy that’s both genuinely tragic and genuinely comic’, while the Irish Independent dubbed Murray’s characters ‘so three-dimensionally drawn and brought to such vivid life that they may haunt your dreams.’ Here, the author discusses loneliness, capitalism, posh schools, suburbs, butter churns and how becoming a writer is no different to becoming a plumber, pilot or podiatrist:
A novel set in a posh Dublin school is a far cry from the worlds of Roddy Doyle’s Barrytown or Dermot Bolger’s Finglas. Did you deliberately choose a radically different social setting with “Skippy Dies?” Or was this a purely instinctive, natural narrative backcloth? Well, I didn’t choose it just to be different. It was a world that I knew very well, which had the added attraction of having been somewhat under-represented in Irish books. In fact I had the suspicion, rightly or wrongly, that that world, the ‘posh school’ as you call it, and the boring, anonymous suburbs where so many people live now, weren’t seen as being worth writing about. They were seen as being less ‘Irish’, less authentic and therefore less fit subject for literature than more ‘real’ settings like the west of Ireland, for instance. That idea, that some places and some people are more real than others, and that we should all be writing novels about old peasant women scrubbing their butter churns, really bothers me. Maybe the suburbs are less real and less authentic. But the people living there are still people, and their experiences of this unreal world are absolutely real. So I wanted to write about that world I knew so well, and I wanted to write about it via teenagers – they’re the ones who experience suburbia most directly, because they’re stuck there. And again, teenagers seemed to be seen as kind of infra dig in Irish novels, so I wanted to give them their turn.
The Guardian flatteringly described the book as a ‘hilarious satire on modern Ireland‘? Did you set out with that intention? Was this a work principally of satire? I’m not really that comfortable with tags like comedy or satire or whatever, like your book can only be one thing. I wanted to tell the story of these characters as faithfully and honestly as I could. There’s a lot of humour, because most of the characters are teenagers and they act in quite an unguarded and extreme way, but it’s mostly realistic and I’m not setting them up to be laughed at. The word ‘satire’ to me conjures up images of the author mocking the foibles of humanity from some great height – everyone’s a grotesque, and their entire world is revealed to be fundamentally deluded and ridiculous. I didn’t have any interest in writing a book like that. That said, setting the book in this school was a useful way of looking at bigger changes that were happening in the country – because these were the most privileged children of the people who were reaping the benefits of the economic boom. They were handed this new world that generation had created, so they were at the coal-face of that new morality and that new attitude to money and materialism.
Although a comic novel there’s a darkness beneath it especially with menacing figures like Carl, how much of this came from your own experience of school days and the adolescent ‘jungle’? I went to secondary school in the 1990s, which though it wasn’t that long ago chronologically feels, from this vantage, almost prehistoric. So many interesting things have happened since then – the internet, the war on terror, mobile phones, X-Factor – and I wanted to write about those things. For all their supposed privilege, I think in some ways the kids in Skippy have a harder time than my generation did. Their world is so much more mediated, the forces of capitalism have a much tighter stranglehold on them so they have even more impossible expectations to try and fail to live up to. Compared to now, my time in school was quite benign. Certainly, it was a jungle, and there were large, terrifying creatures with BO lurking around every corner. But if you were fast, you could outrun them. How can you outrun Facebook?
Ruprecht concludes that our universe is built out of loneliness. Amid all the comic episodes and teeny angst there is this philosophical undercurrent via string theory, etc. Is this a central theme in your work, the loneliness, not only of teenagers, but man in general? Ruprecht comes to this conclusion shortly after Skippy’s death, when he’s hit rock bottom. The book doesn’t leave him there though. To say the universe is empty, that man is alone-in some ways those are quite self-aggrandising, egoistic notions. They ignore the infinite ways that we’re tied to each other, and they ignore the duties that we have to take care of each other. That seemed like a much more interesting idea to explore than this romantic-melancholic of loneliness, which perpetuates this fantasy of uniqueness, that no one has suffered quite like you have, and that your aloneness is somehow qualitatively superior to everyone else’s. Not to be glib but people in a famine don’t spend much time talking about man’s fundamental loneliness.
Any advice for aspiring writers!? Becoming a writer is no different to becoming a plumber or pilot or podiatrist. There’s no magical secret. You just have to work really hard. For me, regularity is really important – a set routine. Writing a novel is like running a marathon. It takes a long time, and although you’ll have your moments of grace and exaltation, inevitably some of that time it will feel like a pure slog. It will feel tedious and dull, and you’ll feel disillusioned, and the temptation will arise to give up or set it aside and work on something else. At times like those, the routine may be what carries you through – you keep going simply because that’s what you’re used to. And pretty soon you’ll find yourself re-engaging and getting excited again. But to finish a novel, you need the bloody-mindedness to persevere with it, even when you’ve forgotten why.
& Forgive Us Our Trespasses
by Sinead Morrissey
Of which the first is love. The sad, unrepeatable fact
that the loves we shouldn’t foster burrow faster and linger longer
than sanctioned kinds can. Loves that thrive on absence, on lack
of return, or worse, on harm, are unkillable, Father.
They do not die in us. And you know how we’ve tried.
Loves nursed, inexplicably, on thoughts of sex,
a return to touched places, a backwards glance, a sigh –
they come back like the tide. They are with us at the terminus
when cancer catches us. They have never been away.
Forgive us the people we love – their dragnet influence.
Those disallowed to us, those who frighten us, those who stay
on uninvited in our lives and every night revisit us.
Accept from us the inappropriate
by which our dreams and daily scenes stay separate.
- Through the Square Window, Carcanet
- The State of the Prisons, Carcanet
- Between Here and There, Carcanet
- There Was Fire in Vancouver, Carcanet
- Forward Poetry Prize (Best Poetry Collection of the Year), Through The Square Window, shortlist
- T. S. Eliot Prize, Through The Square Window, shortlst
- National Poetry Competition, winner – ‘Through The Square Window’
- T. S. Eliot Prize, The State of the Prisons, shortlist
- Michael Hartnett Award for Poetry
- John Llewellyn-Rhys Memorial Prize, The State of the Prisons, shortlist
- T. S. Eliot Prize, Between Here and There, shortlist
- Rupert and Eithne Strong Trust Award
- Arts Council Macaulay Fellowship
- Eric Gregory Award
- Patrick Kavanagh Award
Not good, terminal cancer, the text read. Limping into the first lecture on the WebElevate course in the steel-strewn auditorium, my phone *beeped*. This plug ‘n play’ digi-media environment is all high-tech & low-lighting: exposed brick, flickering laptops, vending machines (with Rancheros!), earphones large enough for chimp heads, flagstone floors, camera pods, see-through steps, a Bistoesque stream of hops snaking through the open window from the Guinness brewery next door. One of the first questions the surgeon asked my brother when they operated a few years ago was if he drank Guinness. Outside 300 people are dressed in Edwardian costume for yet another Titanic drama…silhouetted behind them are local kids beating each other up with tree branches as sabres, a lone junkie talks to her Jack Russell out loud. What is User Centred Design?’ the lecturer asks, and then answers before there’s room for answers. ‘It’s a design process which focuses on the user through the complete design, build, deploy life cycle…’ Afterwards he launches into a long dismal history of design failures: how Sainsbury’s had to write off a $526 million investment for a dud supply chain management system. How could they have missed the spread after so many scans? ‘I woke up in a room on my own, no drip in the hand so I knew they hadn’t operated, nurse couldn’t look me in the eye, doctor came in and said it was everywhere,’ my brother explained, when I rang. The rest is a blank. ‘So…the earlier in the process you discover the issues, the easier it is to fix,’ the lecturer concludes. A bit like cancer.
On the flight to Stanstead a young architect sitting beside me drops his Powerpoint presentation which spreads out under several seats; laminated peacock feathers. A slide on the human-designed environment lodges under the warbling air hostess’ blue stiletto. To fasten your seatbelt, place the metal tip into the buckle, and tighten the straps so that it fits low and tight across your hips. He throws me a ‘look’ for not helping him but I’ve no energy to explain about the wonky hip, an inability to bend, and anyway my brother’s going to die and he has four kids who will have to grow up without him, so there’s no time for floating pleasantries. The eldest turned 17 the day before we found out. ‘I heard about my dad’, she texted from Doncaster, a graphic of a downturned smile. Her younger brother is a Justin Bieber lookalike and only wears designer clothes, funded by a Coca Cola schoolyard scam & other teen-capitalist adventures. He’s great at maths and football and wants to study Science & Engineering in a few years. The younger two, with a different Ma who bolted a few months ago, have also been told. Both have to fill out ‘feelings diaries’ in their lunchtime at their new school. The older of the two, aged 11, has being acting out a bit since. ‘He’s angry,’ my brother says, ‘but the Scouts takes his mind off it…he loves fishing and building things’. Last year when we went to France he hogged my copy of Ulysses, managing to make animated sense of it. ‘The guy’s a total nutter Aunty June, but it’s obvious he’s writing it from inside a DS game’. He informed his English teacher of his findings when he got back to Blightey. The seven year old girl loves to read from an invisible medieval scroll: ‘McDonald of Belfast wishes to marry Caldwell of Dublin, do you agree?’
The drive from Stanstead to Ipswich takes just over an hour, a patchwork of chrome barriers, scorched fields, thatched roofs, shed sellers & spud floggers…the bro’s new Jaguar is smooth as liquidised soup, heated seats to boot, though unlike his BMW there’s no mini-fridge with complimentary bottle of Aspall’s for the journey. This time the drive is laden with horrifying technical info. ‘If the bowel stops working or gets blocked, they’re not going to operate, it’ll be straight to the hospice at that point, so I’ll be properly fucked.’ Yet he’s in great form; positive, composed, weirdly happy. All your droll problems just lift like the cliché says: bills, debts, work, women, blah blah, up and gone. Everything looks different. ‘I can eat as much Ben & Jerry’s as I want’. He might even go on a cruise, the Macmillan nurse is looking into it. There’s some financial advantages too that’ll help with cash flow, an end of life grant of sorts, the option of a motorised scooter to zip up to the nearby Fat Cat for some decent homebrew. ‘There’s great welly in those yokes and I’ll stick de bird on me knee for good measure’. His new lady, as I’ll soon find out, is quirky, warm and interesting. [An equal at last!] Her mum is a vicar and the dad fecked off to Thailand to open a book shop. She collects mini cars to refurb, breeds chipmunks, snores like a miner and has spent over £16K on some very intricate tattoos. ‘She’s had madder jobs than you!’ he boasts. A pet psychologist at one point, prison counsellor, bar manager, farmer. She loves his monstrous snores. ‘They lull her to sleep, can you Adam & Eve it!?’ Only in Ipswich.
