Category: Culture

  • Poem: Hats On for the Happy

    Hats On for the Happy

    We couldn’t go in person
    since the car had grown moss inside.
    So we sat on Zoom in Birmingham,
    between a Dublin screen
    and one in the south of Chicago.

    We were silent, serious. Our separated frames fused
    to witness the in-person
    rejection of otherlessness. Two Canadians
    entered the gallery, laughing under starry pointed hats.
    Were they suggesting

    we far-flung wedding guests, fixed
    to the wall, watching and waiting, might have a party
    of our own? Dublin man
    fetched himself a sunhat. He handled
    his brim a lot. I left the screen and found my bonnet –

    orange felt, with a yellow
    flower, in a cupboard I never use.
    The Canadians waved me back to my chair.
    The Chicago Mississippi-
    Bankside lady pierced the screen

    with solemnity – who would not be solemn
    at the imminence of such
    vows – then disappeared behind
    clouds of simulated background.  She came back
    Queened, in a boat of black

    hat, that was tulled and beaded
    and pinned tight to her slowly unsombreing stare.
    Our four tiny head-high squares
    of life sparkled over the grey room. We
    made champagne-rich speeches about commitment

    to wear and be worn by, to cover
    and to be covered by. My partner was bare-
    headed. He never wears a hat, only a sun visor
    that shades his sight
    when the heat-sapped tryst of eye

    and sky is painful. The bride folded her veil back
    into a hood. The groom
    meditated on her draped hair
    and then on her naked face. Say it, whispered each
    brimmed and muted heart.

    Feature Image: Daniele Idini

  • Kneecap – Don’t Look Back in Ongar

    Out with the old, in with the new. In the same month that Don’t Look Back in Ongar (2024), the final (27th) instalment of the Ross O’Carroll Kelly fictional autobiography was published, the Irish-language musical comedy Kneecap (2024) quickly became the year’s highest-grossing cinema release.

    The differences between these two are more than apparent: the ROCK books and newspaper column have given us a satirical history of the south Dublin elite as the country bounces between booms and busts over more than 20 years, while Kneecap is the semi-biographical contemporary story of two working-class Belfast boys who team up with a schoolteacher to form Kneecap, the Irish-language rap group. But it’s also possible to imagine a baton being passed along here, especially when we regard the books and the film in terms of the linguistic shitscape that is modern Ireland.

    In the semi-fictional universe of ROCK, the contortions of the English language are the greatest source of comedy, the most pertinent commentary on class and gender difference, and the clearest exposition of Irish culture as being in a state of perpetual colonial aftermath. The bizarre renderings of various accents in ROCK, along with highly convoluted slang, its very narrow field of cultural references, and the characters’ sponge-like acquisition of Americanisms, are a turn-off for many. But they are flattering for readers who, by understanding the linguistic nuances, become themselves the objects of satire.

    Kneecap is more patently ‘about’ language. In the film itself and in the band’s music and branding (Kneecap is a band in the real world), language is described in the clearest terms as a political issue. The use of Irish, especially in the northern context, is an anti-colonial act – the campaign for the passing of Irish Language Act of 2022 in the British parliament forms the background to the story. Each word is a bullet fired for freedom, according to the mantra of the die-hard pre-ceasefire philosophy of one protagonist’s father (played by Michael Fassbender, who played Bobby Sands in Hunger some years ago). Alongside the fluently delivered postcolonial critique of language and empire, the film also plays on more subtle conflicts of personal battles fought with language – one protagonist whose parents have raised him in Irish and now refuse to speak it to him, another who refuses to speak English when detained by police, and another who hides his Irish-language musical activity from his language-activist partner.

    Cultural Divide

    These mutual misunderstandings will put ROCK readers in mind of the language barrier that is raised between Ross and his own son, Ronan, who has been raised in Finglas and speaks with a working-class Dublin accent. Now Ronan works in the highest government circles for his grandfather (Ross’s father), the Trump-adjacent Taoiseach. Father and son both speak English, and Ronan always understands Ross, but Ross often just does not get what his son is saying to him:

    ‘I shouldn’t be tedding you this, Rosser.’
    ‘You might as well tell me? I probably won’t understand it anyway.’
    ‘The Gubderminth ren ourra muddy.’
    ‘They what?’
    ‘Thee ren ourra muddy.’
    ‘No, it’s not catching.’
    ‘Thee.’
    ‘They.’
    ‘Ren.’
    ‘Ran.’
    ‘Ourra.’
    ‘Out of.’
    ‘Muddy.’
    ‘Oh, muddy! Okay, I get you.’

    The joke is partly Ross’s low intelligence, which is what he is referring to at the start when he says he probably won’t understand. Ross is completely ignorant, near-illiterate and unable to focus on anything requiring mental exertion. But he is firm in his self-identity and in the cultural values that count (rugby, private schools, luxury consumption, machismo, etc.). The joke is also of course based on class caricatures, and the working-class characters are treated with as much Swiftian mercilessness as anyone else.

    More than Swift, however, the contortion of English in the mouth of Ronan resembles the Joycean madness that descends on the language, on all languages, in Finnegans Wake in particular. When Ronan speaks, the Attorney General becomes the ‘Attordeney Generdoddle’ – and the reader finds themselves in the position of Ross, trying to transform this hibernicized monstrosity back into something comprehensible, back into the language of power. The ROCK books are full of these linguistic breakdowns and anomalies, of characters talking past each other, of language acting as a pick with which to dig even deeper into one’s own trench. The world of the ROCK books, like the language that is spoken in them, is chaotic, controlled by the wrong people, and full of injustices in every chapter. This dark portrait of Ireland, like the best satire, is delivered as a prolonged, stupid, sick, and yet funny, joke.

    Naoise Ó Cairealláin with Michael Fassbender in Kneecap.

    Labour of Resistance

    While the do-nothings in the south live free of the British yoke, the Belfast crowd are working hard at the labour of resistance. Education, self-motivation, organising are all positive attributes in Kneecap, which goes some way toward explaining the heavy emphasis on drug-taking hedonism that runs throughout, a careful counter to the characterisation of moralising busybody do-gooder that in other times and contexts has stuck so well to militant gaeilgeoirí. Indeed, when Irish does occasionally appear in earlier ROCK instalments, it tends to reek of worthiness, a tool for virtue-signalling southerners for whom gaelscoileanna are little more than feeder schools for the elite private institutions.

    That there is something important and vital at stake is absolutely clear in Kneecap. The achievement of bringing so many people to see an Irish-language film, both within the island and without, is enormous. The band and the film itself combine masterfully punkish attitudinizing and youth-coolness on the one hand, and mainstream institutional endorsement on the other. The Kneecap thing is slickly done and, with money from TG4, Northern Ireland Screen, Coimisiún na Meán and Screen Ireland, plus public endorsements from people such as Elton John and Cillian Murphy, and positive coverage everywhere from the Guardian to the LA Times, they will bring the Irish language and the reasons why it should be spoken to more eyes and ears than perhaps anyone has ever achieved. They also show no sign of toning down their solidarity with Palestine, which will surely hurt their chances when it comes to the Oscars, now that the film has secured the Irish nomination.

