Category: Culture

  • Getting Away

    Margaret didn’t like Walls, so why had she agreed to go walking with him in the mountains, and afterwards for a drink in a remote hotel bar? She had no self-control, she broke all her promises, she was weak and gormless. Flaws she contemplated, unlacing her boots at the fireplace.

    “You should take off your socks too,” said Walls. “So that your feet dry off properly. Hang them off the mantlepiece, here.”

    “Can we just do that?”

    “Do you think we have to behave ourselves in this dump?”

    Margaret smiled with warm disapproval. It wasn’t a dump, but she liked that he wanted better for her. She felt nice; she felt a sense of belonging. It was the end of December and it was a strange, antique hotel – empty, save for some old people at the collapsing little bar. The chairs shook. The evergreen strung along the mantlepiece looked feeble, picked clean by time, and even the fish in the boxes on the walls were dead.

    “Evening.” A narrow-faced unsmiling man lowered a tray of hot ports to their table.

    “Thank you, Sir,” said Walls. “Hits the spot – we feel we deserve it, too. We were out at Glendalough today, hillwalking with the best of them. Busy, here, this time of year?”

    As the men found things to say Margaret cupped the port in her hands and dipped her nose to the bitter scent of liquor, lemon and cloves. She took a long drink, gazing affectionately around. The empty floral armchairs sat facing each other, backs reclining, arms outstretched as if caught in a ghostly confab. A grandfather clock sounded. The clock was strict, censorious, like a clacking tongue.

    “It’s just so pleasant here.”

    “It’s a nice place to come and disgrace yourself anyway.” Walls picked up The Shooting Gazette and read from a story about gundogs and winter grouse, making Margaret laugh. He propped the ankle of his desert boot up on his bulky knee and leaned back, testing all the strength of his chair. His legs were long and sturdy. How much were the rooms here anyway? She didn’t have to decide on anything yet. Margaret gulped her port, sinking back, sinking further inside an evening she’d never imagined she’d agree to.

    On Christmas Eve she’d sat on a kerb on Dawson Street with her bags of shopping spread around her and into her phone typed: “Not only do I not love you, I don’t even like you, now get away from me.” She sat in the sleety cold, reading back through all their texts: the block paragraphs of his voluble accusations alternating with her neatly edited retorts. She did not feel safe. The shadows of ruthless passers-by bore over her, feet thumped, her ass froze on the cold stone.

    Margaret pressed send, then put up her furry hood and fled the streets. Their love was over, and it hadn’t even been. On Christmas day, she kept her phone switched off for discipline with the benefit of also torturing him. On Boxing Day, she turned back on her phone to face three new emails from him. One sad belated Groupon offer for ice-skating – even the offer had expired. A press release for a pantomime, subject headed ‘Matinée with me?’ Then a sonnet, typed into the body of his email and evidently authored by him too in some dismal late-night rage: the couplet ended with the words ‘dishonour!’ and ‘suicide?’. (His punctuation).

    Then on the 27th of December, she wrote that she hoped he had had a good Christmas. He wrote back that it was awful. ‘Awful’, he wrote. ‘I’m sorry,’ she replied, not knowing what for. On the 28th they chatted all day about themselves. Now we find the former soulmates on the 29th December in a hotel with buffalo horns displayed in the creaking hallway – something about the Boer War, the unsmiling concierge had told Walls – and sullen photographs of aristocrats in sporting gear. Why had she come all this way? Because that morning she’d opened her curtains to a bright winter sky booming down on her. ‘Beautiful day’, she texted, and exactly an hour later she pulled into the traffic island opposite Donnybrook church, grinning and waving at Walls as if he was a friend. He got into the car, bulky and ungainly as the wrong jigsaw piece. He looked so suspect, checking around him – always guilty, stigmatised by some certain yet unclear wrongdoing. She liked the boyish glint, the boyish smile – he was terrible, incorrigible – he was her punished pupil. They got along well. They both liked walking in the mountains, they liked wine, books, planes. He liked politics, man’s worlds. Both liked the idea of causing trouble – of escalating something, shocking other people. He edited a little online magazine in his spare time and she’d been his intern and his girlfriend the past year. His protégée, unpaid apprentice, the weirdo in the corner of his study eying him while he worked, blushing at his glances, her amorous eyes – though never undressing him there and then. Their fantasies remained just that, ethereal, abstract ideas transacting between them, through a fug of newspapers, laptops, coffee cups, vape and sandwich wrappers. All physical sex was had after dark and in the dark. About once a week, or twice a week, one of them would say something pointed and disruptive and they would argue. Arguing would last hours or days. Arguing became yelling, slamming, became toxic waste – life was flammable and unhinged, something she couldn’t control. Once, on holidays abroad, he drove her drunk late and night and told her he had the power to kill the both of them. He speeded up the car and scared the shit out of her. Then he slowed down the car. She never asked him about it afterwards, she told the story only to herself, she reasoned with its oddness; it was all bluster, wind-up. A joke – just a stupid joke.

    At Glendalough, the surrounding hills were plush and velvety with deep colours, and snow lit up the mountain peaks. The cold air blanched her face as the soles of her shoes gripped the railway sleeper tracks along their path. They chatted happily, normally, like decent people, offering nods to ruddy-cheeked women and their dogs. The sky grew dark and the hikers dispersed, leaving them alone in the mountain ranges. She felt shy and elated; she wondered if they would touch. When her ankle turned on a rock along the track, she almost fell, but he grabbed her wrist and held her glove, looking at her with tender fright. After that she let him hold her ungloved hand.

    The man came carrying two more ports, and a Christmas cake, encased in white marzipan, with little mince pies in paper cases laid out on a doily, their pastry tops dusted with icing sugar. Margaret spooned whipped cream all over a mince pie and ate it.

    “I adore whipped cream! I think whipped cream must be my greatest pleasure. If I had cream every night I’d be happy for the rest of my life.” She licked her lips of cream and sugar powder.

    “We could actually eat before we go,” he said.

    “We could. But the ice. Would the ice be dangerous?” She had no interest in the answer to her question, a formality in the resistance she would need to provide. Her limbs felt heavy, her skin baked in the heat of the flames.

    “They have a table, if we want.”

    “Oh, you already asked them?”

    She tilted her head as if she was considering something. “I suppose I am very hungry.”

    The grandfather clock ticked, jaunty, like horses galloping. Tick-tick-tick-tick-tick-tick-TICK, it went. So percussive, so repetitive it couldn’t possibly signal change, or progress.

    “Leave your boots.”

     

     

    The dining room was a solemn rectangle with every table set and nobody there. Serviettes were ironed into fans, candlesticks loomed unlit. Margaret admired a very big fork, and touched the white table cloth as if it was a sheet of gold. “This is all so nice!” She gave a histrionic shiver and at this cue, Walls took off his suit jacket and tossed it on her shoulder. The jacket buried her in warmth, and as the chill eased from her body a big bottle of red wine came. The bottle did seem bigger, fatter than an average bottle, and she assumed it was expensive. Getting home was going to be impossible, though they both had a history of reckless driving – she was chaos, did not take care with things. Food arrived with the rapid pace of an establishment with very little to do: scrolls of ham with out-of-season melon cut in half moons, thick slabs of game terrine. A blue fish with a crispy eye was placed in front of Walls and for Margaret, a duckling’s breast stewed in dark juices.

    “How are we going to make it back? I’m so tired for driving,” Margaret announced after a time.

    “Look, the rooms are fine, if you want.”

    “You think.” She let her voice trail off – she would not contribute any more to this discussion.

    “Only €75 a head, dinner included,” he said. “And it’s on me.”

    “You don’t have to.”

    “I owe you anyway.”

    “That’s separate.”

    “Sure.”

    He must have been referring to the fee he normally paid for two articles, for which she had invoiced him, and which he still hadn’t paid her for. She sliced a piece of meat in two and ate quickly and unhappily the morsels on her plate. Next week, she’d have to send him the invoice again, for the third time. They sat in silence for too long. Walls sloshed wine into her glass, and she drank as much as she could in a mouthful.

    “Let’s order dessert. Apple and rhubarb pie, sticky toffee pudding, blancmange, or – oh goodie. Baked Alaska. Or did you see the cheese on the trolly earlier? I think I saw cheese.”

    The door brushed over the carpet, and in came the serving lady and behind them, a tall fair-haired couple in handsome coats. Margaret’s head lifted and turned as the man and the woman crossed the room. Her eyes were tugged, locked, as the man pulled off his hat to reveal a face that was as familiar to her as it was intimidating, in its classic lines of beauty and clear, healthy skin. His name was Antonio, and he was the tech millionaire who had taken her to the party where she first met Walls. Millionaire, or billionare. Secret investor – someone of great worth, great wealth. She didn’t care about wealth, but. Antonio, she knew, moved easily in the world, had experiences. He had fulfilled more of his dreams than, for instance, Margaret.

    Walls was saying something.

    “Sorry, what?” she was dazed. “Sorry – It’s – did you see, who just came in?

    Antonio and the woman had seated themselves at the furthest corner, leaving a barricade of empty tables between them and the suddenly inferior, suddenly scruffy Walls and Margaret. Margaret touched her hair, damp and unbrushed, and seized a silver spoon to check her reflection – she had the face of a bumpkin, nose, lips, eyes blown up. She tilted in her chair, trying to catch Antonio’s eye while also paying Walls extra attention.

    “Did you see the dessert menu?”

    “All I saw was you staring at him.”

    As ever, it came in a single rough blow.

    “I wasn’t – ”

    “You were.”

    “But – ”

    “You were staring at him like a little girl in a shop window.” Her cheeks were hot, and her heart beat in a way that hammered, weighted her. Superglued to where they sat, stitched into the furniture, she felt that life would run on, this way, facing Walls, answering to Walls. She looked around her, so as not to have to look at him, and Antonio turned around just in time.

    “Ah!” He said, and stood from his seat.

    Both men faced each other, chests puffed as they shook hands. Antonio kissed Margaret’s cheek, and the other woman and Margaret kissed politely. “Pearl,” she said. “Pearl,” Margaret said, forgetting, for a moment, her own name. Pearl and Margaret talked for a few minutes about their jobs.

    “I’m hoping to specialise in equine law,” Pearl finished.