The scar on his face is from a wax apple I threw at him in 1977, knocking him out cold, though he still disputes some of the minutiae. ‘You didn’t knock me out!’ We’re sitting in the kitchen of DunPullin – his family home – drinking Biscotti Baileys while the Bison Grass Vodka freezes to a decent down-in-one temperature. ‘He broke my Tower of London mirror.’ I explain, filling in some early life detail. ‘I’m very proud of that scar, proof of fight-back’. I tell her how I robbed his ‘card tin’ for years – he won so much dosh on late-night card games – and I had a teenage cider & fag habit to feed. ‘In 1988 we went on holidays to Portugal, Adrian insisted we pay for a meal in a posh restaurant but run off without eating it. He’s a big fan of reverse logic.’ Six years between us, he followed me to London in 1989, kipped on my couch till he got a place of his own, slept with [all] my friends, laughed into the early hours too many nights to recall. ‘Do you remember when a load of us went on the piss in Richmond, there wasn’t enough room in the taxi, so you said you’d go in the boot!?’ God, yes, I do remember, bombed out of my brain, roaring at the driver to ‘turn left now’ or ‘turn right here’, even though I couldn’t see a thing.
A year later we lived in Jersey where he worked the bar and I the lounge of a rundown pub, dolling out terrible abuse to geriatric millionaires who’d travelled the world ten times over but had nothing left to do except grow holes in their jumpers & get drunk all day. ‘She was the worst barmaid ever!’ he tells Alison. It’s true, I was. A year after that again we shared a cockroach-infested house in Stratford in London’s east end. His stunt as a cappuccino machine salesman had been a dreadful failure – but we had machines steaming away in every room of the house – almost every night was a party. When I was at Middlesex University in 1992, he ran a pub just up the road, we were never far away. There were holidays to Blackpool when the kids were young, mobile homes in France, trips to Belfast when I rented Castle Chester during the MA. Before the older kids arrive in Ipswich for the weekend, and before I start my usual cooking frenzy (he goes nuts for my leek & potato soup, keep showing him how to make it, but he can’t be arsed) the three of us stroll out to the back garden, where the night sky is clearer than I can ever remember. Alabaster stars flickering against a plush overlay of navy and there it is as we crane our necks: a shooting star, a dying star, zipping across the chaos on its way home. What a crummy beautiful coincidence. We clank our glasses and smile.
Budapest is the only city in Europe where doctors prescribe playing chess in an outdoor spa as a health treatment. Here, 70 million litres of water, from 123 different springs, supply the spas daily. I’m reminded of this ambrosial fact as my well-organised buddy Louise jets off to this eclectic city for a well-deserved break: a trip I was meant to go on had I got my shit together in time. For ten years – when freelancing – I didn’t take holidays. I could never afford them and was constantly broke. However, I did roar “YES!” to as many press trips as I could. It was the only way to goo new places. There were ‘challenging’ property advertorials thrown into this gobetrotting emprise (will blog about greedy investors & culchie farmers sometime soon) and my truly bizarre arrest & deportation from America on Dublin airport soil (thanks euro-pinching Nan, if you’re still out there…I hope you pay for work visas these days). Still, I was privileged to visit some fabulous destinations in a squash of a few short years: Malta, Paris, Cape Verde, Madrid, Frankfurt, Dubai, a Royal Caribbean Mediterranean cruise. You *don’t get paid* for the ensuing aritcle (warning to journalism students!) but you *do* get spoilt silly for a few days out of time, which is a fantastic honour of sorts. Budapest still stands out.
At Széchenyi Thermal Bath in City Park, the largest public spa in Budapest, you will see businessmen taking a 20-minute dip before heading to work, university students at the end of the day, and every other hue of citizen and tourist in between. This is a country that is serious about its spas. Széchenyi has the deepest and hottest baths, with surface temperatures reaching 75 degrees. There are 27 pools in total and the biggest are outdoor – one is for swimming, another has water jets and aeration, and the third is for relaxing, to simply absorb the heat. The baths are rich in sodium, hydro carbonate-calcium-magnesium and sulphates, minerals that sore bones and achy backs dream of. I had a hip replacement operation at a silly young age and am plagued with stiffness, but felt like I could run 40 miles after just 20 minutes immersed in the warmest pool. It makes the shaggy dog story that is the Irish health system all the shaggier. I’ve thought about that fabulously soothing pool ever since. But what is truly astonishing about the spa treatments in Budapest is the prices.
For 3400 HUF (€11.59) – summer 2011 prices & currency is the Hungarian Forint – you can buy a daily pass to Széchenyi, which also has a range of saunas and steam rooms. Public baths are exceptionally cheap (compared with hotels) for treatments too, starting at 2800 HUF (€9.54) for a 20-min aromatherapy massage. We stayed at Margaret Island (Margistsziget), a green belt area in the middle of the Danube. Beauty treatments here start at around 2500 HUF (€8.52) for stuff like eyebrow tinting, while spa treatments start at 4000 HUF (€13.63) to scream the bikini line, rising to 12000 HUF (€40.89) for a lava stone treatment that lasts an hour. The thermal bath, swimming pools, sauna, infra-sauna, steam-cabin, aroma-cabin and solarium are all complimentary for hotel guests. The range of treatments at these hotel spas is truly jaw dropping; everything from shiatsu to oxygen inhalation, ergometry and carbonic baths to dental treatments and cosmetic surgery. I chose a ‘salt cave’ treatment simply because it sounded bizarre, but it has to be one of the most calming treatments I’ve ever had. You’re wrapped baba-style in a blanket and lifted back at an angle until securely nested. There’s nought to do except stare at the ceiling for the duration of the session. A womb-like sensation with a touch of Solaris thanks to the funky music & lighting. The cave is purpose built with rocks of salt from the Dead Sea, and helps with all kinds of ailments, from common or garden asthma to chronic catarrhal inflammation and ulcers.
All bedrooms at the 4* Margaret Island look out onto picturesque greenery and the river, and the grounds are home to a historic water tower, music fountain, mini zoo and Japanese gardens. OK so it also looks like a vulva from the air (look left now!), but I’d be careful not to mention this in a travel article. The island resort is cut off from traffic, despite being in the middle of the city. There’s plenty of thermal & spa hotels to choose from, starting from around €70 per night for a double room for two. Budapest itself is two cities in one. The Chain Bridge over the Danube links Buda to Pest. Until 1873, the royal palaces of Buda – on the hilly west bank of the river – overlooked the citizens of Pest – on the smooth plains of the east bank – where there are now lots of good shops. The main shopping areas are located in Pest’s City Centre. One of them is Váci Street (Váci utca), perhaps the most famous shopping street in Budapest. Designated as a pedestrian precinct, it runs from Vörösmarty Square to Vámház körút (Central Market Hall) featuring a large number of fashionable shops, restaurants and cafés. Castle Hill is home to many of Budapest’s most important monuments and museums, with hushed, cobbled lanes that are in striking contrast to the bustling streets down below.
We had dinner in Apetito, where we sampled Hungarian fine dining at its best (the website peculiarly describes the food as: ‘modern paintings hanging on the walls’). Menu included French veal tartar with trout caviar, served with cress and lavender seasoned egg salad. I chose red mullet fried in saffron oil, and a virgin celery sorbet. I lost track of the descriptive bedlam of my friend’s dishes after three glasses of [strong] wine, recommended by the in-house sommelier no less! Eating out in Budapest is genuinely a kick. There’s countless fantastic restaurants and cafés serving authentic Hungarian goulash, as well as ethnic restaurants like Karma in the heart of downtown. At the time of our visit, there was marrowbone beef soup with strawberry leaf on special, lamb trotters with pea purée and frizzled morels. Pescetarians like me are not short on options: charcoal-baked ginger-chili gambas (prawns) with avocado & mango purée, for example. Same goes for pesky vegetarians: tapas, pasta, noodles, curry. For dessert: plum pie from Szatmár with homemade lavender ice cream, vanilla floating island in a swing-top bottle with caramel crisps.
Music and theatre are enormously important to Hungarians – Budapest boasts more than 50 theatres within a square mile of the city centre – with tickets to shows available at very affordable prices. The city also has a rake of festivals on every year to celebrate spring, summer opera, ballet…a Jewish festival, international wine and champagne festival. Our guide told us it’s the only way all classes of people get to mix, with all the changes taking place in Budapest’s rapidly altering society. Hiring a history guide (€20 – €40) who can give the lowdown on the country’s bumpy past is a great way to get to grips with how much Hungary has transformed. During communism, you could fly to any other communist country for less than a euro, and plenty of people who lived in Budapest flew to Berlin to work on a daily basis. Perhaps the best place to start sightseeing is at the Citadella on Gellért Hill, or looking down from between the turrets of the famous Fisherman’s Bastion in Buda’s castle district. The city is packed with incredible buildings from all ages, even the drab 1970s. However, notable highlights include the Parliament Building, Matthias Church and the Citadel.
Matthias Church is the 19th century successor to Buda’s 13th century coronation church. It’s an important national shrine and a stunning example of neo-Gothic architecture. The dazzling Parliament Building, on the left bank of the Danube, is lined with 90 statues of great figures from Hungarian history. There are literally dozens of turrets, giving it a distinct fairytale appearance. Inside there’s ten courtyards and 29 staircases, and an elaborate heating system, whereby hot air gets sucked up through the chandeliers. Other must-see landmarks include Europe’s largest synagogue, the Szent István Basilica, the Buda Royal Palace and Heroes’ Square, a who’s who of Hungarian history (minus the poor old Habsburgs, whose statues have been removed and replaced). The transport system, built in the communist era, is a fast and inexpensive way to get to know the city. The metro, buses and trams all run regularly, and even taxis are cheap. Think: bite-size Berlin with a hint of Paris around the edges and a sprinkling of Moscow on top. Needless to say, I am still unabashedly available for press trips if Ireland ever gets back up off its arse, or if any wily travel editors stumble across this fantastically written travelogue and fancy trying me out for a free dinner. Cheers.