    Joyce jokes in A Portrait of the Artist that the best English in the world is to be heard in Lower Drumcondra. Ross O’Carroll Kelly would be dismayed to hear this, given that it is on the northside, but he would also have to admit that he is no judge. In fact, he might not even understand the statement, whether joke or not. Being in judgement about language, having an opinion of any kind, is a sophisticated thing in the ROCK universe. In a way, this is a kind of guarantor that the language that does get spoken there has a kind of spontaneous purity, as it flows with so little friction. In Kneecap, the characters can only dream of being so mindlessly expressive. When we look ahead to the process of unification that is surely underway at this stage, the unionist-nationalist divide will occupy much of our attention, but other, vast cultural gaps run through the island, as the difference between this book and this film illustrates.

  • Review: Trump Rant by Chris Agee

    “Trump Inhabits Trumpistan”, writes Chris Agee in his rampaging poetic satire, Trump Rant: “Trump Is the Wolf of Washington”. Written over a four-year period from 2017 onwards, and arranged as an expanding series of mock-newspaper headlines, Agee’s book begins as an act of stinging personal portraiture and ends as a thorough-going investigation of America itself – which appears, over the course of the poem, as both an empire in decline and a dysfunctional democracy in crisis. “Trumpian Fever”, Agee writes, “Continually Reminds Me of the Civil War Build-up of the 1850s”. As Agee recognises, and as Mark Twain likewise knew, the past and present have a habit of rhyming through the flux.

    A US-born Irish citizen, based in Belfast, Agee is singularly sensitive to the totalitarian impulses and tribal resentments that the title-figure – a “Beacon of Malevolence” – has proven adept at mobilising, both in and out of political office. “Trump Is Ten Times Worse Than Nixon”, he insists, reminding us that the current Republican nominee for president “Openly Supported the Kenosha Shooter”, Kyle Rittenhouse, in 2020. Such precedents alter the civic atmosphere, toxifying public politics, possibly beyond repair.

    The Trumpian era, Agee suggests, is defined by ruthlessness, for “Trump” at heart “Is a Political Cutthroat”: a charismatic leader with brash demogogic tendencies, brazenly echoing white nationalist discourses in his bloated ascent to political power. “Trump Is Malcolm X’s “American Nightmare””, we’re informed: a proposition that feels at once historically grounded and chillingly prophetic.

    In this respect, the Rant may bear a resemblance to the work of Allen Ginsberg, combining oratorical force with a deep-running sense of cultural urgency. “Trump Is the Real Plot Against America”, Agee declares, “Trump Is a Mouth Who Loves Mouthing”. It should be said that part of the appeal of Trump Rant – what stops it from being merely abrasive and makes it, instead, thought-provoking and often funny – is its fizzing sense of how ludicrous Trump can be. It’s possible, indeed, that when faced with the former president’s one-man circus-show, laughter may be the sanest response. “Trump Is Impossible To Imagine as a Scuba-diver”, Agee quips, and any honest observer would struggle to disagree.

    “Trump Speaks No Languages (Not Even English)”, he continues, and we begin to understand the complex blend of fixation and anger that propels Trump Rant along its hurricane-course. Whereas Trump wields language like an ugly weapon, scattering falsehoods and distortions whenever he speaks, Agee, a poet, is using his words to hold up an accusing mirror to power itself. “Trump”, he suggests, “Is The Corrupted Dream”. The Rant, by contrast, might be thought of as a visceral attempt to re-galvanise the original promise – of language as a mode of truthful speech, and of the United States as a vibrant democratic republic (or what Langston Hughes called, with painful justice, the “land that never has been yet”).

    With his Democratic rivals staunchly committed to neoliberalism at home and genocide abroad, and his own party plunging ever deeper into a sludge-pit of weaponised nativism, toxic conspiracy culture and personality-worship, as a political figure Trump in 2024 seems as peculiarly emblematic as he has ever been: both homegrown product and representative man, incarnating the feral aggression and strange emptiness of American capitalism. “Trump Is a Tacky Gatsby Bamboozling the National Nick (We’ve Read It All Before!)”, Agee writes, and the tarnished nature of America’s self-mythology seems all the more polluting; the rot too rampant to be reversed.

    For all its declarative zest and referential range, Agee’s book is saturated with political dread: we read it in the shadow of things to come.

    Feature Image by DonkeyHotey – Donald Trump – Caricature, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=66578850

  • Poem: ‘Calling All Angels’

    Calling All Angels

    Leaves fall like secret prayers—
    calling all angels

    September’s having her best
    orgasm in a century. Everything lingers
    in climax, the character of the light, earthy
    fragrances, a whole heaving calendar week
    with an arched spine.

    Here’s how I know the world
    is ill and absurd: a dead fawn stares up
    from the roadside, spots unsullied, perfect
    and gone. Most days I choose to forget, but

    entire families explode in Palestine. Cascades
    of leaves now. Calling all angels yes god yes

     

    Image: Vico Rock, Dalkey, County Dublin, Ireland.
  • Poem: Holy Hay

    Holy Hay

    I didn’t have a chance to show you
    the sainfoin I sowed back in May,
    remembering our holiday in Spain
    where we kept seeing it in bloom
    by the road and on waste ground, covering
    whole hillsides, great cerise stains
    of what we later learned was Holy Hay.
    Back here I bought some and spread it, watching
    as seedlings appeared, unfurled nodding leaflets
    in the rough and roguing wind and rain.
    Maybe it was the wet, or the rabbits;
    whatever, just one made it through to flower,
    when each closed and softly bristled brush became
    a clump of rosy Jagger lips. Yet I remember

    wrongly: it wasn’t Spain, it was Sicily,
    and maybe what we saw was Sulla,
    Italian sainfoin, a deeper red colour,
    but its name would never stick with me;
    not like Holy Hay, coumarin still drifting
    from an early mowing, with vetch and clovers,
    sweet vernal grass, sown by an unseen other
    who disappeared with the passing spring.
    That’s why I tried it in our garden,
    feeling it somehow sacred, so it might recover
    the past; seeing it there you would laugh and
    I would find in that perennial trait
    passed down from your dear, faithful father
    a way back to those fertile fields of grace.

    Feature Image: Flowers of Hedysarum coronarium at the Jardin des Plantes, Paris

  • Substituting Memory for History in the (Mis)information Age

    History, Stephen said, is a nightmare from which I am trying to awake.
    James Joyce, in ‘Nestor’, from Ulysses (1922)

    If there is any substitute for love, it is memory. To memorize, then, is to restore intimacy.
    Joseph Brodsky, in ‘Nadezhda Mandelstam (1899-1980) An Obituary’, from Less Than One: Selected Essays (1986)

    One of the more contentious trends in contemporary historiography, and philosophy of history, is the weird juxtaposing of memory and history, with the latter being privileged (perhaps unsurprisingly, by professional historians) as somehow superior, or more objective. This is evident, for example, in the work of Roy Foster (e.g. ‘Sorry is not enough’, London Independent, 17/07/1999), and of David Reiff (‘The cult of memory: when history does more harm than good’, The Guardian, 02/03/2016). This tendency may have partly originated in a reaction against the work of French historian Pierre Nora, who, in his efforts to define what constitutes a ‘true’ history, instigated this opposition between history and memory. Because outright political agitation and national imperatives dominate readings of history, he argued (see Realms of Memory (1996/1998), therefore there is no objective truth to be found there. However, he went further, adopting the nihilistic perspective that because memory, although preferable, is also selective, there is, effectively, no such thing as a recoverable past. In his somewhat opaque attempt to reconcile Marxist dialectics with an underpinning theology, ‘Theses on the Philosophy of History’ (1940), Walter Benjamin took a more measured, if equally audacious approach. In Thesis VI he wrote:

    To articulate the past historically does not mean to recognize it the way it really was’ (Ranke). It means to seize hold of a memory as it flashes up at a moment of danger. Historical materialism wishes to retain that image of the past which unexpectedly appears to man singled out by history at a moment of danger.

