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.