What The Doctor Said (by Raymond Carver)
He said it doesn’t look good
he said it looks bad in fact real bad
he said I counted thirty-two of them on one lung before
I quit counting them
I said I’m glad I wouldn’t want to know
about any more being there than that
he said are you a religious man do you kneel down
in forest groves and let yourself ask for help
when you come to a waterfall
mist blowing against your face and arms
do you stop and ask for understanding at those moments
I said not yet but I intend to start today
he said I’m real sorry he said
I wish I had some other kind of news to give you
I said Amen and he said something else
I didn’t catch and not knowing what else to do
and not wanting him to have to repeat it
and me to have to fully digest it
I just looked at him
for a minute and he looked back it was then
I jumped up and shook hands with this man who’d just given me
something no one else on earth had ever given me
I may have even thanked him habit being so strong
Surprise tentacles to make you feel horny on the way to hospital. The great thing about living plonk at the Botanic Gardens is the sheer amount of sensory goodies, most gratefully received on difficult days when the heart is heavy or the head sore. Yesterday, before I accompanied my mother to a post cancer diagnosis and moi geezer: whose own mother was cartered off in an ambulance for the third time in as many weeks, we took some time out for a long walk. Even when there’s nothing arty going down, the gardens are a real haven in what has been a moronically poxy and backbreaking year. Amid the parnsip soup slurping pensioners and the fat bees gorging on newly-planted flower baskets in the courtyard cafe, we dunk our tongues into some strong coffee and talk about death over a slab of nectarous pear cake. There’s always ‘stuff’ to see and hear, to do and learn, even just the unflappable change of seasons means this suburban Arcadia looks different every time you have a gander around. One of the smaller glass houses features an ongoing exhibition on the medicinal qualities of tropical plants, citing an example of an Amazonian weed that’s now used in the treatment of childhood leukemia (with 90% remission rates) or how ginger can help with flatulence (Men of Ireland: please take note) and lemon balm to salve symptoms of herpes. The recently re-opened 19th Century Herb Garden, which backs onto the historic Glasnevin Cemetary wall, is also clearly labelled with a welly of herb clout…from the toxin-ridding magic of parsley to the cleansing properties of mint. There’s a featured talk on 24th September on this very topic which you can find on the events page. Two minutes into our walk, we spot some pottery tree people lurking by one of the old stone walls.
It seems we were too distracted on the way in to clock the new Sculpture In Context exhibition posters. This ocular deliciousness is now in its tenth year at the gardens, running from Thursday 8th September to Friday 21st of October. The bumpf says it’s the largest outdoor sculpture exhibition in Ireland, featuring the work of 130 leading Irish and international artists. All the usual talented suspects: Cliodhna Cussen, Ana Duncan, Seamus Dunbar, Ken Drew, Jim Gannon, Seamus Gill, Janet Harrison, Leo Higgins, Fidelma Massey, Søren Schaarup, Beatrice Stewart and a plethora of others. As it’s in context the pieces are displayed (and planted) throughout the gardens, some more in your face than others. For instance, there’s a piece called Ghost Fruit amongst a clump of trees near the river that’s almost impossible to spot. Stare up into the giant umbrella canopy and there’s nothing at all obvious. We scratched our heads and looked about: “This is worse than a crossword!” I said. It was only when we walked on and stopped on the path to look back: newly hung ceramic leaves, an exact match to the trees’ own, but in a deliberately paler shade (thus the name). Many pieces are also cleverly hidden in the impressive restored Victorian glasshouses, (Turners’ Curvilinear Range and the Great Palm House) and in the elegant first floor gallery space of the Visitor Centre. The aim of this exhibition is to provide space for exhibiting work in venues outside of the normal gallery context. Artwork is produced using a wide range of materials including bronze, ceramic, glass, copper, steel and stone.
Minutes later, I spot alien tentacles sticking seductively out of a pond and mention that they’re good enough to get you pregnant, though geezer thinks they look like ‘animal spines’. We bump into long-haired Roli who knows the artist and apparently that’s her subject of choice – all things penetrative – I’m chuffed to have picked up the message so clearly having failed Intercert Art and being totally devoid of any artsy-craftsy competency! Art to me is very much what you make of it, once it’s out in the public sphere, you can assent and assume what you like. I can’t stand reading what I’m supposed to take from it, what this piece means or that painting intimates. Bog off and let me make up my own mind! There’s organic pods stuck up a tree bark with dinky cars growing in them (no doubt a profound message about how we’re making a fume-filled mess of the natural environment), a giant nest with bright blue duck eggs, sound boxes next to the river, tall bronze heron keeping some spoilt ducks company and strange objects hanging from the vines in the Victoriana glasshouses. A stone mattress leans curvaveously against a wall, a simple tagline Insomnia as its chosen communiqué. Two pieces of social commentary stand out: one is called Poppy Power which at first sight looks like a bed of ceramic poppies. Look closer and you see sad faces etched into some of the flowers, no doubt a statement on the heroin crisis, both at home and abroad. A bunch of old Irish money – made from limestone – is strewn on the ground at the side of the largest glasshouse. You can read this as mere nostalgia or not-so-subtle criticism of the current state of the eurozone…
Pretty soon we’re pulling each other in different directions with the capriciousness of a kid’s treasure hunt. “Look at this!” “No, come ‘ere, this is amazing!” and so on. There’s so much to see and so many whimsical pieces, I can’t decide what I like most. Scrunched Flowering Imps planted in the middle of a lush lawn or a line of torsos yapping on mobile phones with comical facial expressions, glass ball plants and metal flowers swaying in the midday sun. Mindfield is a flower bed planted with glass brains and there’s a dreamy-white yearning tree with dangling wishes from children: ‘I wish my mum would get in the swimming pool once in a while.’ We’re going to have to go back and gorge in the weeks ahead. Later that day I bring my Ma along (after the hospital) insisting she plunks down into a wheelchair even though she can walk short distances OK. There’s too much to see and I want to dash around, show her as much as an ordinary hour can shove in. The aulfella is housebound since April 2010 (refusing to use any walking aids or contraptions that would ensure a slice of normality) so she rarely gets out these days. Face to face with her first ceramic penis after 77 years on the planet, she gasps: “I know art is art, but Jesus Christ, is there any need for that kind of thing!?” Yes, mother, I’m afraid there is. Here’s just some of the pics I took on my phone and some more I pinched off a mate doing the rounds with a camera yesterday. I can’t recommend this exhibition enough – it’ll cheer you up and pull you out of the doldrums – if only for an hour:
Sitting in Abrakebabra last week – waiting my turn on an internet terminal in the loudest library in Ireland – I witnessed the most extraordinary event that heaves human life back to the Neanderthals. A young mother insisting her [3-yr-old?] son hit himself repeatedly in the face, for the amusement of her friend, who’d joined them for some high-fat food and low-content conversation. “Go on, show Mary!” she roared, while scoffing a burger. The kid started whacking himself on his left cheek, but kept his eyes peeled on the adults, who were shaking with laughter, slapping their hands on the formica and ‘whooping’ American baskteball-style. The more they shook, the more he battered himself on the chops. Soon his left side was sore, so he moved to the right. Whack, whack, whack. This was just the funniest thing, a tiny person beating himself up. As gut-busting as seeing puppies jumping up in the air for biccies or kittens swinging on sitting-room curtains Tarzan on the vine, except better, because as the mummy mid-way declared: “It saves me from having to bash him!” A lone man shoving onion rings in his gob looked on from the next table, two taxi men smoking outside looked around for a moment to clock what was happening, but seemed uninterested…the Chinese guy behind the counter saw what the boy was doing, but soon got back to grilling slabs of red pepper and stabbing the rotating kebab cow to see if it was cooked. No-one it seemed, cared, and who was I to run on over and start mouthing? Me, years older and with no sprogs of my own, onlooker, not a social worker, cop, counsellor, vile Jeremy Kyle or even just a concerned citizen. Instead, a hapless neurotic with chin on the table not quite fathoming what was going on. By this time the child’s face was red raw and he was clearly in pain, but this is how he’d learnt to get attention, to get his mother’s approval, her grotesque excuse for love, so was bound and determined to carry on smashing himself, to an orchestra of cackle.
Ten years later, when he’s kicking the brown out of other kids & robbing branded goods to order, 15 years later: sticking needles in his arm and drinking himself into oblivion or 18 years on (acting out his own scenario, just to get rid of it as Alice Miller says), knocking his bird around or breaking bones elsewhere – because it is that achingly clichéd – his mother will holler that she did her very best and can’t understand why her son chose the route in life he did. She’ll likely declare herself a victim and attest to anyone who’ll listen that he’s a good lad, with a huge heart, but got in with the wrong crowd. Anyway she didn’t have a good childhood herself. School of hard knocks, blah blah. I couldn’t say or do a thing, just stared in utter disbelief. Maybe ten or twenty years ago, when people roared out castigations on buses and squalled at this kind of thing in the street, the odds were relatively low for getting stabbed in the face for interfering. Or maybe it’s just easy for me to think that. Shame on the likes of comfortable commentating modern-day me for doing nothing. What must this kid go through behind closed doors and what will he continue to go through for the remainder of his kiddiehood, however short that’s destined to last? Two days later, a similar scene in the local social welfare office, a young boy around eight years old or so, trying to wriggle free from his mother’s lap to go and stand with his father, was slapped so boxing-ring hard in the face, words simply stopped flowing. Stunned, silenced and overpowered, exactly like you see in Barnardo’s ads. “You just wouldn’t shut the fuck up!” his mother roared, by way of explanation for what she’d just done, comfortably, in front of everyone. This time I managed a: “For fuck’s sake!” out loud, looking straight at her. A tad braver in the queue, with a gaggle of people around me. I hoped others might show signs of the same. Most ignored it. Few cared. Desk jockeys kept jockeying. One or two looked around at me and tutted, as if to say: “That’s not what you do here, you don’t butt in on other people’s business here.” I walked right out of there and kept going. In Ireland, people batter their kids in the street, and it’ll always be done with passion.
Poetry is a craft as well as an art, and all poets, whether beginners or advanced, need to master the tools of the trade – form, language, pitch and tone. But over and above that, the poet needs to find his or her own individual voice, which takes time. So says Poet Michael O’Loughlin, who spoke at the Irish Jewish Museum on Thursday. He gave a great talk about the challenges he’s faced over the years as a writer, time spent living away from Ireland for 20 years, writing as a vocation (and a pain in the arse). I hadn’t realised but he’s also a short story writer, translator & screenwriter. His feature film, Snapshots (2003), starred Burt Reynolds and Julie Christie and an award-winning Holocaust drama, For My Baby, starred Alan Cumming and Frank Finlay. “I’ve never really distinguished between my activities as a writer of poetry, prose, screenplays and criticism – even translations,” he said in a recent interview with the Dublin Quarterly. “To me, it’s all a question of how the subject matter or the initial impulse presents itself. I suppose, ultimately I see everything I write as part of the same project.”