    But how exactly has memory come to be viewed as the poor relation of history? For what else is history, ultimately, but the product of memory? Or, at the very least, a consequence of the urge to memorialise? If only because Memory (Mnemosyne) is the mother of History (Clio), as she is of all the muses.

    This shift in status is compounded by the current fearmongering panic and paranoia about the threat to humanity and the humanities by the dreaded Artificial Intelligence. While AI is NOT nothing to worry about, it should be remembered that narratives of conflict in contested spaces have always been distorted by misinformation: it is known as ‘the fog of war’ or, more commonly, ‘propaganda’. All that has improved (or disimproved, because of the uses to which it is put) is the technology. As the great Irish essayist Hubert Butler wrote in ‘The Sub-Prefect Should Have Held His Tongue’:

    Speed of communication has increased, and we are expected to have strong feelings about an infinite series of remote events. But our powers of understanding and sympathy have not correspondingly increased. In an atmosphere of artificially heated emotionalism truth simply dissolves into expediency.

    That was in 1956. It was ever thus. Whatever the contemporary concerns about manipulation by A.I., data harvesting, algorithms and bots, it seems to me that digitally native under-30s are more than capable of dealing with the vagaries of the media with which they have grown up and are therefore adept at handling because of easy familiarity. When it comes to being duped online, the kids are savvy enough. It is the supposed adults in the room you have to fear for and keep an eye on.

    Perplexity as to the status of historiography as a somehow tainted literary representation or a scientific unbiased recounting is nothing new, with E. H. Carr’s What Is History? (1961) provoking fierce responses like that of Geoffrey Elton’s The Practice of History (1967), because of Carr’s relativism and his rejection of contingency as an important factor in historical analysis; that is, his almost proto-Baudrillardian notion of history as a partisan pursuit, a simulacrum written by the winners, or at least by those whose relative perspectives are skewed by vested interests or their own agendas. Elton, on the other hand, was a strong defender of traditional modi operandi and was appalled by postmodernism and multi-narrative histories, seeing the duty of historians as empirically gathering evidence and objectively analysing it.

    Thucydides Mosaic from Jerash, Jordan, Roman, 3rd century AD at the Pergamon Museum in Berlin.

    Herodotus vis-à-vis Thucydides

    The Carr/Elton debate can be seen as a more recent reenactment of a controversy which has reoccurred throughout (as it were) history, for example in relation to perceptions surrounding the virtues and drawbacks of Herodotus vis-à-vis Thucydides as historians of Ancient Greece, or of Suetonius in contrast to Tacitus of Ancient Rome, the methodology espoused by each echoing the practice of their predecessors. Thucydides and Tacitus may be more analytical and less anecdotal than Herodotus and Suetonius, but their histories are still based on interviews with participants and eye witnesses, and then drawing their own conclusions. How do we know if these interviewees were telling the truth, or if their memories were accurate or faulty? They could be deliberately lying, or accidentally misremembering. Plus, these informants are rarely named. Then there is the question of how much bias effects the reliability of Herodotus’ Histories and Tacitus’ Annals of Imperial Rome, given their respective Athenian and Roman sympathies, which they freely admit. Herodotus may have been accorded the accolade the ‘Father of History’ by Cicero, but at least as early as Plutarch’s pamphlet On The Malignity of Herodotus, he has also been known as the ‘Father of Lies’. When introducing his English translation of the Annals, Michael Grant even refers to Tacitus’ ‘mask of austere impartiality’. Meanwhile, much of Plutarch is pure entertaining hearsay. Furthermore, it is worth remembering that the Greek word Ιστορία (historia), from which our own specialised meaning is derived, meant ‘research’ or ‘inquiry’, rather than the definitive account, and is how Herodotus’ titled his work.

    So, while from an early twenty-first century perspective, Herodotus may seem more like a chronicler rather than an analyser, it is important to remember history’s origins in storytelling, and the influence of Homer’s Iliad and Odyssey – the stories from both of which were recited orally long before they were ever written down – on Herodotus’ mindset and methodology. Indeed, in an echo of those tales told around a campfire, which rhymed to facilitate ease of memorisation, it is believed that Herodotus would have given public readings from his Histories in Athens. For this reason, we may find it more understandable that he is nebulous about the differences between tradition and history, and that he did not always realise that eye witness accounts of the same event can vary. If literature is what is written, and Herodotus was writing history, we should not forget the debt both literature and history owe to the oral tradition.

    Of course, professional historians will argue that historiography has come a long way since antiquity, especially through the use of documentary evidence – inscriptions, manuscripts, treaties, newspaper and (latterly) television and radio reports, court records, archival material and archaeological discoveries, etc. But all of these (un)reliable sources are, finally, human products and personal artifacts, and thus subject to the fallibility of the species – certainly in their interpretation if not equally so in their inception. Just because something is written down does not make it true, or even representative. What pressures were being exerted on those doing the writing and signing, and what did they stand to lose or gain by their acts of scrivening – their Oaths of Allegiance and their Declarations of War? How far can we even rely on those who observed them, or who claim to have done so? Indeed, overreliance on these constituent parts privileges literacy over the oral tradition, one which Herodotus (influenced as he was by the Homeric epics) came out of and which historians have always relied upon – however unreliable it, in turn, may be, based as it is on folk memory. To favour the written over the spoken word does a great disservice to so-called ‘ordinary’ people, and smacks of a ‘made by great men’ approach to historiography. In this prejudice originates the elevation of History over Memory.

    History Faculty building on the Sidgewick Site of the University of Cambridge.

    Worthwhile Academic Pursuit

    None of the foregoing is intended to denigrate the study of History as a worthwhile academic pursuit. But one has only to trace the history of nationalist, revisionist and counter-revisionist narratives of past events on our own island over the preceding century or so to glean an inkling of the fluctuations of fashion in how history is done and disseminated, and to be aware that all readings of history, whatever the original sources or new evidence which come to light, are necessarily provisional. Plays by Brian Friel like Translations and Making History engage with how this history has been made, and remade. The presentation of the past, whether in memory or history (or historical memory), and the relation of both forms of presentation to the ideal of an unmediated past – that is, to an account of the past not distorted by the medium in which it is presented – is illusory. In this regard, every form of (re)presenting the past is a construction and an attempt to pass on something that is already forever lost.

    The concept of historiography as representation, which can easily shade into fiction, while being presented as factual truth, has correlatives in our own time. Herodotus’ treatment of the Persian invasions under Darius and Xerxes implies an underlying conflict between the absolutism of the East and the allegedly free institutions of the West, between Persian monarchy and Athenian democracy. The fact that we have no Persian record of the Persian Wars is down to the fact that Persia was an oral culture, and their version has been lost in the mists of time. In this case, written words would have proven useful. Herodotus’ contention that democracy was the cornerstone of Athenian superiority, and his praise of it as responsible for Athens’ pre-eminent position, might make us mindful of the justifications invoked for the 2003 invasion of Iraq by the United States and Britain. While bringing the benefits of democracy and freedom to a former dictatorship was the general goal of the invasion, the proximate goad was the supposed presence of weapons of mass destruction within the jurisdiction of that regime, a piece of ‘intelligence’ which was subsequently exposed as a faulty, if enabling, fiction. However, that the reason for going to war ultimately proved to be another instance of imaginative invention, every bit as much a representation (or spin) as elements of Herodotus’ Histories, did not bother the advocates of that invasion unduly after it was discovered, evidence that people are still as enthralled by mythic embroidery masquerading as objective fact as they ever were.

