Category: Culture

  • Musician of the Month: Kiruu

    Music is like a home. A country. A tribe. A religion or faith. You can’t see it, yet it is real, and has tangible effects. It brings people together. Or it pushes them apart. It creates groups and sub-groups through inclusion or othering. It provokes love and friendship and connection. It reaches into the core of a person and can save or break them. It makes people dress in certain ways and talk with certain accents or lexica. It is a mechanism, or a process. It is a medium, just like water or air, through which energy can travel.

    I write on the day of the digital release of my first full-length Album, ‘Super Feo Express’, a body of work that spans twelve years of composing and which took three years to produce. It is a defining moment for me as a musician and person, so before going into further detail about the album, it is worth recalling some other defining moments that precluded this one.

    Alongside Baobab bandmates in Valencia, Spain.

    It’s the mid 1990’s. I’m 12 years old and at boarding school in Kenya. I’m nervously awaiting my slot in a piano recital. I play Mozart’s Sonata Facile in C. I nail it and I feel for the first time the buzz of an audience connecting with my sounds. It is a defining moment.

    It’s 2013. I’m standing on a stage in the sweltering heat of Dar Es Salaam, before a crowd of thousands of rowdy and impatient, and mostly male, youngsters. ‘Bongo Fleva’ (Swahili pop) stars have been gyrating sexily to backing tracks most of the day. Many have been booed off stage. My guitar stops working. In a panic, I sing Sikupendi acapella. By the end of the song. I’ve won round about sixty percent of the crowd. The other forty percent want to throw things at me just as they’ve done to everyone else. It is beyond bizarre. It is a defining moment.

    At the Coca Cola festival in Coco Beach, Dar Es Salaam.

    It’s 2009. I’m playing in Eamon Dorans, Dublin with my band, Caracoles. It’s a night full of rather sombre ‘alternative rock’ and experimental sounds. They are wonderful, if sad. But the audience gets up spontaneously and starts dancing and grooving to one of our new, more upbeat songs, ‘Fading Pain. I am struck by the range of emotions and responses music can provoke, even in a crowd that is ‘into’ darker music. It is a defining moment.

    I’m sat in a flat in Valencia in 2013 glued to the news that the Islamist group Al Shabaab has attacked a shopping centre in Nairobi. My partner’s pregnant friend has been shot. Her lost child’s is named Shivani. A song is born out from the vicarious anguish of knowing that she will not be born. It gushes out, like a lament. I name it ‘Shivani’ after her. I sing it for hours and hours, amid tears. It is a defining moment.

    It’s 2004. My first ever band, ‘To Show This Idea’ plays our final show in the U.K. before I move back to Tanzania, and eventually back to Ireland, after four years in Leeds. The venue is our own basement. My brother, who would be the last person to compliment me on my music, approaches after the show full of enthusiasm, and says: ‘My god Kieran that was fantastic, I’m so surprised.’ It is a defining moment.

    It’s 2014. I’m touring with a band called Solana through Europe. We stop in Calais at the makeshift migrant camp where people from everywhere have gathered. Many are traumatized, some from war torn countries, all displaced. That night we play an unplugged gig for them all. After playing my song Equinox, I break into Bob Marley’s ‘Buffalo Soldier,’ and everyone starts to jam along. The audience lights up. The refrain ‘Woy yoy yoy!’ sees everyone start singing together. Smiles all around. This was a defining moment.

    These moments sit amid countless others that any musician will have had. Being a musician means having the job of looking after this medium; holding the responsibility to use it wisely. Creating music is working within the same medium, world, or space. Every musician will have their own particular approach to this.

    In my case, I’m yet to grasp fully how I create songs and music, because it seems to happen differently every time. I think that my lyrics mostly come from observation and enquiry, and the music behind (or in front of) them mostly comes from reaction or response. The songs on the ‘Super Feo Express’ album tell the story of over twelve years of composing, performing, and collaborating in bands and musical projects on four continents. Musically, the songs are responses to the musical contexts I found myself in.

    Recording ‘Super Feo Express’ has been arduous and has taken a long time partly due to huge personal challenges along the way that delayed the process. It includes the work of around fifteen wonderful musicians, mostly based in Dublin but hailing from all around the world. It has taken three years, but it is here, and it is done. And I am honoured to share it with the world.

    At the Síocháin launch in BelloBar, Dublin, in 2017.

    I am also thrilled that I’ll be presenting the album’s physical manifestations (CD and Vinyl) with a full band live gig at Lost Lane on September 24th. I hope reading about my background has sparked curiosity and I will see you there. You will also find the album on Spotify, Bandcamp, Soundcloud, among other digital sites.

    Jack Kerouac once said: ‘The only truth is music.’ I believe that I have been able to express myself truthfully in the ‘Super Feo Express’ album, and it is my hope that listeners will be able to appreciate that.

  • Artist of the Month: Gerard Dowling

    What one leaves behind. I guess a lot of stuff. If over the last few years you have passed Bloom’s Lane, just across the Millennium Bridge on the north side of the River Liffey, you may have noticed a familiar figure. Sometimes standing on the bridge, other times reading from a bundle of newspapers and taking coffee in front of one of the four Italian joints adorning this little square, carved out by Mike Wallace in the early 00s.

    The big black coat only came off on rare summer days, and with a wide-brimmed black hat ever-present, he earned the nickname: ‘the Zorro of the Liffey’.

    This was Gerard Dowling, the Dublin artist mainly known for his twenty-year, controversial residence on 47 Middle Abbey Street, a four-story Georgian townhouse, right in the heart of the north inner city. He lived out his afternoons and evenings in this new part of town, full of recently-arrived Dublin residents; an aspect not to be overlooked, considering Gerard’s peculiar preference for solitude. He shunned empty pub conversations.