He believes that the job of the artist is to confront society with a different reality, and not reinforce stereotypes. “One thing that strikes me, as someone who lived abroad for many years, is how low a threshold we Irish have for self criticism. The mark of a mature society will be when we actively encourage opposition to the accepted social realities. There are many Irish writers who while they have created work of real artistic value, do encourage the cosiness, the consensus. I’m thinking in particular of theatre, which is the biggest offender. In general, poetry doesn’t figure very highly in this because nobody actually reads it, and when they do, they don’t usually read it properly. But again, I think the crunch has yet to come.” Michael was born in north Dublin and has published many volumes of poetry and translations, including Another Nation: New And Selected Poems. He’s been Writer in Residence in Galway and Writer Fellow at Trinity College Dublin. His newly published collection, In This Life, is dedicated to his wife and daughter and is published by New Island. Here’s one of my favourites from his latest work:
ELEGY FOR A BASSET HOUND (by Michael O’Loughlin)
Other dogs feared you, perhaps rightly –
All that weight so close to the ground
The heft of those padded shoulders
The not-so-comical teeth concealed
Beneath your sadman jowls and pouches.
English-bred and born, according
To the Basset experts, my neighbour plucked
You off the autostrada near Lucca
Where you were wandering confidently
Like a nineteenth-century English explorer,
His mind gone in Antarctic snow.
You settled into an Amsterdam bookshop
Your basket firmly placed between
The New York Review of Books
And Literature in Translation
Where you accepted the ministrations
Of single gentlemen, but fell in love
With my wife and daughter,
Running away from home as often as you could
To climb like a legless man onto Judith’s lap
Where you slept for hours with one eye open.
Untrainable, unbiddable, I could barely hold you
Back on the days I took you with me
To collect Saar from her school, and
You made a beeline through the crush
Of mothers and bicycles, to the class where
The children fought to touch your mighty ears
As you gambolled ponderously on giant paws
Like an Ottoman pasha in his harem.
And yes I loved you for something else:
How on a brown December night
When the light had soaked into the wet ground
I saw you through the dusk of Utrechtsestraat
With trams and teatime traffic crashing between us
Out of earshot, almost out of sight,
You turned on the crowded pavement
And, like the old God of the Kabbalah
Lost in the darkness and unknowing before Creation,
You raised your nose and sniffed the fouled air
And I knew that you had found me
COTTAGE PORN: I can’t shake it off. I’d say, at a conservative estimate, I do about 20 hours a week on property websites. They’re truly the teddy bear of the bricks-n-mortar world. Small dinky cottages with two windows and a garishly painted door. After years of plywood apartments, listening to neighbours fart & beat up their wives, romanesque snores and kids painting walls with overly worked lungs, I demand life lobs me a cottage. In return I’ll try to be less aggressive towards people who let me down and junkies who I like to describe as ‘a Monet of clanking bones in silver Nike’. I love *tiny* cottages that really only resemble belt buckles, architect licked ones too beautiful to be lived in, awkwardly shaped ones that somewhere along the line begin to look as infirm as their cuppa soup geriatric owners, loud crashing seaside ones with sand and flowers and bugs in the garden, crooked ones that’d need a bus-load of Polish builders to put back together again. I love them indiscriminately in the way a deranged animal sanctuary owner loves pit bulls, without noticing any savage flaws. I’d fill mine with crooked wooden furniture, books I’ve no intention of reading on a rake of built-in walnut shelves and some awesome portraits by Emer Martin on the walls. I’d like a separate carved-out nook to write in, mosaic wet-room, open fire. Can’t abide people moaning about the ‘work’ involved in cleaning out the ashes, etc. What about changing nappies for years on end for kids you didn’t think twice about having and later deciding at 50 you didn’t really want (or need)? I’m easy too about where it might be, this cottage that’s coming my way: Dublin, Galway, France or Berlin. There are no cottages in Berlin. Obviously it goes without saying I’d need a cat too, a cynical black one or lazy black & white one (marmalades are malcontents). My love and I will take turns cooking dinner and in the summer we’ll drink low-end high-alco fizzy crap on a beautifully tiled & trellised patio with terracotta plant pots, not overlooked by inquisitorial neighbours who play their TV too loud when not moaning about roadworks and the cataclysmic drinking habits of young people.
ENDA KENNY: Baffling moment in our pigeonhearted history of putting ethereal skypilots in their place. After accusing the blokes in dresses of frustrating the Cloyne inquiry, a holy row erupted between Ireland and the Vatican that led to the recalling of the Irish ambassador in Rome. Enda’s intonation was gritty-steely, genuinely angry and determined, a stance normally reserved for collapsing money markets and depreciation of brick. He rightly acknowledged that victim’s lives are shattered – they may never be able to pick up the pieces – while in some parts of the country, abusers continue to live freely and are still held in high esteem. A faithful Catholic demanding that the perpetrators of child sexual abuse face up to the full force of the law; this was a Cilit Bang moment in Ireland’s political recital. It ain’t that long ago that standing up to the local parish priest would ultimately result in total ostracisation, if not lynch-mob persecution from gobshites obsessed with life after death instead of living the present-tense fluky one. The local priest/bondage builder could tell you how to vote, who to marry, how many children to have, what to think. Standing up to clergy was only done if you were leaving town for good. “Childhood is a sacred space”, Enda declared, saying out loud what we’ve all been screaming for decades. “Safeguarding their integrity and innocence must be a national priority.” Irish politics is removing the cataracts just as the Holy See is declared righteously blind. The whole of Europe has been yapping about us since. Thank you Enda. Sorry for saying you looked as ineffectual as a petrol pump attendant from the Midlands in the run-up to the last election. Invariably, I was wrong.
JOURNALIST IN A COMA: Found myself feeling conflicted about news of the sports reporter, at the centre of an underage sex scandal, being in a coma. Tabloid ‘news’ [Evening Herald + Star] informs us his organs are failing and he’s unlikely to make a recovery at all. This ‘kinda’ [at least to me] indicates an overdose at some point which would fit in with the fact that he’s been on suicide watch for some time. It also suggests some sort of conscience and regardless of the grisly facts, this is quite a tragic end for everyone, particularly for the man’s daughter who’ll no doubt be saddled with chunky guilt and not much resolution. There are two extreme angles here: he deserves everything he gets or in our hideously sexualised modern world: did he really do anything wrong? I include the latter because someone actually said that to me last week in one of those I wouldn’t say this out loud but I know I can say anything to you pub moments. This was followed by a declaration that most teenagers these days are sexually active and look/behave well beyond their years. Well, yes, he did, of course, do wrong: a big glaring ugly aberrant wrong. But the way through this was perhaps to own up to those actions, face the law, trawl through rehabilitation, atone, learn from it, teach us something from it, even if life was never going to return to a workable norm. I interviewed this man 14 years ago for a college profile I was writing on Nuala O’Faolain. She considered him a ‘dear friend’ and a ‘desperately good’ character. I can’t help hearing her firebrand apoplexy from deep within the grave: “You stupid stupid man, just because she had breasts, an iPhone, red lipstick and a spellbinding smile, doesn’t mean she wasn’t a gormless child. YOU were the adult and the shock of finally realising this has killed you”.
HYPOCRISY: Psychopath Behring Breivik ordered ‘anti-muslim’ badges from India that were made by an Indian Muslim. As reported in The Guardian, Mohammed Aslam Ansari, owner of a small company in Benares, northern India, received the email order in March 2010 for a badge showing a blood-red crusader sword vertically piercing a skull marked with the symbols of Islam, communism and Nazism. Breivik designed the insignia for his Knights Templar group, and paid Ansari £90 for two samples – one in silk, the other in brocade. Ansari dispatched the badges by courier service but although Breivik had said he was interested in ordering 200 badges, he never followed up on the order. It sums up the flagrant lunacy of this grotesque tale while at the same time highlighting the absurdity of fanaticism. Historian and novelist Philipp Blom wrote that ‘human need for creating personal meaning generates myths, holy texts or ideologies. Believing those stories to be the truth makes us susceptible to fanaticism.’ You can find out if you’re a fanatic here.
CANCER: Nerves on high alert today as I wait for news on my 46 year old brother’s ‘Round 3’ cancer scan results. He’s been through the mill already and the thoughts of any further suffering makes me feel genuinely scared and angry. Thanks too to his c**t of a wife who left him in the midst of treatment, taking the kids (and all the white goods) with her. Enter Friedrich Nietzsche stage right ~ One should never know too precisely whom one has married.
Heartsink days like today where I try hard not to react to the cretinous mumblings of David Quinn as I’ve done before, when he meshes antediluvian views of so-called canon law and criminal/civil law. It’s the type of attention seeking the entire ‘persecuted minority’ of Pope lickers crave. People whose inner wires are so trip-switched, they genuinely think the Catholic church is being unnecessarily browbeaten, even when fresh evidence of child rape and autogenetic cover-up are flung on the table. It doesn’t serve much purpose to rant and call him an ‘apologist’, or to scream in sheer frustration when he tennis balls blame back on the state or to say NO, David, NO, this most recent case with school caretaker Michael Ferry is not the first (or last) where those in a position of power deliberately mummify truth, enabling a dangerous pervert to go on and further abuse/destroy/annihilate young lives. It has happened many times before, as we saw with Fr Ivan Payne in the Murphy Report, and other calamitous cases in the Ryan Report, Cloyne and so on and on and on and on. Rape and sexual molestation were “endemic” in Irish Catholic church-run industrial schools, orphanages and bog-standard Irish schools too. And so too is the ritualistic cover-up of these crimes by both the church and its lay ‘fans’. There’s no point ranting about one individual because in truth there’s an entire unpalatable menu of people in Ireland still who are comfortable enough to excuse, minimise, distract, disacknowledge and deny.
Last night as I watched the pained expression on Derek Mulligan’s face on TV3’s Midweek I could almost hear the dissenting voices questioning the veracity of his ‘truth’. Growing up you’d always hear disputatious whiny voices sticking up for the local priest or laneway pervert who had ‘a bit of a name’ for dropping the hand. ‘It’s all a bit of a nonsense’, they’d say, dishing up a Shepherd’s Pie and listening to the bells of a hypnotic Angelus in the background. ‘Is that young man Derek not a bit messed up on his own accord?’ Voices we grew up believing were fading into the achromatic past along with teacosies and pictures of Éamon de Valera and Matt Talbot over the fireplace. But foolish us thinking this era has passed! I heard of a man this week who goes to visit “kiddy fiddlers” in jail because he feels they’re “a lonely lot” and not long ago I interviewed a psychotherapist who told me he feels sorry for child molestors more than any other group of people: “Because surely they did not set out to do that kind of thing?” A family I know, the older brother abused his younger brother and sister, a fact that is being cruelly denied by his uber Catholic wife…she prefers to view the abuser as the victim. Poor guy, no-one is talking to him and all the good he’s done over the years and this is how he’s repaid! A very ‘typical’ response. Surely not, surely not, surely not…Very often those who have abused need to aggressively suppress any sign of the truth of the abuse surfacing. They can and do go to great lengths to silence victims and their supporters. In cases of familial abuse this can be especially difficult and destructive.