    Margaret dropped into her chair to see puddings and cheeses all laid out in front of her.

    “This is really great” said Walls. “I’d have to say the food has really been first class, you wouldn’t have thought it.” Hunched forwards, he sawed into his tart. “Taste, here.”

    Margaret recoiled. Like a child she shut her lips to the advance of his laden fork.

    “What? Oh, are you annoyed or something? Because I teased you for looking at Antonio? Come on, weren’t you? Don’t tell me you weren’t staring at him doe-eyed – don’t tell me you’re not mesmerised. I don’t blame you – he’s a handsome guy. You know, who cares. I’m not annoyed with you. Are you? Are you annoyed with me or something?”

    “No.” Margaret smiled politely, and then did something strange. She asked the serving lady for the bill, and she paid it using her credit card. She zipped up her wallet, threw his jacket on his lap.

    “That was very generous,” he said.

    “I’m feeling generous.” An eerie pause. She started to laugh. “Because I’m so happy. Really, you have no idea how happy I am. Because I remembered something, just there. I’ll never, ever have to do this again. I’ll never have to see you again. You have nothing to do with me anymore. You are a hole – you don’t exist. Oh, this is a relief” She tore a handful of grapes off a branch and popped the grapes between her laughing jaws. “And you know maybe I was looking over there. Maybe I wasn’t. I can actually look at people, ha ha, I can look at whoever I want, whenever.”

    Margaret hacked out a wedge of yellow cheese and lined up three crackers. “And you know I will think about all these other people, other men maybe. I might even kiss them too, on the lips.”

    “Yeah!? he goaded.

    “Yeah! I will probably go to bed with them!” Margaret flashed her eyes at her defeated lover. “And then, well, who knows what might happen? Once I’m alone with them.” She leaned over a debris of cheese rinds and blue crumbs and broken biscuits. “I’ll take my clothes off, everything. One by one. Down to my underwear, and then I’ll sit on the bed, with no clothes on, and they will look at me. Oh! I am so young, and you are not. I am so young and free, and you are so irrelevant!”

    Should she go on. Tell him all the things that she could do, with these imaginary men, or just carry on insulting him, get all the bile out on the table. No, someone had to drive them home. Margaret was over the limit. And she knew enough not to eliminate the fear that he could try and kill her, or at the very least, threaten to do so, which is also blood-chilling. She drew in a series of deep, imperious breaths, then picked up the wine bottle and upturned it in her glass. She drank the rest and sat up.

    “I’ve to go.”

    “Go,” he repeated. “Just go, just like that.”

    “Yes, now.”

    “And you probably want to go home without me, do you.”

    “Oh god yes.”

    “I booked a room. But you don’t care.”

    “Nope.”

    “That isn’t very nice – I thought we.”

    “Nope. Cut it out now. I want to go. Now. And you should drive, because I’m too drunk. And I don’t feel like driving.”

    Margaret handed Walls the key to her car, or rather, her mother’s car.

    In the dark of the courtyard, he turned the key. The engine breathed, and omitted a lengthy energetic death rattle, then cut out. He tried again. It cut out again.

    “Look,” he said. “I know you think I was out of order –”

    “Start the car.”

    “I was just going to say.”

    “Start the car.”

    He stamped his foot and the sound of pumped gas wheezed, then thinned into the night air. Tree branches crouched behind them.

     

    Later, under her duvet, fully clothed and shivering with adrenaline, Margaret’s head raced. With outrage, disbelief. Revulsion. She felt excited by the hate in her, enriched with its potency. She was free and alive, shot of him – what had she been thinking; of course, he never would have killed her, not like that.

    New year came, like a homecoming, a beneficent place of safety. And as the years passed, she still triumphed in the afterglow, the feeling of survival. But he came with her, he lived in her. His voice was in her mind, talking and lecturing and murmuring and making her laugh. It was his face that hovered in her dreams, his eyes that spotted her in a crowd, or narrowed on her in quiet moments. ‘Get away from me!’ But he wouldn’t get away. She couldn’t get away. She couldn’t get him out.

  • Homer

    He who fights with monsters should look to it
    that he himself does not become a monster…
    when you look into the abyss the abyss also
    gazes into you.
    Friedrich Nietzsche

    Day 1.

    On the question of the one against the many, as opposed to the many against the one, White was decidedly with the former after having proven, to himself at least, that his poor father was a lost one without any direction having given himself to the latter and now, after spending his life among his own, was fundamentally on his own more than ever, isolated more so than White himself was, for whereas White had taken the conscious decision to oppose the many by choice, thus accepting to lead a life of solitude, whereas his poor father by accepting to choose a life among the many, sharing their so called ‘core values’, White’s father, all his life, would go on and on about shared values; now, at the end of the day, nearing his end, ironically he was perhaps more alone now than he ever was! This was something that White, to a certain degree, could take satisfaction in. The fact that no matter what way you decided to lead your life, in the end, you always ended up on your own. Solitude was, in this sense, always the end result. Of course, this is something that White had always taken into consideration. It is, you could say, the reason why he chose to accept a life of solitude in the first place. If the truth were known, White was always intensely anti-political, which is why he hated groups. He always had. So, the idea of any kind of group consensus was anathema to him. Family being the first! The first group. He had always hated being apart of it, at least since he started to see through it. That is to say when he first started to question it when he was a very young man.

    Even White’s friends, some of whom were considered to be quite wild, were shocked by White’s initial coldness. White would refer to certain animals who would leave the family to fend for themselves. Why did humans insist on remaining in contact with their parents? Out of all the animals on the earth, only humans, as far as he could see, remained in such close proximity to their parents, and at what cost?

    Of course, White’s whole vision of the world had been profoundly altered or shaped by the tragic death of his brother. His brother had committed suicide when White was still a very young man, and this act had such an incredible knock-on effect on everything that White would do. This act had fundamentally altered White. Utterly, you could say. It wasn’t the only act to have had such a powerful effect on him, there was another, but it was the first event rather which was to have such a radical impact on his whole worldview, if one could say that White did have such a thing, a view of the world, as it were. I should probably say what the second event was now after having already alluded to it and in this way setting out the trajectory of the present tale. Building up the horizon, as it were.

    The second great event to influence White, after his brother’s suicide, was when he eventually was to separate from his wife, whom he was to eventually divorce. This was the second great event in his life. The second of the great Ds. So, first Death and secondly Divorce. Life was made up of a series of Ds, White had noticed. The 3 Ds, he called them. White being Irish, alcohol, or Drink, was the 3rd. It was a so- called coping mechanism. The results, of course, were disastrous as a man who has already been struck by two of Life’s greatest events, Death and Divorce, to then resort to Drink to get over them is simply asking for even more trouble, and of course this is what this story is all about. Stories all involve trouble, the interesting ones at least.

    I’d like to get back to White’s father now, after having presented you, the Reader, with an overview of the overall substance of the narrative of the following tale, having thus fulfilled, to a certain degree, the duties of the Author – ha, dead me arse!

    If there was one person in the world who was to have such a singular effect on White, apart from his late brother and former wife that is, it was the old pater familias. God, what an absolute cunt! A curse on his kind, indeed, as that is in fact what he was, White had surmised. The Patriarch! The cunt! The superlative arsehole of the Universe! The sum total of all his woes! As when it came to the Patriarch, the many were truly the One. They all conformed to the same depths of depravity. Hitler being the superlative. You had to nail your colours to the mast.

    Because of the dire nature of White’s relationship with his father, to a large degree White’s relations with men in general were pretty shitty. Indeed, it was rare that he actually liked one. Though not an impossibility too, having said that. He had had great friendships with some men, over the years. But, in general, White was more a Woman’s man than he was a Man’s man and this was primarily to do with the whole very complex relationship that he had had with his parents. White’s poor mother, for example, had been a martyr to all women as she had come from that very particular generation of women in Ireland who simply stood by their men, come hell or any amount of assorted high water! High water indeed, the expression was literally true now, now that they were all expecting a biblical like deluge to submerge them all due to global warming. Patriarchy and Fossil Fuels, now how many academic papers were headed in such a way in Humanity Departments in progressive universities all around the world?

    One could dream of Noah and his drunkenness. White saw again Uccello’s depiction, all cascading in glorious Rouge, or Reds….

    The fact of the matter was, no matter how you wished to look at it the situation was truly awful. The man had been the worst possible fucking cunt of his kind. There were no redeemable qualities, the more he looked the more shit was uncovered. How many could say the same? These shits, shits of their kind, this kind, this kind of shit kind, the shitty fucking shit kind, the kind of shitty fucking shit that you wouldn’t want to shit next to nor sit beside mind, that kind, mind your backside! The fucking shitty shitters and their fucking shitty shitting shits! Those kind of shitty fucking shitters… That Kind!

    End of Day One!

    Day 2

    Now White hadn’t always been an aggressive son of a gun. He had become one. His nature then was historic, you could say. Informed as it had been by the unending deluge of experience that had gone on over his time in the world. Planet Earth. What they had done to it! It was nothing short of disastrous. The so-called strong men. What a bunch of dipshits. Strong men my ass. Show me a man and I’ll show you an ass, that is what White would say. As he had lived with one. Oh yeah, he had survived him too. Mister Universe spinning around in his tight leopard skin briefs. Bikini briefs! God forbid. It was infectious. The briefs that is. “Be brief!” Puts a whole new context on it…

    When he thought about his childhood, which was rare, White remembered particularly the long torturous dinners which went on in the depths of winter. The family, all six of them, surrounded the table upon which the food had been placed. Every Patriarch worthy of the name has his place at the table and mealtimes are a particular pleasure for control freaks of this nature as these events allow for a certain element of theatricality and ceremony. Placing people at the table involves a whole network of categorisation. Hierarchy within families, for example. Directors on Boards. They all involve systems of power, and so invoke a little ceremony.

    White, for example, used to sit at the head of the table directly opposite his older brother who eventually committed suicide. White was the second in command, following the patriarchal hierarchy. His sister sat beside his mother on the left side, important detail, as you came in the door and then on the right- hand side sat the Father and on his right side his youngest son whom neither White’s older brother nor sister could stand. He was the porte parole while the eldest brother was the weakest link. White could see it all, how he had been set up to fail. As he was not a natural leader, White’s eldest brother. This had been his great tragedy and which was to kill him, literally, in the end. It would have been better, in many respects, if White had been the eldest as he had leadership qualities but then they had been acquired by White from a sustained practice of observation. This is how White seemed to have learned everything, from the point of observation. Seeing how Not to do something, typically then in everything in later life also the very point of departure.

