It’s safe to say that Irish writing is enjoying something of a purple patch. Between Molly McCloskey, Lisa Harding, Sara Baume and Lisa McInerney, the groundswell of new writers in particular has been a thing to behold; each of them confident, vibrant, and with an ear for the lyrical and a nose for innovation.
And now there is June Caldwell, a former journalist and prize-winning short-story writer whose debut collection has just been published. Caldwell has been on the radar thanks in no small part to her story ‘Somat’, a tale written from the point of view of a foetus whose mother is essentially dead of a stroke. Room Little Darker carries on this brilliantly inventive style with gusto.
Where some writers favour the lilt of poeticism, the cadence of beautiful prose, Caldwell has stirred up a bitches’ brew of anger, spiky rage and deft humour. She has captured the fetid air of Catholic Ireland, the pedestrian grey despair of the old folks’ home and the cloying stillness of suburbia. Yet the stories themselves are neither pedestrian, nor fetid. Each crackles with writing that doesn’t so much bristle the reader as approach them with a roaring chainsaw.
These stories may be relaying the familiar topographies of Ireland, but you’ve probably never read about contemporary Ireland quite like this. Chinese chicken balls, for instance, are described as “lava-hot balls of scrumptiousness, snowed in gorgeous lumpy rock salt… when you bit into them, the chicken played a strange trick on your tongue, opening up like a new expensive umbrella, pushing suitcases of hot batter around the gum-line”.
A scene on a Dublin street later on in the book features a “junkie with a pert arse (who) does a great car alarm with her toothless gob”.
This straight talking is Caldwell’s delicious, murky stock-in-trade, and every single sentence packs a similar punch. The alpine-fresh metaphors come thick and fast, and all of them land on target: a delightful, satisfying reading experience in and of itself.
Despite being a relative newcomer, Caldwell’s writing bristles with chaos and confidence. Her characters don’t always have the most charitable or charming worldviews, but they’re all the better for it. It’s clear there’s a strong, salty, swaggering writer behind such prose: better still, she has the literary nous to make her views on everything from dementia to contraception pulsate. The opening tale, ‘Upcycle: An Account of Some Strange Happenings on Botanic Road’, brings home the complexities of having a parent with dementia, while ‘Implant’ recounts the break-up of a long-term couple, albeit with an abortion inducement to complicate the tale. ‘The Man Who Lived in a Tree’, meanwhile, is visceral, shocking and malevolent.
All told, Caldwell has more in common with the likes of Irvine Welsh or Hubert Selby Jr than any of her homegrown contemporaries, but this is writing that does not lend itself easily to categorisation or comparison. Either way, consider our caps well and truly doffed.
This feels slightly weird but in the run-up to the launch of Room Little Darker next Wednesday, 31st May (Hodges Figgis, 6pm, all welcome!) I wanted to post this author interview Catherine Dunne did with me on her website as it discusses some of the stories in the book as well as wider themes. So excuse the narcissism, and enjoy!
1 – ‘SOMAT’ is also part of this new story collection. Narrated from the point of view of a foetus, it is, among other things, a howl of outrage against the Eighth Amendment to the Constitution which can reduce pregnant women in Ireland to the status of incubators. But it is the irreverent inventiveness of the language that really grabs the reader by the throat. Can you give us an insight into how you gave life to this particular voice?
J.C.: – There were two Frankensteinesque stories of women held captive in monstrous situations in 2014 that really smashed me in the gut and made me angry as hell. A woman from Texas called Marlise Munoz, who was 14 weeks pregnant with the couple’s second child when her husband found her unconscious on their kitchen floor. She’d suffered an pulmonary embolism. Though doctors pronounced her brain dead and her family explicitly said they didn’t want machines keeping her body alive, officials at John Peter Smith Hospital in Fort Worth felt differently.
The law in Texas is very like ours in Ireland. It required them to maintain life-sustaining treatment for a pregnant patient as long as there was a foetal heartbeat. Keeping a woman alive against nature’s will (her body was essentially rotting and she had to be drowned out in ‘somatic’ medicines to keep her ‘technically’ alive) as a human incubator when the baby/foetus is in no way viable was such a hideous scenario.
Her family fought their own grief and powerlessness for eight long weeks, having to go to court several times, before she could be taken off the machines. Think of the trauma of that? And the law is supposed to be there to ‘protect’ you?
Her husband, Erick Munoz, argued that sustaining her body artificially amounted to ‘the cruel and obscene mutilation of a deceased body’ against her wishes and those of her family. That was at the beginning of the year.
June Caldwell’s stories are the roar of fury and clarity that Irish fiction has been needing – no really, it has. You haven’t read anything like this before. You haven’t had anything before like the headspin that these stories will give you. And it doesn’t hurt that they’re gaspingly, gutsily hilarious, as well as formally brave and unbothered with the rules. Just brilliant – Belinda McKeon
At the end of the year, an almost identical situation happened in Ireland. A woman who had suffered a spontaneous ‘brain’ trauma who was 18 weeks pregnant, ended up at the mercy of bonkers legislation in an ‘unnamed’ hospital, being fought over by medical staff, legal eagles and the Catholic church. The hospital refused her family’s request to discontinue artificial life support, citing ‘the country’s strict abortion law’ as their guideline. Then there was the usual circus offerings: lawyers representing the rights of the woman and of the fetus, but not her family, said they accepted the ruling from the country’s second-highest court.
Pro-life organisations saw the lingering horror as a kind of triumph in real-time and the men in dresses were issuing statements from stained-glass windows on God’s law over woman’s fate.
It was insane and really upsetting to read about. One doctor commented that the fetus was essentially “facing into a ‘perfect storm’ from which it has no realistic prospect of emerging alive.”
Even the most cogent argument couldn’t alter the facts, the ‘baby’ had nothing but distress and death ahead. The hospital was afraid of being sued for negligence or having to face murder charges under a 1983 constitutional ban on abortion, the strictest in Europe. Keeping her deteriorating body functioning only with the help of machines and drugs deprived her “of dignity in death”.
It subjected her father, her partner and her young children to “unimaginable distress in a futile exercise which commenced only because of fears held by treating medical specialists of potential legal consequences,” the court decided.
And of course, Government officials said the ruling would be studied for possible exceptions to the blanket ban on abortion. We live in a time where we are contemplating colonies on Mars and yet there are women left lingering in this freakish state in our hospitals, with their families suffering ridiculously.
It boiled my piss.
I wanted to write a story that reflected the trajectory of horror and I felt that it was best told from the fetus’s perspective, to highlight the hideousness. After spending years in journalism and being restricted on what you could say and how you could say it, I firmly believe that fiction can be more effective, more politicised.
wrote the story in a fit of anger to the 3,000 word brief (which was hard to do and sent it into Sinéad Gleeson, who was editing The Long Gaze Back anthology).
I was really nervous about how it would be received, if it came across as offensive, if it would get people talking. It turned out to be one of the most talked about stories in the collection.
The Open University now want it on their MA in Creative Writing (fiction module) and have asked permission to use it for the next nine years. That gave me hope that I have it in me to make a difference. Up until that point I had no idea if I could write a short story or not. Writing the story helped me understand the stupidity of our laws and the need to Repeal the Eighth Amendment and go for a referendum. I hope it happens. It needs to happen.
June Caldwell’s writing is audacious, wicked and profoundly funny; her prose cracks and sizzles. The stories in Room Little Darker are literary electrical storms and Caldwell’s voice is a genuinely fresh, bold and welcome addition to the Irish scene – Nuala O’Connor
2 – The characters in your stories often inhabit a nightmarish world, such as that wildly imagined one in ‘Imp of the Perverse’. They are frequently transported there by the ferocity of sexual desire:
‘In the garden I watch the guests through the heat of amber eyes. Grasses bristle and jostle. I stretch forward to lie flat in the flimsy sunshine of early evening. The clouds are hungry and my mouth waters. Wind tears at itself as I pull layers from the sky to lay over me. Laughter grey and mocking. They do not know the danger love carries.’
Can you talk to us about this – about ‘the danger love carries’ in your stories?
J.C.: – Well, yes, in adult life we are obliged to be ‘civil’ always, aren’t we, to be well behaved?
We’re not marauding teenagers anymore.
But sometimes we can’t or don’t choose our desires and the people who counter-inhabit them. They choose us. They untangle us. They sweep in from the unconscious and take us over, eat us up, make fools of us, flood us. Crazy behaviour can only follow. Desire as the invisible puppeteer. And these desires are often strongest where hierarchies exist, where taboo beckons, where warped lust lurks. In this story I wanted to look closely at two stereotypes: the randy professor who has more choice than sense, and the love-struck MA student who at first is overwhelmed by a genuine admiration for him and his work, but pretty soon that morphs into a dangerous longing.
The longing takes over and acts as Theatre Director in the drama, leading into murky corners, embarrassing come-ons. He, of course, plays with this at first, before becoming sickened or appalled by her. He is used to seducing women with his mind, ‘pinning’ with his eyes, flinging provocative sentences, lassoing.
He sees himself as a Gingerman type character and everyone is fair game.
Until the game goes wrong.
His character is quietly psychopathic. He’s addicted to the pleasure he gets from luring people in, of women wanting him, lasciviousness. He pulls the strings, the wires, he cracks the whip. His position also allows for this. It is the milky environment of emotional cancer, the alkaline is missing. He has a vast brain and deeply abusive psychological patterns that direct him. He’s also a fail-safe opportunist.
She’s not a victim though.