    To be sure, in Herodotus’ day it was the Persian Empire which was the aggressor, looking to colonise Greece, and the united city-states, including Athens, were merely defending themselves. The notable difference in our day is that it is the democrats who are doing the invading, with the sanctioning intention of toppling an absolute ruler, or eradicating terrorism. Again, how often today do we hear the sound bite, employed not only in defence of Israel’s right to defend itself, but also in support of its continued existence, that it is ‘the only democracy in the region’? Without too much of a stretch, it could be argued that Herodotus was indulging in an early version of what Edward Said subsequently termed, in the title of his masterly book which almost single-handedly founded postcolonial studies, Orientalism (1978). Having initiated the debate, Said developed it further in Culture and Imperialism (1993), sensitising the average western reader to this strange and sinister colonialism of culture. Sadly, these tropes will not cease, for obscurantism is not the sole prerogative of any epoch, or political grouping.

    Said’s originality was evident in the way he defined the subject of his book.  Orientalism is, first, an academic specialisation: a topic studied by archaeologists, historians, theologians and others in the West who are concerned with Middle Eastern and North African cultures. But Said added two further meanings to the term. Orientalism is also something more general, something that has shaped Western thought since the Greeks: namely, a way of dividing up the world between the West and the East. What appears to be a simple geographical fact is, says Said, actually an idea. The division of the world into these two parts is not a natural state of affairs, but an intellectual choice made by the West in order to define itself. The third meaning for Orientalism is more historically specific. Since the latter part of the eighteenth century, when European colonialism in the Middle East developed most fully, Orientalism has been a means of domination, a part of the colonial enterprise. Said argues that colonialism is not only about the physical acts of taking land, or of subjugating people, but is also about intellectual acts. The academic study of the Orient is unthinkable outside its colonial context and vice versa. So, rather than just an innocent scholarly topic, Orientalism is a general way of imagining the world’s divisions and a specific mechanism for furthering the colonial quest.

    Following Foucault, Said describes the Orient as a product of discourse; that is, not as something in the world that is discovered and analysed, but as something created by Western institutions and ideas. The definition of the Orient is a means of regulating it; the apparent truths discovered are in fact ideas circulated and accepted as part of Western colonial activity in the Middle East. The sense of the Orient as a discursive construct, in turn, enables Said to make one of his most important and striking arguments: what the West believed it had discovered about the East tells us little about the colonised cultures, but much about the coloniser’s. The texts and disciplines that comprise Orientalism – historical narratives like that of Herodotus, analyses of religion, travel writing, etc – reveal the values and preconceptions of the West, of the way people in Washington or Paris or London, or indeed fifth century Athens, wanted to see themselves, their fears and ambitions and prejudices. In particular, the image created of the East is used as a means of constructing one’s own identity. The picture of the East functions as a distorting mirror image, enabling the West to say that whatever they are, we are not. This emphasises the way in which a duality, often referred to as a dyad, is set up: West and East, us and them.

    In spite of the growing influence of Asian nations and the recent ‘Easternisation’ of international politics and trade, such exclusively Western- or Euro-centric readings still predominate our understanding of global history. This is a mindset which has been challenged, in what can be seen as a continuation of the Orientalism project, by Peter Frankopan, in his The Silk Roads: A New History of the World (2015), and The New Silk Roads: The Present and Future of the World (2018). One would do well also to have a look at Palestinian-American Rashid Khalidi’s books Palestinian Identity: The Construction of Modern National Consciousness (1997) and The Hundred Years’ War on Palestine (2017), in which he depicts Israel as a settler-colonial state, and argues that the modern history of Palestine can best be understood as ‘a colonial war against the indigenous population’.

    Bakhmut_during_the_battle_(2023-04-05).

    Proxy Wars

    Both of the ongoing international conflicts which dominate the news cycle in these times, the Russian invasion of Ukraine, and the Israeli-Hamas hostilities, are in truth complex proxy wars. Appeasement, or its more recent first cousin, conflict management, does not work. As Professor Yossi Mekelberg, of the venerable Chatham House Think Tank, has written:

    One conclusion from the collapse of the status quo between Israel and the Palestinians is that conflict management is a fallacy that has failed time and again. As a long-term instrument it at best buys time until the next round of violence begins. More than 75 years of conflict between Israel and the Palestinians have seen periodic outbreaks of hostilities and periodic efforts to bring peace based on a two-state solution. For most of this time the focus has been on managing the conflict. This exposes a lack of belief that a peace agreement laying to rest the differences between the two peoples can be reached. It also shows that the international collective security mechanism set up after the Second World War has failed in its mission to peacefully settle conflicts.This conflict does not need management, it needs its root causes to be addressed.

    The Northern Ireland Peace Process, which culminated in the Good Friday Agreement of 1998 (‘Sunningdale for slow learners’), provides some hope that reconciliation is possible in ‘lost cause’ situations, even if underlying tensions still persist. At least it put an end to what were euphemistically termed ‘The Troubles’, with their violence and loss of life. A United Ireland will happen sooner or later, and it will be an economic problem, much as the reunification of Germany was: Britain does not want to continue footing the bill for the statelet, and the Republic of Ireland is charry of taking it on. Meanwhile, most of those resident in the territory – from whatever side of the Unionist/Nationalist sectarian divide – are more preoccupied about having to pay for G.P. visits and prescriptions, should they find themselves in a New Republic.

    The Russian/Ukrainian stalemate might be resolved if Putinistas were to be purged of their nostalgia for the Russian Empire and the former reach of the U.S.S.R., and had their fears over N.A.T.O. encroachment addressed; and if Zelenskyyites were not so ardent in their pursuit of N.A.T.O. membership. The Russian invasion was not, as is routinely heard in Western governmental and media discourse, entirely ‘unprovoked’. As Professor Jeffrey D. Sachs of Colombia University has written:

    A far better approach for Russia might have been to step up diplomacy with Europe and with the non-Western world to explain and oppose U.S. militarism and unilateralism. In fact, the relentless U.S. push to expand NATO is widely opposed throughout the world, so Russian diplomacy rather than war would likely have been effective. […] The key to peace in Ukraine is through negotiations based on Ukraine’s neutrality and NATO non-enlargement.

    As for the seemingly intractable Israeli/Palestinian conflict, with its attendant apartheid, ethnic-cleansing and genocide on the part of the more powerful and well-resourced combatant: if Israel were suddenly left to fend for itself, without being massively underwritten by the U.S. and the E.U., it would soon have to start behaving itself, and acting in a civilised manner with its neighbours – just as a reduction in Iranian (bankrolled by Russia), Qatari and Yemeni support for Hamas would greatly alleviate tensions in the zone. Alas, this is not going to happen, given the North American imperative for a strategic foothold in the region and Zionist funding of their politicians through AIPAC, coupled with German Holocaust guilt, and the onus on oppositional sympathisers to provide some sort of counterforce. The only difference between the I.D.F.’s war crimes and those of Hamas is that the latter lacks the technology to do as much extensive damage, because the former enjoys such disproportionately huge investment, and impunity.

    History makes no mistakes because it has no purpose – that much Hubert Butler must have known by that time (1930s and 40s) if only because at Oxford he read the Greek and Roman classics. In any case, the dishonesty, self-deception and self-aggrandizement of those evoking history to pull the trigger didn’t escape him, not did their utter humanness. His knowledge of Russian…and of Serbo-Croatian,not to mention his French and his German, helped him along the line, no doubt, enormously. The detection of humanness in those whose words and deeds obscure it is, however, his own feat. On the other hand, this must have been easier for him, an Irishman, since schizophrenic uncertainty is humanness’ integral part.