    Anyone who knew Gerard also knew where and when to find him: from 3pm in the Italian Quarter, any day of the week. After that, as the restaurants closed, he would say ‘ciao’, and proceed swiftly south across the bridge, towards his last residence in Harold’s Cross. Gerard was going to work.

    His life was a puzzle to those who knew the many ambiances he lived simultaneously among. Between his studio residence and the Italian restaurants, the bottom of the Liffey at low tide, or Focus Ireland in Temple Bar where he lunched every day, his unusual appearance made him a target of curiosity, at times openly unwelcomed.

    Originally from Ballyfermot, he entered a seminary at the age of fifteen. It was the quickest way to get out of school he said. Despite this being his choice, it was, nonetheless, a period in his life he only talked about reluctantly.

    Bit-by-bit, combining precious skills learned from an inventive father (including welding, metal-work and photography), with a lifelong capacity as an autodidact, he developed into the audacious artist frequenters of his atelier knew so well.

    He moved to London in 1969 with a desire to interact with the arts scene around Carnaby Street and Piccadilly. He wound up working as an Underground train driver, lasting two months on the job before he was sacked for smoking dope. Two years later he was back in Dublin for a brief period of time, before setting off to Paris. There he enjoyed success as a jewellery designer, working for the likes of Givenchy and Bijou Fantasies.

    Returning to 1980s Dublin, he attempted, unsuccessfully, to keep going with jewellery design; in the basement of that famous house on Abbey Street, which prior to him taking up residence there had served as his father’s place of business.

    In an Evening Press article from February 9th, 1990, he complained: ‘Thieves are robbing me of livelihood’, after a spate of robberies left him without many of his tools.

    As time went by, with other tenants leaving the premises and not being replaced, he slowly made use of the upper floors. Eventually he had the whole building to himself, which was perfectly suited to producing and exhibiting his unique works of art.

    Most of his work was recycled art, reminiscent of Marcel Duchamp’s ‘ready-made’ pieces; an artistic direction he would have encountered regularly in Paris and London, but which was extremely scarce, if non-existent, on the Dublin scene at the time.

    In the early 1990s he would regularly climb down to the River Liffey bed at low tide, also using a small raft, improvised with his father out of two Volkswagen Beetle bonnets. He would rescue various leftovers the city had spat out, from what he referred to as ‘the cradle of Dublin.’

    There he found: traffic cones, bicycle parts, fragments of the Halfpenny Bridge, record players, and shopping trolleys. He once publicly complained about the danger posed by those trolleys to inner city kids diving into the river. But mainly he was exposing environmental neglect. The river had become an endless dump for raw materials, now at his disposal, reflecting the city above’s social and economic characteristics.

    He often remarked on the increasing pile-up of mobile phones, and even wedding rings, discarded after break-ups.

    By then 47 Middle Abbey Street had become, in fact, one of the very few remaining non-institutionalised art spaces. Many recall various parties and openings regularly taking place on its different levels, largely ignored by Ireland’s official art societies and institutions.

    Institutions would, however, eventually take notice of Gerard Dowlling. After a misunderstanding with ‘The Sculpture Society of Ireland’ (now known as‘Visual Artists Ireland’) in 1991, when a dilapidated bicycle covered in seaweed and barnacles hanging from the front of the house was mistakenly assumed by journalists to belong to the Society’s official Sculpture Trail. But Gerard vehemently denied any participation.

    The furore placed his residency on Middle Abbey Street under scrutiny. Dublin City Council, and private interests, were eager to take possession of a valuable property. At the time Dublin was gearing up for the big sell-offs of property, paving the way for the Celtic Tiger, and becoming more and more of consumer society. This early plunder of the city’s architectural, social and artistic heritage passed unobserved by most.

    It led to a ten-year-long legal battle, pitting the artist against Dublin City Council. It ended seven-years-ago with Gerard forced out of the premises, although he did receive financial compensation as part of a settlement.

    Over that time, he also contended with mental health issues, mainly derived from his sister’s murder during the 1970s, a trauma he was only able to speak about openly in recent times, along with other episodes from his youth, which he usually attributed to ‘bullying.’ Despite these challenges, Gerard never stopped working on his art, even up until his last days.

    Artist Gerard Dowling hangs from a harness painting the outside of his house in Dublin City Centre, entitle”Tsunami Now”. 21/5/2005 Photo Photocall Ireland

    From being fined for painting bubble gum onto footpaths, to highlighting Dublin’s decay, and assembling massive sculptures made from traffic cones; or adorning barbed-wire Christmas trees with abandoned soothers, and using debris from motor cars to form African-inspired masks, his aesthetics never ceased to evolve. He never settled in a comfort zone derived from the guidelines seemingly accompanying contemporary art exhibitions.

    In the midst of that variety of forms, and styles, certain motifs recur. From his jewellery design he developed and enhanced fractal-like-Celtic-motifs, which reached a height expression in a collection of twelve paintings, or collages, produced over the last twenty years.

    [Best_Wordpress_Gallery id=”52″ gal_title=”Gerard Dowling Article”]

     

    His late work reveals an abiding love of science, particularly the concept of energy conservation, and anthropological studies of prehistoric tools seen as the origin of human expression. He produced miniature dolmen-like structures, carving in stone to create perfect surfaces for each to be stacked on top of the other.

    [Best_Wordpress_Gallery id=”54″ gal_title=”Gerard Dowling Article II”]

    Powder resulting from the process was combined with glue and napkins – pilfered from the Italian restaurants – forms five square pieces of sculptural-relief, resembling volcanic landscapes. Together with varied photographic images and an array of newspaper clippings, it surveys a life spent on the verge of notoriety.