She’s also very clever and plays the ‘little girl’ around him a lot, knowing he likes the dynamism of that. But then she loses control and spills overboard, along with her sanity, ending up in the freezing cold sea. The only way she can cope with the idea of him is to turn him into an animal in her head, where he is predator and she is [willing] prey.
All well and good, but the game goes wrong when she realises he has no interest in her. She cannot compete with what he normally goes for. She unravels. Self-annihilation and destruction consume her. It’s all a bit disgusting and shameful. On the surface she seems to be the gudgeon, the martyr.
But then she examines his behaviour inside the kaleidoscope of power and realises that he can behave as he likes. The expectations on her, in the ‘lower’ hierarchical role, are more demanding and rigid. She gets angry and this perpetuates even more destructive behaviour. It’s a no-win. Going back is futile, revenge is futile, going forward is futile. She is straitjacketed. He will never like her, consider her, want her. His available pool of lovelies who admire him endlessly is so large, he drowns in it. They both drown, but in different ways. In the end she wanders into the ‘den’ and has a breakdown. What will happen when she emerges from that desolate place and sees more clearly? Sees that he’s just a man (how boring!).
What then? Will she feel remorse, will she feel sorry for him? Will she learn important things about herself? He doesn’t care however, and formally complains, consequence pours in regardless. She’s punished severely for her ‘transgression’. He’s every right to do what he does.
He’s also every right to bob along never scrutinising his own behaviour because he never believes he causes damage. It’s all just light-hearted ‘stuff’ to him. Maybe he is the ‘victim’ here, maybe he did nothing wrong.
She could be just relentlessly nuts after all. I want the reader to consider the macro, to like and hate and understand both characters. The meaning of meaninglessness! I use Edgar Allen Poe’s ‘Imp of the Perverse’ as a type of metaphor or structure for the story. In his original short story, which Poe wrote in part as an essay, he first discusses the narrator’s self-destructive impulses, embodied as the symbolic metaphor of The Imp of the Perverse.
The narrator describes this spirit as the agent that tempts a person to do things ‘merely because we feel we should not.’ He talks about how we are compelled to ‘commit acts’ against our self interest in life, that this is part of our intrinsically destructive impulses as human beings. The guilt that’s produced afterwards (even if we ‘confess’ to our ridiculous behaviour, our sins) is also futile. No one cares! Poe’s character eventually commits murder, gets away with it, but the overwhelming desire [triggered by an ‘invisible fiend’ pursuing him, the conscience] to confess leads him to the hangman’s alley.
I thought it would be the perfect metaphor to look at destructive desire and the crippling lonely lows it can lead us into.
I use some of Poe’s text in the story, sneakily.
It’s there in some of the sentences, but the modern context of the setting submerges the original text.
The moral of the story is that desire can be as treacherous as love is relative. We need to know how to handle it, how to bury it, how to accept defeat and walk off, how to forgive ourselves. Ultimately how to accept that sometimes we have no control. Perhaps it’s the only way we can truly learn.
This story could also be written about a priest and one of his congregation, a paedophile and a child, an alligator zig-zagging towards a juicy deer strolling aimlessly by. Ying without the Yang, sexual chemistry in a cul-de-sac.
Poe’s theory of the Imp of the Perverse is an early notion of the subconscious and repression which would not be fully theorised until Freud.
When people meet they’ve no real idea what private psychologies they’re banging off. It’s why we have boundaries in life. Rules. When we ignore them, or evade our own splurging instincts, we get into trouble. It was too tempting to have the student protagonist ‘win’ in the end by ripping him to shreds for hurting her, but that’s not realistic. The end is deliberately anti-climactic. Maybe they are both still out there and have learnt nothing in their separate dusty cubby-holes. That’s what I imagine anyway. Love, lust, desire, even the ugly deluded kind, are potentially traumatic and betraying to the delicate self. There is no midway point, no resolve, no understanding. We become marked, spoiled, swinging off the rope forever. Tread carefully and make sure there’s rubber soles on your slippers to cope with the rain.
June Caldwell’s stories are savagely inventive, full-throttle snapshots of the creepy, pitiable world it seems we all now have to live in. If the ghost of Angela Carter and a hungover George Saunders ever got together, they might turn out tales as full of the righteous ire and strychnine wit as the uproarious stories in Room Little Darker – Colin Barrett
3 – Your writer’s imagination seems to me to be a heady mix of hilarity and horror. In the visceral tale ‘Upcycle’, a daughter recalls the chilling abuse of a now-demented father. Yet the tale is leavened with a hearty dose of black humour, such as the mother’s futile attempt, long ago, to ‘poison his stew’. There are many times when the reader laughs, and then feels uncomfortable for laughing. Can you talk to us about the role of humour in your stories?
J.C.: – I always see the funny even in the horrific or even just in the ‘every day’.
Maybe it’s a feeling of healthy dislocation, but I find a lot of life ‘unreal’, and that also includes how we cope with memory. I’ve never grown up, essentially. We forget too that there are always two in a tango, that everyone bears the weight of responsibility, for their relationships, for their actions, and most tellingly, for their lack of action.
The crime of nonchalance, of missing the point of life. The ‘wife’ character in ‘Upcycle’ is portrayed first of all as a bit of a victim but really we have to ask ourselves, what’s in it for her staying with a man like that? Is it societal pressure of the time (the story swings back and forth from the 1970s and 1980s to the present day where the ‘husband’ is in a nursing home)? Again it is a story about the shifting sands of power: a man who is a bully in his marriage but is now out of control with the mites of madness eating his brain, behaves accordingly.
He loses control but tries to regain some of that control by haunting his family. Is he really haunting them or is it their own conscience playing havoc in the aftermath of a traumatic situation? The house becomes a metaphor for the man’s strong seething will and starts to break up all around them (the wife and daughter).
I guess there’s unintentional humour in that.
In the scenario itself. Fun in the absurd. We expect justice in life, appeasement, release from hard situations. It often doesn’t arrive, it doesn’t grace our doorstep.
Life tells us, ‘You picked this shit, deal with it, smell it, stick it right up your nose.’ Humour is sometimes our only saviour. Without giving too much away, by the end of the story, the protagonist realises that the father was always terrified of them, while they lived it in real time the other way around. Humour in hopelessness, the wrangle for reason.
What else is there to do sometimes but laugh? I hope that there is fun and humour is most of these stories. In ‘Leitrim Flip’ for instance, the scenario is horrific, but again the couple’s predicament in the cage is a consequence of not thinking things through clearly. There’s buffoonery in the role reversal: the ‘submissive’ character relents and accepts her fate. The ‘Master’ continually fights their predicament and refuses to accept it. Yet in his traditional role he’d expect her to handle anything he’d dream of dishing out.
In ‘The Man Who Lives In A Tree’, the tree is seemingly a ‘friend’ but Rashi soon realises that he’s a malevolent git. A Facebook friend who was sent a review copy wrote to me today to say she had ‘nightmares’ after reading the story.
She dreamt Liam Neeson turned into the tree and chased her.
I couldn’t stop laughing at that image. If I give people nightmares or make them laugh, I’ve done my job as a writer.
My 83-year-old Ma asked me why I wrote about ‘a tree who could talk’, and I said, ‘why not?’ Hippies believe that trees whisper and have voices. Maybe they do. And we, as people, as wreckers of the environment must piss them off no end. But all we feel is pity for ourselves, not for the havoc we wreak. The tree doesn’t care too much for humans, even ones like Rashi who are homeless and desperate. Why should it? That shouldn’t be funny, but maybe it is. I also feel guilty sometimes about using humour in inappropriate ways.
In ‘Dubstopia’ we should feel nothing but concern for the heroin addict character, but we end up laughing at the pointlessness of his day, at his own lack of control, at a city sizzling in menace. When I worked at the Irish Writers Centre, I remember one day standing outside in the porch to get some air, and I saw this really dishevelled junkie, he looked in a terrible state, really emaciated… and he stopped to read the menu outside Chapter One (you know, that really posh expensive Michelin star restaurant!). He looked like he’d emerged from a crumby bedsit, woken by the pains of hunger that pulled him out onto the street. He was reading the menu out loud driving himself mad! I knew it wasn’t funny per se, but I couldn’t stop laughing.
I felt bad but laughed for two days over that.
I felt ugly for my own immorality of being able to find this funny. It made me uncomfortable. I want my stories to do the same. Humour, laughter, to just plomp your face in your hands and say, ‘For fuck’s sake!’, is a great balm. We laugh uncontrollably from the time we’re babies and everything is hideous and new and distorted, to the hilarious cartoons of childhood that calm and teach us, to our mortifying teenage romances, right up to the myriad of things that can and do go wrong for us as adults. Humour is also a close colleague of pain. There is so much in life that is privately hellish or impossible to cope with. If we can take a moment to laugh, then isn’t that great? We’re all strolling towards the crematorium anyway. Imagine taking any of this shit seriously?
There is a seriously charged imagination at work here. Line by line, page by page, Caldwell brings a dangerous new voltage to the Irish short story – Mike McCormack
4 – Your stories deal with characters who find themselves ‘unmoored’ in a strange and hostile parallel universe. Although dark and terrifying, the world that you create is kept vibrant and somehow optimistic by the sheer energy of the language that you use – your metaphors are arresting, startling, illuminating. Is language or character the starting-point for you?
J.C.: – I love language!