    So wrote the great Nobel Prize-winning Russian poet Joseph Brodsky in ‘On Hubert Butler’ (1994). In what could be read as a corrective to the notion of this blind, ahistorical history, he also gave this insight in his essay on the work of the great Greek pre-Modernist poet, Constantine Cavafy, ‘Pendulum’s Song’ (1975): ‘The only instrument that a human being has at his disposal for coping with time is memory, and it is his unique, sensual historical memory that makes Cavafy so distinctive.’ However, if the school principal in the ‘Nestor’ episode of Joyce’s Ulysses, Mr. Deasy, is blatantly antisemitic in his exchanges with Stephen Dedalus, Brodsky, in another essay, ‘Flight from Byzantium’ (1985), is patently Islamophobic, displaying a smug ignorance and revulsion of ‘the East’. Indeed, so vitriolic is his repugnance, it is tempting to speculate that he is intentionally verging into parody:

    The delirium and horror of the East.  The dusty catastrophe of Asia. Green only on the banner of the Prophet.  Nothing grows here except moustaches. A black-eyed, overgrown-with-stubble-before-supper part of the world.  Bonfire embers doused with urine.  That smell! A mixture of foul tobacco and sweaty soap and the underthings wrapped around loins like another turban.  Racism?  But isn’t it only a form of misanthropy?  And that ubiquitous grit flying in your muzzle even in the city, poking the world out of your eyes – and yet one feels grateful even for that.  Ubiquitous concrete, with the texture of turd and the colour of an upturned grave.  Ah, all that nearsighted scum – Corbusier, Mondrian, Gropius – who mutilated the world more effectively than any Luftwaffe! Snobbery?  But it’s only a form of despair.  The local population in a state of total stupor whirling its time away in squalid snack bars, tilting its heads as in a namaz in reverse toward the television screen, where somebody is permanently beating somebody else up.  Or else they’re dealing out cards, whose jacks and nines are the sole accessible abstractions, the single means of concentration.  Misanthropy?  Despair?  Yet what else could be expected from one who has outlived the apotheosis of the linear principle? From a man who has nowhere to go back to?  From a great turdologist, sacrophage, and the possible author of Sadomachia?

    Brodsky even goes on to argue that: ‘By divorcing Byzantium, Western Christianity consigned the East to non-existence, and thus reduced its own notion of human negative potential to a considerable, perhaps even a perilous, degree.’ He also implies that: ‘…the anti-individualistic notion that human life is essentially nothing – i.e., the absence of the idea that human life is sacred, if only because each life is unique’, originates in the East, and that Western Christianity’s neglecting the experience supplied by Byzantium is the reason why college campus killers are classed as mentally ill, and presumably suicide bombers are labelled religious fanatics, as opposed to just plain evil. If supposedly enlightened classical humanists can harbour such sentiments, what hope can there be for reconciliation and mutual understanding?

    Interestingly, in ‘A Man Must Not Be Too Moslem’ (1953), Paul Bowles (while admittedly, no friend of Said – See Hisham Aidi, ‘So Why Did I Defend Paul Bowles?’, New York Review of Books, 20/12/2019) took entirely the opposite tack, and was so prescient that the ideas contained therein could have been ripped from today’s headlines. He wrote:

    Rationalizing words like ‘progress’, ‘modernization’, or ‘democracy’  mean nothing because, even if they are used sincerely, the imposition of such concepts by force from above cancels whatever value they otherwise have. There is little doubt that by having been made indifferent Moslems, the younger generation in Turkey has become more like our idea of what people living in the 20th century should be. The old helplessness in the face of mektoub (it is written) is gone, and in its place is a passionate belief in man’s ability to alter his destiny. That is the greatest step of all; once it has been made, anything, unfortunately, can happen.

    Mit Gewalt aus Bunkern hervorgeholt (‘Forcibly pulled out of bunkers’)

    Victims of Oppression go on to Oppress

    It can be argued that what Israel is doing in Gaza, and has done to the countries which surround it since its foundation, partakes of the classic pattern of abusive behaviour, on a national rather than an individual level. ‘Those to whom evil is done/Do evil in return’ as W. H. Auden had it in ‘September 1, 1939’. It is not unheard of that victims of oppression go on to oppress even more. The Jewish people, who were victims of a genocide perpetrated by the Nazis during the Second World War, are now themselves perpetrating a genocide against the Palestinian people. Perhaps Brodsky’s Jewish ancestry accounts for his self-advertised blindspot: he was merely conforming to stereotype. But the Children of Gaza by now far outnumber Butler’s ‘The Children of Drancy’ (1968/78) – with the added developmental difference that now the whole world is watching their slaughter. Yet the majority of Western leaders persist in standing staunchly by Israel and its policies, paying mere lip service to popular calls for a ceasefire while continuing to supply the weapons used for the razing of Gaza and the annihilation of its people. The last thing our planet needs in this day and age is the continued endorsement and maintenance of yet another theocratic ethno-state. We in Ireland should know this all too well. George Santayana’s famous aphorism is usually misquoted as ‘Those who do not learn from history are doomed to repeat it’, but in its original form read, ‘Those who cannot remember the past are condemned to repeat it.’ Unfortunately, no one learns any lessons from history, and remembers only what suits them, which is why it constantly repeats itself – first as tragedy and then as farce.

    Bad things undoubtedly follow when any ethnic or national or religious grouping (often a toxic concoction of all three) claim to have all the answers, and so start getting notions that they are The Master Race, or The Chosen People, or undertake Crusades against the Heathen or Jihad against the Infidel, or any convenient Evil Other. Note that I include here such secular religions as Fascism and Communism, which too frequently manifest as latter-day utopian belief systems which can be used to sponsor mass murder.

    All wars are, at root, economic. The geopolitical importance, the religion and the patriotism, the toppling of tyrants and establishing of democracy, are just the attendant window dressing. (Doubtless, all those anti-materialists who would prefer to forget, or only remember in an approved way, will here dismiss my arguments with the classic cheap insult of ‘vulgar Marxist’ – incidentally, a phrase Foster has appropriated from Benjamin’s Theses, although used there in an entirely different context. Apparently, there exist kosher, refined Marxists, and objectionable, vulgar Marxists. Thus, E. P. Thompson is deemed acceptable within the academy, despite the fact that he expressed sentiments such as, ‘so great has been the reaction in our time against Whig or Marxist interpretations of history, that some scholars have propagated a ridiculous reversal of historical roles: the persecuted are seen as forerunners of oppression, and the oppressors as victims of persecution’ (from The Making of the English Working Class (Penguin, 1978).) Yet all wars also end eventually, if only for longer or shorter periods, either through disengagement, conquest, de facto surrender, formal surrender or negotiated peace agreement. The means of disseminating misinformation may be more covert, efficient and persuasive, but what does not change is human nature. The apportioning of blame, who has right (or God) on their side, is in most conflicts a question of ‘How far back would you like to go?’ (which is, in turn, a slightly more grown-up rendering of the childish playground staple, ‘You started it’). Would that be the first incursion or the latest atrocity, or any point on the calendar in-between?

