Category Archives: Popular Culture
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 Survived on stale pineapple cake and sloppy kebabs from out-of-date food skips outside Aldi.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.
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.
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.
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.
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.
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:
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)
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.
Every Republican under the sun, it seems, wants the Queen to apologise for the whole enchilada from Strongbow’s invasion of Ireland and the manky spud famine to Bloody Sunday (Part I & Part II). But won’t Elizabeth Windsor suffer enough faced with a barrage of Irish c’lebs from Amanda Brunker to Lorraine Keane − whose contribution to Irish culture has been to tell motorists to avoid the Kimmage crossroads during rush hour − to the bats-in-the-belfry yodels of Mary Byrne and the self piteous whines of a NAMA property developer? I’m assuming that Jedward will also be present, kickboxing at the cameras, demanding acreage of attention.
One group definitely not invited to the Royal hooley are those knockabout funsters in the Real IRA. They recently described the Queen’s 3-day junket as ‘the final insult’. Yet privately they’re probably salivating over the prospect of international broadcast attention from CNN, Sky News, NBC, and the BBC as they attempt to disrupt a blue-rinse pensioner lobbing some dried flowers on some very dead people in gardens normally occupied by Whacker, Thrasher, Basher and Redser, with their Nike logbags full of hypodermic needles and Druids cider.
To be serious for a moment though: after the national revulsion over Constable Ronan Kerr’s murder the dissies have now been gifted a chance of a propaganda-comeback. If they can turn parts of Dublin upside down as they did with the Love Ulster rally in 2006 they will score a publicity coup. The sight of globally renowned correspondents reporting live on the violence in Parnell St. will put the dissidents inflexibly back on the map. RSF has already announced their main demo starts at the Black Church behind Parnell Square (one time home to other dummies of a wax variety) where no doubt the track suit catwalk will charge like wildebeest towards a line of red-faced culchie Gardaí who’d give their left scrotum to be off-duty milling about with a Hurley stick somewhere bovine-deep in the midlands.
Security operations so far have involved a lot of Garda knocking on a lot of doors and ‘taking people’s names’ like they used to do back in the day of Garda Patrol (precursor to Crimecall) when a random Mrs Murphy’s garden gate was stolen. A pal who lives on Clonliffe Road backing onto Croke Park, which is part of Lizzy’s barnstorm, described how a country Guard knocked at her door and asked for her name and address. The name bit she could partially understand, but the address bit was a puzzle as he’d just knocked on her door after all! Bins have been confiscated, phone boxes soldered shut, student accommodation evacuated, sewers searched (perhaps even members of the voluntary Garda Reserve are manning the city drains and sewers?) All around Parnell Square the polished-bróga Special Branch have been not very discreetly placing sniper folk on sagging Edwardian rooftops in what I assume is an attempt to outwit other snipers belonging to more bothersome organisations who are way better at the gun thing and with more reason to use them. My bet is that an unemployed INLA man, unable to get onto a FÁS scheme due to the upsurge in quantity surveyors and solicitors hogging places, will send some bullets flying into the air, causing untold hysteria and horror, perhaps even a right royal stampede with Lizzy roaring, “Help! Help! My hat!” and De Duke saying: “Oh shit I say, here we go again old girl”.
The Twitter has been groaning with protestations all week: ‘What’s this about school children being drafted in to wave flags for queen’s visit? A reprehensible misuse of children,’ says Greystones branch of Sinn Féin. ‘Would ya really go on holiday to a place where the majority of the population want to see your head on a pike?’ asks another.
The tour is too long and is tempting fate. Already there are hoax bombs (London: yesterday, Maynooth and Inchicore Luas, this morning) and various ‘designed to disrupt’ shenanigans. There are too many venues and the opportunities are large for something to go badly wrong. Contrast with Obama who has just two venues to speak at before heading back into the burly blue sky. It would’ve been better if the Queen had tea & a few slices of McCambridges bread with Mary McAleese at Aras, followed by symbolic tree planting in the park, a pint of black stuff at Guinness Brewery and down to some stud farm in Kildare (where they’re all West Brits anyway) before heading back to Blighty. To put further blue fuel on verdigris flames, the geniuses in the Phoenix Park Gaff have invited UDA supremo Jackie McDonald and his loyalist entourage to Golden Bridge for the war dead ceremony. It’s a Tiramisu of farce, every day new and more flavoursome layers added.
Ireland, in the shitpit of fiscal smelliness, is forking out a fragrant €30 million to protect the Queen’s head and the Duke of Edinburgh’s torso (Philip’s uncle was blown up here). Costs could rise excessively if riots do erupt and British holiday-makers are scared off by the Queen’s getaway to the Emerald Isle ending in calamity. Fianna Fáil gambled and lost the banking industry through their disastrous 2008 bailout. Now, Fine Gael and Labour are gambling on one of the few businesses left in our economically ravaged country: tourism. Remember too that this prodigious PR stunt was planned as the final chapter in a long drawn-out peace process. However, if things go awry it could be the preface to an upsurge in Republican conflict all over again.
This is the biggest test of authority for the state since the 1981 hunger strike riots outside the British Embassy. The entire thing will be a sphincter-squeezing moment even if 10,000 strapping Guards, army and all 17 members of Special Branch manage to block the view of rampaging animals at the barricades. It will be like one of those icy moments out of sight in a Titanic lifeboat, where even from a polite distance there’s scant hope of drowning out the howls. The only good thing that could possibly happen if disaster strikes is Tonight with Vincent Browne would be forced to change topic, if only for a week.