I listen to how people speak, not formally, but how, you know, we have conversations in the pub or even in our heads (have you ever taken time out to listen to your head, it’s terrifying!) With ‘Natterbean’ for instance: that came about one day in a taxi. A junkie walked out in front of the cab and the taxi driver said, ‘I hate them fucking Natterbeans’. I asked him what he meant. ‘Every time they get into the car, they’re all ‘I’m natterbean up at the clinic and yer man said…’ and so on. It was his word for ‘I’m after been’, said in a frenzy. I thought, ‘I’m robbing that!’ Language straight off the street, right from the gob of a taxi man, you can’t get more Joycean than that.
Taxi men are the modern-day carriers of all things Ulysses.
Their warblings are a great example of how language is used to best effect in ordinary ways, in storytelling. Taxi men always tell you stories and they do it brilliantly.
We learn how to write ‘essays’ in school in Victoriana English. Short story writing is the opposite of that, in any fiction, we’re trying to mirror reality as we live and experience it. In SOMAT the foetus is not really talking like a foetus (we all know they can’t talk, right?) and the voice is peculiarly adult and ‘knowing’, but at the same time it breaks up/away into baby speak sometimes.
I wanted to give a flavour of ‘what if’. Voice for me is the most important thing in any writing. How that character inhabits their own reality. I admire writers who use language in subtle beautiful ways, but that’s not me.
My heroine in this regard is Eimear McBride, what she does with language in ‘A Girl is a Half-Formed Thing’ is off the scale brilliant.
She knows how language is formed in the brain through her study of linguistics and she worked with that. It floored me. Seeing it performed on stage shook me to the core. It’s the best example of stellar use of language I can think of. I’m not in that league at all but I take inspiration from her.
I love reading a book where the character (and the writer in their role of occupying that character) seems almost possessed. Ross Raisin in ‘God’s Own Country’ or even ‘The Lovely Bones’ by Alice Sebold.
I hope that I use language effectively to make each of the stories different from one another. I’ve read short story collections where ‘the voice’ is the same throughout and while there’s great skill involved in achieving this, it’s not for me. I want each story to be so separate and identifiable from the next.
The average word usage for anyone using spoken English is between 20,000 and 35,000 words, but the Oxford English Dictionary lists at least 171,476 words with thousands of obsolete ones no longer in use. Look how much language has changed since the advent of social media? All those new buzz words and vowel-less offerings?
Language, like sexuality, is fluid, and it’s the writer’s job to exploit this to the best of their ability.
It’ll be interesting to see if some of the language in my ‘Oirish’ stories carries to an audience outside of here. Will it work or will it bore? Writers like James Kelman and Irvine Welsh have done Scottish street language proud. How will we move with the high-tech languages of the future and still stay true to our own unique way of expressing ourselves?
5 – After this blistering collection Room Little Darker, what’s next for June Caldwell, Writer?
J.C.: – I’ve a few short story commissions to write now (for The Lonely Crowd Welsh literary journal and Winter Papers here) and after that it’s time to return to an abandoned novella: a murderous tale about one of Ireland’s missing women, told from the dead, with a twist.
I was obsessed with the ‘triangle’ of missing murdered women that happened in the 1990s, but my story moves on a bit in time and looks at the idea of murderous intent and how so many men get away with the ultimate violence against women, and how as a country, we are still utterly unprepared to deal with that scenario.
I began the story on the MA in Belfast, but I’d never attempted fiction and it was very disparate and all over the place. That’s the next job at hand. After that, I may go for a ‘big’ novel. I also love hybrids: mixes of non-fiction and fiction. I feel like I’ve spent two decades in an incubator ‘waiting’ to write.
I can’t understand why I didn’t do it earlier. So I want to have all my babies now in quick succession. Then I’ll retire to the countryside to have as much sex as I can and look at the sea endlessly before I die. Well, hold on, I’m only in my forties so maybe there’s plenty of time to write a whole slew of disturbing books where I’ll be labelled a lunatic but one day someone will say ‘Yer one, she was a difficult narky character alright, but she could string a sentence together OK’. That to me, would be a life well lived.
Lisa Harding is a writer I truly admire. She nails *voice* like no-one else I know both in her short stories and in her newly-penned novels. This month (October) she signed with New Island Books for a controversial novel about trafficked teenagers (published next Spring) and she’s also Writer in Residence with Pavee Point in association with the Irish Writer’s Centre. I meet with Lisa fortnightly at our writer’s group in Brooks Hotel on Drury Street, so am familiar with her work and also with her struggle to stay earning while pursuing a life as a writer. I wanted to ask her some relevant questions that may be of use to other writers starting out on a similar track.
Let’s start with where things are at for you at the moment and that includes being on the radio recently to talk about your current accommodation difficulties. You made a very valid point that one in four people in Ireland rent and these numbers are growing, yet nothing solid has been done about the appalling conditions and escalating prices. You have your first novel coming out in 2017 with New Island Books; you are trying hard to contribute to society but as a freelance teacher, actress and writer, you feel that your own basic needs are being violated over. It’s a side to the writer’s life that’s maybe not talked about a lot. Can you elaborate?
This tension is a biggie for me: How to continue with my creative work while keeping a roof over my head? My balance isn’t what it used to be, and I don’t think I like teetering on that high-wire anymore…I moved back to Dublin almost seven years ago after thirteen years living out of a suitcase as an actress in London. That was all fine, then. But the time came when I wanted to move home to create some stability and focus more on writing. Since moving back I’ve had six moves in six years because of landlord’s vagaries: rent increases, taking back property for family members, selling under my feet and sometimes impossible living conditions such as no heat and damp.
How do artists live in a city where the average cost of renting a studio/one bedroom sub-standard dwelling is €1,000 a month? As Martin Doyle wrote in the Irish Times on the 7 Oct, the median income of professional authors is €12,000, but the typical median income of all writers is less than €4,000. So boohoo, some people say, grow up, get a ‘proper job’, or marry a rich man (yes, I’ve heard that one a few times!) or move out of Dublin, or share with a bunch of twenty-somethings. I love my hometown and happen to believe that the arts are an important, integral part of any society. Also, having spent over a decade in London, I don’t want to uproot again and be in a place where I know no one. Dublin has a rich tradition of producing writers, actors, theatre-makers. We pride ourselves on our culture, yet some prominent arts practitioners that I know live on less than the minimum wage.
I wish I knew the answer to this conundrum, but I know for sure that if I weren’t running around stressing and doing all my other jobs, which still don’t bring in enough for me to create a stable home I’d have much more time to spend on creating new work.
Tell us about your first novel, the genesis of the idea, how you decided to go about it?
When I was acting in Fair City, I was approached by a representative for The Body Shop to read some monologues written by girls who had been trafficked into this country. This was part of a campaign run in conjunction with the Immigrant Council of Ireland to stop the trafficking of children. I had no idea of the extent of the industry; how so many of these girls were so young and were being visited by men from all sectors of society, some of whom had daughters at home. I found the experience of reading the statements traumatic and wondered how their young bodies and minds could survive and assimilate this abuse. Or could they?
The testimonies I read aloud were true stories of girls who were now in safety, but I could feel their splintered psyches even in the simple language they used to relate the facts of their captivity. I really didn’t want to think any more on it, but I was haunted by their stories and couldn’t push these girls out of my mind. I tried. I wrote a series of unrelated short stories, but something was gestating and Iliterally felt compelled to write it. Some kind of a testament to these girls, to try to give ‘voice’ in some way. There was always the worry for me of ‘trespassing’ on other people’s misery, and not writing about something I’ve had no first-hand experience of, but once I became convinced that my motivation was coming from a pure place, I gave myself permission to write Harvesting. The novel has subsequently been read and approved of by a number of NGO’s who believe that the immersive accounts of two girls trapped in this world may raise awareness in a way that no amount of journalistic reports could.
You are currently the IWC Writer in residence with Pavee Point, what does this involve, what have you learnt so far?
My group is very varied in age and writing ability, so the sessions are mainly being mediated through discussion and aural storytelling. We are exploring the concepts of identity and purpose through the prism of inter-generational change. Some of the older women in the group are in their seventies and have lived through the enforced settlement and assimilation program of the 1960s. Others in the group are in their twenties and were born in houses and have never experienced life on the road. High levels of unemployment and suicide, are, the older generation believe, a direct result of loss of identity and purpose that the traditional traveller embodied in their roles as tinsmith, palmist, storyteller, voyager. They also cite a loss of connection with nature as instrumental in a growing depression. We are in the process of documenting these changes for each individual in the group. I want to record a series of podcasts addressing these issues, with personal resonances.
Your career before now was mainly acting, do you find that this has helped with ‘voice’ and ‘character’ in your fiction?
It’s definitely my strength in writing fiction, but also one of my limitations. I wrote a series of plays before attempting prose, and tend to approach all my fiction with that same dramatic intent. I always write in ‘voice’, even in a third person narrative, which is instinctive, but also highlights (for me) my lack of ability to write a long-lens third person, past tense narrative. I find the traditional form of the novel highly intimidating and have long put off attempting one, but now I just let what happens happen. It’s all story-telling at the end of the day, even if much more clever writers than me attest otherwise! I respond to character-driven work, where things happen on the page. I love beautiful prose too, but never at the expense of the truth of the psychology of the character or the sensibility of the world.
You write both short stories and novels. How do you manage the switch between genres?