    At some point, the origin of the primordial offence recedes from history into myth – found in sacred books and the stories people tell. Sometimes it is even, conveniently, the Word of God (be it Yahweh or Allah). Arguably, memory is more historically accurate than lots of competing histories. Indeed, as has been demonstrated, many of those histories, official and unofficial alike, are based on recollections after the fact. Ultimately, history is nothing more or less than memory. Yet memory fades, unless it is recorded – however rigorously or haphazardly – in history. We currently stand as helpless as we ever were when The Sleep of Reason Produces Monsters, as Goya had it, and Voltaire’s admonition, ‘Whoever can make you believe absurdities can make you commit atrocities’ is still, sadly, applicable.

    Feature Image Otto Dix, Sturmtruppe geht unter Gas vor (“Stormtroopers Advance Under a Gas Attack”), 1924.

  • Mary Dances

    In normal times Mary used to catch glimpses of the dancers. On his cigarette break from his work in the galley he had started to station himself on the promenade deck outside the large porthole with its closed ruched curtains and watch snatches of “rehearsal”. That was a new word for him. Amongst the many languages of the service decks, English was the common language of command but the word “rehearse” was not in the kitchen vocabulary. Karim said to him one day “It’s a rehearsal” and “They’re rehearsing” and he gradually understood that it was to do with practising the dances and songs that were part of the twice daily shows. The kitchen staff didn’t come into contact much with the dancers although three of the troupe, Patsy, Greta, and Abdul had all been assigned duties serving cabin meals to passengers who were too lazy or too old to come to meals in the restaurants.

    Looking into the Moonlight Lounge through the lavender haze of the drapes he started to get an idea of what these rehearsals were. The boys and girls were usually in ordinary clothes but as soon as the playback started beautiful smiles appeared on their faces. Sometimes the Boss stopped the playback in the middle of a song and made them go back to the beginning. Once Greta and a boy he didn’t know were chosen to show the steps to everyone else. Another time poor Abdul was chosen as he was doing it wrong and he had to do it again and again in front of the rest of them until he got it right. Mary thought he saw Abdul looking at the porthole where he was stationed and wondered if he’d seen him there outside, watching.

    The boys and girls in the kitchen had given him his new name, Mary. He liked being called Mary. The Blessed Virgin had always been important to him and his family, and in his space in the dark bowels of the ship his only contribution to its dismal look had been an embellished photo of a statue of Our Lady that made him feel better every time he caught sight of it.

    When the Coronavirus happened everything changed. No-one quite knew what was going on but after several days of trying unsuccessfully to put into various ports eventually Empress of the Oceans managed to dock in Lisbon and all the passengers and most of the crew were tested and taken off. Mary stayed on as for some reason his work in the galley washing-up and cleaning was considered essential. He was moved from his dark quarters in the hold to a beautiful cabin two decks above from which he had a view of the docks and the city of Lisbon. His family back in Manila kept him informed of what was going on at home and as always their lovely faces on the tiny screen made him happy. They told him Lisbon was in a Catholic country and he was pleased to see the white bell towers of churches that were not completely unfamiliar and he occasionally heard their bells ringing out across the city and the river.

    But the “rehearsals” had stopped and when he went to take his station outside the curtained porthole for a cigarette in a break from his much-reduced duties there was nothing to see except the dimly-lit stage and the empty seats, not a soul dancing or singing, no hint of the happy smiles or the playback, all now signs of different times.

    Abdul had also been kept on for some reason and was assigned the cabin next to Mary’s. He was Algerian and although not Catholic or even Christian, they seemed to have a lot in common. For the short time before everything changed he had enjoyed doing the shows and learning from the Boss and the other dancers but, as he confided to Mary, he had always felt a bit of an outsider.

    As days turned into weeks and the virus continued to keep the world in stasis and the tethered ship immobile, the empty city of Lisbon, sunlit, rain-swept or mist-shrouded, continued to feature outside their windows, and Mary and Abdul became friends. The almost deserted ship became their universe. They talked, in English mostly, though with bits of French, Tagalog and Spanish thrown in, and they talked about food and their families, yes, but mostly about dance moves. Abdul was happy to share with Mary what he’d learned from his short time as a dancer. The Boss had gone but he’d left Abdul the key to the Moonlight Lounge. Abdul would put on some lights and the playback, and to the sounds devised for the pleasure and nostalgic recall of elderly North Americans he showed Mary the moves he’d learned. They kicked, they twirled, they leapt, Abdul lifted him and he felt wonderful.  At a certain point it suddenly struck Mary that he was “rehearsing”.

    In the inactivity and fearfulness of these virus-hit days the two of them were happy to be dancing while the huge ship around them echoed emptily and without purpose. The docks were deserted and grass was starting to sprout between the paving-stones but the monstrous white hulk of Empress of the Oceans loomed over the city and its broad river. Apart from the thin muffled beat of recorded music from the illuminated Moonlight Lounge the ship was quiet and dark.

    When Mary and Abdul finished their “rehearsal” of I Will Survive, Abdul went and sat in the audience where the boss used to sit. Mary went over to the porthole and looked over the silent and deserted city through the lavender haze of the drapes. He could hear the distant bells clanging for a Sunday evening mass that was not going to happen. When he looked down at the quay there were two men with a dog, and they were looking up at the lit porthole of the Moonlight Lounge.

  • Musician of the Month: Finn Doherty

    Early Influences

    I tend to cite the same small handful of artists as my early influences, but I always find myself defining the difference between ‘influence’ and ‘inspiration.’ As a kid, I was really inspired by bands like Green Day, and I loved Arctic Monkeys, but that doesn’t necessarily reflect the music I make now.

    You could probably draw comparisons between some of my songwriting choices and Alex Turner’s, but these bands were probably more ‘inspirations’ as opposed to ‘influences.’ In many ways, it was more about wearing a leather jacket and slicking my hair back, or pairing black eyeliner with shirts and ties, than it was about the music.

    I grew up in North London, going to a lot of sessions with my parents, and I think trad music played a big part in the way I write melodies. Trad tunes are so much about repetitive phrasing and short motifs, which I think has ultimately translated into me writing music that is pretty hooky and catchy. Also, learning to play Irish music is a lot about learning tunes by ear, and I think that influenced the way I write, where melody often comes first and is generated really quickly.

    Current Practice

    I just released an EP called ‘if you’re bored of this city’. It’s a project about desire, obsession, and self-destruction. It’s kind of a personal exploration of my own identity, and about how relationships can become complicated by self-discovery.

    I had a very complex relationship with a friend a few years ago, and that was a big drive behind the narrative of this project. Musically, I looked to the songs and sounds that were soundtracking my life at the time of that experience, so it was a lot of dark pop music off the back of the first Billie Eilish album, and the production on the early Chance The Rapper projects, and the breakout of hyperpop.

    I was also really inspired by Son Lux’s soundtrack for ‘Everything Everywhere All at Once’, which I saw while I was mapping out a lot of the production for the EP. I think that had a big influence on the project, especially when I listen back to ‘Figure It Out’.

    I made a whole series of videos to accompany the project, which string each song together and use the music to soundtrack this night of partying and recklessness. The project tells the story of such a pivotal time in my life, and I wanted to retell that story to the fullest extent through this lens of the art I was into at the time.

    I think that’s why the videos are such an essential part of this EP. I’m really proud of what my friends and I managed to achieve with the visual side of this project, as it was all produced independently. It’s all available to watch for free on YouTube.

    Future Plans

    I’m really only just getting started. Right now, I’m focusing on ways to bring ‘if you’re bored of this city’ to more people, so I’m working on new shows and various other projects.