    White could remember the hours spent at the kitchen table listening to the voice of God drone on endlessly about some subject matter. Omnipotence. This was a key idea in the pater familias. The all seeing all knowing One, like the Sun. The King without a throne. The King looking down at his subjects, all knowing, all condescending! And oh God how he would go on and on and on and on and on and on and on…in a monotone.

    Of course, the atmosphere around the table would be unbearable. I have read accounts of Hitler at the dinner table, apparently he gave these endless monologues talking for hours and hours and hours and hours. Omnipotent. All knowing, addressing all kinds of subjects. Not really knowing all of the subjects at all, and so talking absolute horse shite half of the time. Can you imagine it? One of the World’s Most Important Figures Talking Absolute Horse Shit. And for hours!

    Yes. In retrospect, White had been well prepared. All his life. For his Life. LIFE. In screaming capitals. He could take great pleasure in that fact. That it had all, all the horror, all the boredom, all the manic pain and apparently pointless suffering. It all had some kind of purpose, in the end! It was preposterous, really. And for what? By what grand design had it all been arranged for?

    Were there reasons for it all, after all? Some universal truth? There in the great black firmament, shot through with countless stars for millennia, in the great abstraction of the night of the cosmos was there, after all, some kind cosmic arrangement where the infinitely, infinitely small and inconsequential, most insignificant of beings finds a place after all in the great scheme of things?…

    No answer. Silence. The kind of silence that could sink whole nations. A Black Hole. You are on the event horizon. Don’t fall in. Or perhaps we are already in and have come out the wrong end? That would make sense.

    Platitudes

    The people who live here will never get bored with the beautiful views
    The truth is they do, and this kind of explains the whole god-awful mess.
    Whether it is the young man who, having finally won over his ‘beautiful
    Princess’, starts focusing now on her bad breath and tiresome habit of
    Complaining already after only two years in and who will,
    After breaking up with her one year later, dreams only about bottling that
    Same horrendous breath and keeping it as a heady perfume
    To remind him of his most cherished memories.

    Loss, that great Optician, Loss, and absence its partner,
    Are the great rose-coloured lenses that truly help us to SEE
    The many-splendored colours of the world.
    Seeing through the cracked lens offers alone true vision.

    (There’s one  for SpecSavers!)

    Day 3.

    White never actually liked his parents, if the truth were known. How could he? His mother, after all, was not very intelligent. She was smart, and quite pretty. Actually, very beautiful when she was young, but she was also extremely subservient, not very curious, she could be a real bitch and was not at all tactile, so not prone to showing any kind of affection to White nor his siblings. This was hardly surprising considering the fact that her mother before her was a horrible woman who was hysterical, fanatically religious, cunning, cruel, malicious and spiteful. In fact, whenever White did think about her, which was rare, ugly was the word he would use to describe her. Such were his memories.

    As for his father… It was even less pretty, the picture. He was a profoundly vain and ignorant man and it was this twin display of vanity and ignorance that were particularly horrendous to behold; the latter of course cancelling any reason for the former to exist, you would think! But no, the ignorance was such that it apparently clouded all judgement in the so-called thinking subject, as it had no awareness of its own faults, and what was even worse, if it did, and sometimes it seemed to show some inkling of awareness (For example, when it was eating at the dinner table, it had the habit of chewing its food with its mouth open, a truly odious habit, and then, seeing that White was actually observing it, instead of closing its mouth like any normal person would, it instead continued to masticate its food in an even more exaggerated manner like some ghoulish creature, which is why I am speaking about it as opposed to him.) but even so continued its ghoulish behaviour nonetheless. That is when White started to think of his father in terms of the mythic creature fabricated by Homer.

    The Cyclops was, at least for White, the most truly amazing poetic metaphor in all of western creation. White never ceased to be amazed by Homer’s creative genius when he did think about it, which was a lot due to his particularly horrendous relationship with his father. White wondered was he alone, in this, and, by the fact that Homer’s metaphoric beast was being re-invented time and time again for generations and generations of people down through the millennia so that they too could understand the truly epic horror show that they were dealing with which was, in a word, PATRIARCHY

    There it was. The bullet stopped here. This ten- letter word fell off of the pen or the tongue with all of the monumental obstinacy of the one-eyed monster himself. The cave dweller of old, horribly blinded by the clever and equally intelligent Odysseus himself. It is this twin pillar of cleverness And intelligence that had made Odysseus the truly remarkable hero that he is and again this is a further testament to Homer, or the Greeks, their incredibly astute insight into man’s nature. In other words, what it meant to be a Man. A Real Man, that is, as opposed to some One-Eyed King of some barren cave dwelling along the coast. You could of course say, perhaps must, here we have the two kinds of man, in the end. The Cyclopean Monster, or what we would call in modern parlance – The Narcissistic Toxic Male. TNT M. Nietzschean dynamite. All metaphors being carved specifically from the finite, as good old Friedrich knew.

    Back at the kitchen table, White could only look upon the creature before him as the Cyclops personified. There before him, that grotesque vision of the creature masticating on the meat before him. Contemptuous, almost, of him. The beastly couldn’t give a FUCK look of him. I AM THE KING. The Cock-eyed face of power on him. Tunnel vision. Hence the voice. HMV. His Master’s Voice. Lacanian. Tripping on the Real. The lexical field filled with metaphors is far more really lasting then the mere sports field with all its associated bruises and weather stains, for they will all be memories. Whereas, the symbolism will reign eternal. Such then is the very potent power of poetry. This is why the intelligent princes feared it. Not only the Greeks but in every culture.

    White saw again his Irish Master incontinent with piss- stained grey pants, his face a travesty of a man. More a Terminator in decline, his rusting member leaking out like some old oil well. Grotesquerie. For teenage boys a male mockery.

    White would go home alone and strip and slip into his mother’s room would steal, like countless boys before him, tights and underclothes. Fetishes that he would take away to his cave where he would sit alone unmanned and Freudian.

    Enter the imagery of Salvador Dali. The Great Masturbator. Eros and Thanatos. Sex and Death. Such were the twin pillars guarding the Exit, from the mad man’s lair. Such was the wonder of her hair. The other worldly feminine. That offered some kind of safe-haven. From IT. From Him.

    Enter then the Muse.

    Feature Image: The blinded Polyphemus seeks vengeance on Odysseus: Guido Reni‘s painting in the Capitoline Museums.

  • Lessons from the Great Depression (II)

    Ger-mania…

    Extraordinarily, Germany appears on the brink of following the lead of Austria in mandating a vaccination against COVID-19, as segregation of the unvaccinated continues. We seem to have entered what Gore Vidal described as the United States of Amnesia, as all history is forgotten. So let us cast our mind back.

    I maintain the German Weimar Republic (1919-1933), more than even the U.S. Great Depression, remains the emblem of our age. The comparison is not exact of course, as all analogies break down through the shifting sands of time, but it is useful to review the literature of that period and draw parallels.

    After World War I, when misguided reparations, and a war guilt clause, were inflicted by the victors – with the French and Clemenceau in particular in the driving seat – Germany was crippled with war debts, but crept along until the banking collapse. The period up to 1929 and shortly afterwards was a triumph against great odds of a fledgling social democracy: the Weimar Republic.

    The period is associated with great creativity, and indeed became a synonym for decadence and sexual libertarianism, which made it a soft target for Nazi thuggery. The bonfire of the vanities and the burning of the books was the fascist exhalation of degenerate art.

    Likewise our own Age of Austerity in the wake of the Financial Crisis of 08 has destablised the social and economic structures. We also have had a period of relative freedom, despite the economic pain, but now operate in most countries under a grinding authoritarianism in the face of collapsing health care systems corroded by decades of neoliberalism.

    A begging disabled WW I veteran (Berlin, 1923).

    Tomorrow Belongs to Me

    The Bob Fosse film ‘Cabaret’ (1972) has the fictionally represented Christopher Isherwood in Weimar times represented as leaving Berlin after he hears the Nazi youth sing ‘Tomorrow Belongs to Me’, one of the most chilling songs in a popular film ever recorded; an even more sinister version of the Horst Wessel Song.

    In fact, in the book Goodbye to Berlin (1939) nothing quite as dramatic as that epiphany occurs, just the sense of the persecution of the Jewish community, Communists, dissidents and degenerate races in a sedulous and incremental fashion. This was a fascist authoritarian creep as economic destruction creates victims, but also the externalisation of hatred. The demonisation and demonetisation of the other, crucial also in our own age of unfettered rage and lack of moderation.

    Bertolt Brecht

    The Aesthetics of Resistance

    Peter Weiss made a similar point in his after the event masterpiece, The Aesthetics of Resistance, where in cold retrospect he saw how those with idealism were destroyed.  His masterpiece of memory ends with the execution of his comrades in the Frankfurt Trials; executed and left to hang on fishhooks.

    Bertolt Brecht also saw in genesis and with mystical precision the bloodletting to come in The Threepenny Opera:

    When the shark bites with his teeth dear
    Scarlet billows start to spread
    Fancy gloves though wears Macbeth dear
    So there is not a trace of red

    Now again many want no trace of red. Just bright blue colours. No shades of grey just sanctimonious conservatism.

    The sense of unfolding chaos at the effects of the Great Depression in Germany is well documented in Victor Klemperer’s diary Let Us Bear Witness dating from 1933. He was peculiarly well placed with a protected Christian wife and a Jewish convert to Christianity. Dismissed from his job; furloughed but not sent to a Concentration Camp.

    The rise of fascism was a consequence, then and now, of economic collapse and that is the difference between the American Depression and the German equivalent, but it was a narrow escape for America.

    Roosevelt as a social democrat saved America. but as Philip Roth’s excursus in counter-factual history amply demonstrates there was no shortage of fascist demagogues who could have unseated him, including the folk hero Charles Lindberg. Such is The Plot Against America, where a fascist becomes President. Not then of course, but now?