A few years ago I listened to the deposition of a Ban Garda who alleged when she was in training back in the day they were told of a sex abuse scam involving a phone box on O’Connell Street where lay perverts as well as members of the clergy would ring a local institution and ‘order’ boys to abuse – they were delivered on demand to a makeshift hut set up during road works – and if they came across this in the course of their work, to ignore it. In other words, the authorities knew, the police knew, but fiddling with the mindset of the clergy was not an option, and kids in the institutions were fair game. When I suggested publishing it, the woman was inconsolably horrified and said: “Oh no! They could work out who I am, even all these years later!” She was more concerned with her own reputation in the present tense than any retrospective guilt while at the same time the Editor of the publication I was going to write it for, decided her story was “too outlandish” to be true and wasn’t going to publish it anyway. At a dinner party in Belfast, a blockhead of a guy tried his drunken best to prove that ‘children as sexual beings’ is very much a run-of-the-mill part of our human dark side, in the same way that beastiality is strongly documented since days of the Roman Empire. The argument persisted for a good two hours. In reality it’s one step away from collusion. I’ve heard people label our tell-all eon [where experiences of abuse are openly discussed] ‘boring’. As if to say: ‘OK, they’ve had their say, when are they going to shut up?’ It may not be said shrilly, but it is being said. Minimising is still a going concern in the business of this country. Why are we surprised that child abusers, in all their forms, are culturally exonerated or even at times, protected?
When it comes to rural Ireland and the nod-and-wink culture that still pervades in places like Donegal where the Michael Ferry story broke, an example has to be made, a harsh one at that. Those responsible for allowing Ferry, a ritualistic persistent dangerous child abuser, to go back to work as a caretaker at that Irish language school, should be made to pay the price. There should be criminal charges or even civil ones levelled at them, perhaps the victims could sue on the grounds that they endangered their wellbeing by allowing this serial abuser to go back into a position of trust AFTER he had served a previous conviction for child abuse. An Garda Síochána should initiate an inquiry to explore whether anyone in the force up there played a part in giving Ferry the scope to abuse again and again. They too should face harsh sanctions and be made an example of. It’s time for Irish society to finally shut down forever the culture of the Valley-of-the-Squinting-Windows!
As for the Catholic Church and the whiners who believe its diminishing popularity is part of a bigger conspiracy, maybe a solution would be for it to become more Protestant. To allow its flock to follow their private consciences more, rather than adhere to the dictates of crazy Cardinals and barmy Bishops. This in effect is already happening. Catholics, or at least a majority of them are still believers. However, they’re not slavishly devoted to everything that the Vatican and the hierarchy lay down. They’ll take those loose shavings of their religion that they regard as precious and worth preserving. They ‘ll ignore other aspects they regard as dictatorial or inhumane. Some church leaders like the Archbishop of Dublin, Diarmuid Martin, clearly get this but judging by the behaviour of others such as Bishop John Magee, a significant section of the Catholic hierarchy don’t. Irish Catholics are no longer divinely sheepish in their devotion. Personally I feel the whole lot is a bucket of cack, but have to respect the fact that lovers of talking snakes and ancient ghost stories still deserve a bit of democratic respect. At least they’re starting to question and no longer feel a need to zip the gob regardless. There’s been too many wake-up calls in recent times to allow for a type of Pied Piper blind faith. A la carte believers and the Church must either adopt a new attitude or die slowly not trying.
Riot addiction is a tad controversial in the six counties ‘up der’ and the syndrome tends to be denied by social workers, priests, shrinks, do-gooders, politcal counsellors and grant-guzzling NGOs. Typically, it’s a term used to describe the feral behaviour of a person who has an obsession with rioting to the point where it becomes clinically and politically significant. Addicts will usually resort to risk-taking to get their fix; often progressing to illegal activities such as throwing bricks at police, burning cars, shooting at members of the media, flinging petrol bombs, general scuzzbucket shenanigans, filmed on YouTube for added bravado & ‘craic’. Despite this release they are rarely ever satisfied. Causes of riot addiction are difficult to pinpoint. Some moccassin-clad Buddhist psychology experts, on paid government boards, point toward biochemical causes, while others cite familial conditioning or social issues such as unemployment. Either way, it’s a symbolic enactment of deeply entrenched unconscious dysfunctional relationships with self and society. Eeny Meeny Miney Mo: what housing estate did you grow up in, combines with incendiary socio-political factors. Hyperhatred of those who pander to a different religion might also be linked to prologned use of Nike tracksuits, designer-label baseball caps, large bottles of Blue WKD and headshop drugs. Just before a riot kicks off, you’re likely to hear a lot of this kind of thing: “Waddafeck ya doin yacuntye? Gis a sup of yer bucky…got any fegs? I’m gonna smesssh up de peelers, me, hate dem fuckers”.
Every year, the same senseless street carnage ensues when one idiotic group beats drums and the other idiotic group hurls random objects and abuse. Like I said this time last year, children of the ceasefire are definitively learning the bad lessons of the past. Unless someone takes an axe to the root and tells a new generation all that violence, both terrorism and street disorder, is futile and wrong, others will keep emulating it. This year’s damage will cost millions all over again but to a generation brought up to expect that the state will pay for everything, financial considerations mean nothing. The rioters won’t have to foot the bill!
The Troubles, per se, are not over at all: a big dirty unsaid fact. Even after the ceasefire paramilitary organisations on both sides fought a culture war over the legitimacy of their murder campaigns. They sought to portray them as heroic and glorious, and tried to conceal the reality of sordid vicious struggle. So, a new generation of baby blockheads, reared on folk memory, who’ve no grasp of what it was really like, how awful it actually was, think it’s legitimate to keep conflict chugging. Add to that the propensity to solve disputes, any dispute, be it political or even domestic, by violent means which is imprinted in the N.I. DNA and you have a toxic mix that can explode at any time. “Idle hands, idle minds,” a local priest in Ardoyne described the summer-fruit lawlessness last night. But mindless violence is the only way the youth of Northern Ireland can get its rocks off. In consequence, there’s no known cure for this type of riot addiction, so expect the same next year and every single year after that.
Attempt at debate between rival factions of riot addicts and their supporters usually goes something like this (pinched from an online chatroom earlier today):
Fuck up! Im a Catholic, and I have no problem with the orange order or the psni. Its because of bitter bastards like you, this country is in tatters. Grow the fuck up, this has nothing to do with you, so don’t get involved you silly little prick.
Here we go again, catholics start a riot and then try to blame it on the orange lodge. At the end of the day doesnt matter if the band didnt walk past the Ardoyne shops (dont forget Ardyone is mixed mostly catholics but still mixed) those scumbags would still riot, it happens every year and they try to blame everyone else for the riot. They mess up their own area then yap about it WHY yas done it urselves dont start riots then moan about it.
Why should we let loyalists parade in our area’s? Youse wouldn’t like it if we marched up the shankill during the easter parades.
Get a big pipe climb to the top of the watercannon and bend the cannon upwards.
Fuck the orange order and fuck the psni, they shouldn’t be parading in catholic areas!!
It’s simple, no orange parades in nationalist areas and you won’t have riots like this. What do the they not get about that?
Gerry Kelly is a stinking tout!!!
Another plastic paddy openly supporting terrorism…
Up the Ra!
The resistance lives on……….
Let’s face it, this shit’s never going away. Never will, it’s been implanted in our heads. The scum can riot, because it happens all too often. Obviously it’s wrong, but it’s now way too much of a traditional, and it’ll continue even when the marches stop, even when no one knows why they are doing it.
Do you think they might have been better prepared BECAUSE of the rioting in east belfast? Plus the police were getting attacked by both loyalists and nationalists in east belfast. You are looking for something that isn’t there.
It took police two days to use a water cannon in East Belfast after some of the most violent rioting in belfast for years. Why two days?? Because it was the loyalists rioting. But water cannons had already been deployed in Ardoyne two hours before the parade even passed. One law for 1 fuckin orange bastards
Knock the chip off your shoulder. Six policemen got hurt by the hijacked bus alone.
This is just ceremonial at this point. They have no viable cause cause, their just going through the motions, it’s part of the culture now.
Get a life kids.
Let’s wait till ardoyne tonight! more rioting.
How else are they gona get the next day off?
Fuk the british konts maggy thatcher can stick a didldo up her fat hole and toy herself to death the dirty bitch. protesting tomoro 😛 up the ra we will never be defeated.
Why don’t they just shoot the Animals they are Pure Scumbags Destroying the Ardoyne Community?
What you lads need to do it get something that can go over the shields, buckets of frying oil would be a good idea, burn the basterds out, or water ballons filled with petrol and cover them, then use a lit petrol bomb to ignite it. Think smart. And fuck the police.
fuck the orange order people wouldn’t expect the kkk to walk through harlem unopposed. orange order,kkk,nazis,facists they’re all the same white-trash inbred rednecks.
if the orangies wud just fuck off back to scotland but then again scotland doesn’t want them either cuz they’re fukkin trailer trash and there’s to many neds there already.
I bet none of you assholes have worked a day in your lives. It’s a disgrace, you should be shot by the police.
