Category: Culture

  • DUMAINE

    “I’m leaving.”

    “Oh?”

    “Yes. I’m moving on. Been puttin’it off, but gotta go today.”

    “Baggage ready?”

    “Gonna do that now because it’s getting late.”

    “Why don’t I pack you a tuna fish sandwich, just in case?”

    “Yep. Good idea.”

    In the bedroom, I flung the doors of all three floor-to-ceiling closets open wide, which were designed like the entrance of a cathedral, doors that for the greater glory of God, make man minuscule, put you in your place. The perspective of my many possessions purchased, carefully cleaned and stacked up high in an orderly fashion was somewhere between repulsive and overwhelming but mostly beyond my reach. I selected a few books and that fuzzy bear my parents brought back as a gift from Germany, but little else before closing the suitcase.

    She caught me off guard, intercepting me in the hall on my way out, to hand over a brown paper sack as promised. I’d forgotten she’d offered the favor. Preoccupied, I guess.

    “Listen, there’s a chocolate pudding and an apple in with the tuna fish sandwich too.”

    “Thank you.”

    “Okay, bye-bye”

    Glacial and dark by design, her house inhaled the heat if by the gliding open of a sliding glass door, its hermetic seal was compromised. And like a large lung, the house then exhaled a quixotic draft of cooler air, which carried me with it out on to the balcony. Before she’d bolted the door behind me, no matter how briskly, and believe me she was… The sweet swelter had swallowed me whole.

    Across the street, its source obscured by a high fence hugging lush foliage, smoke was rising. Must be the Mexicans. Like too many magpies, they gathered around their granny on her tiny purpose-built patio. No one was more thrilled than she to be grillin’ again.

    Yes, our side of Bayou St. John was on low boil, but the houses on its opposite bank undulated in a mirage. So I was leaning left, feeling in my bones, a future of possibilities and personal freedom lay that way. Right hand tightening its grip on the sweaty suitcase handle, I stashed the sack lunch under my moist armpit, elbow clamped in to keep it there and descended the wrought iron stairs. Pausing at the bottom, I opened the suitcase to put the brown bag in with the rest of my treasures. Now, really on my way, I was again delayed by the obligatory exchange of pleasantries with Steve, our landlord and neighbor below. As it happens he was walking his well-dressed Chihuahua whose name was N’est-ce pas which is French for “Isn’t it so?” Keeping in mind a direct question can indeed be misperceived by older gentlemen as intrusive, in a carefully modulated tone I dared ask,

    “Pardon me Mr. Steve, but why does your dog have on a colour coordinated raincoat and galoshes?”  At this juncture, in unison we surveyed the quivering creature sporting four knee-high Wellingtons on palsied paws.

    “Because it’s a brand new set I just bought that was too cute to leave in the closet even if there isn’t a cloud in the sky. You gone for good this time?” he answered, giving me the eye and theatrically inspecting my little luggage.

    “Afraid so. You two, do take care.” Turning, I saw mucho macho matching heads. The Mexicans were like one monstrous centipede, lined up as they were for a last look over their high wooden fence. We both yelled “Adios” and waved at them but they did not disperse. Didn’t move a muscle. The scorching sun on my scalp said, don’t take all day for this stand off. With better things to do, I would leave the bayou behind.

    I hadn’t got halfway when I spotted the strangers sitting on their front steps just as if they’d lived here forever. They were smoking those cigarettes that smell better than the store bought ones, but you have to roll them yourself. Though unknown to me and mine, these people were in a really good mood, so pleasant in fact that I paused. Especially on account of how thirsty walking with a heavy suitcase made me, and the hissing sound the ice cold can of Dixie Beer let out when they pulled the crackling metal tab stopped me in my tracks. Without hesitation, I held it to my forehead for a minute then next to my neck and drank it slower than heck, so as not to get one of those excruciating brain freezes, to which we Southerners are prone.

    The new tenants invited me inside. Said I could bring my suitcase with me and I did, gingerly placing it on the coffee table, which frankly it monopolized in an absurd fashion. I sat down on their silky soft sofa, but not before being welcomed to do so. Everything of theirs was smaller than ours, and they smelled strange, but were so nice to show interest in what I cared enough about to carry with me. They confirmed my bear was genuinely German. And though I knew every word in my books by heart, indeed they politely declined to borrow them, just as they didn’t care to share my tuna fish sandwich three ways. Said they’d just eaten and instead offered me one of their piping hot homemade brownies. After I don’t know how long, what most intrigued them was that a midget could memorize her digits. I proved my point by borrowing their pencil and a notepad of pretty purple paper to jot down my home telephone number.

    We were having such fun, I nearly forgot they were foreign. The shades were drawn, and I guess I’d been there a while, when one prolonged blast from the building’s main buzzer led to two terse raps on the first floor apartment’s soft hollow-sounding wooden door. Furthermore, when it swung open, you could’ve knocked me over with a feather. Glaring from the hallway, hands on hips, was Mom.