    But that is getting ahead of ourselves to the endgame. Let us at least anticipate and make plans in the light of a project endgame called The Great Reset, a phrase unerring close to the great leap forward as we enter Chinese corporate feudal times.

    The sense of impending chaos in the Weimar Republic is also well documented by caricaturists such as George Grosz, Otto Dix, and others, many of whose greatest paintings hang as a reminder in Berlin.

    If you look at Grosz’s inelegantly titled Pillars of Society (1926), with the subtitle Shit for Brains, you will see one of the paragons of virtue. It anticipates disaster as the economy collapsed, and the Nazi judges and commissars who would work hand in glove with their jackboot associates.

    Ripe for Collapse

    On its current trajectory, the EU, as Varoufakis recently indicated, is likely to collapse, sooner rather than later, with a pan-Germanic latter day Hanseatic League altready taking its place. Few should mourn it in Ireland and Greece where the social structure has been destroyed through the impoverishment of large cohorts of the population who have falled into homelessness. Ireland is now controlled by hedge funds as a kind of sub-Indonesian corporate client state.

    And what do corporate judges, bankers, lawyers, and politicians do? Well, enforce further austerity in the shape of lockdowns on a docile and far too accepting population. Socially distanced and self-isolated for the near future without a prospect of stability, a sustainable living structure, or affordable rent or housing.

    And what does Weimar art reveal about intellectuals? That they are useless panderers. The paintings of Otto Dix perfectly captures bohemian delirium and ineffectiveness.

    In effect our contemporary consensus neoliberal spouters are spectators on a society falling apart; the collective fiddling as Rome burns. McWilliams in his wine bar.

    So, hand in glove with economic collapse we witness the destruction of the very concept of human rights. The seepage of emergency powers and executive action, documented in the eariler period by the great jurist Carl Schmidt, with disproportionate and excessive measures. Just as the Reichstag fire was used to end democracy in Germany.

    As far as social and economic rights and Weimar was a disaster. Banknote were printed in billion increments with which you could barely buy a loaf of bread.

    Berlin Alexanderplatz

    Perhaps the greatest German novel of the Depression era is Berlin Alexanderplatz by Alfred Döblin, although his neglected earlier novel Mountains Oceans Giants also presages our times, with its harbingers of environmental collapse.

    Döblin also utilises other 1920s anxieties — Malthus, Suffragettes, miscegenation, decolonization — onto the 27th century where Europe is under siege from “hordes” of migrants “flooding” from the Global South. “India-China-Japan” rises as a rival bloc to the New York-London “Anglo-Saxon Imperium,” while fierce clans of women find success in an “unending struggle against patriarchy,” even preferring “taboo” relationships with the alien migrants.

    Science fiction then but becoming recognisable today. The demonisation and demonetisation of others and the migrant. Not one of us.

    Berlin Alexanderplatz was dramatized by Werner Fassbinder in the peritectic chronicle of its everyman German Franz Bide Kopf, convict, pimp, worker; through the swathes of the Weimar republic.

    It is at one level a chronicle of our own time. Dubious associations, flirting with fascism and in passages most relevant and redolent, a panegyric against erstwhile Communist friends, which shows how the everyman is seduced by Utopian ideals:

    We’ve got to have order, order, I’m telling you, order—and put that in your pipes and smoke it, order and nothing else . . . and if anybody comes and starts a revolution now and don’t leave us in peace, they ought to be strung up all along the street . . . then they’ll get theirs, when they swing, yes, sir. You might remember that whatever you do, you criminals.

    Law and Order the totalitarian clarion call. The most important passages are the slaughterhouse and abattoir scenes, which are most unsettling and relevant to our times. Equating the costing of microscopic slaughter of the animals with human slaughter. The expiration of man and beast, or cost-benefit analysis of life. Compulsory vaccination for the herd.

    The Weimar Republic echoes through the ages. and Germany is reverting primitively and Gothically. Atavistic tendencies can be seen with the arrival of compulsory vaccination and vaccine segregation. Austerity unleased dark forces, and there is no genuine social democratic corrective in sight. The Weimar republic ripples through the ages.

    Feature Image: Joseph Goebbels views the Degenerate Art Exhibition.

  • Three Dystopian Poems

    Somatotropism

    My lungs were out of helium, so I wandered out of my anti-memory cell to buy some freedom vouchers. The land, its never-satisfied lips… I remembered every man was his dog (and a mad Englishman.) I remembered being a bumblebee in milk. Agony and honeysuckle. Was I vaccinated against imprisonment? Was I immune to the moon?

    A man was carrying his presence towards me. His haemoglobin eyes… We prayed unto unentanglement. We sang, “Don’t wasteland me! Teach me how to live inside the waiting.”

    The guardians of sociability descended on us from a Times New Roman cloud. We pleaded guilty to togetherness. They later indemnified us for the loss of our identities.

    This smell of undocumented thoughts, the South of my drowning voice… Sing the restricted body, whisper to an unrestricted mind. We always have a choice between not dying and not living.

     

    Disaster

    As I was leaving the museum of names, I noticed that I had lost my number tag. Now I can’t sip taxes or sculpt coins. I have to play a cross-check game with the Department of Streamlined Health that likes eschatology, September snowflakes, and the Nebraska samurai. Not necessarily in this order.

    There’s no return to what has abandoned you. I’ve learned from a birch how to jive. My cat has taught me some Descartes. Can I solve the mystery of “me” in the garden of sculptures? If I get there, how am I supposed to pose?

    Opinion drones are out to get me. I have to hide now; I may join a non-prophet organisation and appear, disguised, in their grotto photos. I’ll need to know my nameless, numberless self the way a camel knows the geometry of the desert.

     

    Body and Mind

    A railway station, splinter-European. The sky in black and white. The lounge lit with blue Plexiglas eyes. A preacher of health peeps in through every window. “We can all be safe,” his parrot parlours. On the neighbouring bench, somebody has his hose amputated. His showerhead bleeds incongruous truths.

    A woman takes a back seat inside my eyes. “My name is Deci-belle,” she addresses the pigeons behind my back. “Sorry about the dehosement; you weren’t supposed to be in such proximity. I am just a denouncer; this was nothing of my doting.”

    The clock blinks 66.31. The absence of train arrives – its own stationmaster, a hyperbola shading in its innards. A tannoy splashes the brain symphony. The preacher swallows his badge saying “Your body, our choice,” and begins lizarding between ministerial decrees towards radio clarity.

    Image: (c) Daniele Idini

  • Musician of the Month: Claudia Schwab

    Of New Lands and Turning Points… 

     “You can play! Just take it easy, play slow. Play for a few minutes and then give it a break… there’s no panic!”

    I was recently asked by one of my composing mentors to think about and summarise what I’ve done as a musician and composer so far.

    So I sat down and tried to recollect my memories of how it all began, and how indeed I have managed to be lucky enough to adopt one of my biggest passions as a full-time profession for the past several years!

    As I began to travel back in time, re- encountering a happy child’s uninhibited explorations of the world of sound, long afternoons and evenings spent at the local music school and orchestras, my first ventures into playing more groove-based music; I soon reached a curious turning point that stirred up major reflection. I revisited a period in my life that, at the time, felt excrutiantingly painful, though ultimately helped me to foster a healthy and much deeper relationship with music.

    Music School and Hurting Hands

    My early musical life majorly evolved around playing classical music: I took lessons on various instruments at the local music school and was part of various ensembles and choirs as well as local and international orchestras.

    Truth be told, I don’t think I was ever that taken by the actual music we played. At home I would listen to bands like the Beatles, Nirvana, the Spice Girls, Tic Tac Toe, Broadlahn, or Sandy Lopicic Orchestar. However, I always loved the feeling of playing and singing with other people, to be part of the community.

    I had wonderful music teachers and I think that, for the most part, they did not push me too much beyond standard expectations to practice. Rather, they tried to motivate me by conveying their passion for the music we were studying. When I started to experience trouble with my hands, there was one or other teacher who did not know how to steer me in the right direction of how to proceed with my daily practice. Having said that, the experience of chronic pain is a complex issue and beyond full comprehension of most teachers, musicians – and in fact doctors – that I have met so far. I am convinced that everybody always had my best interest at heart.

    It was at the age of around seventeen that I developed repetitive strain in both of my hands; with a ganglion cyst developing in my right wrist as a consequence. Sometimes it hurt so bad that I struggled to brush my teeth. It disabled me so severely that for years and years I was barely able to play for more than ten minutes in one go.

    I wrote my Leaving Cert exams on a laptop, as I was unable to write by hand. I had to stop taking lessons, cancel concerts, and burst out into tears regularly at folk sessions where all my friends were jamming and I could simply not join anymore. For one or two years I had to stop playing altogether and I was warned that the ganglion cyst could seize up and make it impossible for me to move my wrist anymore.

    I went to see different physiotherapists, chiropractors, acupuncturists, homeopaths, healers.  I visited a healing stone; tried dance therapy; different creams that were supposed to be the cure. I bathed my hands in hot and then cold water, wore bandages, wrist supports. None of it helped.

    I will never forget a chat with a girl once on the way back from a folk music gathering in the mountains. She said: “Well you know, I really used to love rowing, it was my thing. But then I hurt my shoulder and I had to give it up and find something else. Maybe it’s like that with you and music”. I thought it was the meanest thing anyone could ever have said to me. I could not – and still cannot – imagine a life without music playing a central role in it (we’ll see about the next one). For me it was like losing part of my identity.

    It took me many years to understand what was going on at that time.

    A Perfectionist’s Struggle

    I was always a high achiever. Not that I always wanted to be better than the others, much worse:  I always had a genuine fear of failing completely.

    It comes as no surprise that, even though my teachers were kind and understanding, I did feel the pressure of completing grades at the music school. To try and play every note perfectly. An expectation to go on to study classical violin.

    I still struggle with the system of how classical music is being taught. In fact, everytime I think about it I get a bit angry and I am scared for young children that might have the joy of play robbed from them. But I like to think that it will just take some more years for a breakthrough that will bring along the integration of a better understanding of the nature of creativity. Of how to achieve a certain kind of “perfection” without the pressure of having to be perfect.