A papier-mâché of condemnation always follows though nothing is ever really achieved in time for next year:
A SENIOR PSNI officer has defended the decision not to carry out large-scale arrests of rioters at Ardoyne after the father of a woman police officer who was hospitalised when a large stone slab was dropped on her head complained of police inaction. Assistant Chief Constable Duncan McCausland said police had identified the man who attacked the officer and would be seeking to arrest him. Rioters would be pursued, arrested and charged, he added. PSNI Chief Constable Matt Baggott briefed First Minister Peter Robinson and Deputy First Minister Martin McGuinness at Stormont yesterday on the trouble. (©Irish Times)
“It is hugely regrettable that we get to this situation each year. There are a large number of people across community groups, government and faith groups doing a huge amount to reduce the impact and change things for the better. We all need to redouble these efforts and sustain them to get a real and meaningful change for residents of these areas. That is the very least they need and deserve” – Assistant Chief Constable Alistair Finlay (©Belfast Telegraph)
North Belfast Democratic Unionist MP Nigel Dodds condemned the rioters. “These people have been intent on attacking the police and wreaking havoc in their own community. Such violence is senseless and has clearly nothing to do with protesting against a parade but is just futile rioting,” he said. (©Breakingnews.ie)
Alliance Party Belfast City Council member Billy Webb said the riots in Ardoyne had caused enormous damage to the local community. “Residents in the area are the ones who suffer the most with people feeling trapped in the own homes, scared to go out. Bus services are also affected in the area which the vulnerable rely upon,” he said. “This trouble is putting Northern Ireland in the headlines around the world for all the wrong reasons.” (©Breakingnews.ie)
Gerry Kelly, the Sinn Féin assembly member for the area and former IRA Old Bailey bomber, said he was concerned at the rising tension in this corner of north Belfast. “We have a situation where we have two parades at one time,” he said. While Kelly and Sinn Féin oppose the loyalist march, they have appealed for peaceful protests against the parade. He condemned those nationalist youths behind the violence but also blamed the Orange Order for failing to reach a compromise with Catholic residents along contentious parade routes. (©The Guardian)
“A peaceful marching season would be a far better value than stunts like cutting corporation tax. As far as the outside world is concerned it does not matter which side is rioting. What counts is the perception that Northern Ireland is unsafe and unstable,” said Peter Bunting, the northern secretary of the Irish Congress of Trade Unions. (©The Guardian)
Impossible not to comment on the Harrod’s outdated personal grooming code in the papers this week. Melanie Stark, a former employee claimed her bosses ruled she must wear make-up to work every day and this is how she should do it: Full make-up is to be worn at all times: base, blusher, full eyes (not too heavy), lipstick, lip liner and gloss…maintained discreetly (please take into account the store display lighting which has a ‘washing out’ effect). In addition, ‘pearl or diamond stud’ earrings are preferred. ‘One ring per hand with exception of wedding & engagement rings…No visible tattoos, sovereigns, mismatched jewellery, scrunchies, large clips or hoop earrings’. And perhaps my favourite, footwear should be of the ‘smart black leather’ variety, but stilettos and ‘kitten heels’ are welcome on this sexist-posing-as-suavity menu.
“I was appalled,” Stark told The Guardian. “It was insulting. Basically, it was implying it would be an improvement. I don’t understand how they think it is OK to say that. I know what I look like with make-up. I have used it, though never at work. But I just could not see how, in this day and age, Harrods could take away my right to choose whether to wear it or not.” Last week she resigned rather than comply with the code after working at the store for five years, three of them part-time while a philosophy, religion and ethics student at King’s College London, and the last two years full-time after completing her masters. Legally speaking, it’s perfectly hunky-dory of employers to impose dress codes with different requirements for women and men provided there are “equivalent” requirements. Employers however, are supposed to be able to show ‘good business reason’.
The code for male employees, by wieldy contrast, is any manner of ‘slick, sophisticated and debonair’…Clean shaven or full beards…Sideburns no longer than mid-ear length or wider than one inch, nails manicured (which here probably just means ‘cut’). Now this got me thinking. In 1995 when I returned from London to Dublin with my BA, I joined a rather prestigious job agency that specialised in mining female graduates to large corporate gaffs with a taste for pretty receptionists and ‘intelligent’ secretaries. I was promptly told ladies who joined this agency had the best of hairstyles as well as opportunities and it’d be good thing in the Utilitarian sense if I got to grips fairly pronto with cuticle health & purloined as many fashion tips as my degree’d brain could plow. Also, in preparation for crossing the threshold of this respected Gargantua, I learnt that important busy men are easily irritated by trivial womanish chit-chat, and that perhaps a quiet confident smile would add to the male day in a much worthier way. “Some of our lucky placements were even successful in finding husbands at this establishment,” the millionairess job agency owner shrilled.
Sure enough when I got there, it was a teeming nest of pencil-skirt secretaries hopping about with lever arch files mysteriously matching nail shades, whitening smiles akimbo, year-round tans, perfume wafts snaking after men at lift shafts in that Mmmmm BISTO style of old. New secretaries like me were lickety-split told of romantic successes – ‘Tania is now with Mr XXXX who’s soon to be in charge of the Banking Division, she’ll want for nothing’ – while the remaining wifeless were clearly tagged as potential connubials. It was the start of the ensuite loo era, but just before the holiday home & €30K car crapulence, if you played your gynic cards right, you were in with a chance of grabbing a lucrative cock: metaphorically & literally. At lunch time de wimmin nibbled tiny rye crackers barely touched with low-fat ‘philly’, in their measureless crusade to stay sexy-slim. They huddled in corners jabbering about graphic package triumphs and whose was a bit substandard-lacking and why and what could be done to fix it. They drank calorie-free drinks and resisted the microwave for fear of stinking up corporate air. By contrast the men – cordoned off by fabric partition screens – sluiced and slopped on factory lots of smelly coleslaw & egg mayonnaise. They savaged hot breakfast rolls filled with squirty fried eggs and overgorged on huge slabs of Quiche and meat pastry pies, often to combustion point.
Inevitable malodours of post-carbo-binge afternoons were treated with a type of 19th Century fartlore fondness. ‘Oh Joe is a right auld divil, always blowing off after his lunch, pooouuggghhh weee, what a whiff!’ I noticed too that the men, while clean-shaven and shirt-starched to bejaysus, often wore the same suit for the entire week and sometimes for weeks on end. Some stank of bovine sweat and could not have been daily communicants of the shower hose. They didn’t care what they looked like at work because they didn’t have to: their personal worth was solely aligned to intellectual ability and women would find them attractive regardless. On Friday evenings, the secretaries laminated themselves to bar-stools in snazzy hotel bars, sipping cocktails and laughing hysterically at everything male uttered, picking bits of fluff off suit shoulders, being fabulous and interesting. There were more personality splits than the banana variety; precious minutes being snatched in-between talk of University achievements to repaint lips & eyes. I realised in the sub-celtic-tiger cubby holes of corporate Ireland, men could look & behave in any state of [dis]grace, while women were mannequins of deliciousness and delicateness. It was a culture of wank-off Vs bank-off, and while most of these women were educated to degree level (and beyond) they were treated as marriage fodder, and disappointingly, put great effort into looking and behaving that way. It seems, this was normal work culture and I better get used to it. Except I couldn’t. Pretty soon my appetite for low-level anarchy kicked in, so of course I did something momentous to cause a turpitude of horror (details another time!) for the ritzy job agency lady, who never found me work in Dublin office blocks again. My escape from corporate Ireland was steadfast and complete.
In the years since I’ve never failed to notice this same unwritten rule – that men can look like pure shite in the course of their jobs but women must be groomed, painted-gorgeous and preferably slim…it applies to broadcast media, publishing houses, governmental offices, newspapers, radio stations and other jobs I’ve bobbed in & out of. Harrodsesque politesse is very much alive and pricking away at is own subliminal pace. Is it any wonder that some employers feel it’s OK to formalise these idiotic gender expectations? Hurray for geisha! Hurrah for the office slob! Even in the most low-level hellhole it’d be noticed (& talked about readily) if a woman turned up to work wearing the same clothes all week or was habitually untidy or hygiene lacking. I’ve been in jobs where the male equivalent was seen as charming, even hilarious! Nothing quite like the tousled armpit-stinking IT hippy in a Star Wars T-shirt for cutesy factor but don’t dare turn up like this if you’re female. Moronic workplace prejudices thrive at the top end of the spectrum too. I’ve a friend who worked in a very senior role in a government department in Dublin, who only wore trouser suits to work, so as to feel & be on an equal dress footing with her male colleagues. It became a kind of after work joke with her peers that she was somehow doing this on purpose to ‘seem more aggressive’ and unfeminine, even ‘competitive’. She felt she couldn’t win. A lot of these cultural conjectures are facilely sinister…
There are companies whose dress codes for men and women are equally ‘formal’ or even purposely casual (Abercrombie & Fitch and American Apparel demand staff look as ‘natural’ as possible, including very little make-up). All staff requirements are at least on an equal footing. An entire caste of dress codes is out there ranging from: ‘relaxed casual’ to ‘smart casual’, ‘professional’ and ‘formal’. Having them in place is not illegal. But asking something very different of women to men is another matter altogether. Just to be pedantic here, let’s remember that Harrods also has a ‘dress code’ for mere mortal shoppers too – prohibiting ripped jeans, high cut Bermuda or beach shorts, swim wear, athletic singlets, cycling shorts, flip flops or thong sandals, dirty or unkempt clothing…exposure of ankles or midriff – despite selling these very fashions. Since inception of this shopper’s dress code in 1989, the store has refused admittance to various people including: a soldier in uniform, a scout troop, a woman with a Mohican, a fifteen stone woman and FC Shakhtar Donetsk‘s first team for wearing tracksuits. However, to demand that make-up as uniform for female employees in the way that shirts or ties are for men, serves only to reinforce the idiotic gender stereotypes that I for one had assumed were left behind with asbestos and tinned carrots.
The Harrods Dress Code for staff seems hilariously Victorian on first reading, but I guess for someone like Melanie Stark, losing your job due to lack of bodily bedecking & garnishing is as unfunny as it gets. She may argue indirect discrimination – under the UK’s Equality Act 2010 – she’d have to show that the application of the provision, criterion or practice (PCP) put her (and other women?) at a particular disadvantage when compared with men in the same circumstances. Harrods could argue in return that it also practices a dress code for members of the public and therefore it cannot be deemed as discrimination to extend this to employees. Either way, I hope she siphons a ton of crisp notes off the sexist snobs…enough for a few decades-supply of make-up, should she ever choose to wear it.
Novelist John Connolly gave a talk at the Irish Writers’ Centre recently on the history of crime writing in Ireland, our problematic relationship with criminality and publishing trends. ‘We have a very peculiar relationship with genre in this country,” he explained. “So few reviewers want to engage with it, they’d rather categorise books they don’t quite get as literary fiction instead.” Avoiding the subject leads to a fundamental misunderstanding of the nature of fiction, a distrust of popularism. “Genre is embedded in fiction, if you don’t understand it, then you don’t understand fiction. Novels were always the great populist form, designed to be read by a lot of people; it wasn’t drama or poetry. The idea of high-brow literary fiction as a separate identity is a recent enough (20th Century) notion.”
Irish writers traditionally wrote fantasy by the bucketload (but crime writers didn’t really survive the test of time). As a result, Ireland has a rich legacy of gothic writing: Bram Stoker, Robert Maturin, Sheridan Le Fanu, Lafcadio Hearn, even Oscar Wilde’s Picture of Dorian Gray. Yet somewhere along the line John believes we became very distrustful of genre. “I think it’s because we were a new country. One of the obligations on you as a writer in a new nation, is to engage with the nature of Irishness (in our case). What are we? What is our society? What does it mean to be Irish? There was also a distrust of humour…we viewed it as a lack of seriouness – which is a pity – as it can be a very effective weapon.”