    I like to remember what cannot be left behind materially. One of Gerard’s favourite recent activities over long afternoons spent in the Italian Quarter had been to draw convoluted patters with chalk on the pavement of the Square. Stepping back, he liked to observe who would walk and thus ruin his drawings; or those sensitive souls who would take notice of them, and kindly offer his ephemeral shapes a slight extension to their lives; at least until the first rain shower, or the incessant flow of early morning commuters.

    ©Andrea Romano

    Feature Image: Julien Behal Photography

  • Musician of the Month: Fin Divilly

    Over seven years ago, I moved to an old house on Liffey Street having lived in various Dublin suburbs. I was 25 years of age and in the heart of Dublin city. Quickly the opportunity to make music my livelihood was upon me. I was now living on the circuit that could pay me to sing in bars and clubs.

    I still have pleasant flashbacks of coming home from school and while the rest of the family weren’t home, I could play soul and rock’n’roll; ceol loudly and bounce around the kitchen with a broom as a mic stand. Rocking my prepubescent balls off, I dreamed I was Iggy Pop or Al Green. A career began.

    I took every gig available and I learned the absolute strengths and weaknesses of musical prostitution. Meanwhile I could party my arse off, write whatever music I liked, in my own time. The next five-years would be a unique apprenticeship. I was student and master. My mind became a crazy FUCKIN classroom.

    My body on its own is just flesh

    Smelly when it’s used, balmy when it’s fresh

    Playful when it’s bruised while love is how it hardens you

    I am very passionate and often too serious about music. At times, I do forget simply to enjoy the experiences that I have, and live in the moment. Like anyone else, that is something for me to deal with in time.

    So much of what people generally care about is not a primary concern of mine. Pride in possessions, voting with tradition and buying upon demand are a few of life’s regular fruits that I have not yet found an appetite for. I am surrounded by shops but I rarely go inside. I have never voted as I don’t see real structural change happening as a result. It’s a rotten economic system of greed and bland reactive politics, from both sides, with a more and more middle of the road agenda for society.

    The fact that individualism is generally dedicated to easy and safe goals makes me sad and angry. I’m interested in affecting the real lives that I can actually experience around me. To love and hate things and people whenever. I want people to be more open about things that matter: distribution of wealth, the demise of civil liberties, drug taking, sex etc., etc. I write from those conversations.

    ‘You said slut! Now apologise! What you say it for?

    Turn that word on yourself, see what you’re aiming for!’

    To make a living, I perform other people’s songs with the addition of some of my own music. Wednesday nights are in the Dame Tavern alongside the inimitable violinist and composer Gareth Quinn Redmond. Other weeknights I play on my own in a variety of city centre bars and beyond. On weekends, I sing and go bananas with the mighty fine cover band ‘Bangers & Cash’. That is my proudest exercise; developing my voice and ability to rock a room. I also do so much climbing, dancing and running around that it now counts as a sport. I pay the rent.

    My body clock is set for a race

    While we’re just some cum sample the universe has gargled

    Left between the legs of an accidental country

    I wrote and released my first solo album ‘Liffey Street’ in late 2017. It’s a brief blend of songs spanning my time here and the endless noisy circus of life around me. I have a very personal attachment to my work but am proud to share my observations with anyone who cares to listen.

    As an avid daydreamer, I have romantic visions of life but I prefer to then find the most direct and honest means of describing things. Having only performed these songs live a couple of times, I have decided to continue writing more music privately, with the aim of building a band under my name that can enjoy much more diverse material to play with than just one album’s worth.

    Most days I can’t stand to sit and wait

    Nobody has a head on someone else

    The body alone is in no shape for horniness

    or “common” sense

    Just loneliness

    While I have this broader aim to create more solo work, my growing admiration and relationship with the poet John Cummins led me to begin writing music around his words and with the addition of two great friends David Meany and Jonathan Jude, we developed the group Shakalak. It is the most exciting and sincerely original group I have ever played in. Our personalities, style and humour make Shakalak both common sensical and unique. We talk and write about what we know and play our instruments with every respect for that.

    The boom is back boys, the boom is back

    The boom is back babe, the boom is back

    Let’s all grab a crane and fuck it all up again

    I feel lucky to have the life I do. So much so that excitement and big mood swings can sometimes make me anxious and doubt if I’m capable of keeping this rebellious lifestyle going.

    I don’t collect the dole and I don’t earn enough to pay tax. I have great independence and occasional bouts of terrifying loneliness. I work FUCKIN hard and I party harder.

    That novelty is wearing off as I find myself joyfully craving the peace of the outdoors more and more, and adventure without the arm of drink and drugs holding me from late bar to early house. I have been hired, fired and heartbroken. I am a punk in a zebra coat. Black and white.

    The quays are these arteries that flow through me

    As Dublin and my mother must breathe me in

    With less boundaries between private and public life

    I’ve come to have no real respect for traffic lights

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  • Albert Camus and the Decline of the Public Intellectual

    But again, and again there comes a time in history when the man who dares to say that two and two make four is punished with death.
    Albert Camus, The Plague.

    Periodically, I am asked about the relationship between law and literature. Therefore, it came as no surprise to be sent a book on that theme, The Meursault Investigation (2013) by the Algerian writer Kamel Daoud. It is a rebuke to the greatest Algerian, or indeed French, writer of the last century, Albert Camus, and in particular his classic novel of 1942, The Outsider.

    In fact, Daoud’s account can be read as a form of homage to Camus’s seminal work, taking as it does the murdered Arab as its lynchpin. Nonetheless, there is an implicit critique of Camus’s putative racism or imperialism, or at best, a lack of empathy for the individual killed.

    It is most decidedly not univocally hostile, insofar as Daoud – himself the subject of a religious fatwa in his native land – clearly despises what Camus in effect warned against: the rise of extremism, whether religious or secular, as is the theme of his historical novel The Rebel (1952), set during the French Revolution.

    Daoud’s book concludes with an idea Camus himself would surely have approved of: how to hold on to the precious commodity of truth? This is a subject dear to my heart too as a practising criminal defence barrister.

    There have been other condemnations of Camus. Richard Posner, for instance, argues:

    Not only is the Arab victim left nameless, Arab customs and culture are occluded. Mosques, souks, Arabic, the milling throngs of Arabs in the street all are ignored even though Arabs outnumbered Europeans in French Algeria by more than ten to one.[i]

    Edward Said also claims that Camus implicitly accepted French control over Algeria in Culture and Imperialism. But to my mind these assessments fall far wide of the mark, and fail to acknowledge the great humanity of the author.

    Marxist Critique

    Marxist extremists such as Jean-Paul Sartre and his partner Simone de Beauvoir also crucified Camus over this perceived failing. De Beauvoir’s 1960 autobiography, The Prime of Life, expressed a cold-blooded contempt for Camus, seemingly for his independence of mind, and ideas beyond the cult.

    I consider Sartre a mediocre philosopher and terrible writer, and view de Beauvoir’s offerings only marginally superior, at least in her feminist tracts. I find her novels uninteresting. In contrast, Camus’s singular voice is both philosophically, and in literary terms, of far greater importance, then and now.

    I believe Camus was the defining, and greatest, public intellectual of the last century. More to the point, he is far from obsolescent or useless. In fact his ideas are more relevant than ever. As Daoud’s timely book suggests, he has come right back into focus. So let us address why much of the criticisms directed against him, including those from a position of disappointed absolutism, are wide of the mark.

    Camus’s career was meteoric, but short-lived, dying in a car crash at the age of just forty-three, after becoming the youngest, or second youngest after Rudyard Kipling, recipient of the Nobel Prize for Literature.

    Berta Vias-Mahou’s recent work They Were Coming for Him is suffused with premonitions of mortality, and a suggestion in the coda that the car crash would not be an accident, but an assassination by his enemies, who were at that stage plentiful.

    It is the story of a man who has taken a stand against violence, the death penalty, and terrorism, and has his life threatened as a result, and even goes on to die in an attack that is arranged to look like a straightforward accident.[ii]

    His career consisted, in substance, of three great, but short, novels together with several plays and political tracts, along with numerous journalistic pieces. This output may seem paltry, but as ever, quantity wins out over quality. Each novel is a masterpiece in its own right that has stood the test of time, and the political tracts are rich in philosophical insight, condensing multitudes. The plays are less garlanded, but worthwhile nonetheless.

    In literary terms much was achieved, including that last incomplete work of fiction released by his widow long after his death. The First Man (1994) thus acts as a coda and summation of his greatness, and is set in sultry Algeria, his country of origin. The manuscript was actually rescued from the car crash, and explains a hurried journey to a publisher in icy, mid-winter conditions.

    It should also be noted that Albert Camus was a Pied Noir, a nickname for the French community of Algeria, doubly despised by mainland French and the indigenous Islamic population of Algeria.

    Still today, Pied Noir is a term of abuse, as I once discovered in a hat shop in the south of France, when the owner mistook me for one – a poor, dispossessed Frenchman. This antipathy is also evident in The First Man.

    Hatred of Camus was also linked to his quixotic lifestyle as They Were Coming For Him reveals. Purists, Communist or religious, take exception to the tradition of the cosmopolitan intellectual he represents.

    The Figure of the Public Intellectual

    If Camus is to be defined a great public intellectual this leads to the question: what is a public intellectual, and what benefits does this increasingly rare breed confer?

    A public intellectual is not an academic as such. In his time, as now, the world is full of specialist academics operating in their silos. Specialisation brings a tendency to focus exclusively on one or two matters, leaving no room for the big picture. In contrast, the public intellectual is a generalist and synthesiser.

    Today, compartmentalisation has reached dizzying levels. The proliferation of often useless non-directional research, with the requirements to publish or perish, creates careers equivalent to battery hens producing eggs. The role of the academic as a generalist, and popular communicator, has been almost completely extinguished.

    Above all, it seems to me, a public intellectual should be a communicator. He or she makes complex ideas accessible, stretching the public’s insights, and shocking them if necessary, but never unnecessarily complicating matters, or dressing them up in excessive verbiage or pomposity.

    Take the last two truly great Anglo-American intellectuals, Gore Vidal and Christopher Hitchens. Hitchens was a superb journalist, but it is said that as you read him you always hear him speaking, for above all he was a formidable debater and public speaker, even whilst under the influence.

    Unlike Hitchens somewhat bombastic style, Camus communicates in crisp and lyrical prose. Also, importantly, he was an ordinary, even working class, French Algerian, and never forgot where he came from, and nor was he allowed to.

    In contrast, Gore Vidal spoke with the plummy dismissiveness and engrained intellectual contempt, of the Brahmin. By all accounts his personality was insufferable, which is apparent in a debate with perhaps a progenitor of American neo-conservatism, the devilishly witty William F. Buckley. Indeed I encountered Vidal’s brusqueness myself when I sought an audience in his Italian villa!

    The debate between Buckley and Vidal prior to the 1968 Presidential election returns us to another planet of true intellectual discourse. It is interesting to note that Buckley, whose views I find obnoxious, comes across as the more personable character than Vidal. I heartily recommend the documentary ‘Best of Enemies’ (2019) to find out more.

    Both Vidal and Hitchens, however, pale in comparison with Camus, who won a Nobel prize for his literary work. Vidal certainly, and Hitchens to a lesser extent, were great journalists, acerbic and pointed, but both lacked the secular seriousness, humanism and depth of Camus.

    While Camus might not regale a dinner party with the same panache as Hitchens, or have the same capacity for anecdote as Vidal, there is a unstinting logic and, above all, deep-seated humanism in his writing.

    Rivals Among Contemporaries

    There are many great writers of fiction who cannot be classified as intellectuals – although they may be celebrities. For instance, F. Scott Fitzgerald wrote one of the greatest novels of the twentieth century, but even allowing for Edmund Wilson’s comment that he could never write a bad sentence, his philosophical insights, except in a yearning, American way, are non-existent.

    The Great Gatsby is a simple parable on the self-delusion of the American Dream. A far better and more videogenic vehicle for the true dystopia of the American dream is found in Mamet’s play ‘Glengarry Glen Ross’. (1984), where the American Dream descends into the cut-throat competition of avid materialistic salesmen.

    It should be added that Fitzgerald, in his epiphanic manner, argued that the sign of a great and first-rate mind was to keep ‘two inconsistent and contradictory ideas in his head at the same time’, which, ironically, encapsulates the ability of Camus.

    Unlike Fitzgerald, Ernest Hemingway was thought of as a man of ideas and action. But obsessions with bullfighting, machismo, war-making and fishing are not evidence of profound thinking, albeit these relate to important questions over masculinity and mortality, as well as the futility of existence.

    Nonetheless, Hemingway’s telegrammatic prose style is perhaps unsurpassed in its succinctness, most evident in brilliant short stories and the 1926 novel Fiesta. These are towering achievements, but they not the work of a public intellectual. On the contrary. Papa was not a thinker. Papa liked mamba. Too much.

    The nearest comparisons, and thus competitors of Camus, for the status of the greatest public intellectual of the twentieth century, are French representatives from the same period. These include his erstwhile friends, Sartre and de Beauvoir. Unlike Camus, however, their work has not stood the test of time.

    I feel they always looked down on him as a clever provincial boy, and not quite at their level of seriousness; seeing him perhaps as the Algerian equivalent of a Shropshire Lad.

    In reality, Sartre’s existentialism was always derived from the superior analysis of Martin Heidegger, and his latter-day Marxism is designer-radical-chic, which ultimately achieved nothing. De Beauvoir is a turgid novel writer, insightful in her autobiographical work, and as a foundational feminist, but neither of them wrote as well as Camus, or as reasonably.

    Sartre and de Beauvoir ultimately expelled him from their court: intellectual banishment for the temerity to steer an independent path, and not be their swarthy, mixed-race poodle. Of course, the precise banishment came after his response to the war in Algeria.

    To de Beauvoir and Sartre, Camus was a traitor to the extremism and mumbo-jumbo they promoted. A traitor to the achievement of nothing. It is hardly coincidental that Jacques, the fictional hero of They Were Coming For Him, suggests his intellectual executioners will facilitate his real executioners.

    It is generally assumed that Sartre, with his existentialist and Marxists texts, is the philosopher, and the Camus novelist. I beg to differ. Camus was a far more practical thinker, and his ideas more digestible. Serious writing is not simply that which is unleavened by humour or compression, even in philosophy. To my mind Jacque Derrida is the worst argument for a public intellectual, and is not serious in the least, as anyone who reads his incomprehensible prose will attest: plenty of words, few clear ideas.

    Algeria

    Camus of course, as he readily admitted, was not an existentialist, but a product of the Enlightenment and the French tradition of letters and reason. An inheritor of the tradition of Voltaire, with a clipped prose style redolent of Pascal. There is an austerity about his work too, but also a lyricism born of a mongrel Algerian background.

    His critics accused him of French colonialism, as they saw it, but this is a question of perspective. He advocated co-existence between the transplanted French and the native Islamic population, condemning the torture and the death penalty inflicted on the Islamic population. He was one of the few journalists to visit Algeria at the height of the war where he pleaded for moderation.

    The Marxist dogmatists despised him for this and accused him of being an agent of American imperialism. This descended to the absurd accusation of racism, lingering in The Meursault Investigation, and in the writings of Posner and Said. In my view these accusations are doubly spurious, considering his desire to broker a peaceful solution between the two sides, and a relentless commitment to human rights.

    Camus saw clearly that there would be serious bloodletting in Algeria as there had been during the Terror after the French Revolution, which is the subject-matter of The Rebel. Also, as a Pied Noir, he always argued for the peaceful co-existence between Arab and French populations. In a sense, he anticipated the idea of a two-state solution between Israel and Palestine.

    Evident throughout his writings is the desire to confront absurdity and extremism and invoke the values of rationality, community, solidarity and human rights. That moderation makes him a kindred spirit of the only true Irish intellectual, Edmund Burke.

    The Fall

    So why does Camus remain vital to our own time?

    In the classic sense, Camus was a man of letters, and of epigrammatic precision. In his writing, as with a great advocate, not a word is wasted. Like Beckett’s profound later works, his novels are models of compression and insight.

    It is not simply the novels, but the tracts of political philosophy and journalism – equalling even that of Orwell’s in my view – that define the consistent achievement. He also shared with Orwell a commitment to truth and moderation, defying barbarisms, whether fascistic or Communistic.

    The overriding note in Camus, thus, is always one of rationality and a profound distrust of hypocrisy, and indeed the social and religious prejudices emanating from extremism. Unlike Camus, extremists exhibit a fondness for over-statement and wrap ideas in generalisations, propaganda and pseudo-erudition. Psychologically, it is a form of hysteria, and far too many are appearing in our public discourse today.

    In this respect Camus’s disquisition on hypocrisy is best seen not just in The Outsider, but above all in the remarkable character of the judge and advocate penitent, Jean Baptiste Clemenceau from the 1956 novel The Fall, which even Sartre appreciated.

    Lawyers have often been portrayed as monsters, and such is the character Clemenceau. All ‘piss and blarney,’ as the Irish would say. Seductive, hyper-articulate and a rattlesnake. A judge penitent exiled to Amsterdam confessing his sins, unclear disgrace, disenchantment with humanity, and sense of the hypocrisy of his professional existence. The advocate manqué searching for something, perhaps oblivion.

    There is no more properly satanic and self-reflexive lawyer depicted in all of literature than in the crisp eight-five pages seated on a bar stool in Amsterdam. It in fact is a monologue. A mulish self-justificatory cri de coeur.

    The point is there for all to see: an awareness of the personal failure, properly understood, to grasp or deal with professional and personal hypocrisy.

    Other Works

    The Outsider, is Camus’s most famous novel and the pretext for The Meursault Investigation. It is at one level a classic penological drama of crime and punishment; unsurprisingly Camus worshipped Dostoevsky, which explains the echoes of Raskolnikov. Both texts also feature an intrusive religious prosecutor, compelling the alleged perpetrator to confess all.

    The cleansing of the soul becomes a metaphorical scaffold built by extremists to hang the perceived deviancy in others. It is really a projection of their own evil onto the righteous, and the innocent. The Outsider is also infused with Camus’s lifelong campaign against the death penalty, making it a human rights tract too.

    I would argue it is a mis-reading to suggest he is endorsing French colonialism, and any soupcon of indifference towards the faceless Arab victim should be read in the context of a quest for a just dispensation for all.

    It is the two great political tracts The Myth of Sisyphus (1942) and The Rebel (1951), which are, I believe, the most relevant to his status of public intellectual.

    The Rebel advocates a freedom tempered by responsibility and engagement. It is a book cautioning against terror and a descent into extremism. It is the voice of enlightened, secular humanism that resists the path of uncaring nihilism. It is not a radical rebellious text as such, save as a plea for independence, principle and indeed righteousness.

    Camus demonstrates clearly in Sisyphus that suicide is an abnegation of responsibility. He also saw clearly the need to engage rationally with the important questions of his time. I translate this into my own profession work as meaning the rational compilation of evidence to ward off the forces of darkness.

    Thus, the Rebel is not a radical rebellious text as such save as a plea for independence, principle and indeed righteousness. This not unlike Jurgen Habermas’s idea of communicative action of technically but morally rational solutions to human problems.

    Continued Relevance

    On all sorts of levels, the anti-extremism of a Camus is called for in a world ensnared by religious fundamentalism, fuelled by toxic neo-liberalism and incipient fascism.

    As a man of the Enlightenment, Camus was also an opponent of moral relativism: the idea that all views are equally valid. He valued reason and moderation and sought compromise. His enemies now, and then, are the purveyors of Post-Truth psychobabble, along with all forms of fundamentalism and terror, racism and social marginalisation.

    Alas, independent public intellectuals are no longer in vogue, and we all must eat. Our universities are corralling us it into fixed categories and narratives. Issues of environmental and economic collapse give way to the safe haven of identity politics, allowing vested interests to virtue-signal their ‘liberal values,’ and ignore the great unwashed.

    People are appalled at the likes of Harvey Weinstein, rightly so, but the ex-post-facto-political-correctness is a side show to the real economic and environmental abusers.

    The mainstream media provides in Chomsky immortal phrase ‘language in the service of propaganda.’ Standards of intellectual and professional argumentation are going out the window. The educational system is obsessed with branding.

    Meanwhile mainstream media demands ‘balanced’ coverage: airing both sides of the argument has led, ineluctably, to the ventilation of utter nonsense. I would love to read what Camus would had to say about the dumbed-down palaver that passes for political debate today.

    So the values of Camus, the just man, the legalist in fact, the moderate, the secular humanistic rationalist and compromiser are greatly in need. These qualities are intrinsic to a genuine public intellectual, rather than a jumped-up self-help guru such as Jordan Peterson.

    Moreover, my own distaste for the organised criminality of many police officers is reflected in a passage from They Were Coming For Him:

    It seems that the; police officer in charge of the investigation had said there was nothing surprising about the case, that a career such as that mans was bound to end as it has.[iii]

    Of course, the books still stand the test of time and are now revisited and indeed revitalised by works such as The Meursault Investigation. This legacy is as vital as ever and in Aristotelean terms, the virtues it expresses are those of courage, moderation, justice and prudence. But he also held other great virtues: an utter lack of hypocrisy and, above all else, humanism. Camus had the full package of ingredients required, then as now, to be a public intellectual.

    David Langwallner is a barrister at Great James Street Chambers, London.

    Do you think this piece is valuable? If so, you might consider providing us with financial support via Patreon, or simply pay us a small sum directly using PayPal: admin@cassandravoices.com. Thanks for supporting independent journalism. Subscribe for free to our monthly newsletter here

    [i] Richard Posner, Law and Literature, Harvard University Press, Cambridge, 1989, p.66

    [ii]Berta Vias-Mahou, Cecilia Ross (Translator), They Were Coming For Him, Hispabooks, New York, 2016) p.111

    [iii] Ibid, p.189

  • You and Yours

    It’s only a day’s walk north from Sana’a to Al Madid, in the province of Neham, so I said, ‘In Al Madid, God willing, surely we’ll find what you seek.’

    Wearing a cuffia, the small man eyed me with a detached superiority while I thought to myself, ‘How fortunate he is to have me. With someone else, he could find himself in a perilous state, Yemen being Yemen. And Yemenis being Yemenis, they may not tolerate his lofty air.’ However, being a humble Yahud I chose to ignore it. We were on foot, heading toward the Mareb and the mountains. It was still spring.

    I’d been told the bare minimum by the small man, Baahir Jalali, and in truth had no right to know more. But curiosity is a beast all its own, and a beast must be fed. My countless questions kept falling flat though, so I ceased my futile efforts. If he wanted to speak, fine. If not, so be it.

     

    Poverty in the countryside is such that we traveled with nothing of value. Not even food. Without provisions, we trusted in the Jews of Al Madid. I carried a letter of introduction from Moshe Alkarah, a well-to-do merchant based in Eden. He knew Baahir Jalali and had recommended me, Al Fathihi, to act as his guide. Addressed to the Rabbi of Sana’a and other Rabbis in other towns, the papers I possessed requested we be looked after and promised reimbursement for any out-of-pocket expenses, in due course.

    The barren mountains stretched ahead and as we walked, endless dust swirled at our feet. My eyes roved, seeking the few plants that found strength to sprout and cling amongst the rocks, existing on thin air and hope. Were we not doing the same ourselves? The hours crawled by and Baahir Jalali was getting tired, because in spite of his steely gaze his body was made of something softer.  When we came to the outskirts of Al Mawqiri, a small village not far from Al Batah, both of us were thirsty as two empty humps on a camel.

    In the distance, I glimpsed a girl tending goats. Baahir Jalali rested his bones while I went for water. About thirteen and completely covered, only her tired eyes and chapped lips were exposed. Glad for the interruption, she offered me a leather pouch spilling water and asked a thousand questions. I answered a few, pouring the precious clear liquid for my friend into her clay dish, which I swore to return. Picking some plants, she pressed them into my hand and said ‘Eat.’ I trusted doing this would energize us and ease our walk. Baahir Jalali was dozing when I returned, but quickly revived to say water had never tasted so good. Chewing her herbs, we stretched our legs and massaged the soles of our feet.

    The sun’s movement across the sky meant we must carry on if we were to reach Al Madid before nightfall. At last, perhaps bored by his own thoughts, the small man spoke, ‘Have you ever been to Lahaj?’ I’d never had that pleasure, but asked if it was true they sent water to Eden? Baahir smiled, ‘One hundred camels carry bags of water every day!’ he boasted triumphantly. ‘Lahaj is beautiful, its palm trees plentiful and their dates so sweet.’ He spoke of big juicy melons, then with probing eyes, asked if I knew the Sultan of Lahaj: ‘I’ve only heard of him,’ I answered in all modesty. Baahir Jalali laughed with delight and seemed slightly relieved.

    ‘It sounds heavenly. All those rivers and green fields.’

    ‘Oh yes! It is most certainly heaven on earth!’ sighed Baahir Jalali then he fell silent for a while. Waiting. Debating in his mind. He weighed it carefully before casually mentioning his grandfather had lived in Lahaj.

    ‘So why do you not live there?’ I asked.

    ‘Long story,’ said Baahir Jalali with a smirk.

    ‘This road is long. Your story will not last the length of it.’ But Baahir Jalali grew quiet.

    I gave up on getting anything out of him, but only then, of course, he answered. Baahir was not born in Lahaj, because his father left there to look for a key.

    ‘He left Lahaj only to locate a single key? This key must be quite unique.’ Baahir Jalali smiled and left my unanswered question dangling there between us.

     

    Our walk resumed, we both kicking stones and me trying to make some sense of this mysterious man. Suspense was clearly his currency, and I had a strong suspicion he was toying with me. Asked a direct question, he didn’t divulge, but when I relented, he tendered the most granular detail. Determined to deprive him the pleasure of depriving me the answer, we walked on.

    The wilderness pressed in from all sides, leaving us to stare at the rugged mountains straight ahead. Baahir Jalali retreated back behind his personal well of thoughts, his bushy brows shaded eyes further darkened by contemplation. It was not in my nature to sustain a vexation with the taunts of this haughty man and slow as a snake twisting up a tree, my curiosity reawakened, tickling my mind as we passed the place called Jabal Dhimarmar. The springtime sun slid further down in the sky, and yet still it sliced our backs like a hot sword.

    ‘Tell me, what is the importance of that key?’ I felt compelled to ask. Baahir Jalali jumped, startled out of a somnambulant stroll, and from his twinkling eyes, a smile melted across his face to form deep dimples in his cheeks and softening his grimace, revealed a row of teeth, perfect as pearls.

    ‘I’ll say more than I intended, but only if you promise not to say one word to a single soul.’

    Vaguely intrigued before, I must admit he had me eating out of his hand.

    ‘And be warned,’ he continued, ‘possession of a secret can put you in danger.’

    At this, I laughed, ‘Surely, you’re not serious?’

    ‘I am serious. What is a secret worth without any risk?’ His glare mixed gravity with bemusement at how my curiosity, like a flame kindled, now leapt out of control. Patting me on the shoulder, Baahir Jalali promised knowledge that would hold me hostage to him and his secret. Unhurried, he inquired ‘How long until we reach Al Madid?’

    I saw the sun low in the west, ready to slip behind that mountain and said surely we still had hours to go.

    Baahir Jalali sighed, ‘We’ve eaten nothing, and I’d settle for a simple cup of coffee.’ ‘Coffee.’ What a word. It sent my head spinning, with a longing that weakened me and I had to agree, ‘Coffee, would be good, indeed.’

    ‘I’ll finish telling you that story later.’ He said, ‘Now all I can think of is food.’

    ‘No, please talk,’ I pleaded. ‘Say anything to make us forget our hunger.’ So he spoke.

     

    Baahir Jalali was not born in Lahaj, but his father was Shafiki, son of the Sultan. I did not doubt him for a moment but began to believe that the road we were on had no end. By some miracle the soft hills parted, we rounded a corner and stumbled upon a small holding. In the midst of its sand and gravel, stood several coffee trees, their leaves a lustrous green.

    An old man squatted in the dirt, just off the trail, staring into the empty distance, then greeted us, ‘Salam Aleikum.’

    ‘Is this your land?’ I asked.

    ‘Why else would I be here?’ he answered in a bored tone of voice locals reserve for travelers.

    ‘Please could we have some coffee?’ I ventured. He was weather-beaten but wiry as a young goat, and stood up on his feet to bellow, ‘Latifah, bring coffee. Now!’

    A stunning girl of seventeen brought us three glasses of coffee on a woven tassey, and to our unfettered delight, put down a plate of dates! Squatting alongside the old man with all the willpower we possessed, we ate the dates at his measured pace. ‘Your daughter?’ I asked, politely sipping her spiced coffee.

    ‘God, no! She is my new wife,’ he said, swelling with pride.

     

    Satiated by strong coffee and sweet dates, the old man asked, ‘What business brings you here?’  Baahir Jalali looked to me, but I hesitated to speak, not confident I’d been informed of the complete story, myself. Quickly it became clear Baahir Jalali was leaving it all up to me.

     

    I said to Sa’idi, that was his name, we were collecting stories about an ancient queen. She was called Sheba, and once ruled these lands. Did he know any stories? Old Sa’idi waved his hands as if to say, ‘Waste of time. Centuries ago. Forgotten!’ ‘But there must be some stories passed down? Generations of people tell their children old tales.’ His eyes were open, but Old Sa’idi sank into a sort of sleep.

     

    The lovely Latifah brought him a nargila pipe and absentmindedly, he stuck it between his lips without exiting his trance.

     

    ‘Where are you from?’ Alert now and abruptly he turned to interrogate Baahir Jalali. Locals regularly treated foreigners with suspicion. For this reason, Baahir Jalali reclaimed his roots. ‘Lahaj. And Al Fatihi, here, is from Sana’a.’

     

    The old man sank back on his soles, ‘I seem to recall something about a man from Lahaj. Must have been sixty years ago…’ Old Sa’idi adjusted his cuffia and scratching the back of his neck, he said, ‘Yes, I was about five years old when a fancy young man from Lahaj came through here on his way to Al Madid. Found out later he was the son of the Sultan. It’s been so long but I’ll never forget the gorgeous young girl he had with him. As if it were yesterday, I still see those eyes of hers, green as basil. The man, Shafiki, claimed she was his wife and kept calling her Cat. And by God, she did resemble a cat with those enormous green eyes. The rest, of course, was always covered, but once I was alone with her. Lifting her veil, she held my face in her elegant hands and said to me, ‘My child, one of these days, one of my own will come for you and yours.’ When I think of it now, she was merely a child herself!’

    ‘So why did they come to your place?’ asked Baahir Jalali and Sa’idi scratched his head.

    ‘They were looking for a tablet. One of the old stone ones they say go back to the Sabaean period, with writings on them. We only have one here. Salam Al Saudi brought it back. From Al Narjan.’

    ‘The tablet has an inscription?’ Baahir Jalali vibrated with excitement and making myself small, I watched how hotly he asked Old Sa’idi, ‘Did the local people reveal the tablet?’

     

    ‘They didn’t dare. As you know, bad luck will be unleashed if these tablets fall into wrong hands. Cat claimed it rightly belonged to her, but the people said she would find many more tablets in the south. They asked her why she must have Salam Al Saudi’s slab? She insisted she was searching for a particular stone. Something about the writing.’

    ‘What was inscribed?’ I almost whispered.

    Old Sa’idi shook his head, ‘Who knows? It’s a long forgotten language.’

     

    ‘What would a woman want with that tablet?’ asked Baahir Jalali, on tenterhooks, stuffing each of his trembling hands into the opposite sleeve of his robe. Sa’idi shrugged his shoulders. ‘She didn’t get it. They buried it so well under the floor of Salam Al Saudi’s house. Back then he was the last of his line. And now, he’s long dead.’ Sa’idi sucked deeply on his pipe which made the water gurgle.

     

    We three sat quietly, thinking of Shafiki, Cat and their tablet. Jalali calmed himself and I said,

    ‘It’s a good story.’

    ‘Yes, yes, it’s a great story!’ agreed Baahir Jalali a tad too enthusiastically.

    ‘So Salam Al Saudi’s house, is it in ruins?’ I ventured.

    ‘Yes. But everyone knows where it was. It was the last house at the end, where the Mareb road leads in the direction of Bab Al Yahud.’

     

    Like a jackass who can’t restrain from running, Baahir Jalali was dying to depart out the door. But I sat for more chitchat with Sa’idi, and thanking him for his hospitality, we left hopeful to reach Al Madid before dark.

     

    It was cool and nearly night when we arrived to a pleasant dinner at Yahya Mansoor’s house, modest fare laid before us made tasty by the undeniable goodness of our host. We mentioned an early morning meeting with the blacksmith would make us late for breakfast. