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.
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.