So why did writers avoid Irish-based crime fiction? Ireland was a predominantly rural society for a long time and crime fiction works best set in large cities where everyone is knocking into one another. It’s a lot easier to imagine the sleazy bedraggled world of hardcore brutality set against a New York or Paris backdrop. Even an Agatha Christie mockscape is a microcosm of a city, filled with blackmailers, thieves, adulterers, murderers…people who’d usually be spread out over a large geographical area. “When Irish writers took on crime stories (plays included), they tended to borrow real life events as inspiration,” he says. “Historical crimes, cold cases, etc. The Field is a kind of version of what an Irish crime novel might be. We’re still obsessed about non-fiction stories. Books about scumbags in Blanchardstown are deemed fascinating for some reason – as if a dog will get up and start barking poetry – but they’re of no interest.”
The big elephant in the room is The Troubles. How could Irish writers pen fabulous fictional tales of Irish criminality when two hours up the road people were getting blown up for real? The real flourish in crime writing happened at the end of this phase in our history, when there was permission to write gritty urban stories. “The end of the war ‘up North’ gave us a certain freedom to pen the underbelly,” he says. At the same time there was a fracturing of Irish society to explore too: tribunals, white collar crime, institutional abuse, political corruption, it all came flooding into our social consciousness. “We’re now in a position to fully engage with Irish crime fiction and as a result there’s an explosion of it, though we’re still in a way waiting for someone to tell us it’s OK. That’s why modern Irish writers such as Tanya French make it onto the New York Best Seller list while hardly making a ripple here”.
I interviewed John in the run-up to the Peregrine series at the centre:
You have written 15 books so far. How do you keep such a prodigious tempo up?
I’m not sure, to be honest. I’m always surprised when a book appears, as I spend so much time fretting and doubting. I suppose I tend to work quite slowly most days, writing at least 1000 words daily, weekends excepted, when I’m working on the first draft. I’ll sometimes run away to Maine for a week or two if necessary, and my output is greater there because I cut myself off. In the end, though, it’s just small, consistent steps. I enjoy the act of finishing a book within a reasonable time frame. You learn from finishing projects and moving on. I’m distrustful of the tendency to equate the worth of a book with the many years that it took to write it. If you look at, say, Donna Tartt, there isn’t a decade’s worth of progress between THE SECRET HISTORY and THE LITTLE FRIEND, although a decade separates their dates of publication.
Recently the English writer Stephen Leather was successful in selling his novel as an ebook and made a considerable sum from by-passing traditional publishers – would you ever consider going down the cyber-publishing route?
Possibly, but not yet. I’m grateful to my publishers for what they give to me, and I like the relationship I have with my editors. They make my books better. In the end, self-publishing is a lot of work, and the quality of what results just isn’t as good as what comes from an established house in terms of presentation, editing, and copy editing. It just isn’t. For unpublished authors, it’s clearly a good option, as at least it gets your work out there, but there still exists a certain distrust of self-published books, and legitimately so. Most of them, frankly, aren’t very good. If there are issues with the quality of some of the product of publishing houses, it’s multiplied a thousandfold when it comes to self-publishing. Without filters, more crap gets through, and it’s hard for people to pick out the good stuff. Nevertheless, e-publishing, in all its forms, is going to be a big part of the future. What depresses me about the debate at the moment is that, when it comes to authors who are already being published, it’s being conducted solely in terms of the financial benefits — look how much more money I can earn! — with almost no mention at all of quality.
Have you ever considered setting a novel in your native Dublin?
No. I enjoy the freedom that comes from writing about other locations. I’m an Irish writer, but by setting my novels elsewhere I don’t feel obliged to conform to anyone else’s definition of what an Irish writer should be, or at least not that narrow definition of an Irish writer as someone who is engaged with the nature of Irishness.
Do you worry over the phenomenon of “trending” in publishing particularly in the crime/thriller/mystery genre? To be specific, at present for instance Scandinavian detective fiction is regarded as “hot”. Should writers track these trends or should you just write in the context, area, background of where you are most comfortable with?
Oh, there’s always some ‘trend’ in fiction, whether it’s genre or otherwise. Scandinavian crime fiction just happens to be the flavour at the moment in genre fiction, and they’re producing some very fine writers, but that trend has been spurred on by Stieg Larsson, and to a lesser extent Henning Mankell. Nobody could have predicted the Larsson effect, and it’s elevated a lot of other writers in its stead. So far, Ireland hasn’t produced a writer using an Irish setting who has captured the popular imagination in that way, but it may yet happen. The quality is there. But if you go following trends you’ll be disappointed, either because the public taste will already have begun to move on by the time you make your contribution, or simply because you’ll be producing inferior copies of pre-existing forms. You write what write because it’s what you have to do, and what you want to do, not because you smell a pay cheque.
How do you react to the description “Irish writer”? Does it often imply something unique and mutually exclusive to a writer’s DNA if there is Irish blood in their veins?
You can’t shake off your cultural or social baggage, so my work is infused with Catholicism and, I imagine, an world view that is Irish at its core. In the past, though, Irish writers were more admired than read, I think. It’s only in the last two decades that we’ve begun to encroach seriously on the popular imagination. I think Irish writers now have a different concept of what it can mean to be an Irish writer in the sense that you don’t automatically have to assume the historical weight and burden that the term ‘Irish writer’ used to bring with it.
There’s been a flowering of Irish crime fiction in recent years. Among those writers whom would you single out for praise?
I’d hate to do that, as I know and like most of them. If I start naming them all, I’ll leave someone out. With that in mind, though, I’m very proud to have contributed to the DOWN THESE GREEN STREETS anthology of (mostly) essays, to be published next month by Liberties Press. That really has rounded up the best of Irish crime writers, so the contributors’ list for that book would be a good place for anyone to start. Kudos, too, to Declan Burke and his website Crime Always Pays. He’s been hugely generous in his support for his fellow writers, and doesn’t get the credit he deserves for spreading the word about Irish crime fiction.
Will any of the Connolly-body of work get the Holywood treatment?
One of my short stories, THE NEW DAUGHTER, was filmed. It was a mixed experience. It didn’t get a wide release, and there are some problems with the last half hour, but everyone got paid, and everyone involved did their best for it. I’m probably more protective of my novels, but some of those are slowly inching their way to the screen.
Should Irish crime/thriller/mystery writers get out more and move off their home patch?
Not unless they want to. Mystery fiction is both a legitimate and interesting way to explore society, both contemporary and historical. In fact, Irish crime writers have more firmly grasped the thorn of writing about contemporary Ireland than a lot of their peers in literary fiction. I’ve just shirked my responsibility in that regard. Sorry.
Your work seems to be inching further into the borderlands of the supernatural especially obviously the ghost stories. Are we going to see a major ghost-horror novel from John Connolly?
I like the fusion of genres, as I’ve always felt that the most interesting work, whether in music, books, art, or film, occurs when one genre becomes infused with elements of another. I prefer the short story form for writing purely supernatural material, mainly because there’s no obligation to provide an explanation or major conclusion. It’s enough to allow people a glimpse behind the veil.
John’s first novel, Every Dead Thing, was published in 1999, and introduced the character of Charlie Parker, a former policeman hunting the killer of his wife and daughter. Dark Hollow followed in 2000. The third Parker novel, The Killing Kind, was published in 2001, with The White Road following in 2002. In 2003, John published his fifth novel—and first stand-alone book—Bad Men. In 2004, Nocturnes, a collection of novellas and short stories, was added to the list, and 2005 marked the publication of the fifth Charlie Parker novel, The Black Angel. John’s seventh novel, The Book of Lost Things, a story about fairy stories and the power that books have to shape our world and our imaginations, was published in September 2006, followed by the next Parker novel,The Unquiet, in 2007, The Reapers, in 2008 The Lovers, in 2009, and The Whisperers, the ninth Charlie Parker novel, in 2010. His first book for young adults The Gates was published in 2010. Its sequel was published as Hell’s Bells in May 2011.
This poem may seem like an ugly tease at our recently updated Blasphemy laws but I find it saucily life-giving and intellectually stimulating! Funny as hell too, oh, and clever. A conceptual poem. Schwartz has a real talent for writing about sexual truths, and women’s sexual desire in particular, with a heady level of explicitness. More power to her elbow, I say. Down with repression and all who ride in and around her!
Oh God, Fuck Me (by Ruth L. Schwartz)
Fuck me, oh God, with ordinary things
the things you love best in the world –
like trees in spring, exposing themselves,
flashing leaf buds so firm and swollen
I want to take them in my mouth.
Speaking of trees, fuck me with birds
say, an enormous raucous crow,
proud as a man with his hands down his pants,
and then a sparrow, intimately brown,
discreet and cautious as a concubine.
Fuck me with my kitchen faucet, dripping
like a nymphomaniac,
all night slowly filling and filling,
then overflowing the bowls in the sink-
and with the downstairs neighbour’s vacuum,
that great sucking noisy dragon
making the dirty come clean.
Fuck me with breakfast, with English muffins
the spirit of the dough aroused
by browning, thrilled by buttering.
Fuck me with orange juice,
its concentrated sweetness,
which makes the mouth as happy as summer,
leaves sweet flecks of foam like spit
along the inside of the glass.
Fuck me with coffee, strong and hot,
and then with cream poured into coffee,
blossoming like mushroom clouds,
opening like parachutes.
Fuck me with the ticking
clock, which is the ticking
bomb, which is the ticking heart –
the heart we heard in the first months,
in the original nakedness,
before we were squalling and born.
Fuck me with the unwashed spoon
proud with its coffee stain –
the faint swirl of a useful life
pooled into its center, round as a world.
Ruth L. Schwartz is the author of four award-winning books of poetry and a memoir: Dear Good Naked Morning, selected by Alicia Ostriker for the Autumn House Poetry Prize (Autumn House, 2004), Edgewater, selected by Jane Hirshfield as a 2001 National Poetry Series winner (HarperCollins, 2002); Singular Bodies (Anhinga Press, 2001), winner of the 2000 Anhinga Prize for Poetry; Accordion Breathing and Dancing (University of Pittsburgh Press, 1996), winner of the 1994 Associated Writing Programs Award; and Death in Reverse: A Love Story (Michigan State University Press, 2004).