    I think it’s so important to experience music in face-to-face environments with other people, and I want my work to be a catalyst for those kinds of experiences. I love creating and engaging with content online, but live events are really where I thrive, and playing my songs live is the reason I do what I do.

    I think through playing more shows and being at more events post-pandemic, I’ve also found myself considering how the music I’m making will work in a live setting, and I’m really enjoying being out, and dancing, and just having a good time.

    I’m always working on new music, so it’s only a matter of time before the next project clicks into place in my mind and I start rolling out the next thing…

    Spotify: https://open.spotify.com/artist/2e3gFNiRxdNMh5TaVNwUHF?si=Ocqg4oaqRr6oGib1VRVMlQ

    Apple Music: https://music.apple.com/gb/artist/finn-doherty/1211574396

    YouTube: https://www.youtube.com/@finndoherty_/

    Instagram: https://www.instagram.com/finndoherty/

    ‘if you’re bored of this city’ EP: https://hypeddit.com/finndoherty/ifyoureboredofthiscity

    All Images Simon Jafrato

  • Review: Father, Son and Brother Ghost

    Few writers can do grief and loss like John MacKenna. He is, without question, the John McGahern of the ‘Ancient East’. Where McGahern has put the villages and drumlins of Leitrim along the inland cusp of the ‘Wild Atlantic Way’ at the heart of his writing, the landscape of South Kildare, and its surroundings are integral to MacKenna’s works and that is no different in Father, Son and Brother Ghost where place is the sorrowful score to MacKenna’s libretto.

    Unravelling grief is the strange, poignant music of the heart: If ‘grief is the price we pay for love’ MacKenna paid that price. All MacKenna’s fiction revolves around Castledermot, The High and Low Terraces of Abbeylands where the MacKennas lived: The rivers Lerr and Barrow, Mullaghcreelan Woods, Kilkea, Athy, Carlow, the Sliabh Bloom mountains and the midland bogs looming beyond are accomplices in what becomes a landscape of bitter-sweet melancholy. This memoir, mimicking the prayerful intonation ‘Father, Son and Holy Ghost’ is a hymn to MacKenna’s older brother, Jarlath whose untimely death at 62 in 2005 left the writer so bereft that he has been writing and rewriting this memoir for seventeen years between various other pursuits, not least a plunge into psychotherapy as he told a packed audience at its launch recently in the library in Athy.

    Jarlath spent the bulk of his working life as a doctor in North Carolina. In this moving memoir, landscape and place become sites of consecration to a lost brother, evoked through fragments of joyful memories, where often, more harrowing family anecdotes and memories interpose – his mother’s tears when the family were leaving the Low Terrace for a larger house on the High Terrace because she was leaving behind three still born babies buried there at the bottom of the garden.

    The sometimes distraught attempt to recover this lost fraternal connection reaches back into his parents’ own history, and the increasing friction and disappointment between them, caused, it appears, by Jack MacKenna’s increasing dependence on alcohol. But if Jack MacKenna was an alcoholic, he was a highly functioning one. John, as the youngest child of three, experienced these tensions more intensely, as he was like an only child because his brother and sister were away at boarding school. They were all, to different degrees ‘survivors of their own small carnage’ but he ‘didn’t know it at the time’. Set apart from their neighbours by being the school mistress’s children, the yearning for belonging abides.

    Ten years younger than Jarlath, MacKenna is first separated from him when his adored older brother is sent to boarding school in Limerick while the younger brother is still an infant. In the escalating tensions of the home, Jarlath became John’s rock and anchor and his sense of abandonment in the older brother’s many absences is a source of anguish.

    It seems the younger brother only realised when Jarlath died that he had never overcome these earlier losses due to their many separations. The severances are amplified, not just by the large age gap, but by the fact that Jarlath spent his summers working in England during his college years when he first studied for an arts degree followed by a H. Dip in Education and then went on to study medicine.

    During these periods, Jarlath’s trips to Castledermot were brief but they are jealously recovered here. In choosing to pursue his medical career in America, the miles of the Atlantic Ocean eventually stretched between them, keeping the brothers geographically apart as adult men.

    Unsurprisingly, MacKenna conveys a sense of betrayal by all these ‘sunderings’ culminating in his brother’s death from motor neuron disease a few days after he visits him. They are only spared one last night together as Jarlath deteriorated unexpectedly. All this pours forth in torrents of  ‘unending loss’.  Loss is ‘the tiny, pitched hole in the sky at night or the sun’s hesitation about rising at dawn’. It is ‘a grief that has been given two decades to condense but it remains’.

    With incredible skill this ceaseless grief, punctuated by cherished memories is movingly retold – snatched scenes during school and Christmas holidays, pranks played, photos of the three MacKenna children on swings, at picnics, on car bonnets – photos, not provided in the book but described in the minutest detail. In this, intense nurturing of memory, MacKenna manages, not just to keep his absent brother present but to evoke both brother and disappointed father with immense love.

    MacKenna’s despair was so all-consuming that he lost his second marriage amid the wilderness of the fallout from his brother’s death and for this, he is not easy on himself. Fats Domino, Buddy Holly, the Beatles, the Beach Boys, Simon and Garfunkle, Elvis, Mozart and even prayers become accessories in recovered memories – every child of the 60s will identify with them and the same goes for the rosaries and the stations of the cross. The smell of polish, beeswax and lavender evoking back-to-school nostalgia are experiences all those of MacKenna’s generation will easily identify with and they are all tinged with a hint of the sanctified.

    Equally, we all knew a Lal McKenna – his single aunt whom, not unlike the heroine of Joyce’s ‘Eveline’, sacrificed her own prospects of love and marriage to care, first for her younger siblings and after that, for her sister’s children in Athy where she lived-in with the family, and also served in the shop. We all know too of the shoe-box coffins where dead and premature babies, excluded from ‘consecrated ground’ for not being baptised were, instead buried in old, abandoned graveyards or other local hallowed spots.

    Jarlath’s kindness to the brother, ten years his junior are emotionally recalled as numerous amputations – the ‘tearing apart of what was their brotherhood.’ An image of their father, Jack leaning on a spade at the opening throws a shadow over the pages – a shadow ‘that reached back into the past eight decades’.

    The narrative is not chronological but rather moves joltingly from different decades and places – itself evoking loss and dislocation. We are plunged into Jack’s own displacement when, after his mother died soon after he was born, he and his siblings were moved to his grandmother’s house in Celbridge. When his father remarried, Jack McKenna and his siblings were moved back to Bluebell Cottage in Athy where his father, a train driver, was based. Jack McKenna followed his own father into work on the railways and eventually becoming a signalman and foreman in Athy. ‘We are a railway family’ MacKenna informs the reader and his father was an exemplary worker. MacKenna’s earliest dreams was to be a railway worker too.

    This beautifully crafted memoir on a grief that brings the writer to the edge of self-annihilation is full of hope too. We are ‘not just the people our parents make us but what we make of ourselves’ and we can ‘all if we are lucky, venture down the road of understanding and mercy’.  Like his masterful debut novel The Last Fine Summer (1997) this memoir marks MacKenna out as a dazzling virtuoso of the poetics of love and loss.

    Father, Son and Brother Ghost is published by The Harvest Press www.theharvestpress.ie

  • The Synaptic Twerking of Consciousness

    Life, as we find it, is too hard for us; it brings us too many pains, disappointments and impossible tasks. In order to bear it we cannot dispense with palliative measures… There are perhaps three such measures: powerful deflections, which cause us to make light of our misery; substitutive satisfactions, which diminish it; and intoxicating substances, which make us insensible to it. 
    Sigmund Freud from Civilisation and its Discontents (1930)

    One sees it traversing through the garrulous troughs on social media, particularly X (formerly known as Twitter), and in the comments section on YouTube. For example, ‘Dads car,’ and, ‘Mums SUV’, rather than ‘Dad’s car,’ or ‘Mum’s SUV.’