    Like stumbling on an oasis in the nick of time, an accidental magic had occurred. That haphazard ambience which happens in abandoned colonies with greater frequency than you might imagine. Well, that mystical moment had passed and with a firm grasp on my suitcase, Mom was on the march.

    “Step on a crack, break your momma’s back,” I sang real low, hopscotching on one foot, alongside her back to a home that in my eyes was about the same size as The Superdome. Right or wrong, now that meanders of mine are no longer confined, I see Herbsaint-soaked curbs cloaked in ceramic smiles, their teeth-like tiles intelligently fired in the truest hue of Belgian blue. They spell out street names like: D-A-U-P-H-I-N-E, D-R-Y-A-D-E-S, or D-E-S-I-R-E. But the four corners of a sublime world that will always keeps me squarely entertained are contained in time, and still say D-U-M-A-I-N-E.

  • Poems for Holy Week

    Poetry editor Edward Clarke selects poems from Paul Curran, Billy O Hanluain, Haley Hodges Schmid, Ned Denny and his own work to mark Holy Week.

     

    A corona Sonnet

    With no less haste than the crisis deserves,

    All faces one mask of consternation,

    We’ve learnt, through conversing in spikes and curves,

    This virus respects no race or nation.

    Virgil could not have foreseen the Tiber

    Would fill so fast with the fallen of Rome,

    Hospitals built with sinew and fibre,

    Children in hiding, on their own, at home.

    His toll’s still rising, but Death, if he could,

    Would make no attempt to keep numbers down;

    Warm April predicates wearing no hood,

    His scythe keenly sharpened shines like his crown.

    Unfasten quick this dead pathogen’s trick

    Lest lists of the late outnumber the quick. 

    April 4th, 2020

    Paul Curran was born in Stratford-upon-Avon in 1975. He holds a degree in English Language and Literature from the University of Oxford and a Masters Degree from the Royal Central School of Speech & Drama. He has worked widely as a professional actor. His Only Sonnet loosely follows the pattern of the seasons, comprised of 100+ ‘alternative’ sonnets; Repeat Fees and its 80 sonnets and longer poems was published in July 2017.

     

    Stock Pile On Hope

    Walk down the bare,
    trembling aisles of your
    self. Everything dispensible
    is now after its Best Before.
    Pass by the Two for One indulgences
    of fear and doubt. Shelves stripped
    of the superfluous. The tattered packaging
    of novelties that amused us
    fade behind their
    spent Use By dates. Remembered now
    as infatuations bought to distract us.
    Is it time to close shop?
    Turn out the lights?
    Time for the din and dirge of shutters?
    We are open twenty four hours
    and we must never close.
    No matter the Feast Day.
    The Plague or The Hour.
    Turn toward that aisle within,
    so often passed in the hurry
    of what seemed to matter
    there you will find the plenty that
    always was and will be.
    Load your cart, fill your bags,
    weigh your trolley down.
    Stock pile on hope!

    Billy O Hanluain works as a language teacher in Dublin. His work has appeared in The Village and The Passage Between. He frequently reads at open mic nights across the city and has contributed to RTE’S Arts Tonight and Arena. He is a DJ with a special passion for Jazz. He lives in Kimmage, Dublin.

    The Ape in the Meme

    Like those who crouch in a bird-catcher’s hide,
    _             He has put up and part-designed
    A shiny means of destruction online,
    Whose checkout page is set and open wide
    _             As all blind graves must look for business.
    And so he means to capture browsers and listeners
    _                            Like birds in a wicker cage:
    That ape who ate his stockpile in the meme,
    _                                           Or famous adage,
    Who licks his unclean lips and can’t be seen.

    He has become fat and sleek, yeah, he’s smoothed
    _             Out all anxieties we had
    About his bad business: he prospers at
    The expense of all of us who are sweet-toothed.
    _             A devastating and wondrous thing
    Is committed in our land and we all sing
    _                            Blindly its praises. No prophet
    Even prophesises and almost every poet,
    _                                           To no one’s profit,
    Tells tales of a life, but not as you’d know it.

    What will be the end of it? Just now,
    _             At the limits of the eye, just off
    The shore of the ear, that ancient boundary of
    The world, the world can’t pass, no matter how
    _             Hard it smashes its waves into it,
    Or coaxes endlessly: just there, I intuit
    _                            You are rowed out with your answer,
    And stand before the multitude on a sea
    _                                           Of radiant stanzas
    For those with eyes to hear and ears to see.

     

    Edward Clarke’s latest collection of poems, A Book of Psalms, has just been published by Paraclete Press. He is poetry editor of Cassandra Voices.