She’s won over a dozen national literary prizes, including two Nimrod/Pablo Neruda Awards, two Chelsea Magazine Editor’s Awards, the North Carolina Writer’s Network Randall Jarrell Prize, and the New Letters Prize in Poetry. She has received grants from the NEA, the Ohio Arts Council, and the Astraea Foundation. Her poems have been anthologized in The World in Us: Lesbian and Gay Poetry of the Next Wave (St. Martin’s Press, 2000), American Poetry: Next Generation (Carnegie-Mellon University Press, 2000), The New Young American Poets (Southern Illinois University Press, 2000), and elsewhere.
Born in 1962 in Geneva, New York, Ruth spent her childhood and early adulthood moving around the country. She received a B.A. in Women’s Studies and Writing from Wesleyan University, an M.F.A. in Creative Writing from the University of Michigan, and a Ph.D. in Transpersonal Psychology from the University of Integrative Learning. The San Francisco Bay Area has been Ruth’s chosen home since 1985; she’s also travelled extensively in Latin America, and speaks fluent Spanish.
A blonde toddler bounces up and down at the sight of a Shetland pony outside the pub while a random guy blows an alpenhorn towards a phlegmatic sky. Galway city on a Monday in June and it’s an entrada of ponytails, fisherman caps, stoners, shoppers, shifters, pint suppers, poets, cheese-makers, scallywags and tourists. There’s an incontrovertible giddiness about this city that’s hard to grasp when only two hours before, we’re wading through a load of pinstripes & junkies on Dublin’s Tara Street, where the morning cartage of people is swarmingly bad. A relatively recent wi-fi & loo enabled Go-Bus service from Dublin to Galway is a dream: 2½ hour uninterrupted sprint on the motorway compared to an original four. We dump our bags in the weeny boutique hotel in Cross Street and head straight for Nimmos.
It’s difficult to describe this place without raving in the style of a gourmet gobshite chef and a tosspot wine-snorting toff. I always feel excited strolling in here, in what used to be a part-derelict artist’s shack up until a decade ago. It’s now bulging with wild flowers and baskets of french sticks & chutneys, nooks/crannies, mismatched chairs, an industrial juicer, hippies sucking on morning eggs and lovers linking elbows in chequered corners. The staff are just gorgeous and if you’re [ahemm!] clever you’ll ask for Table 9, because it has the best of swan-filled views over the frantic Corrib, is snugly private and here an aardvarc snout like mine can sniff up all the fluky deliciousness of the kitchen.
The grub is really incredible, all that ‘simple ingredients cooked to the very best’ that TV ego-chefs rant about as they bash chrome for no reason. I’ve never had creamy seafood chowder sprinkled with saffron & mustard seed – each spoon tasting as a decent first kiss – not the wet tongue prodder from a stranger under neon lights in an 1980s disco with beer spilt on the floor & first impressions in tatters. Yer man had lamb tagine, but was staring my chowder out of it (this always happens!). Both dishes splashed aplenty in the house red; a mellow daytime buzz before heading into air to laugh at lost Americans with a map, hollering about a statue of Columbus. An old man with a flock of bird-nest silver hair stands staring out to sea. Galway is also a great place for transients and loners, for people who just want to stroll & think & let live. Two days later after a lush risotto & some window-gooing in Artisan, we’re back at Table 9 in Nimmos. The courgette, spinach, organic thyme & preserved lemon soup is so outstanding I ask the chef how to make it. On the other side of the river, three men crow-perch & roll joints…one by one we watch them slump back onto grass & stalk seagulls. There’s a posher version of this eatery in Ard Bia upstairs at night, but Nimmos during sapid Galway daylight is how I’d like to get married, divorced, gorge on happy news, grow up some more, fall ill and die.
Billy Ramsell is a young poet from Cork with an incredibly mature grasp on language. He was guest poet at North Beach Poetry Nights (now finished for summer) at the Crane bar. Blown away by the professional focus of his performance, not an easy thing to pull off in front of an inquisitorial beer-swigging audience. Poems about hurling, how the brain functions, Greek gods and flung-away love. I especially liked his celtic tiger parody Gated Community, about a man who loses it with a shredder. Arts in general seem to be delivered in a much more relaxed manner in Galway than in Dublin. Or maybe it’s just a closer knit [happier?] community than you get in the disarticulated jumble of big cities. That’s not to say Galway doesn’t lack an acid tongue towards critics either. Outside Neachtains the next day two playwrights are having a right old bitch about Fintan O’Toole. “That gobshite said on the telly we’ve produced nothing of worth for the past 15 years, so what the f**k has he been criticising & reviewing if that’s the case and who’s been paying him!?”
Pubs here are a heady mix of young & bolder-older. Daddylonglegged women in velvet garb drink at the same hatches as 70-something malcontents in woolly-horned Viking hats downing port. A great college buzz about the place at night even if noise levels give tinnitus a run for its money. Spent one night lodged in a Neachtain’s snug with some lovely Twitterfolk and another on a crawl North of the river, wondering into the bottomless fizz if I could live here full-time. A lot of unspoilt pubs with bubblewrap windows and simple wooden benches reminds of what Dublin so earnestly lost in the full tilt of boom. My favourite day time hang-out is Sheridan’s Wine Bar on Churchyard Street, opposite St. Nicholas’ Church (also worth a visit for the Jayne Eyre reference alone). You can share a cheeseboard here for a tenner and there’s rakes of yummy wines from around the world at €6 a glass.
On Wednesday night we managed to nab tickets for the Cripple of Inismaan on its last leg of a mega US and Irish tour, after proudly bagging nine awards. I’m actually going to puke very little here about this traumatic experience except to conjure up if I could: Father Ted, Ronnie Corbett, Carroll’s Irish Gift Shop and Dublin’s Leprechaun Museum, synchronously fed through a sausage machine without any herbs, flavouring or even Gaviscon for a touch of civility. I’m just as haunted now by the canned laughter of the audience as I’m sure the survivors of the Titanic were, bobbing away from the screams at 3am that portentous April morning. Or as a pal said on Facebook in response to my update horror: ‘It plays into the hands of what people want to pretend Ireland is like, and for us on this island we know it’s shite but we still start to pretend to like it because foreigners like it and we still have that self hate inferiority thing going on, it’s terrifically twisted’.
I can’t wait to go back to Galway in early August…
Good folk of the world who want to make Éire their full-time home will soon have to swear an Oath of Fidelity to the nation. The exact nature of this newfound fealty isn’t specified in Alan Shatter’s plans, though there’s yabbering aplenty about an eventual ‘citizen test’ to see if non-natives can fit in with our indigenous way of strife. Before I laugh my knickers off or launch into a jeremiad of what it means to be truly Oirish, it’s worth noting that other EU nations do similar.
Britain insists that new citizens must adhere to its values of toleration, democracy, etc., while in Germany multiple choice questions are answered on history, language and culture. There too migrants must fulfil other conditions such as having sufficient command of the German language, no criminal record and an income independent of social welfare. In Portugal you’re requred to have sufficient knowledge of the language and ‘show the existence of an effective link with the national community’. It’s generally the same (with differing years of residency requirement) in Finland, Sweden, Spain, France, Italy, Cyprus, and Slovakia.
The Dutch however push this to the limit. Their citizenship test is designed to weed out fundamentalists as like it or lump it, Holland professes to have a big problem with migrants (the country has a 1,219,753 muslim population for instance, at last count earlier this year). One guy after all, born and bred in Amsterdam, murdered Dutch artist and ancestor of Vincent Van Gough, Theo Van Gough. So when foreigners apply for Dutch citizenship they have to sit through, among other things, pictures of gay men and lesbians kissing and their reaction to the same sex love is monitored. They only become Dutch citizens if they agree that gay love is acceptable.
Flash forward to the non-rebellious Dystopia of 2016, when IMF bureaucrats regularly appear in Kerrygold butter ads, apartments on Dublin’s quays are forced to sell for €55,000 if unoccupied for longer than three years, Job Agencies are replaced by Internship Houses, the HSE is bought by an American health insurance company which bans all forms of cancer from its policies, FÁS is a souvenir Facebook page and crack cocaine is dispensed free on library cards in areas where unemployment exceeds 92%. The newfangled Citizenship Test is now fully in place and today, for the first time, 498 people will sit through three papers on Irish culture, begrudgery and history, in a ‘Reduced To Sell’ embassy building on Raglan Road. When the stern looking ex National Library archivist blows the fireman’s whistle to begin, there’s a bulk sigh of relief that Question One is such a sinch:
Gone are the lean days where applicants took an oath before a District Court judge during court business and received their certificate by post. Now would-be Irish men and could-be aulones had to make sense of all of Ireland, from the first faux republican graffitis of Dorset Street shutters to the unwashed men sucking seaweed on bar stools on bleak islands off the coast of Cork, where car insurance and television licences no longer exist. Lucky for this lot the lion’s share of the Culture Paper seems very manageable overall:
- Name a tasty dark beverage found in most Irish pubs, fridges & security huts.
- Under what circumstances would an elderly Irish female use the term: “He has his glue!” and/or “There’ll be wigs on the green!”
- Which Sunday Independent journalist won an award for not talking about themselves in every single article for a period of 14 months?
- Is it true that Irish males born with carrot red hair are forced to play hurley up to the age of consent?
- What does ‘may the road rise with you’ mean?
- Was Cost Plus Sofas responsible for the famous Irish economic boom?
- Are leprechauns real? [See exam notes on ‘making up truths’. For example, if you consider merchandise available from branches of Carrolls Irish Gifts & Souvenirs to be ‘realistic’ , according to your own unique culture & customs, adjust answer to suit].
- Are Jedward real?
- Is Penneys the same as Primark?
- Is the consumption of Denny sausages considered ‘the norm’ on the morning of a traditional Irish wedding? Would your average Irish bride-to-be still have her hymen intact on this day?
What a pity the two other papers on begrudgery & Irish history were so tricky by comparison. Questions such as: Should farmers continue to illegally lend one another their sheep/cow/pig stock when getting assessed for EU grants? From what year were ‘selfish career women’ blamed on male suicide rates in rural Ireland by male columnists in the media? Approximately how many centuries will it take for Ireland to pay back its private-sector-generated debt? How many terrorists and killers help run the country and get paid for it? In your opinion, is Cromwellian-type violence linked to Limerick gangland’s abysmally low literacy rates? Can you list 14 characters from Tuatha Dé Danann? What is the ratio of smack-warbling heroin addicts on the Liffey boardwalk to sparrow-legged receptionists and wage-cut public servants with alcohol problems? Do you think a Citizenship Test such as the one you’re sitting now is an unnecessary waste of time and resources? How long do you plan on staying in Ireland and did you wipe your feet when you came in the door?