    As for me, having learnt about my perfectionist tendencies and anxieties that seem to amplify and transform every bit of advice into a perceived obligation, I do realise that the same guidance might well have been just right for another person. Somebody that thrives more on, or is in fact depending on, external encouragement to “become better”. (I put this in quotation marks, because: what does it mean to become better anyways?!)

    What I needed to hear however were these words: “You can play! Just take it easy, play slow. Play for a few minutes and then give it a break… there’s no panic!”

    A Session in McGarrigle’s Pub in Sligo.

    New Lands and Turning Points

    Faced with the fact that for the unforseeable future I was unable to study violin or another instrument, or to hold down any job that would rely on the strength of my hands for an extended period of time, I came up with a temporary escape plan:

    At the age of nineteen, I moved to Ireland to work as an au-pair for a year. What I didn’t know at the time was that I had acidentally emigrated. Some sixteen years later I am still here! But that’s a story for another day, or perhaps indeed it is not: for it was here that things slowly started to change.

    Looking back, I can see that there were many factors that contributed to the recovery of my musical freedom. An overall much more relaxed lifestyle, a new beginning in a different country, being able to hold down a job that had nothing to do with music. But most importantly, I believe that I owe it to certain people and a couple of influential books that I finally was able to find my way back into playing.

    When I landed in Sligo, I was lucky to fall in with a great gang of musicans. One of them in particular, Rodney Lancashire, repeatedly encouraged me to play without worrying about it. To play slow rather than not playing at all. To try and relax about it.

    So, after having stopped completely for a couple of years, I took up the violin again – or perhaps, rather the fiddle this time around. Playing solely Irish traditional music for a few years, it proved quite therapeutic: starting to play slow and for short periods of time at first, I was increasingly able to play longer.

    A few years later I started to study at UCC. It was in Cork that I met violinist Kathryn Doehner, who introduced me to a side-strand of Alexander Technique. Taking me on as a case study, she made me aware of what “good posture” really meant and the fact that when relaxed, anything was possible.

    At around the same time, on the urgent advice of my friend Fergal O’Connor, I started to work with Julia Cameron’s The Artist’s Way (1992). This book absolutely changed my life: going into it with a mindset of “I’m not a real musician”, I came out of it having composed enough material to release my first CD, Amber Sands, in 2014! Learning about how to maintain a healthy relationship with creativity, it finally offered a way to escape the terrors of my inner perfectionist.

    The last piece of the puzzle I was struggling to put together for the last seven years or so came in form of another book: it was Dr. John Sarno’s The Mind- Body Prescription (1999), recommended to me by saxophonist and composer Nick Roth, that finally set me free.

    To give a very brief synopsyis of Dr. Sarno’s approach as I understand it: coming from a background of rehabilitative medicine, he believes that the chronic nature of the majority of repetitive strain injuries to do with tendons, nerves and muscles stem from suppressed or unsolved psychological distress.

    As a last resort to grab our attention, the distress moves into the body from where we finally have to deal with it. Offering a simple and inexpensive solution, he explains that in many cases it is enough to simply learn about, and understand, the interrelated mechanism at work between the brain and the affected area of the body.

    I have to say that, would I have read that book a few years earlier, I would not have been able to understand it. I believe that it was necessary to go through all the other approaches of treatment first, so that I could see that it was really up to me to solve this problem. But the right time had come.

    I will not say that I never feel my hands or wrists getting tired anymore. But when they do now, on a rare occasion, I am not afraid anymore. I know that the pain will not linger. This very absence of the expectation of a pain to become chronic is one of the major keys to breaking the cycle. I have understood the principle, and most importantly, that there is absolutely nothing wrong with my hands.

    In Awe of Music

    The experience of being unable to play for such a long period of time was absolutely horrible – an early existential crisis perhaps. At the same time, faced with the fact that I might never be able to play again, I realised just how much of a fundamental role music played in my life. It forced me to acquire a deeper understanding of the nature of chronic pain that will serve me as a life lesson.

    It got me to understand the importance to look after the mind, as well as the body, and I do so on a daily basis. It violently threw me out of the path I thought I should follow and slowly guided me into a very different life that I could only have dreamt of.

    I don’t take music for granted anymore. From the point of secretly accusing everyone around me for putting so much pressure on me, to cursing my hands and wishing that I could just get a new pair; I have reached a point of understanding and a deep gratefulness for the fact that I can play again – for as long, fast or slow as I want to. Having found my way back to a state of playful curiousity that I remember from my early childhood, I am in total awe of music.

    Find out more about Learning Methods for Alexander Technique: http://www.learningmethods.com/what’s-the-opposite-of-perfect.htm

    Website: https://www.claudiaschwab.com

    Facebook: https://www.facebook.com/Claudiaschwabmusic

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

    Bandcamp: https://claudiaschwab.bandcamp.com/album/amber-sands

    Featured Image: Peter Crann

  • The Giant Hare of Cloondarone

    I felt myself still reliving a past that was no longer anything more than the history of anther person. Marcel Proust, In Search of Lost Time.

    I

    It got to a point that whenever I searched through a friend’s record collection when staying with them it stared right back at me: The Waterboys’ Fisherman’s Blues. Whether in Dublin or London, Berlin or Oslo, it was stood out like a sore thumb.

    The weird thing is we never professed much grá for the album when it came out in the 1980s. We were coming of age teens when news filtered through that the older crowd were out jamming with The Waterboys in Spiddal. At the time ‘The Whole of The Moon’ bookended teenage discos across the West; a cue for a crowd to go off on one.

    The Waterboys were solid purveyors of ‘big music,’ a band destined to play stadia across Europe; a band critics tipped to be the next U2.

    So why the decamp to Spiddal of all places? We couldn’t get our heads around it. We were happily pushing our high-minded ideas into the world but it seemed like a step into an abyss. Some called it career suicide and we nodded in agreement. One minute the band was on Top of the Pops, the next they were playing sessions in a Spiddal pub. No sooner had Fisherman’s Blues come out, then the songs filled the airwaves. We had to engage with the music that was all around us. But we never professed to like any of the songs.

    Pointing the Needle

    Thirty years later I peered into the record collection of one of those former teens and Fisherman’s Blues was there looking out at me. It was the morning after a cold and wet November night spent sleeping on a couch, as my friend left for work.

    I made a coffee and rummaged through his record collection. There it was: a vinyl copy of Fisherman’s Blues in its striking green jacket. I pointed the needle, lay back on the couch and listened to it straight through. It was a bewildering experience; the object of what I had rebelled against as a teen so defining of those same years.

    Those days when noses were turned up at rock stars decamping to the West of Ireland to play trad had passed, and the singles ‘Fisherman’s Blues’ and ‘A Bang on the Ear’ became anthems.

    Fisherman’s Blues came out when the West was a still a relatively unscathed tourist destination. It was a time when you could park a caravan on the side of pretty much any Connemara road.

    Years passed, the tourist industry got its claws into the West, and in the interim the legend of Fisherman’s Blues grew. The album is talked about today in the same breath as Bob Dylan and the Band’s The Basement Tapes; another ramshackle of songs that just work. It isn’t so much 80s rock in dialogue with folk trad, but big music in touch with all the folk of the Western world.

    Ireland’s Sonic Answer

    Dylan recorded The Basement Tapes in a Woodstock home, adding mystique to the outpost of his Bethel Township. For a time Spiddal was Ireland’s sonic answer to New York’s Bethel: an outpost that could bring sustenance to a once distant metropolis.

    Musicians travelled in and out; from Tuam, Gort to a village integral to the West yet cast off from the innards of urban life. By turning to Spiddal, The Waterboys’ leader singer Mike Scott could tap into the pulses of the West of Ireland, yet still remain in close proximity to the hustle and bustle of Galway city.

    Hemmed in, cabin fevered, he could head to the docks, in the hope of chancing on new musicians. Maybe he stumbled to the docks one day and met the Tuam lads I knew, and word began to sift back to the others that myth was forming on the Western seaboard.

    Mike Scott in 2012.

    A Time Before the Internet

    I got back home from Dublin to Murroe, having listened to Fisherman’s Blues on the bus, the music birthing memories of a time before the Internet began its colonization of the imagination.

    Listening to the album that day brought me back to a decade when whispers carried from one end of the county to the next, and those awaiting dole day with penniless pockets were served tea free of charge by sympathetic publicans. Tuam, an unemployment black spot, was a place to escape from, and music was the escape before that escape.

    The young were looking out towards London or America, with nothing but burned ambition close at hand. The actual song ‘Fisherman’s Blues’ captured the desire to hold on to the older ways of life at a time when Ireland was opening up to the wider world. Oh to be a fisherman, tumbling on the seas, taken in by the sole task of feeding a village back on land. No wonder we disregarded the song: it was a paean to a distant past, nostalgia for a world we were trying to escape.

    Tipperary Hills

    The album played through as the Tipperary hills gazed back from inside the bus, a markedly different landscape to one where the Atlantic Ocean hovered in full view. I listened to the opening of ‘World Party’ – a song that belittles the claim Scott ditched the ‘big music’ when he arrived in the West – and reflected on its simple championing of the imagination.

    ‘I heard a rumour of a golden age’ Scott sings, summoning the ghost of W.B Yeats on an album that also includes a rendition of his poem ‘The Stolen Child.’ ‘Don’t settle for reality’ the song seems to say, believe in something greater.

    The next day I made my way to the forest that sits at the entrance of Glenstal Abbey beside where I now live; a route I walk each morning with my dog Oscar, listening again to the album on repeat. There was a pink afterglow on the distant Keeper Hill; clouds gave a dusky contour to the skyline that begets the Abbey itself.

    Large hedges dwarf the walker of the route, unlike the stretches of Connemara land I associate with Spiddal, along the boreen leading to the trail located within a forest that is a hive of nature sitting in close proximity to Murrroe village.

    The forest homes all sorts of wildlife: squirrels, pine martens, foxes, deer that wander down from the hills. Even when the trail is muddy, it dries so quickly it is suitable to walk in all seasons.

    The Gatehouse to Glenstal Abbey.

    Three Loops

    That day and for two weeks after I listened to Fisherman’s Blues in the throes of walking or running along the trail. I listened to specific songs along one trajectory or route, passing the overhanging oak trees, past the stream marking the boundary between the cattle fields and the forest itself. Then I returned to a little inlet in a wall that said I was back at the beginning of the route.

    I did three loops of that specific trajectory on the first day, with each song on Fisherman’s Blues synced to play twice in a row; ‘Sweet Thing’ to ‘A Bang on the Ear,’ to ‘When Will We Be Married.’ It was a punch in time to remember a former self.

    I remembered hitchhiking along the N17 from Tuam to Salthill as a teenager. I remembered weeks spent on the Aran Islands learning to speak Irish, wondering aloud if the islanders were the same as me.

    Locals tell me that the trail as an exercise in boredom; a dizzying mantra of physical exertion. But it is perfect for quiet contemplation.

    Some come to record the birdsong at dawn; nature conservationists gather for educational purposes (leaving contraptions to feed the birds at night). The trail is the perfect place to listen to music and walk in peace.

    It was December 6th when I went there intent on listening to ‘When Ye Go Away,’ perhaps the most moving song on Fisherman’s Blues, on constant repeat.

    The song began to play as Oscar nudged his way through the gates that mark the entrance to the trail from the village path. The trees were shorn of their summer plumage, standing out naked-like in my midst. Winter was everywhere. I knotted my laces to stop from me tripping in mud, and began to walk the first loop with Oscar in tow.

    For some reason the same song had stood out from all the others on Fisherman’s Blues. The song soon began to push its intimate waves of affectation down upon me.

    Following my Trail

    As a song ‘When Ye Go Away’ turns on the phrase ‘fair play to you’ – a kind of mantra. Although cited as ‘fair lady’ on some Internet sites, it is a phrase typical of the West.

    I thought of ‘play’ regarding Synge’s Playboy, the way it informs the language of Galway. The phrase comes after ‘in the morning you’ll be following your trail again,’ a line that seemed directed at me.

    The lyric seemed to be calling out in my direction, echoing from the forest of Glenstal: I was, as Scott says, following my trail. The echo of ‘fair play to you,’ such an uncommon phrase in the mid west area of Ireland was affecting; in a place where ‘good man’ or ‘go on kid’ dominate the vernacular.

    Then the sun came out from behind the clouds and rays of lights ushered through trees, bringing new sensations to bear. I began to step in and out of the past.

    I was slowly ushered back in time, consumed by memory. Scott has a poetic skill. He can make meaning dissipate and compute almost simultaneously; the listener grasping his or her context as the bigger one one slips away. ‘When Ye Go Away’ initially read as a lament to a lost lover, a pang to heartbreak, knowing one has gone forever. But as my loops of the trail mounted up, a different context began to emerge from the song. The words ‘your coat is made of magic, and around your table angels play’ gave way to the great lyrical refrain ‘I will cry, when ye go away’ like a memory blow to the gut.

    A Mare in Foal

    The angels had come in the back door he rarely locked, slowly gathering at the table in the open plan kitchen, as we made our way down the stairs, groggy and still half asleep.

    My father was making coffee at the counter and speaking jubilantly about the coming day, talking about the rugby on the telly and the mare that was in foal. One of the angels said the mare would hold onto the foal as long as possible just to annoy my father, interrupting his sleep to make nightly excursions to the stables with flashlight in hand a permanent feature.

    ‘She won’t give up easy,’ the angel announced, pouring sugar into a cup of tar-like Nescafé coffee. We sat there, angels on our lap, looking out at the green fields in hope the giant hare of Cloondarone would come out to play.

    I skipped away from the image of a hare nodding up and down in the backfields.  Back to 2021. A cow stared at me from beside an empty ditch. Across from the ditch was the abbey driveway in the distance: a road peppered with walkers. The autumnal-winter colours of the forest contrasted the green field, a blanket of darkness to lose yourself.

    The song played through again to ‘I will rave and I will ramble, do everything but make you stay,’ bringing me slowly back to a summer in 2013.

    I was entering the time shuttle called memory again. I am parked on the hard shoulder of the motorway waiting for my father to answer the phone. We talk and then, before I know it, I am in Galway city. We are arguing over something one of us had sparked.

    Memory brings out the details; a heated discussion walking at the Spanish Arch. I remember the moment I pulled in on the way home to send a text to him, apologising. I had watched him limp up Merchants Road from the Arch that day, his head bopping up and down like the giant hare of Cloondarone. Then he was gone, falling into the Galway crowds like a fish into the ocean.

    The sun raised its head too that evening, and the usual boisterous group of students could be heard shouting on the riverbank. There was music and laughter in the air. Then I blinked and I was back in 2021, stupidly worrying that somebody would wander around the corner to see me cry.

    Galway Arts Festival, 2007.

    II

    Even if the sum total of analytic experience allows us to isolate some general forms, an analysis proceeds only from the particular to the particular.
    Jacques Lacan.

    French psychoanalyst Jacques Lacan once coined the term ‘signifying chain’ to explain the relationship between language and the unconscious mind. For Lacan, our experience is knitted into the very fabric of words. And words are sediments like rocks; time leaves a mark on them.

    We cannot see the whole sediment in words, even when these words stare us in the face. To give meaning to his insight, Lacan turned to the story by Edgar Allen Poe ‘The Purloined Letter.’ Poe’s story is about a search for a letter stolen from a royal palace.

    It is believed the letter – if read – will have detrimental consequences for the personage from whom it was stolen. The police set off in search of the letter, turning the suspect Minister D’s apartment upside down to no avail.

    At this point the detective Dupin intervenes, locates the letter, and explains his logic. Dupin talks of the police looking in all places they would think of hiding the letter, when the obvious place to look is the least obvious place: in plain sight.

    The letter is located on the mantelpiece. Dupin uses the analogy of a map game to explain his reasoning. Amateurs tasked with guessing the name of a place on a map will usually begin by scouring the smaller regions for the name; nooks and crannies. The easiest way to win, Dupin tells them, is to pick a name – in full view – for all to see.

    Lacan reads Poe’s story as a commentary on language and the unconscious. The unconscious is not buried, he suggests, deep in the human organism, like the police think the letter is buried.

    The unconscious is language: the symbolic dimension that holds human beings in its midst. It is the context around which words are in play; the time sediment in everyday language. Why we laugh, cry, become elated or defeated, can be understood as the sediment around which words are set. This is why the purloined letter is of such importance to Lacan’s theory of language; it teaches him to look for clues in the words his patients use all the time; words that are in plain sight.

    By Mario De Munck – Video still from video Chantal Akerman – Too Far, Too Close. Still uploaded with permission from the filmmaker., CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=68641999

    Chantal Akerman

    One time, when asked why shots of people gathering at train stations populate her film d’Est, the great Belgian filmmaker Chantal Akerman replied ‘ah that, again.’ Akerman was referring to the Holocaust, of which her parents were survivors.

    Crowds populate the long durational shots of East European landmarks in her film, scenes that link words to other words in the everyday lexicon of Chantal’s life.

    Her sigh  ‘ah, that again’ references what she misses in plain sight. When travelling across the East to make a film about her family’s place of origin, a place they had fled during the pogroms, she moved along her own signifying chain, taking up different positions in relation to a word that dominated her life until her death by suicide in 2015.

    The word Holocaust was Akerman’s purloined letter, casting its downward shadow on her life. It was a word her mother was unable to say; her family existed in opposition to. When her mother passed in 2014, Chantal was no longer the child of a survivor, just a child.

    Akerman’s words echoed through my thoughts as ‘When Ye Go Away’ played in my earphones and I walked a desolate forest on the edge of a mid-western Irish town. The words ‘I will cry when ye go away’ stood out in plain sight: a letter placed on my own mantelpiece.

    The song was no riddle that needed solving. It was a letter perched on the mantelpiece in the apartment called ‘my life.’ I was opening the letter to look inside. I pushed my headphones into my pocket, the dirt rubbing the side of my legs, my woollen hat dripping with wet sweat.

    I saw the words staring back at me all the time: ‘when ye go away.’ The words were like diamonds in a sea of stone, signs reaching a destination.

    ‘Ah, that again,’ I muttered, going back to the memories from walking that day, the song a pedestal from which to stare into a distant past.

    I was coming up from a rabbit hole where angels gathered around my father’s table; where we raved and rambled in the hustle and bustle of Galway city. The song was a letter that had been sent to me directly, from the postal office of my unconscious. It was a letter sent to remind me that the ‘ye’ in Scott’s ‘when ye go away’ was a father absent from Xmas again this year. The letter gazed at me just as another Christmas loomed.

    Christmas again…

    Brown winter leaves crunched under foot, as I began the journey home. It was coming up to Christmas again, and the sediment in words otherwise known as my past was pushing up from the depths of a riverbed. I was making my way home from the trail ashamed that I had lacked the strength to see it arrive.

    Not wise enough to see the waves crashing in. Not tough enough to brush them away when they did. Five years, and the waves were still crashing in in unforeseen ways. There was nothing new to be learned from all of this, nothing new to change the course of time. Just ‘that again.’

    The Waterboys recorded a follow up album to Fisherman’s Blues inspired again by the West of Ireland titled Room to Roam. To this day, the band’s music retains the influence of the Spiddal decamp; a decamp no longer thought of as career suicide but a pivotal event in the history of Irish popular and traditional music.

    One can just imagine a record producer nagging Mike Scott to reconsider his move to the West of Ireland. The producer slams the phone down and turns to his assistant to say ‘I did everything to make him stay.’ An assistant replies ‘not much more you can do.’

    Or one can just imagine a mother, speaking in Irish to her husband, lamenting her daughter’s decision to emigrate, to find work she can’t find in Spiddal. The woman says ‘rinne mé gach a bhféadfainn chun í a choinneáil anseo,’ before her husband, glass-eyed with tears, replies ‘silfidh mé na mílte deoir nuair a imeoidh sí ar shiúl.

    Or, yet still, one can just imagine a single mother, struggling to make ends meet in a city engulfed with ‘culture’ – and all the razzmatazz of commerce dressed up as art. She works by day in a factory in Ballybane on the outskirts of Galway city, and spends two nights a week playing in a traditional session in town for extra money.

    She dresses her daughter in a hat and scarf and drops her to a West Side crèche before taking a bus that is soon caught up in the suffocating traffic. She will memorise the words to a Waterboys song to play that night in Taaffes. And when she hears the words ‘I will cry, when ye go away’ she thinks of her daughter alone in the crèche.

    Or perhaps, as a final thought, one can just imagine a middle-aged brother and his two sisters travelling to Salthill, a childhood landmark, on a cold February morning. The brother drives there from Limerick to meet his sisters at dawn.

    They meet in the city and make their way to the prom, parking the car near the diving tower at Blackrock. The brother steps out of the car with a suitcase containing a Bluetooth speaker and an urn. The two sisters follow him on foot down towards the small pebble beach on the right side of the Blackrock swimming tower, past the quadrangle where swimmers congregate, approaching the ocean their father swam in the weeks before his passing.

    Coral Beach, Carraroe.

    Ashes Fly into the Air

    ‘I want to play this one song,’ the brother says while fiddling with the speaker, ‘it’s from Fisherman’s Blues. When Ye Go Away.’ His sisters nod in agreement.  ‘Yea, I love that song’ they say in sync, like they practiced it earlier that day.

    He takes the urn out from the case, holding it up among the three pairs of hands, whispering as they remove the lid. Ashes fly into the air, swirling in a wind that disperses them across a grey-tinged sky.

    Music soon begins to mesh with the sound of swimmers jumping in and out of the sea on the other side of the diving tower. Ash and music dance together, as the siblings group hug in one muted silence. The ash soon begins to drift up into the sky, making its way to Aran, Spiddle, and on to Carreroe. Some even make it to Roundstone, across Dog’s Bay, to Ballyconneelly.

    A brother and his sisters gaze up at the sky, until no ash can be seen against a grey muzzle of cloud. There is only an urn left for them to cling to, and the shared understanding that life must go on.

    Featured Image: Cloondarone, Co. Galway, June 2016.

  • Death by Drowning

    The Death By Drowning Of Twenty Seven Migrants
    In The English Channel on Wednesday

    It could have been twenty seven Cliff Richard fans
    who quite like that Boris Johnson really;
    twenty seven Noel Edmonds lookalikes
    whose wives stimulate themselves with The Daily Express;
    twenty seven former double glazing salesmen from Folkestone, Kent
    who blame everything on the French;
    twenty seven members of the Murdoch family
    (including Jerry Hall);
    twenty seven known business associates of the Duke of York;
    twenty seven potential Archbishops of Canterbury;
    twenty seven people with Allegra Stratton accents;
    twenty seven arthritic comedians who spent
    four years making Diane Abbot quips;
    twenty seven logical positivists
    who get their political philosophy from the tweets
    of Right Said Fred, Joanna Lumley, & David Baddiel;
    twenty seven OBEs, MBEs, and Commanders of The British Empire.

    Tragically, it wasn’t.

    Featured Image is of fencing in Calais (VOA/Nicolas Pinault).

  • Poetry: Ciarán O’Rourke

    Dutch Masters

    An age away, the scented evergreens
    are still, a lucent wave commits
    to hush, the sun emits a breath,
    as the noon-deep
    labourings commence:
    the slender, severed necks
    are tossed, the throttled mouths
    are mounted in the heat,
    and inch by inch
    the fragrant earth is stripped
    of human foliage, an
    evacuated island
    glinting in the sun,
    whose high, in-
    sinuating witness, too,
    is whittled down
    by windy-deep sea-distances
    traversed by golden ships,
    the agony
    drowned out,
    the heady deaths annulled –
    a complicated commerce
    that finds its second lustre here,
    in the satin cheeks
    and quiffed moustache
    of the Laughing Cavalier,
    the fluorescent cuffs
    and florid sash
    a single flow and glimmering,
    his canny, quiet eyes
    a-gleam, two tiny pools
    of blue and black,
    pricked
    by the light of the world.
    Featured Image: The Laughing Cavalier (1624) by Frans Hals
  • The Grandfather Clause

    ‘Where DID we come from?’

    Coincidence?

    The Sahara was not always a desert.

    As evidenced by fossilized pollen, it was once covered by annual grasses and low shrubs, It was green, verdant, populated by antelopes, giraffes, rhinoceros, supporting all life forms including settled human beings. Cave drawings in southern Algeria (Tassili) testify to this lifestyle.

    Disaster came in the year 3,440 B.C..

    According to carbon-14 dating of cores from the Atlantic coast of Senegal as well as from Lake Koa in Chad, Summer temperatures increased sharply in the Sahara region and precipitation decreased. This event devastated the people and their socio-economic systems. The recently-introduced farming techniques no longer supported life.

    It was a case of global warming in a specific place.

    According to climate theoretician, Dr. Martin Claussen of the Max Planck Institue, the disaster was partially initiated by one of the regular changes in the Earth’s orbit and the tilt of its axis (earth wobble). July happened in January!

    The ensuing warming and feedback effects on Vegetation and Atmosphere in this particular area combined to produce a sudden, localised desertification which resulted in the Sahara.

    This transition to the Sahara’s present arid climate was not gradual, but occurred in two specific episodes. The first, which was less severe, occurred between 6,700 and 5,500 years ago (4,700 B.C. and 3,500 B.C.). The second, which was brutal, lasted from 2,000 B.C.to 1,600 years ago.

    What has this to do with Ireland?

    Newgrange (Brú na Bóinne)

    Newgrange (Brú na Bóinne), the finest and greatest Megalithic structure (earlier than Stonehenge) in Europe,  was built by ‘unknown farmers’ in approx. 3000 B.C.

    At the same time the first Egyptian dynasties were founded.

    It is my thesis that Newgrange and the Egyptian dynasties were developed by a long-civilised and cultured people whose origins were in the Sahel of North Africa.

    Where to?

    Once their lifestyle was destroyed, where did the people of the Sahara go? Many escaped northwards to the still fertile coasts of North Africa and eastwards to the Nile. This sudden incursion created extreme pressure on the existing inhabitants of the thin North African coastal littoral. Something had to give. What did they do?

    In approx. 3000 B.C. they took to the sea. Their DNA traces (E1b1b1- Y) are to be found in the southern regions of most Mediterranean countries. Far from being a far-fetched idea, a North African Berber DNA haplotype is shared by, among others, people as faraway as the the Pasiegos of Cantabria in Northern Spain and the Saami people of Finland!.

    Newgrange in Ireland is the oldest and finest example of a megalithic culture that spread along the Atlantic coast from North Africa to the Baltic.

    Newgrange has been dated to 3000 B.C. and is slightly older than the Pyramids of Egypt. It and Ireland’s impressive megalithic heritage were built in about the same period as the desertification of the Sahara. The megalithic culture spread up the Atlantic coasts from North Africa where similar structures proliferate.

    Thirty years ago this writer found the equivalent of Newgrange in Larache, Morocco – which was also colonised by Phoenicians after 800 B.C. – and indicates a continuity of Atlantic coastal movement.

    Medina of Larache, Morrocco.

    The Sea is Key

    Professor John T. Koch of the University of Aberystwith wrote the following in Celtic from the West:

    No one has taken the possibility of Celtic coming from ‘Hispania’ to the other Celtic countries seriously since we stopped taking Lebor Gabála Érenn seriously, but it is now at least worth pausing to review what it is we think we know that makes that impossible.

    Professor Barry Cunliffe (Oxford) co-editor of the same collection of essays, repeats his long-held advocacy of the reality of an Atlantic coastal trading community, active at least as long ago as the Bronze Age – and probably much earlier – along which people moved and shared languages and cultures. The area in question stretches from Scandinavia as far south as Mogador – which was once a Phoenician colony. The sea is, as always, the key to such perspectives. The sea connects, does not divide.

    Linguists such as Heinrich Wagner, Pokorny, Orin Gensler, Vennemann et alia have long held that there is a substratum of North African languages (Hamito-Semitic) underneath the first official language of Ireland – Gaelic.

    Dara Beag O Fatharta.

    Sub plot

    The Grandfather Clause is a legal entity in Western Law. It is an exemption in which an old rule continues to apply to some existing situations. Sometimes, the exemption is limited; it may extend for a set period of time, or it may be lost under certain circumstances.

    It means that traditional customs and rights cannot be arbitrarily abolished by new legislation.

    The simplest example is a claim to a traditional right-of-way through private property. The courts often entertain such claims.

    Suppose that a North African appeals for asylum in Ireland, is refused and threatened with deportation. Might he/she invoke the Grandfather Clause?

    He/she might perhaps claim that when the ice melted his/her ancestors were the first tentative inhabitants of  Northern Europe – including Ireland – 10,000 years ago and that in Ireland there exists physical, linguistic and literary evidence of a continuity of such seaborne immigration and occupation by his/her ancestors down the years – seven thousand years!  This continuity would embrace the first Neolithic farmers, then the Phoenicians, then the Algerian Corsairs of the seventeenth century.  Could it be recognised as a legal, or at least a moral, precedent?

    The science of genetics i.e. evidence from the human genome project would support such a proposition.

    The argument would be that his/her ancestors arrived here long before we were the ‘Irish’ and took possession of the island. Therefore he/she, as a putative descendant of, say, the Fomorians, the Fir Bolg’s or the De Dannan, the Phoenicians, had a right to stay here! The fact that their occupation predated the concept of Land Deeds is relevant. (Of course the abused rights of native American Indians – who also had no land deeds – are also relevant to the case.)

    he Irish Gaelic chieftain receives the priest’s blessing before departing to fight the English.

    A More Recent Analogy

    In the sixteenth and seventeenth centuries Elizabethan and Cromwellian soldiers came to Ireland and were paid off with stolen tracts of Irish land. Nevertheless, after four centuries of such (often absentee) ownership no one could realistically take a case challenging the rights of the Anglo-Irish descendants of those soldiers. The suggestion that the Irish State might repossess such lands and forcibly deport the descendants without compensation would be treated as absurd – as well as inciting violence! It would be a stretching of the Grandfather Clause which only a despairing defense lawyer might use as a persuasive metaphor.

    However, the rehearsal of the above asylum seeker’s argument – before being laughed out of court – would be an opportunity to reveal the complex background of colonialism and racism that has resulted in attitudes to immigrants of colour. In Ireland, native biodiversity is considered sacrosanct. Foreigners (esp. black) are considered an invasive and basically threatening species.

    The ancient Europa is now Fortress Europe!

    Sarcophagus of Ahiram, which bears the oldest inscription of the Phoenician alphabet (Beirut, Lebanon).

    The Phoenicians

    The Phoenicians were a classic case of a such a blackguarded culture and people. Although prominent in the Bible, they were written out of history by Greek and Roman authors. However, an ancient and deep-rooted anti-semitism also informed the historical prejudice against those Canaanite pioneers whom some accounts say reached these northern islands in the late Bronze Age – approx. 600 B.C.  An extensive tin trade with Cornwall is widely believed.

    Examining the Phoenicians can be an illuminating approach to Irish identity as well as European attitudes and racism in general.

    Irish passports have in the recent past been doled out for cash, thereby entitling rich Saudis and their families to come and go as they please. This is not an unusual practice. At one time the Cypriot president Präsident Nikos Anastasiades is offering citizenship as compensation to rich foreign (i.e Russian) investors.  In modern usage, Irish international sports teams liberally use the ‘granny rule’ to acquire talented non-Irish players.

    There is nothing immutably sacred about Irish or any national citizenship. The arguments for excluding or including certain ethnic types are implacably economic but can raise questions of discrimination on ethnic grounds.

    After working and living in Ireland for a certain number of years many ‘non-nationals’ are granted Irish citizenship. What is the essential difference between these favoured ones and those asylum-seekers who may have endured living for three/four/five years in prison-like circumstances on this island? Those who are forbidden to work, who are given pocket money of €19.10 per week?

    A court hearing as hypothetical as the above might reveal the shaky grounds on which our historical assumptions of identity are based.

    Suppose the old, once-sacred, Irish legends of immigration from Africa and Spain, the Fomorians from Africa, the Milesians from Spain, the De Danaan, the Fir Bolg are not entirely mythical?

    Suppose that seventeenth and eighteenth century Irish scholars who believed in the literal truth of those legends were not entirely mistaken?

    Suppose that modern Irish writers (Heaney, McGuinness, Friel, Durkan et al) were not entirely taking artistic license or imagining things when they invoked the Carthaginians as an anti-colonial metaphor?

    Tradition is never entirely true but never entirely false.

    Rabbit Beach in the southern part of the island of Lampedusa.

    In recent years the island of Lampedusa and the ancient island of Ireland have had this in common: the incursion of desperate people from the other side of the Mediterranean, particularly from North Africa.

    Note

    The changes in Earth’s orbit occurred gradually, whereas the evolution of North Africa’s climate and vegetation were abrupt. Martin Claussen and his colleagues believe that various feedback mechanisms within Earth’s climate system amplified and modified the effects touched off by the orbital changes. By modelling the impact of climate, oceans, and vegetation both separately and in various combinations, the researchers concluded that oceans played only a minor role in the Sahara’s desertification. The earths axis wobbled. The desertification of North Africa began abruptly 5,440 years ago (+/- 30 years). Before that time, the Sahara was covered by annual grasses and low shrubs, as evidenced by fossilized pollen.

    The Sahel is the ecoclimatic and biogeographic zone of transition between the Sahara desert in the North and the Sudanian Savannas in the south, having a semi-arid climate. It stretches across the north of the African continent between the Atlantic Ocean and the Red Sea. In Arabic the word Sahel means  ‘a coastline’ which delimits the sand of the Sahara.

    The Sahel covers parts of (from west to east) Senegal, southern Mauritania, central Mali, southern Algeria and Niger, central Chad, southern Sudan, northern South Sudan and Eritrea.

    In the history of this planet geologists say there have been five major Ice Ages, each lasting hundreds of thousands, even millions, of years. There have been periods when this entire planet was covered in ice. At other periods the tectonic plates supporting continents were all jammed together in the southern hemisphere and Ireland was located below the equator – beside the African tropical zone. We were all neighbours once.

    An ice age is defined as when both polar caps are covered in ice. We are presently in an ‘ice age’.

    There have been hundreds of ‘inter-glacials’ or global warmings. During one of the interglacial periods – perhaps fifty million years ago – conditions favoured the emergence of the first primitive life forms.

    In another, more recent, period the sudden desertification of the Sahara occurred. This event had a dramatic and long-lasting effect on population movements around the Mediterranean.

    Featured Image: Landscape of the Erg Chebbi, Morrocco.

  • Featured Artist: Ella de Burca

    My work begins with a consideration of how one begins to look – an exercise of empathy with you, dear reader. When a work of art is placed in front of me, I have a whole range of responses as a viewer and I remember this when I start to make a new piece. I consider my role as artist and I consider your role as reader/viewer equally. They stand on an equal footing, a plateau.

    Poem #11. Tomato Poetry House Series. 2021.

    I have a friend who calls me to talk about artists and their work. We have categories for types of artists:

    The magicians, who are all about persona, their work changes or improves your life and your life was lacking until their work fixed it – think Joseph Beuys, Marina Abromovic; the factors, those whose work is inspired by or responds to something that already happened – think Goshka Macuga, Aslan Gasimov; the intelligentsia, who make you feel like you’ll never be smart enough to understand their supersoaked insights – think Seth Price, Micol Assael; and the decor (I’ll let you figure that one out).

    There are more categories that we invent as time goes on, but the purpose serves well, to open our critical and loving heads to talking art. We analyze and consider different artists and their trajectories, what they’re putting out now versus a few years ago, and where they might go down the line. The thing that stands out most, for me, is that I have been all four different types at some stage, and indeed, the more I talk about it with other artists, the more confirmations I get that the same applies to them.

    Anemic Circles. Poem (A4 page)  & Sculpture (10m). Emergency Pavilion 2013.

    The Ella who showed the work ‘Anemic Circles’ at The Emergency Pavilion at the Venice Biennale of 2013 is different from the Ella who had a solo show ‘Flat as the Tongue Lies’ at The University of California in 2018, is different from the Ella writing this text. I have grown as a human and as such my work has grown too. Some of my furies have tempered into cooler flames, while some of my damp wood has dried into a patient but furious kindle. The one anchored point however, is the work.

    Act II. Flat As The Tongue Lies. UCLA Irvine, California. 2018.

    I have always been fascinated with the viewing process. How ‘we’ (-who’s we?) act as ‘viewer,’ and how ‘we’ learnt to look that way, both as an individual and a community. Coming from Ireland, I am always in awe of the GAA and how in a relatively short space of time a structure was created whereby every family in every town had access to play hurling and/or football, to view it and to participate in critical conversation with peers, of analysis, predictions and strategy. The same could be done with art.

    Choir (Haar). Kunstenfeest Watou. 2021. Photo by Dirk Pauwels.

    With gestures, sculpture and poetry, I create performative work that combs through these issues. Coming from the position of being a cis-female, white woman I am inspired by the history of womanhood, the struggles, the victories. I have an imaginary coven who I sporadically turn to for strength, inspiration and help. Some have names, such as Biddy Early, Hildegaard of Bingen, Cassandra and Joan of Ark, and some don’t, such as the women in the Magdalene Laundries.

    During the pandemic I heard on the radio that the women lace makers of Headford, Galway were not affected by cholera and typhoid during the 19th Century because they had to wash their hands so often. The money they earned was crucial to their families and if there was one speck of dirt on the lace piece then it would be worthless.

    Choir (Doh Soh). Newbridge House. 2021. Photo by Louis Hawk.

    I was in awe and in shock to think about how a century after these industrious women making money from lace to feed their families, there came 20th century women who were torn away from their families and incarcerated in the Magdalene Laundries, set to work knotting lace, string after string – maybe even listening to radio programmes about women from Headford, Galway while they worked.

    Now we’re here in the 21st Century, and women’s labour is still underpaid, often unpaid, and the labouring women unseen, unheard. A person’s voice is a source of great power, and those who gain from suppressing that power have spent centuries sewing throats shut. Landlords, priests, politicians, misogynists, the cast of characters hasn’t changed.

    Lettuce Síle. 2021

    I created a cast of embroidered throats standing in the gesture that fans out from headless sackcloth bodies. The headless straw women, disembodied anatomies, could represent the Headford women making lace or the Magdalene women incarcerated in the laundries, they could be representations of viewers today observing the work or they could be me.

    These voiceless throats and sightless spectators are woven into a spatial, figurative, yet ambiguous relation of dependence and power. Some of this body of work was shown in ‘Guest’ at Newbridge House, Fingal, during the Summer of 2021, a group show curated by Marysia Wieckiewicz-Carroll, while other parts were shown at the Kunstenfestival  Watou, in Belgium, curated by Chantal Pattyn and Benedicte Goesaert.

    Tomtom’s (watercolour and tomatoes) 2021.

    During the Summer I also grew my own tomatoes and read feminist poems to them. You are what you eat. I would prefer to eat food that does not prop up the poisonous economic structure so harmful to our environment. These tomatoes became my audience during the pandemic, conditioned by my tastes, my carefully curated poetry show. And when they were ripe, I ate them under the full moon.

    Vodka Blue Pope. (Watercolour, eggshells and Lunaria annua) 2021

    More recently I have been imagining the potions and magic remedies created by Biddy Early while painting an inventory of the plants growing in my garden. I mash up the painted flower and add it to the image of what was there. When assembled, I imagine this body of work as an art apothecary, with different combinations of the ingredients creating different viewing cures. Some of this work will be shown online in Kevin Kavanagh Gallery in November/December 2021.

    It’s easy enough to describe how I got to this point, artistically, professionally and humanly, but going forward is more opaque. Actually, in thinking of this word ‘opaque,’ I often get stuck. In photoshop there is a tool called ‘opacity,’ which, when at its highest percentage, renders the image totally visible. In real life, it means obscure of sense, invisible. But I often get the two mixed up, and I think that this strange double meaning kind of fits when I use it to describe my future. I know I’ll still be making the work, I just don’t know where you will be.

    Defiance (Roof Without Walls.) 2017. This work is in the collection of the Irish Arts Council.

    My work has been supported by the Irish Arts Council, Askeaton Contemporary Arts, Fingal County Council and Culture Ireland. Most recently I was the recipient of a Platform 31 Award for County Laois. I am currently pursuing a PhD at KU Leuven entitled ‘Modes of Viewing: How to Act.’