     

    ‘See now the bewildered Christ’

    See now the bewildered Christ
    In the empty streets of Jerusalem;
    The surefooted clip clop of donkey and colt
    Accentuated by this brimming vacancy,
    By this our iron-held breath.
    We are inside reading the news;
    We are stacked in buildings, racked
    With urban exodus and suddenly beset
    By the fragrance of country miles.
    Need bares her teeth at need—
    No hosanna can emerge, no palm
    Softens the anxious cobblestones.
    Christ passes unhailed through our midst
    With eyes downcast for love.

     

    Haley Hodges Schmid came from her native America to England in 2017 to pursue introductory theological study at the University of Oxford’s Wycliffe Hall. A musician by training, she is drawn to the intersection of theology and the arts and eager to explore themes like redemption, joy, and sacredness in her writing

     

    Iron Age

    When jail shines like a blue marble in space
    and masks of fear eat into the face
    and new strains of deceit are going around
    and the dead demand to be more tightly bound
    and they scramble nine jets at the sight of a dove
    and drive in the nails yet call it love
    and cameras watch live Eden’s knoll
    and separation is the protocol
    and the long war wears the look of peace
    and Medusa stares from a million TVs
    and the cure is seeded with wasp-eyed death
    and all I can trust is my own wise breath
    and misinformation’s the name for the Word
    and they tell the biggest lies this chained world’s heard
    and commit the greatest fraud hell’s ever seen
    and say the withered tree is green

    when a dragon is about to be crowned
    and streets are empty save for the drowned
    and the wolf has the lamb’s best interest at heart
    and to stay alive you stay apart
    and an hourly dose of dread sets the tone
    and the sun itself’s been turned to stone
    and the hungry ghost of the moon descends
    and the axle of the heavens bends
    and the stars disappear through chinks in a rock
    and the hands go haywire on every clock
    and a black horse rides upon manback
    and you still think you’re not under attack
    and they turn the key to “keep us safe” from the Lord
    and at certain times we all applaud
    and death is getting desperate and iron old

    a bird will sing dawn wield your gold

     

    Ned Dennys collection Unearthly Toys was awarded the 2019 Seamus Heaney Prize. B (After Dante), a version of the Divine Comedy, will be published by Carcanet this autumn.

  • Poetry – Radu Vancu

    Master of children’s small fingers
    & of the indestructible hair of girls
    & of the transparent shields of the gendarmes –

    today I saw videos of children with broken heads
    & fingers broken, I saw girls dragged by their shiny
    & indestructible hair by gendarmes with shields transparent

    as your indestructible light, I saw
    indestructible teeth broken, indestructible bodies
    shattered, I saw the blood made by you

    splattering in the world made by you
    & there was still so much beauty in it
    & it is exactly this that mashes me.

    Any amount of beauty mashes me.
    An indestructible beauty in a world blown into pieces –
    your cynicism is divine, indeed.

    I saw a dog licking the bleeding face
    of his mistress, collapsed under the boots of the gendarmes,
    careless to their blows which also crushed his ribs.

    He wagged so happily his tail
    when she raised her grazed hand & patted him,
    there was so much indestructible light around him,

    for him the evil only passed accidentally through the world.
    A cop with a high visor, a blond & pure child,
    came running & hit her again.

    Master, I sometimes tell myself you only passed accidentally
    through the history of the world you made, just as we pass
    only accidentally through the poems we write.

    And that it is of your indestructible & luminous beauty
    that the hardest transparent shields are made.
    And that the happiest of us are wagging our tails,

    licking the bleeding faces of our loved ones. Mashed
    under the boots of the seraphim rapid intervention units.
    Terrorized by the anti-terrorist units of the angels.

    Who to endure so much beauty
    – and until when
    – and why.

    You unbelievably gentle master, if I wouldn’t feel sometimes
    your harsh tongue licking my bleeding brain,
    if I wouldn’t see your furry tail sometimes

    wagging happily – everything would be easier
    & more unbearable. Don’t worry, we’re talking here
    between indestructibles.

    Listen to this poem in the original Romanian below.

  • Musician of the Month: Niwel Tsumbu

    We’re living in a time where musical forms and styles are fusing more than ever. However, this is an ancient process that has been happening ever since humans have sang, travelled, and interacted with each other. People have always moved around the world with their songs, dances, instruments, and thus, the music evolves. With technology, this process is faster than at any previous time – you can hear music from anywhere by clicking a button or touching a screen, in an elevator, on the radio, and so on.

    I remember between the ages of seven and eleven years old, I went to the church with my grandparents most Sundays. This church was special because it originated from the village and moved to Kinshasa, the capital of Democratic Republic of the Congo. The music was traditional – every row of seats had a bell and a shaker for anyone to play. The big drums in the front had no dedicated drummer – anybody who felt like playing would go in front and play during a song. As kids, we would gather around the drums with sticks and hit them on the side – this could possibly have been my first performing experience.