    It is time-consuming to learn how to punctuate and, thus, write correctly – adhering to the rules. Many find concentrating on this to be a chore. One comprehends, but… it is unadulterated, plaintive laziness.

    This is not ‘Grammar-Nazism’ as the meme-led, cultural clichéd term goes. This is about improving one’s writing, working harder, avoiding inertia and Mediocrity. Many prefer verbal communication and visual stimuli to sitting down to write – in a chair ‘old school’, the traditional way.

    An instantaneous gratification culture is alive and well. It descends into a podgy finger flicking on a dimly lit screen of an evening, absorbing those dopamine hits. Bobbing and weaving through the electronic morass. Jiving and twisting. The synaptic twerking of consciousness.

    We, as human beings, have become slovenly. Infantilised, as we pig out on junk food. Recumbent and ‘comfy’, as we wade through the internet’s offerings. Night after night.

    WALL-Es

    That scene in the Disney Pixar movie WALL-E with overweight patrons onboard the flying-in-space cruise ship on hover chairs flying around onboard, never walking, watching big screens that tell us when to eat and when to chill. These humans reflect what we have become: our seemingly ambiguous comfort in this obesity has been normalised.

    This is where the capitalist market has led us. There is profit in wanton laziness for those who make the products of greed readily available and easy to consume. They do not want to give up that income stream, and into the troughs come the snouts that munch, munch, and munch amidst the squeals.

    Shucking up gallons of fizzy drinks. Snuffling down handfuls of sweets and munching upon oil-laden fries. Scoffing on crisps, cakes, and biscuits to fill that sugar, fat, and salt desire, with little or no real nutritional value to help our brains and bodies function.

    This writer has been guilty of the above, overeating junk food. It leads to diabetes, heart disease, high cholesterol, and long-term health complications. It is a work in progress to avoid being bowled out at fifty, succumbing to gout, fat-infused valves, and diabetes.

    The idea of spending, as one young person informed me of late, ‘the evening/night scrolling through TikTok,’ is a sad indictment of where many have arrived. We delight in the displayed lives of others on the smartphone’s small screen. But is there anything to be learned from this narcissistic intrigue and fascination?

    This writer believes there is a correlation between poor diets and sedentary lifestyles. It is about accepting banality as the status quo and not desiring to work harder.

    Image: Maria Geller

    Mediocrity

    Mediocrity, as a movement, is parasitical. It moves onto a host, infects it with its form of banal idealism, and then moves on to the next victim, where it implements the same process. Replication. A bacillus of sorts.

    Mediocrity feeds into apathetic mindsets that have been taken over by the synaptic-feed outlay. It encompasses newspapers, mainstream media, and much of what is posted on the internet. It promotes and projects an idealistic self-image. Differences are highlighted and ultimately vilified – leading to racism – day in and day out.

    Terms such as ‘Shock’ and ‘Fury’ in online news articles feed into that visceral, tribe-on-alert, emotive response that keeps people in that Sartrean fear of ‘the Other’, compounding accepted, interjected biases.

    We are also constantly exposed to false standards of measurement. There is a multitude of inane, beige, loquacious, naive, idealistic, and elegiac minds all desiring the same thing – to be rich and famous.

    As Freud states in the opening paragraph of Civilisation and its Discontents: ‘It is impossible to escape the impression that people commonly use false standards of measurement – that they seek power, success, and wealth for themselves and admire them in others, and that they underestimate what is of true value in life.’

    Having a million social media followers does not generally bring financial success – it is illusory. These individuals, who are generally beneficiaries of marketing campaigns, have become false prophets. Mediocrity is a virus, burning through media outlets, claiming there is only one way.

    Because of its extensive reach and influence, Mediocrity is not readily noticed and thus rectified. It has become entrenched. The indomitable rise of Mediocrity coincides with a fall in proper adherence to punctuation and grammar rules.

    Titivillus, a demon said to introduce errors into the work of scribes, besets a scribe at his desk (14th century illustration),

    Punctuation in History

    As far back as 260 BCE (Before the Christian Era) in China symbols were being used as full stops on bamboo texts to indicate the end of a chapter. Around this time, Western scholars used scriptio continua, text with no separation between the words. The Greeks were using punctuation marks consisting of vertically arranged dots from the 5th century BC as an aid to oral delivery. After 200 BC, the Greeks used Aristophanes of Byzantium’s system (called théseis) of a single dot (punctus) to mark up speeches.

    In addition, the Greeks used the paragraphos (or gamma) to mark the beginning of sentences, marginal diples to mark quotations, and a koronis to indicate the end of major sections.

    To take two forms of punctuation, the comma and the semicolon. The comma is widely attributed to Aldus Manutius, a 15th-century Italian printer who used a mark now recognized as a comma to separate words. The word is derived from the Greek koptein (literally ‘to cut off’).

    Meanwhile, the semicolon is first attested to in Pietro Bembo’s book De Aetna (1496). In English it is most commonly used to link (in a single sentence) two independent clauses that are closely related in thought, such as when restating the preceding idea with a different expression.

    Among great exponents of punctuation, essayist Thomas Carlyle’s 1829 paper ‘Signs of the Times’ employs commas, semicolons, and dashes to break up his sentences and usher in and connect content. Similarly, Herman Melville’s divine usage of the semicolon in his seminal 1851 is evident throughout his almost biblical, classic Moby Dick.

    A semicolon can waver back and forth like the tail of a young fry salmon, or a whole raft of them can glitter and flip like sardines caught in a net. A semicolon can work like a wooden gate, allowing the woolly sheep of greater meaning to enter greener pastures, enhancing the experience of reading.

    I notice online that some scholars believe that semicolons are pretentious and overactive. So, is this writer just cribbing the numbskulls of opacity? Are we in a fugue state?  A place of unlimited bohemianism. Or am I mixing aphorisms?

    There are rustling hedgerows of commentators who draft in writers such as James Joyce, saying he ‘kept punctuation usage to a minimum.’ Maybe for Ulysses, but please do not allow yourself to be locked up in the one house of another writer’s style for justification and throw away the key. This is how a particular style becomes overgrown, with mossy banks, thorny thickets, and crabgrass obscuring the view.

    I recall a history lecture where the American lecturer said that commas in an academic essay amounted to a crime. This may be true of an academic paper which is dedicated towards a particular arguments that employs texts to make it, but not in a more literary style.

    Gertrude Stein seemed to take umbrage at ‘unwarranted’ punctuation with her grandstanding as a grammarian. She was the one who did the heavy lifting in terms of criticism – employing an academic register in her prose to disenfranchise good punctuation usage further. Stating: ‘I really do not know that anything has ever been more exciting than diagramming sentences.’

    If we embark upon this model, this mentality, we enter a Stygian process – one that slips off the banks and bobs on down to the underworld – into a void of immutable darkness and further self-perpetuating ignorance.

    You see punctuation can give writing its function. That is a litany of small symbols denoting how that particular nuanced form acts or functions. A sentence can be a sentence, but punctuation can jolt it into life. Some may say it is a question of style. I say it is a question of slovenliness in an age of electronic meandering.

    Feature Image: Roman Odintsov