I think everything I write is mediated through a dramatic lens, so my first short stories were really long monologues and mini-plays. Likewise my attempts at novels. I love short stories and find the process of writing them really freeing, especially with writers as diverse as Amy Hempel, George Saunders and Lydia Davis out there creating fresh forms. I enjoy writing scenes, where some conflict occurs, some tension in the central character is laid bare. Sometimes I write a series of disconnected scenes with the same characters and then lay them out on the floor like a patchwork quilt. My approach really is that lacking in technique! If the scenes about the same character keep coming then it’s more likely going to be bigger than a short story. I’m beginning to trust and luxuriate in the immersive process of living with characters for a longer period of time and fully inhabiting their psyches. I tend to step inside their skins, in much the same way I used to approach my acting roles. I don’t think I’m any good at ‘genre’ though. I just write in the way that comes naturally to me.
Do you have a writing routine?
My days are too varied, too caught up with making rent to allow a same-time-every-day approach. However, and I’ve only recently implemented this, I do try to write every day, at whatever time that particular day allows. As I’m in the process of first-drafting my second novel, I’m attempting to adapt the Stephen King approach of pushing out a set number of words a day. If I didn’t do this with the longer form, I’d lose momentum and energy. I’m also about to start into the editorial process with New Island on Harvesting and will happily carve out the time and space to do this.
You and I are both involved in Brooks Writer’s Group that meets fortnightly on a Monday afternoon. Have you found being part of a writer’s group useful? What are the pros/cons?
I have mixed feelings about writing groups as I believe sometimes remarks that come about because of another person’s need to sound knowledgeable or intelligent can be damaging, particularly at the beginning stages of a process. It’s important to be able to listen to other people’s opinions and yet not lose your instinctive flavour. I have attended groups where the tutor tried to corral writers into writing how they themselves would write. This is bad practice, and not one I would actively seek out. I have also participated in groups where the opposite was happening: where the individuality of each participant’s voice was nurtured. I believe that we are, in the main, highly critical of our own work anyway and don’t need further slamming, or excuses not to do it.
The pros of belonging to our particular group far outweigh any negatives for me, as we have a good deal of trust in each other’s motivations when critiquing. Everybody’s work is of a standard that means we can only get better by listening to each other. Also, as writing is a lonely undertaking, it’s great to be part of a group of like-minded passionate people. May I also say that I’m delighted to be debut-ing alongside yourself, my fellow Brooks Writer’s Group member, with New Island in 2017!
What keeps you awake at night?
Financial worries (and its attendant shame), family concerns, cruelty to animals, exploitation of vulnerable people… I could go on, but these are to the fore at the moment.
What [further] resources would you like to see for writers aside from workshops, retreats, etc?
In an ideal world I’d magic up more funding opportunities, particularly for writers who really are stressed financially. At the moment none of our funding bodies take the financial situation of the applicant into consideration. Perhaps some sort of a means-tested application would be helpful, alongside a foregrounding of the quality of the work of the applicant? Obviously, I wish publishing houses in Ireland were properly supported and resourced too.
Give me a few examples of fiction that really blew you away/had an emotional impact?
A Little Life by Hanya Yanagihara, My Name is Lucy Barton by Elizabeth Strout, The Narrow Road to the Deep Northby Richard Flanagan, Eyrie by Tim Winton, Cloudstreet by Tim Winton. At the moment I’m in a manic novel-reading phase hoping to unlock the secret code! I’m currently obsessed by Tim Winton: his storytelling voice, the beauty, brutality, grace, muscularity, humour, idiosyncrasies of his prose, his flair for writing exciting storylines, for creating colourful characters. He makes me want to read on and then read back again. Gorgeous stylist and masterful storyteller. Maybe some of it will leak through by osmosis. Sigh.
Lisa Harding graduated from the M Phil in Creative Writing, Trinity College Dublin. Three plays: Starving, And All Because, and Playground were performed at Theatre503, Battersea Arts Centre, and the Project Theatre Dublin respectively. Doghouse was work-shopped at The National Theatre Studio. She was awarded an Irish Arts Council Bursary and a Peggy Ramsay Grant for Playwriting. Short stories have been published in The Dublin Review, The Bath Short Story Award Collection 2014, and online on the Irish Writer’s Centre website. Her story ‘Counting Down’ was a winner in the inaugural Doolin Writer’s Weekend Competition. Other work has been short-listed for the Bath, Fish, Listowel, Cúirt, Over the Edge, and Penguin Ireland/RTE Guide short story awards. She has just completed her first novel.
People sometimes ask why I still bother with writing workshops. You get the: ‘But you’ve been published in journals, you’re on all these shortlists, you seem to know what you’re doing?’ Knowing it’s all a bit excruciating, obsessional, frustrating, maddening…that dealing with loneliness is a big part of being a writer. Not being sure if any of it is any good anyway: mollycoddling your own unmoveable masochism. Yet there is something really peculiar that happens your own writing when you’re surrounded by people pushing the boundaries with theirs. It’s contagious and corrupting; reading the crushed muffle of someone else’s secrets, their desires, their strange reveries, their intuitions, their truth. How others in the room perceive those words differently on the page/screen, how the tutor feels it could or should work better. What is the writer really trying to tell us? How can they show it more effectively?
At an eight-week short story course at the Irish Writers Centre this summer, taught by Sean O’Reilly, the notion of the ‘repressed voice’ came up a few times. ‘Go change your name,’ he advised. ‘Because the person who’s writing is not YOU! It’s a different being and you have to let him/her out.’ In response to how nauseated or shocked newbie writers sometimes feel at what they’ve lobbed on the page, a story will often form a bizarre and unimagined curlicue. One that sets out with a calm, eloquent narrative, morphs into an ugly malicious pisstake; an angry rant at a family member; vengeance towards an old lover; hidden hurt at something that refused to happen despite unyielding desire. Life, essentially, and how it regularly doesn’t work out. We love to read about it. Peepers of mishap. Oglers of shame.
‘The writer’s voice is not programmed to say ‘kind things’ that will make you or others feel good for reading it,’ O’Reilly told us. ‘You don’t like this person, they terrify you. They contain everything you’re unable to say. The one who wants to write is a bad article! However, this other is the one that will write something interesting, the one that will produce art’. Hearing a base truth like this can be a real comfort when struggling to start a new story or facing into another redraft of a long abandoned novel. Embarrassment dissolves, the ‘stuff’ that’s been burdening you, that’s been stopping you writing, heads off into a grubby corner, leaving you to get the job done. It’s at this juncture that judgement wastes away and a group of writers really get to know each other, get to know the work. There’s nothing more gracious or satisfying than being part of shared trickery like this. It’s why I find myself back at workshops even though I know, essentially, that writing is something you need to grapple with alone, in the joyless hours. What is it that Rilke said? Nobody can counsel and help you, nobody. There is only one single way. Go into yourself.
So what do we do with fiction at these workshops? At its most elemental writing is about keeping ‘story’ under control in a form. We learn pretty quickly through reading each other’s work and listening to feedback that we need to lure the reader in with comprehensibility, with ordinary story (but even better if it manages to be gripping). We achieve this via a network that keeps the characters together, that makes the story glide and grow. ‘Action is thought!’ is the workshop mantra. In each paragraph something must happen, the story must move forward. Who is telling that story, point of view, the role of the narrator (close or from afar) will all impact on how the reader digests it, both consciously and subconsciously. This will determine if a story works or not. The obvious is often really tricky, we are told. It’s what blocks a lot of people from writing in the first place. You have a bunch of characters but for some reason nothing happens because the writer is avoiding the obvious in an attempt to be clever. But the obvious is often necessary. It’s that little link between one character and the other, why they are connected, we need that little bit of information, we need to know the intricacies of their relationship, we need to see it on the page.
If you doubt the veracity of your own story, apply the oral test: can you tell another person the story and keep them listening to you as if you were sitting in the pub on a Friday night rattling off the plot? Is the person going to get bored hearing you tell the story in an unexciting way? Similarly on the page you have to keep the reader linked into the guts at all times. You do this with action, with movement, you do it through the protagonist’s eyes. The reader cannot fade out if they’re not following at any point, if they get lost. It’s that awful, that crude.
For example if you’re going to deal with obsession, a character is obsessed with a ‘thing’ or someone…you’re going to have to treat that as a theme in itself. Establish the obsession, show it to the reader at work without relying or giving direct statements that ‘this is an obsession’. Timeline is crucial when it comes to hanging the story off a workable architecture. Writers often make the mistake of setting a story over a very short time-span. While a short story is just a ‘sliver of something’, a delicate insight, that sliver can still be set over weeks or months. It doesn’t all have to happen at a ferocious pace over half a day. You can’t establish obsession as a back story, you have to open out the metaphor. Dramatise it so we [the readers] can see it flouncing and floundering. We need to cringe and be entertained. We need to understand how this obsession works, how it is crippling or capacitating the main character. Trying to shove too much into a tiny little bit of action and not letting the idea establish itself over time if why a story falls on its rump.
After you finish that arduous first draft, you will need to ‘go back and rub your nose in it’ even if you let it sit for a while. It won’t just sit there and change itself. O’Reilly said there’s nearly always feelings of nausea and revulsion at ‘first attempts’, but that this can be a good sign. ‘It’s a bit painful to go back and face into what you’ve exposed of yourself onto the page like it is to go confront any situation where you’ve made a fool of yourself. It’s embarrassing, a bit disgusting, a bit shameful. But in there somewhere is what you need, the material trying to get out.’ One tactic is to resist it, the other tactic is to cover it in words so you can’t find it. We are often hiding the material from ourselves that drove us to write in the first place. After the workshop finishes, you’re free to head to the pub for some sneaky pints and a packet of Tayto, press *delete* on your laptop and vow to start all over again. This malarkey is all about resilience. Without it your stories are dusty ideas that’ll never make the gloss of day.
*This was written as part of my Online Writer in Residence gig at the Irish Writers Centre this autumn. Every year the Centre will host four writers on their blog to talk about the arts and to showcase their own work.
In 2010, I returned from Belfast to Dublin at the height of a miserable recession and it seemed everyone I knew was retreating back into the garret to write. The cocktails and carousing were finito.
Friends who had thrived in high gloss work environments, the architects, project managers, and bigwigs in PR were sidling up to social welfare windows like dehydrated cats.
Next came the volunteer slots and “internships” to stay sane. The men I knew had a problem dealing with ego-collapse. They got awful angry, awful quick. No one knew what to do.
Themes began to emerge in the writing workshops I sat in on as an employee of the Irish Writers’ Centre. Men were writing about disaffection, not being taken seriously, displacement, lack of sex, intimacy and belonging. The writing was good, sometimes great, but it was startlingly similar.
Women who had, during the Tiger years, concentrated on romantic relationships and the pearls of materialism and diluted neurosis were turning to more serious issues: violence, misogyny, rape culture, crime, retribution. Chick-lit fell off the carnival float and was replaced with edgy young adult and high-end literary fiction.
Sarah Griffin began writing around this time. Her novel Spare & Found Parts is published next year with Greenwillow (Harper Collins); a story about a girl who builds herself a robotic companion.
Women who are writing for young adults are writing the work they wish they had access to when they were growing up,” she says. “They’re composing their own cautionary tales, assembling toolkits for the ongoing madness of being an adult woman. I think these novels are equipping the next generation with more than we had – like a new mythology, a different compass for the road ahead.”
Justine Delaney Wilson, whose novel An Ordinary Face is published next spring by Hachette Ireland, says that women are writing about what it means to live and cope in a fractured modernity, especially since recession. “The truth of human relationships, loss of self, coping with emotional turbulence – certainly these themes are prevalent now,” she says. “I wanted to write a tale about a family, about what’s left when the structures we’re used to collapse.”
New writers are emerging and focusing on the darker themes of women’s experience. “I chose to write a novel about two young female prostitutes and their experiences that could only happen to, and be felt by, a female body as a receptacle of the male gaze and desire,” explains Lisa Harding, whose novel Harvesting is published by New Island in April 2017.
“The book came about because I was involved in a campaign run by The Body Shop and the Children’s Rights Alliance to stop sex trafficking of children. I heard firsthand accounts of these girls’ stories. I wanted to give a voice to these invisible women.”
Selina Guinness, who is the current writer-in-residence at DLR LexIcon, maintains that Ireland has always had a tradition of strong women writers of literary fiction: Elizabeth Bowen, Kate O’Brien, Edna O’Brien, Jennifer Johnston, Deirdre Madden, and that list is expanding and warping all the time.
“I think society’s loss of faith in the authority of institutions, many of which were strongly patriarchal – banking as well as the church – means we now invest more hope in the informal communities which women have always sustained. And women tend to be supportive of other women writing,” she says.
There are some signs that contemporary fiction by Irish women may be consciously moving beyond female narrators, according to Guinness. “Sara Baume’s choice of a curmudgeonly old man as the narrator of her debut, Spill, Simmer, Falter, Wither, is brave for a young woman; Anne Enright is a straight woman who inhabits the voice of a young gay Irishman with effortless conviction in The Green Road; Belinda McKeon focuses on male gay sexuality again in Tender.”
McKeon says: “It wasn’t until a year or so after I’d published my first novel that I realised how firmly and obediently it sat with respect to a male literary tradition. That wasn’t a conscious decision.”
“Pushing myself in a different direction, with a female protagonist and a female consciousness, was a conscious decision and one about which I felt nervous. Social media has made a huge difference to me, and I think to other women writers as well.
“When I started out, I felt like a woman in one of those gentlemen’s clubs on St Stephen’s Green. Now it feels more like a decent party in someone’s house. A house with a view.”
*This article was originally printed in The Gloss on November 26, 2015, I’m republishing it here as I think it’s still applicable, especially for 2017. Here’s what to look forward to from independent publishers this year, including some of the names above.
A quick advertisement now, but I’ll be reading at the dlr LexIcon, The Studio, Dún Laoghaire, 8-9.30pm with Colm Keegan & friends – Karl Parkinson, Stephen James Smith, June Caldwell (that’s me, yeah?) – musician Enda Reilly and singer Sinéad White. The reading includes both an extract from the infamous Barrytown Trilogy (The Commitments (1987), The Snapper (1990), The Van (1991)) by Roddy Doyle as well as fiction of my own.
This year marks the 10th anniversary of the One City One Book initiative, showcasing some of the great literary works which have become synonymous with the city throughout its history. It’s 28 years since The Commitments was published, the first instalment of the Barrytown trilogy which had us all in stitches and set a new precedence for realistic Irish fiction (read as you hear it). The ordinary going-ons of a bunch of working class hedonistic musicians based on the north side of Dublin marked the end in literature of a youth supposedly choked by the church and abandoned in a hopeless and endless recession/suppression. In the same way that James Joyce put the cuffs on a ‘modernist’ take on Irish culture, Roddy Doyle’s savage hilarity of 1980’s suburban life gave people permission to be themselves regardless of where they came from and what they wanted to do in life. Unlike Joyce, this fiction was as accessible as it was memorable. The ‘success’ of the book’s band was irrelevant as one of the protagonists in the novel would later claim, ‘Sure we could have been famous and made albums and stuff, but that would have been predictable. This way it’s poetry.’
Do you not get it, lads? The Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So say it once, say it loud: I’m black and I’m proud.
In a recent Irish Times article Doyle maintains little has changed for the residents of Ireland’s capital despite the events of intervening years. ‘People still get pregnant I think, don’t they? People are still unemployed, young kids still form bands, they still talk in much the same way they used to. The city has changed but it’s still the same place. The books came out of a recession. We didn’t use that word back then, it seemed like normal life in Dublin. The difference with this recession was that we had seen what life could be like so it came as an almighty shock. I think it took a while for the city and country to catch up with its sense of humour, there wasn’t much laughter in the first couple of years. Hard times seem to give birth to good humour’.
The Commitments was voted best Irish film of all time in a 2005 poll sponsored by Jameson Irish Whiskey and launched a generation of Irish musicians and actors. It also won a BAFTA for Best Film. A follow-on The Snapper (my own personal favourite) revolved around unmarried Sharon Rabbitte’s (surname ‘Curley’ in the film) pregnancy, and the unexpected effects this has on her conservative family (Jaysus, me fanny!). Again it was made into a 1993 movie, this time for TV, directed by Stephen Frears and starring Tina Kellegher, Colm Meaney and Brendan Gleeson. The third in the series, The Van, was shortlisted for the Booker Prize in 1991. Jimmy Rabbitte Senior (Sharon’s dad) is unemployed, spending his days alone and miserable. When his best friend, Bimbo, also gets laid off, they keep by being miserable together. Things seem to look up when they buy a decrepit fish-and-chip van and go into business, selling cheap grub to the drunk and the hungry–and keeping one step ahead of the environmental health officers.
Doyle went on to win The Booker Prize with Paddy Clarke Ha Ha Ha in 1993 and has since published a glut of adult novels, novels for children, plays, screenplays, novellas, short stories and works of non-fiction. In 2013 he won the Bord Gáis Energy Irish Book Awards (Novel of the Year) for The Guts.
There are over 60 events organised by Dublin City Council for the month of April to celebrate. I am delighted to be taking part in one of them.
I’m ethically pinching the text of an article (below) from The Irish Times as it mentions The Long Gaze Back, an anthology of Irish women’s fiction I’ll be published in next year, edited by the lovely Sinéad Gleeson and published by New Island in autumn 2015. I look forward to sharing sacred print space with some fantastic writers (living and dead) such as Éilis Ní Dhuibhne, Anne Enright, Christine Dwyer Hickey, Mary Lavin, Eimear McBride, Belinda McKeon, Mary Costello, Lia Mills, Lucy Caldwell, Nuala Ní Chonchúir, Maria Edgeworth and Elizabeth Bowen. In January I’m on a much-needed writing break to Salthill for a few days, in March I’ll be attending the Doolin Writers’ Weekend (invited back as a *guest* in return for helping with the first two years’ programming). I’ve been short-listed by Over The Edge to read at Cúirt International Festival of Literature 2015 (but will have to wait to see if I make the grade!). In May I’ll be in situ in the Loire Valley in France working on the novel at Cirlce of Misse – which is my reward from the 2014 Moth Short Story Prize – and on April 23rd I’ll be taking part in the Barrytown Sounds with Colm Keegan, dlr Writer in Residence and Friends at the The Studio, Dún Laoghaire, so already, even before the Auld Lang Syne sets in…an exciting and productive New Year. The very best of luck to all my writer friends spilling their dauntlessness as they do. Make 2015 a year that counts.
Next year brings plenty of emerging talent to the bookshelves, both in Ireland and internationally.
Four brothers deal with a madman’s prophecy of violence in 1990s Nigeria in Chigozie Obioma’s The Fisherman (One, February). In Emma Hooper’s Etta and Otto and Russell and James (Fig Tree, January) Etta, an octogenarian, goes on a 3,000km journey to see the Canadian sea. Sara Taylor’s The Shore (William Heinemann, March) maps out the secrets of generations of women living off the coast of Chesapeake Bay, in Virginia. Sara Novic’s Girl at War (Little, Brown, May) explores the devastation wreaked by the Serbo-Croatian conflict. More Saras as we move to Ireland, with the Davy Byrnes 2014 winner, Sara Baume, one to watch for her poetically titled Spill Simmer Falter Wither (Tramp Press, February), which tells of an unlikely friendship between two outcasts in rural Ireland.Weightless (Bloomsbury, March), by Sara Bannan, focuses on cyberbullying with the arrival of a new girl at an Alabama high school. A murder in Lisa McInerney’s The Glorious Heresies (John Murray, April) affects the lives of five misfits in postcrash Ireland. From Ireland to Illinois, Paula McGrath’s short novel Generations (John Murray, July) delivers interlinked stories of multiple characters as they seek to rebuild their lives after loss. Set in Victorian England’s theatre district, The Curtain Falls (Ward River, March), by Carole Gurnett, details the secret life of a gay writer. Henrietta McKervey’s What Becomes of Us (Hachette Ireland, April) looks at the role of Cumann na mBan in the 1916 Rising from the perspective of a journalist in 1960s Ireland. Debut authors are also well represented in the short-story form, with Andrew Fox’s Over Our Heads (Penguin, April) and Thomas Morris’s We Don’t Know What We’re Doing (Faber, August). The Stinging Fly continues its tradition of publishing new talent with Claire-Louise Bennett’s Pond (April) and Danielle McLaughlin’s highly anticipated collection due later in the year. Short Fiction Ireland’s love affair with the short story continues to grow, with a host of new anthologies and collections on the way. The Hennessy Book of Irish Fiction 2005-2015, edited by Dermot Bolger and Ciarán Carty (New Island, March) is the third anthology in the series chronicling an emerging literary generation.
The Irish Times contributor Sinéad Gleeson is at the helm of a collection of Irish female writers, among them Éilis Ní Dhuibhne, Anne Enright, Christine Dwyer Hickey and Nuala Ní Chonchúir. New Island also releases the seventh instalment in its Open Door series, featuring novellas by Roddy Doyle, Catherine Dunne, Colette Caddell, Ciara Geraghty and Claudia Carroll. As Gaeilge, Micheál Ó Conghaile makes a welcome return with Diabhlaíocht Dé (Cló Iar-Chonnacht, May), his first collection in 12 years. A combination of traditional prose, poetry, monologue and music, Alf Maclochlainn’s Past Habitual (Dalkey Archive Press, March) depicts an Ireland struggling with the effects of war. Edited by Deirdre Madden, All Over Ireland (Faber, May) is a mix of emerging and established Irish writers, including Colm Tóibín, Eoin McNamee and Mary Costello. Under the Rose (Faber, June) is a new collection of previously published stories by Julia O’Faolain, with an afterword from the author looking back on her work. In keeping with the themes of his novels, the human cost of loneliness and displacement is at the centre of Donal Ryan’s first collection of short stories, A Slanting of the Sun (Doubleday Ireland, September). Collections from international authors to watch out for include Honeydew (John Murray, January), by the American writer Edith Pearlman, and the Impac winner Juan Gabriel Vasquez’s The All Saints’ Day Lovers.
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.
Dubstopia is a long short story where nothing and everything happens junkie Gonzo as he wanders around Dublin – and his head – on a dodgy errand. It’s deliberately ugly & experimental and has plenty of swear words, bad grammar and other unsavoury linguistic bits flung in. It was written on a short story course at the Irish Writers’ Centre a few years ago now and was published recently [in April 2014] in US journal Literary Orphans, ISSUE 12: Swift (Ireland & the Irish). The journal also features work from:
–Background Art & Illustration for this story is by Zak Milofsky
–Photo Art of building by Sarah Hardy
Scrambled egg beside a steaming gee-pad Carol left on the mattress. Lidl brownie with ants. Two packs of Amber Leaf. Wet jeans. Sun tearing in the window through an A-Line skirt she stole from yellow teeth bag-face in Oxfam. Book of Yeat’s poetry open on a fumble in a greasy till and add a halfpence to the pence. Leather Joe’s address book with dead dealers whacked by the Nike gang in Finglas. A picture of his granny curled on a couch holding a bunch of Chrysanthemums; monster Holy Mary in a Punto blue dress peering down her seersucker top. Carol’s shoe stuck in an antique trumpet. His passport. Loose turf. Sunglasses mounted on a Stanley knife.
It was too late in the morning to leave The Old Bank: PinStripe would be downstairs showing clients around giving it the high-dough this and that: sash windows, safe room intact, De Valera around the corner, locked horses on the towpath, ladies with hats, worth a packet when the stock market convulses back, priceless mirrors, legend says there’s a ghost, sixteen rooms; would make a cracking hostel, Real McCoy Victorian chimneys. Gonzo decided to hang back a while and have a wank.
He wanted to bang the nurse in The Mater who took bloods. He wanted to bang her cos she talked down to him. He wanted to bang her cos of the dirty way she leant over and smacked the vending machine, pillow tits blobbing all over the gaff and well she knew it and well the old codgers with the fucked hearts knew it and well the pleated receptionist with the tall latte knew it and well the trolley-pushing hunchback in plastic green knew it and well he knew it: they’d jelly when he gave it to her goodo. She’d have to shut the fuck up saying shit about Hep-C, muscling, skin-popping, if Carol took mushrooms when breastfeeding the day the baby died. He wanted to bang her for saying things he didn’t understand – subcutaneous – posh words for abdominal bloating and liver damage, infertility and testicle shrinkage. He wanted to bang her.
She’d be down at the Old Mill on the canal sucking off Leather Joe for a bag. Willy would be there too with the scab-ho wrestling over a lukewarm tin of Stonehouse, suckin’ her face off. Beamer the old tramp with the no veins. Hasslebat, his ginger eyebrows lighting up hot worms in a snow of forehead. Smell of piss hacking the sun-up. Widearse Wendy with her tales of Berlin, before Guzz floated down the river with a bag of leaves in his mouth. Guzz who survived winters in Leeds in the eighties sleeping under truck stop Lorries, draining antifreeze through slices of white bread under the engine holes. Phib, their Jack Russell in a rusty pram lickin’ stolen Satsumas. They’d be swaying by now, talking bollox, tapping passers-by. ‘Scuzzz me scuzzzz me scuwizzzzmeee. Do you want me to be like you? Is that it, do you want me to be like fuukin’ you?’
He didn’t mind what Carol did as long as no-one came in her. She’d be back with the gear in the afternoon, giving it the full candy: ‘Darlin baby I fuckin’ lurv you, d’ye know dat? I’d fuckin’ keel over fur yew.’ They’d lie on the wet mattress and roll into the Mournes biting sweat gashes off rivers, green slime, bits of broken helicopters, church bells in ears, cold tinny blue and God’s feet, big as cheese urns, landing unceremoniously in a crumpled scared heap, pulling at Carol’s scraggly hair to see was it a bastard lion’s head, vinegar swish-crash, fluff cellophane greed stirrup blood mount. Sometimes the bank would turn into a spinning barrel turning shrill pork belly with them naked rolling and banging into the ridges with running whiskey gag, the wood burner he nicked farting out leftover specks of fire on cling-film skin, until they couldn’t breathe alone or together and then Carol would hear the ghost of the bank inside the old windows, telling her to pick up the horse shit and bring it to the man in the Botanic Gardens for the flowerbeds.
“D’ye hear hiyim?” she’d say.
“He’s in heeyore, talk’n aggen.”
“Curse he is, shurrrup an’ he’ll go ‘way, fuuksaike!”
She’d hear the dead baby too, asking for his doo doo. ‘Gimme boy doo doo, doo doo mine!’, and he’d have to pretend to hand the absent baby something, anything that might look like adoo doo and then he’d slap it into her to get her to stop seeing the baby and she’d ask for another one – tits well gone since they’d started using again – nipples were teacher’s eyes squintin’ at the crap way he pronounced Irish words. Sometimes he’d bash them, but she never seemed to give out about that.
“Gimme a baybeee, I want mi babee back”.
He stopped bursting into her cos all three kids were reefed away. No way would he be doin’ that again. So he’d pull out and squirt on the wood floor, and she’d slip on it going to the jacks and call him a ‘prick’, falling asleep until the others came later. He’d collect them on the fire escape, one by one, no way hosay during de day in case PinStripe got to know about the squat. Couldn’t use the burner until late at night cos of the smoke snakin’ and they weren’t able to cook in it just on a camp hob so over and over again went without food for days sambo’d into a lot of other days. Lucky to have de place. Most had to sleep in the bandstand on the canal or in de laneway behind Doyle’s Pub that burnt down, sausaged in giveaway blankets with Leather Joe screamin’ inside night terrors of ginger arse rape Da until the sun flew up over the broken roof tiles and car beeps gnashed at them, pong of Spar hash browns, burnt dry, useless as donkey pelt.
By three o’clock the pains were rippin’ and no sign of her, so he lashed down the ladder with its shitbag of miry snails, out onto the North Circular Road. Chink Man was outside his shop with its windmill of sweeping brushes, Jesus clocks and Sudoku toilet roll. ‘You no come in here!’ he shouted. Carol dipped him too many times, taking a slash-swipe at his Mrs another time when she was packing the window with animal motion sensors. ‘Mine’s a beef satay bud!’ Gonzo hissed back, sticking his middle finger up in the air. ‘You complete b.a.s.t.a.r.d!’ Chink Man roared. Only once did Gonzo wonder why he hated him so much for taking a job he’d never want.
Quick glance down Goldsmith Street and onto more bump of side road. Every step up step down hurt like fuck. Fatsos by the cattle-cart stomping into Curves gym to the lyrics of I Will Survive. He sang along to stop the pain from slit-sucking out his intestines. And now you’re back from out der space…I jus walked in to find ye ‘ere with dat sad look on yer face. ‘C’mon now ladies, knees up and up and up again, that’s it, keep going, let me see those knees!’ The Russian tattoo shop and Made By Mary with its calf hole carvery, Brenner in De Joy on the left, IRA prick, dying for Mother Ireland in a 15 X 20 exercise yard, the hospital with its wheelchair morgue; militia of swollen ankles, around by the battered yellow flower shop and on and on, holding onto his guts like a stolen Christmas present. Sweats horsin’ down under denim, face the dye of fresh snot. Passed the launderette where his Ma used to wash the boy’s clothes on a Saturday before packet potato soup with dinosaur lumps. ‘Don’t sit on the machines Patrick, what did I tell you Patrick, are you listening to me Patrick?’ When he was small enough to be growing that snorkeler that would give him ‘Gonzo’ for all his days. He’d probably never see her again. She certainly didn’t want to see him again. Most days he’d clear forgot what she looked like.
Outside Reproductive Choices on Berkeley Street: he could see a scrape-load of them, redder than Mars moons, holding up placards for their right to life like taxi drivers at Dublin airport on the pick-up. He read in The Sun that Obama got rid of aborted baby cell flavours in fizzy drinks, the ones that make you belch. Bowed de corner onto North Frederick Street bucklin’ to puke; stream of moss green gooey liquor pouring into slick brick. “Look at de state of ‘im!” he heard a voice bellow from a basement flat. Gonzo wiped de puke with the corner of his jacket, using the other sleeve for his eyes. The worst was the misery of desperation. Digging up dead people for pocket watches, the scrap metal run, bashing old people in old houses for a twenty euro bag. He could hear more voices. More laughter. More bawl. Howling from inside the ancient sewers under Dublin filled with fibre-optic cables, calp, acorn turds, fermented Vikings, diagonals of dead birds flying through Centuries of tidal pools to get here to nowhere. ‘Down here ye wankorrrr! Gonzo, ‘ere!’
At Bustlers’ Gym, the ugly bake of Dessie Kearney peekin’ up, a cortege of dagged ewes geekin’ out from the slip of lace curtain with meringue holes for suckin’ in the day. ‘Have you got any gear?’ Gonzo asked. ‘I’m in de bads’. Dessie beckoned him down the spinal. In the sitting room on the table, he could see the spoon, tang of cotton fever. Plug-in neon wolf picture on the wall to send heads carroty spinners. Two cans of UHT cream on de mantle. Skinner in a Sideline jacket handed him a leprechaun head of Nescafé. They could sort him out, Dessie said. He could sort them out too, with a favour. Gonzo wasn’t known, or wasn’t that known, or cared about. Bob’s your uncle. Fannywollop’s your aunt.
Dessie held him down like a barber might do with a six year old boy. ‘Scank the Russians are sellin’ is drivin’ the cops plinky plonky,’ he explained. ‘Low grade cack that makes punters scrabble around dem streets like hogs. Dublin City Council having a right old mickey fit with collapsing junkies everywhere and those Triad muppets fucking about chopping gigot chops off wackos owing as little as a tenner. Kip so it is. It’s not how we ever did things. Even dem grannies are gettin’ in on it selling horse tablets down the Boardwalk till new stashes arrive. Bitches used to be happy shifting cauliflowers & pears. All of it needs sorting or we’re toast’.
Skinner piped up: ‘Going for a song as well, so it is. And they’re lobbing chemical splatter into the gear Gonzo. No competition. More addictive than Big Whippet or Mullingar Mud’.
The drug scene in Dublin had got boiled egg bad. Four friends in as many months had dropped dead from bad gear. He looked at Dessie who was eyeing two lesbos on the couch. One of them, skinny as rashers, was pretending to grate her tongue. ‘Yewer fuukin’ gas’, she said to her mate, bending over to kiss her full on the gnashers. Both wore matching Dolphin necklaces.
‘There’s small kids farting about on bicycles picking iPods like apples off O’Connell Street,’ Skinner told him. ‘Muggings are up a thousand per cent, robbed cars selling for under €500, all cos of this new shit that’s on the streets. Havoc. Operation Stilts Gardaí are calling it. Clamping down like steel clips on a dirt-bird’s nipples’.
Gonzo hated Dessie even in school when he lobbed custard out the window at passing priests and pensioners, chasing after seagulls on de Buckfast zig-zag, giving his 15 yr-old girlfriend a black eye for buying de wrong smokes. Skinner was worse, he could tell. Grade-A psycho who’d snap yer fingers off quicker than a fat kid at de zoo smashes a Kit Kat. Now they were turkeychesting with Russians dealers, taking on the entire muscle-for-hire empire. Russian gangsters in silver jackets trafficking teenagers by day, raping dogs of an evening. Ghetto of mayhem and fear papers were calling it. Funnel-dump from ringworm roads right up to Talbot Street, Gardiner Street and down the flank of docks to Fairview, casting into surf and howling out of rust-caked eyes into waves, sand shifting beneath drug boats, narrow little sea gods sucking at gravel and dancing a slithery leap. Low-cost booze and spat-back-up methadone from lippy whores in slippery capsules was all you could see in the city centre before one o’ clock in the day. By early afternoon the needle peddlers creaked into the gush of lanes behind Moore Street, Abbey Street and beyond, sliding to a stop the same way drops of water do on Carol’s shampooed hair. Cops didn’t give a gypsies’ as long as people like him hurried de fuck up and died. Junkies only made news when they snuffed out at tourist sites or were found lynching from concrete tongues high up between those buildings on Dame Street.
He didn’t take much convincing. Skin’s hands spread his furry cheeks apart to do the business. Arse was a humongous burger, the ones he used to get in Wendy’s in O’Connell Street when it first opened in 1987: spongy warm baps, melted Easi-singles, hot pickle sauce. Slip slop, slip slop, up with de cacks. Three bags of scank in his butcher’s bin, street value: €90,000. He’d drop de sludge and be back by three ticks, home to Carol for around five.
The city tipped down in a duck beak towards the Garden of Remembrance, rain scattering Swarovski beads on the path as he plonked along. He thought of Carol’s fresh face at 18. Cement angels leaned chin forward from Georgian chimneys. Dogs of light barked down. ‘I’m out of me bleedin’ nugget!’ he said, out loud. Pains fostered out elsewhere, he felt boundless, happy. Met her roight here with a gang of inner-city boys from de flats around Dominic Street, drinking cans and dancing to U2 songs on a ghetto-blaster sometime in the middle of 1994. She’d weight on her then, chubby sweet smile, horse-tail of hair whooshing from end to end in de sunbeams. They kissed for an hour without stopping: wet balmy tongue slosh he’d never done with any other burd. Sometimes he still felt guilty, but Leather Joe said, ‘There’s no stopping some, and ye never forced her to take it.’ The counsellor from NewPaths also explained that ‘damaged people have a knack of stumbling on one another no matter what, in the way that water always seems to meet its own level.’ It made sense that first time they tried to get off it together. Both their dads were alcos and bashed them. Both their Ma’s couldn’t see anything wrong with their Da’s and bashed them. Few weeks later, they fumbled and gorged and slopped into one another under the flat-leaf bushes in the Gardens. ‘What ye doin’ to me boy, wot ye bleedin’ doin’ to me!?’ Lads circling de railings, clutching chimps, uuumphin’ them on. ‘Slapper! Do her one!’ Afterwards they said Gonzo was a right grunter, like those fuckin’ mating seals on RTÉ. ‘It’s you and me babe, no-one else babe, you’ll do me babe.’
At the edge O’Connell Street where pigeons shat on the cement noggin of Charles Stewart Parnell, a crowd of mallets warbled about pay cuts. Aulone clutching a salad cutter was ranting blue horror about pension rights. ‘Sixty four billion to those feckers in the banks so they can fix their own balance sheets!’ Grey-haired Sinn Féin geezer smellin’ of haddock was giving it welly about Éire needing a game changer. Group of girls, no more than five or six with banners: It’s My Ireland Too. Normally he’d stick around for de dip, but Dessie warned him not to feck about, get it done & dusted ‘pronto’. Skinner held onto his social welfare card and Carol’s dead Ma’s gold locket she asked Gonzo to keep safe for always. Cash and more gear when the job was done.
Gonzo wolfed sideways shrieking his childhood battle cry: ‘Me head! Me head!’ He spottedHot Wok on North Earl Street, stomach doing a Hare Krishna pink salmon drum. Thai waitress with ladyboy lips looked like a hot slapper off the internet with a rake of sausages slithered in so her shaggy wangle was a filtering system inside an astronaut’s suit. He sat at the window starin’ out at so many formless faces, then back down at strips of steaming courgette. ‘Tolkuchka’ was the word Dessie used to describe the Russian drug cartel that had taken over. All those words ended in a choke. Carol had done a few down the canal when they were clear out of dough…said they were rough as horseshoe crabs, cocks reeking of sauerkraut.
‘Every bit of ‘em smells like a belch,’ she said. ‘Love slappin’ their wimmin’ as well’.
Pumped up on steroids, egg hatch maggot breeders, dripping sex trade, artificial money, begging scams. He could even see those Soviet-bloc prozzies too, a whole PVC red army of them soggy-spread over the back seat of metallic Audis’, slurping on mafia peckers. Head nut was like Keyser Soze from The Usual Suspects except taller again, well able to giraffe over the walls of Mountjoy Prison, boiled eggs in his gob crammed full of heroin, dropping straight into famished jaws. Baba Yaga they called him, because of his man boobs. Lived in a steel hut at the edge of Rooster fields in North County Dublin. A gaff that stood on electronic chicken legs, garden fence emblazoned with teeth he’d personally knocked from debtor’s heads.
When the crowd in Foley Street got this new gear that Dessie and Skinner had messed with out onto the streets, napalm vomit and bedlam would rain down on Dublin town. Hail struck down everything that was in the field in all the land, both man and beast. ‘Nuclear button is up me crack,’ Gonzo murmered. He had a looming vision of advancing Russians from every stone wall and crevice in Ireland, marching into Dublin, fat knuckles fisting indigo sky. There’d be black smoke meandering their necks, hiding bricks in plastic bags, Glocks in socks, AKs, MAC-10s with their spray and pray facility, lumpy grenades, nail bombs, acid pellets, even animal traps to pull down the enemy at window displays outside Cleary’s. Вы ирландского народа умрут самой ужасной смерти! Где твой Бог сейчас!
He spotted Widearse Wendy out de window crouching down at the door of Dunnes, knickers on display, damp with piss maps of the Philippines. She was swinging a bottle of Old Cellar at passing shoppers scouting cut-price gizmos from the pop-up shops. ‘Gonzo, ah me old bud, GONNNNNZO!’ she spattered.
‘Carol was reefin’ for ye,’ she said. ‘Some onion head lookin’ for you, says ye owe him a wormload of Euros’.
She was sitting with a Roma pleb, trombone full of bronze; old feet smashed up for begging bone pickle. He was only ten minutes now from de clop. ‘I owe no-one nutin’,’ he said, trying to figure out who yer man might be. ‘Is Carol alright?’ he asked. ‘Hope she’s not giving dem uns much grief?’ She could get snarky sometimes when juiced up to de girders. ‘Ah she was givin’ Phib a bit of a kickin’ cos he was in and out of the water,’ Widearse said. ‘Leather Joe says yez should get rid of the smelly little fucker, more mischief than worth. But I says ‘no way’ sure it wouldn’t be nutin’ round ‘ere without him, mad little yoke. Ah Gonzo ye shoulda seen him, in and out of dat water, de little ears on him, smellin’ of knacker nappies so he was. Have ye any odds for uz?’
Gonzo told her discretely he’d no spondoolies but he’d soon be in de loadser if a certain thing worked out later on. They’d have ‘em around the squat in de morrow, beer and boiled cocktail sausages, Bord na Móna goat turds in de burner, enough gear so they could all stay stub for a few days, sopping in boogie. He leaned over slowly, down to her waxy ear crack where he murmured de score as a morning prayer O Lord open our lips told her what was inside him in anyways in the darkness of this age that is passing away. If she said ought to any fucker dem Russians would make sure he was floating beetroot body parts in a stinkin’ pot of Zharkoye in some nameless side-door soup kitchen down the quays.
‘You always end up on your feet while the rest of us are on our bleedin’ heads,’ Widearse Wendy laughed, handing Gonzo de Old Cellar. Then she bowed over and whispered in Trombone’s ear. ‘Don’t be tellin’ that cunt anything of a consequence!’ Gonzo snapped, sorta raging now she’d trust a metal nicker with anything he prized on dem der Russians. ‘Don’t be a mean bollox! Ferka’s me good pal an’ he doesn’t have an easy go of it ‘ere’. He looked at Ferka who was by now grinding his teeth, some of ‘em small wallets of gold. Gonzo wondered if he picked this patch deliberately cos it looked out onto the towering stainless steel spire stuck in the Vena cava of O’Connell Street. ‘Him and his crew are probably going to melt dat fuckin’ thing down and live off de pickings for the next forty years and you won’t see him for angel dust!’ Gonzo told her, taking another glug. Metal was big business for his lot and they seemed to be spreading across Europe melting whole cities and trapping as much heat as possible. ‘Youza faggot fucker!’ Ferka roared, punching him in the crotch with his trombone. ‘I’ll bash de fucking granny outta ye with dat poxy yoke!’ Gonzo said, lunging at Ferka, crushing Widearse Wendy in the push forward. She started roaring and banging at the window: ‘Stop, will yez fuckin’ stop dis!’
Two security guards ran out of the shop to see what was going on. Big black blokes in fiend blue, large dangly batons, torches on their belts, fortified faces, boulder braces mineral ore. ‘If it isn’t the all-important rent-a-cops!’ Gonzo quipped, still gripping Ferka’s greasy swab of hair. ‘Dis fucker needs to know his place, but it’s nothing to do with youse, no trouble here.’ Widearse was beside herself, leaping about like Marlin. ‘He’s not bashin’ my mate’s head in, he’s not!’ she told the taller security brawn, smashing Ferka from Gonzo’s grip. ‘They’re both having a go for no bleedin’ reason,’ she wailed, deep now in her tiny grief of fly speck and goose egg, big fat smelly daddy raging up into life to bang her head off the rusty washing machine one more time in the small Cabra garden. Rolling around she was – from Marlin of the Seas off Cotez to a cuntarse cement mixer in an industrial sandpit on the outskirts of a Cappagh horse camp – too drunk to see what was really going on.
‘Get out of this doorway now! Our customers do not appreciate this!’ Ruby eyes looked like he’d seen his fair share of gang rape and coercive migration. He was pointing his liverwurst finger up the road where the curtains flailed in the wind outside Guineys’. ‘Fuck off back to Bangurawopa or wherever it is that youse eat one another, fukksake,’ Gonzo said, trying once more to kick one over at Ferka’s head. Ferka had fear soldered onto his face: wankstain nomad from North India following the Bisto fart of Alexander the Great to fertile lands where they settled on roundabouts melting metal and washing scarves. ‘It’s in his trousers!’ Ferka began to roar, ‘He is up to no good that bastard!’
Wendy bundled up the street, her chondrite meteorite arse blocking out the sun. Ferka too, gone in search of iron seraphs. Arms grabbed Gonzo from behind, smashing him forward, bursting his face open on the pleated gravel below. Arms, maybe even more arms (the city seemed so full of them) reefing his jeans down. ‘Fuck’s sake, stop it, I ain’t done nothing!’ But still the voyeurs fanned in, mud-puddling butterflies to blood. Three, maybe four or more fingers…drilling turnin’ twisting into his insides deep inside his trousers. Never crazed up pain like it. All the fists he ever knew in the big clench of years: priests, uncles, mad burds, the fat cat who owned the billboard company and beat the bollox out of him in front of faces outside Mass, nothin’ was worse than the arms smashin’ him up in this dirt-bucket of Dublin day. Blood, a lot of blood, that’d grow darker with the afternoon, if he ever managed to get out of it.
‘Shut it or ye’ll get it in the head,’ one of the arms said.
An aulone in brown bandaged legs shouted, ‘Bowsies, feckin’ bowsies!’
There was no way he could explain this to Dessie and his Basement Bandits. Already he could see Carol’s head mashed open; these cunts didn’t mess about. Arms conked like a discarded doll in the playground up de flats, broken bottle rammed right up there for good measure. He was flung and rolled, rammed and kicked down the street into a side lane, where the bashing went on for barbed eternity.
‘I’m fucked, I’m fucked!’ Gonzo roared as he saw two teenage girls pointing, laughing.
Dilly no douse no dee, dilly no douse no douse no douse dilly no douse no deeeeeee.
‘Yez ‘av no idea, I’m a gonner!’
Did he tell Dessie & Skinner where the squat over the bank was? Was he boastin’ about the gaff before they iglooed his arse? Carol would be back by now, pissing the mattress, eating a batter burger, waiting on Gonzo to come back with new gear. ‘Yer nothin’ but fuckin’ trouble,’ she’d say, ‘useless prick like ye, and ye gave dem yer card?’
Ring stinger, so much so, he could barely toddle up Church Street. Now he knew how she felt the first time he gave it to her in the arse. He had to use HB ice-cream to cool her down after. A seagull played the bodhrán gliding up the street squawking about ham. Nothin’ would ever be the same. These were serious heads. Dangerous heads. Mavericks. Think nothing of using shooters. Maybe they’d be OK just hidin’ out in the bank for a while. Rest of Ireland was doing the same. Stay gizmo’d until he heard of them being popped. All of ‘em uns ended up popped. Time & time again, saw it rolling. He wasn’t going back inside either, leaving her to her own devices.
The city tipped down in a duck beak towards the Garden of Remembrance, rain scattering Swarovski beads on the path as he plonked along. He thought of Carol’s fresh face at 18. Cement angels leaned chin forward from Georgian chimneys. Dogs of light barked down. He didn’t know if he was here already an hour ago. He didn’t know where he’d end up or how he’d come down and if he was really here or half here an hour or more ago. ‘I’m out of me bleedin’ nugget!’ he said. They’d have to lay still when he got back home, until a different kind of light shined. ‘Come out of charity, come dance with me in Ireland,’ that cunt Yeats said in the book under the mattress, but he didn’t know jack shit about the skank or de Russians or fiddlers like Carol, all thumbs and kettledrums, sucking off ghosts at the window in The Old Bank on Doyle’s Corner.
I will be reading more fiction in Cavan town on May 6th:
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.