    After the church we’d come home and I would sit on the pillar of the balcony in our house, which was dangerous as there was a twenty-five metre drop to the floor. Obviously I was not allowed to sit there, and my grandfather – who is my biggest influence, looking after me now from the beyond – would give out to me and even give a few slaps to stop me sitting there (this was normal, not child abuse!).

    When I started learning the guitar between the age of sixteen and seventeen years of age, I was really interested in learning music that was not from the DR Congo. I had a great mentor who taught me jazz and I enrolled myself into classical music school to learn how to play with my fingers. It is only then I realised why I was so obsessed sitting on the balcony years earlier.

    I found out it was the music on the radio that was making me sit on the balcony as I recognised most of the pieces I was hearing students and teachers performing around the school. The pieces were by most of the familiar famous classical composers such as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Johann Sebastian Bach, Antonio Vivaldi, and many others. To this day, whenever I hear their music, the memories of my grandfather, the church, the scents of that time, rush into my body like crazy.

    Classical music is truly part of my existence and experience. It is also clearly an art form rooted in the tradition of Western culture, but I believe it is also my traditional music as a human being. I had no idea it was called classical music sitting on that balcony but it touched me and has made a big impact in my life.

    My music is a glimpse into my perception of life and inspired by my experiences. It should be dynamic, beautiful, adventurous, and take risks. These elements inform the new album I will release later this year, along with the great Éamonn Cagney (percussion), a natural evolution of fifteen years of collaboration.

    My guitar playing is influenced by many great guitarists of DR Congo and the world such as Franco Luambo Makiadi, Roxy Tshimpaka, Paco de Lucia, Wes Montgomery, and many others. However, my approach to rhythm is really what is unique about me. I have been told this by virtually all the musicians I have played with.

    It is very strange for me to hear people talk about pure ‘African Music’ that doesn’t exist – unless you go back thousands of years before humans started roaming around the globe. This concept is simply not true, and frankly, it drives me crazy when people, especially African musicians who use equal-tempered tuning with Western instruments, say so. I will give a talk on the the influence of colonialism on Congolese and African music (and a performance) at the British Forum for Ethnomusicology in Bath University this April [Editor’s Note: this has since been cancelled].

    I’m from the Yombe tribe (part of the Bakongo people) on the western side of the Congo – the first tribe to welcome the Europeans in 1482. It’s very easy to see the Western influence in my tribe, musically or socially (for example, we always eat with a fork or a spoon unlike any other tribe). We are the only tribe in Congo who would traditionally have a choir with a conductor singing three- and four-part harmonies, like you hear in the Catholic Church. The melodies are very diatonic and similar to Gregorian chants, except with a strong rhythmic approach. It is also the most popular traditional form of music in the Congo and has influenced the popular music much more than any other traditional music.

    We are conditioned to hear music in a certain way as a collective entity shaped by our society – and to label it for business purposes. However, music affects us individually, much more than we realise and touches us way deeper than we know. It doesn’t matter where it originates from: colonialists, black, white, transgender, gay, or whatever social group a person identifies with.

    The fact of the matter is that sound travels through our ears to the receptor cells inside the inner ear. These cells change the sound vibrations into electrical signals, which pass along the auditory nerve to the brain. This means, whether you like it or not, the music you hear literally touches and, alters your mind.

     

    For more of Niwel’s work see:

    Facebook: https://www.facebook.com/pages/category/Musician-Band/Niwel-Tsumbu-Sounds-212103155519751/

    Instagram: https://www.instagram.com/niweltsumbu/?hl=en

    Twitter: https://twitter.com/niweltsumbu?lang=en

    Spotify:

     

    Niwel is currently preparing a new album for release with percussionist Eamon Cagney. He has performed with the finest Irish and international musicians while continuing to craft his own distinctive fusion of new jazz, rhumba, world, flamenco, rock, soukous, and classical. Niwel has collaborated and performed with artists including the Crash Ensemble, composer Roger Doyle, DJ Donal Dineen, Loah, Baaba Maal, Liam Ó Maonlaí, Mik Pyro (Republic of Loose), Eamonn Cagney’s Treelan ensemble (with Martin Tourish), and many more.

  • Review Bob Dylan’s – ‘Murder Most Foul’

    I have been to four of Bob Dylan’s concerts in various places around the world, and bar one where Ronnie Wood lightened the misery in Kilkenny, they were uniformly awful. He persists in reinterpreting and mangling his great songs, and hardly engages with the audience.

    It begs the question: why does he persist with the Never Ending Tour? Perversity possibly? Boredom? What else can I do? I might as well stick to my guns and my art? Nothing else to do?

    The opening paragraphs of this article are of course an irrelevance. He is not a performer in the mould of Springsteen, nor has he really ever been, apart from the tours in the 1960s, with what became The Band and a brief shine of light in the 1970s with The Rolling Thunder Review, where he had ample support. So what. It is irrelevant to his legacy. He is the greatest creative artist of the twentieth century and we are lucky to still have him with us.

    He is also one of the great cultural commentators of our time, and has been for an unprecedented fifty years, except for a period in the 1980s when he seemed to be going to seed. But the wake up call of a near-death experience (form histoplasmosis) has led, since Time Out of Mind in 1997, to an unprecedented bout of creativity.

    Yet since Tempest (2012), apart from a typically immersive and at times brilliant mining of the Great American songbook (all five albums worth) – a bit like the late Picasso turning to the great works of the high Renaissance and tearing them to figurative pieces –  there has been no sign of new material. It would seem strangely fitting if the man who, as Steve Earle puts it, invented the job of singer-songwriter were to see out the autumn of his years crooning along to the same Brill Building standards that he had once made seem so trite.

    Now with a unique sense of zeitgeist opportunism, Dylan has released a new seventeen minute-long song, ostensibly about the murder of John F. Kennedy, but which is also a travelogue through American cultural history, with Prince Hamlet and the great, deranged 1960s American DJ, Wolfman Jack, as our guide.

    A minefield and a summation. In a sense he quite clearly thinks that the killing of Kennedy was committed by the alt-right and the Texan Hunt family, and that the murder indirectly got us to the point of despair in politics where we have arrived. But his new song, Murder Most Foul, is so much more than a mere ‘protest song’, another genre that Dylan briefly defined before discarding in his early twenties.

    Set to Dylan’s own gentle, rippling piano, and accompanied by minimal bowed bass, violin and occasional flourishes of percussion, the performance has echoes of his surrealist masterpiece from the early 1980s, ‘Angelina’, as well as the epic ‘Last Thoughts on Woody Guthrie’ (1962); more of a recitation than song.

    Judging by the subtle arrangement and the mellow tone of Dylan’s voice – closer to that heard on the recent Sinatra ballads records than the ravaged croak on display on Tempest – it seems safe to say that it was recorded, presumably in one take, between recent concert performances.

    As the piece slowly builds in intensity, Dylan moves from the horror of Kennedy’s death, through The British Invasion and on to Woodstock and Altamont, from the Age of Aquarius to the Age of the Antichrist, before finally offering some hope in dark times through the things he knows and loves best.

    Wolfman Jack in 1979.

    Conjuring the incantatory spirit of his old friend and admirer, Allen Ginsberg, Dylan rhapsodises ‘Oh Wolfman, Oh Wolfman, Oh Wolfman, Howl!’, imploring the DJ to play everything from ‘Art Pepper, Thelonious Monk,/ Charley Parker and all that junk’ to Fleetwood Mac, from Buster Keaton to The Who, from Warren Zevon to Queen, from Beethoven to Civil War hymns. Dylan’s playlist is a litany of popular culture, fragments shored against ruin.

    Nobel Prize for Literature

    Dylan’s Nobel Prize for Literature was thoroughly deserved. Yet no one saw it coming. Witness the somewhat shell-shocked reaction in Stockholm.

    Predictably, the great bard of Duluth evaded the glare of publicity, almost sparking an international incident by not responding to the award. Given the great and indeed meditative creative artist he is, I suspect he felt he was undeserving and could not compete with Hemingway and the others he references in a moving acceptance speech, which demonstrated an innate modesty as well as an acute understanding of the American canon.

    I believe his greatness lies in a total lack pretentious. To see him accept the Congressional Medal of Honor from Obama was to witness a wayward little boy seemingly wondering why everybody appreciated him so much. You can also see his pride in being an American; a proper American. There is also an obvious disapproval of how these flickering political shadows interfere in such a great life. Yet an inner dignity too, and truthfully a man who deserved it and knows it.

    Early Days

    Dylan is a spokesman for the Baby Boomer, Woodstock generation. The great soothsayer of the 1960s who knew that change was coming, and that a new generation would not submit to the will of their elders any longer. Yet we find a concern with the growing materialism, obvious from the outset in destroying the goodness in America. This is evident in ‘Like a Rolling Stone’ (1965) with the diplomat carrying his chattel woman on his arm like a Siamese cat.

    There are also the early political songs such as ‘Masters of War’ (1963), responding to the potential of a nuclear apocalypse, and sense of outrage at the treatment of African-Americans in ‘The Lonesome Death of Hattie Carroll’ (1963).

    His civil liberty credentials and intellectual engagement by this stage, circa 1963, are clearly evident.  But other political songs came later. There is the true raging in Desire of ‘Hurricane’ (1975), which is the great theme song of the Innocence Project, although Ruben Carter may not have been entirely innocent.

    But in its grasp of Americana the song is cinematic in scope and sweep.

    Pistol shots ring out in the bar room night…

    An innocent man in a living hell.

    But one time he coulda been the champion of the world.

    So enough has been said of his support of the Civil Rights movement, his hatred of superficiality censure, and his highlighting of injustice more generally.

    Finding God

    And then he embraces God after a hiatus with a motor cycle. This led to an enforced absence and some inconclusive albums. Yet the songs are full of dread of a mighty reckoning coming, such as ‘A Slow Train Coming’ (1979). A deadly reckoning. And that we all have to serve somebody. Pay our dues or penance.

    This is not the embrasure of Republican religious fundamentalism, but the lack of values in a godless universe that he clearly despises.

    The indirection of middle age, before the health scare has now been replaced with an autumnal clarity from perhaps the last great humanist artist. There is a clarity of precise observation, just as the light appears to be dimming in society more widely.

    ‘Not Dark Yet’ (1997) is one of his finest songs. It is Beckett-like in its profundity. There is a sense of closure, indicating it is not dark yet, but we are getting there. There is an uplift of hope and determination that one must go on. It is not dark, but it’s getting there.

    There is hardly a person on this planet that has seen more of it, and who has so much understanding of what Isaiah Berlin called ‘the speckled timber of humanity.’ Over the past decade he has mainly responded with a creative silence that speaks volumes.

    Tempest (2012) is a flawed masterpiece. The much-derided song about John Lennon is intended to convey that an age of optimism has passed.

    Full of utter unbridled fury, and set to a classic Muddy Waters riff, ‘Early Roman Kings’ is a splenetic howl of rage at all that has gone wrong:

    They’re peddlers and they’re meddlers,
    They buy and they sell,
    They destroyed your city,
    They’ll destroy you as well,
    They’re lecherous and treacherous,
    Hell-bent for leather,
    Each of ’em bigger
    Than all men put together,
    Sluggers and muggers,
    Wearing fancy gold rings,
    All the women goin’ crazy
    For the early Roman kings

    Dylan’s classic Middle American decency and his sense that all has fallen apart has been coming for a while.

    New Track

    Out of the blue and out of this lasting silence. I sense Dylan is not winding down at all. Perhaps, like Rembrandt and Ozu, he is just approaching his very best work in the late Autumn.

    Though the shooting match is all over, he perhaps senses limited opportunities are left to make a difference or to intervene. But this disturbing, strangely beautiful song is like an interruption of his work routines. He realises it is now or never for the summation of the great American bard. Finally he has to condense the American tradition of genius, and say how political evil is destroying it.

    In judicial terms, it is a summing up.  Of a world gone wrong.

    The slow train has arrived and it is dark. Not dark perhaps yet but closer than you think.
    The fool in King Lear has spoken to the world leadership and the assessment is unsparing.
    The day that they killed him, someone said to me, “Son
    The age of the Antichrist has only begun.”
    Air Force one coming in through the gate
    Johnson sworn in at 2:38
    Let me know when you decide to thrown in the towel
    It is what it is, and it’s murder most foul
    What’s new, pussycat? What’d I say?
    I said the soul of a nation been torn away
    And it’s beginning to go into a slow decay
    And that it’s 36 hours past Judgment Day.

    This article contains contributions from Dr Francis Leneghan.

  • No Comment: A view of Sligo Town amid the Covid-19 Pandemic

    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
    Fellipe Lopes/Cassandra Voices
  • Documentary – Patrick Scott: Golden Boy

    Sucked in by day-to-day dramas, or absorbed by the most closely studied pandemic in the history of medicine, the mental space to muse idly is severely circumscribed. But we may find a portal, removed from the daily thud of mortality lists and the slow grind of lockdowns, to raise the spirit. Art is more important than ever at this time.

    Shamefully, I had hardly engaged with the great Irish artist Patrick Scott before watching Sé Merry Doyle’s vital documentary ‘Patrick Scott: Golden Boy,’ from The Loopline Collection stored in the Irish Film Archive.

    This grand old man of Irish art passed away in 2014, aged ninety-three. Doyle’s documentary provides a vital record of an artist whose work is infused with a tranquillity and balance, seemingly derived from lifelong interest in Zen Buddhism. It is an influence apparent in mesmeric meditative tables skillfully integrated into the film.

    Doyle’s intimate portrayal takes us into the artist’s home, which he shares with an elegant black cat. ‘I’ve never got a cat, they’ve always got me,’ Scott reveals as the feline owner brushes softly against his forearm, whereupon he receives a loving stroke. Although the speech is slowed by age, calm deliberation is still on display, and evident throughout his oeuvre too.

    The documentary takes us to Scott’s family roots on a substantial farm in Country Cork that is still occupied by a relation. The ‘Golden Boy’ came from a comfortable Protestant background, before boarding school at St Columba’s College in the Dublin mountains.

    The turbulent conditions of the 1930s and 1940s, including the Economic War, which almost bankrupted his family, and frustrated a wish to train as an architect – the standard career opportunity for anyone of an artistic bent at the time – before the intercession of a family friend allowed him to begin his studies in UCD.

    Patrick Scott spent fifteen years working as an architect under the great Michael Scott, who was no relation. Although it may not have been his first love, the cross fertilization that occurred seems to have been mutually beneficial.

    Among the projects that Patrick worked on in that period was the Busáras building on Store Street in Dublin 1, heavily influenced by Le Corbusier, still considered one of the most significant pieces of architectural heritage in the city.

    Busarus in Dublin.

    The one-time architect bemoans how the building is ‘nothing but a departure shed now;’ although the camera identifies the yellow mosaic dome that is easily forgotten in the general hustle and bustle.

    The young architects had imagined a multi-purpose hub of commercial activity and civic interactions. Indeed, there is still a roof-top restaurant space that reminded me of a similar venue in Lisbon, but which, according to Scott, has never been used as anything other than as a staff canteen. Can something be made of this delightful venue in the future?

    In parallel with his architectural career, which he was finally able to walk away from in 1955, once he was able to earn a decent living through selling his art, Patrick Scott was finding his way as a painter. He embraced an array of styles and motifs, including using wet canvasses and whips for brushes, as well as the gold enameling that gives this work an iconic impression, which continues to inspire graphic designers today.

    There is also an important discussion of the White Stag movement in Irish art, which developed among British artists that moved to Ireland in 1930s and 1940s. Basil Rakoczi and Kenneth Hall developed a dynamic focus of energy that had a profound effect on artistic practice in Ireland, including on Scott who joined the group.

    In 1960 Patrick Scott became the first Irish artists in thirty years to have their work exhibited at the Venice Biennale. It is indicative of the status of art, and artists, in Ireland at the time that he had to pay his own way to attend the occasion, as well as for the catalogue and press cuttings. The skill of Doyle’s documentary filmaking is to reveal these kind of details. It might bring consideration to the plight Irish artists today, who contend with a high cost of living and low funding by comparison with other European countries.

    WATCH THE FULL DOCUMENTARY HERE FOR FREE

     

  • ‘Alive Alive O’ Interview with Documentary Filmmaker Sé Merry Doyle

    Sé Merry Doyle’s 2001 documentary film, ‘Alive Alive O – A Requiem For Dublin’ chronicles the lives of Dublin Street Traders. Their patron saint ‘Molly Molone’ became the inspiration for Dublin’s unofficial anthem, ‘Cockles and Mussels, Alive Alive O’. The final stanza remains poignant in our troubled times:

    She died of a fever,
    And no one could save her,
    And that was the end of sweet Molly Malone.
    But her ghost wheels her barrow,
    Through streets broad and narrow,
    Crying, “Cockles and mussels, alive, alive, oh!”

    Following the spirit of Molly, the film demonstrates the fragility of a vibrant culture, and with so many closures, including of the Dublin Flea Market which had to shut up shop due to the lack of a venue for its Christmas market last year. This loss of colour and character to the city is incalculable.

    Shot in stages over many years, the documentary contains rare archive footage, capturing the demolition of tenement homes immortalized in the plays of Sean O Casey, as well as vintage shots of U2 in their formative stage as they play an inner–city concert.

    U2 on Sheriff Street. Photo courtesy of Christine Bond.

    There are also disturbing scenes of street traders being harassed by police, and we witness the last day of trading in the Iveagh Market, with one trader opining: ‘whatever happened to Molly Malone and the city’s pride in her’. It also includes an interview with the independent politician Tony Gregory in which he recalls being incarcerated for defending street traders’ rights.

    This is an unprecedented record of the suppression by the State of Dublin’s traditional street traders, the closure of marketplaces, as well as the heroin epidemic that devastated inner city communities in the 1980s. The collection also contains moving recordings of actor Jasmine Russell reading verse especially commissioned from Paula Meehan, now the chair of Poetry Ireland, as well as traditional Dublin ballads sung by musicologist Frank Harte.

    We spoke with Sé (over the phone unfortunately from where he is self-isolating in London). He first describes how he had made his first film in 1982 called Looking On, which is set in the North Inner City against a backdrop of civil strife, and the emergence of a yuppie culture that brought speculators into an area considered ripe’.

    Sé lived in that part of the city for many years himself, before being attracted to the bright lights of London where he blazed a trail for Irish filmmakers. He returned to his native city of Dublin in 1992, once again taking up residence in that part of the city

    He recalls that Tony Gregory had by then won a few battles, especially after he agreed to support Taoiseach Charlie Haughey after the 1987 election, the so-called Haughey-Gregory Pact, in exchange for gaining crucial financial assistance for the inner city in return. Social housing had by then been built, but the persecution of street traders continued unabated.

    Sé also remembers how:

    I saw a pram dealer on Henry Street have her wheels removed by the Gardai. The Dublin Chamber of Commerce were promoting the removal of traders on behalf of the shopping district. Ironically the women who loaded up on produce bought in the fruit and vegetable market would normally go to Dunnes Stores and fill their prams with their own household purchases at the end of the day.

    Then he says:

    A notion came into my head. Here was the city singing ‘Alive Alive O’ at football matches, while at the end of rich Grafton Street there is statue of Molly. My family all come from the Liberties and some had been street traders, and so a new film began that would also use footage from Looking On.

    Sé said he wanted this film to be lyrical, so he brought in Paula Meehan to add poetry and Frank Harte to sing traditional ballads. ‘A highlight,’ he said, was filming the last days trading at the Iveagh Markets’

    Eternally mischievous, Sé reveals how, after the market was closed for the last time, he bribed a security guard to let him back in, and then brought in the old traders to whom he showed old footage of the market to see what would happen. That became the last scene.

    According to Sé, raising the money ‘ was a nightmare. I got a small grant from the Arts Council, then another small amount from the Irish Film Board and eventually RTÉ came on board and the film was born.’

    The film was premiered at the Cork Film Festival in 2001, and won a number of awards, including at the Galway Film Fleadh. In 2009 it was the official representative of Ireland at the Doc Europa Festival in Lisbon, Portugal.

    The Iveagh Market is still closed and mired in controversy. Sé reckons that ‘markets in general are victimised by red tape and speculators wanting their patches. Alive Alive O!’

    To watch the film in full click here.

  • Prescription: Isolation

    Prescription: Isolation

    No man is an island?
    Go to your room.

    Sweat for three days
    through your clothes, and gaze
    at the sky idling
    through its wardrobe.

    Wait, while species-wide delirium
    registers tremors in the earth’s heart.

    Dream, with Ravel, of the radio’s
    skirling fantasies, one ear awake
    to the bells tolling over Italy.

    Angels stand guard outside your door,
    and in the afternoon bring tea, hot,
    and cuts of melon, cold
    and sweet as spring.

    Tomorrow, you will get dressed,
    push yellow periwinkles and green sea-glass
    across the world of your desk,
    and be glad. Call home.

    So stilled, our hurtling souls
    forget themselves, and remember.

    Image from Quarantine by Patricio Cassinoni.

    www.instagram.com/patriciocassinoni

    https://www.patriciocassinoni.com/

  • Free Documentary – ‘Patrick Kavanagh -No Man’s Fool’

    In association with The Loopline Collection, we are introducing a free documentary film every week during this period of social isolation for you to enjoy.

    For this St. Patrick’s night we bring you Merry Doyle’s intimate portrait of the poet Patrick Kavanagh (1904-1967): ‘Patrick Kavanagh – No Man’s Fool’.

    Kavanagh’s best-known works include the novel Tarry Flynn (1948), and poems such as ‘On Raglan Road’ (1946), immortalised in song by Luke Kelly, and  The Great Hunger(1942). His work viscerally conveys the frustrations of Irish rural life in the first half of the century, while grasping at its cosmic possibilities.

    We also find these themes in:

    ‘Stony Grey Soil of Monaghan‘

    O stony grey soil of Monaghan
    The laugh from my love you thieved;
    You took the gay child of my passion
    And gave me your clod-conceived.

    You clogged the feet of my boyhood
    And I believed that my stumble
    Had the poise and stride of Apollo
    And his voice my thick tongued mumble.

    You told me the plough was immortal!
    O green-life conquering plough!
    The mandril stained, your coulter blunted
    In the smooth lea-field of my brow.

    You sang on steaming dunghills
    A song of cowards’ brood,
    You perfumed my clothes with weasel itch,
    You fed me on swinish food

    You flung a ditch on my vision
    Of beauty, love and truth.
    O stony grey soil of Monaghan
    You burgled my bank of youth!

    Lost the long hours of pleasure
    All the women that love young men.
    O can I stilll stroke the monster’s back
    Or write with unpoisoned pen.

    His name in these lonely verses
    Or mention the dark fields where
    The first gay flight of my lyric
    Got caught in a peasant’s prayer.

    Mullahinsa, Drummeril, Black Shanco-
    Wherever I turn I see
    In the stony grey soil of Monaghan
    Dead loves that were born for me.

    In the documentary we find outtakes fleshing out the story with previously-unseen interviews with actor T.P. McKenna, author Dermot Healy, poet John Montague and others close to the poet. There is also a fascinating sequence involving Kavanagh’s brother, Peter on the occasion of the installation of a plaque at Parson’s Bookshop on Baggot Street, sheding light on a controversial relationship. Audio recordings of actor Gerard McSorley’s readings of Kavanagh’s poems, only partially used in the original film, reflect the genius of both actor and poet.

    On location, ‘Patrick Kavanagh – No Man’s Fool’.

    The film was voted Best Documentary by the Boston Film Festival and features a host of writers and actors, and is just over an hour in length.

    Click here to begin viewing.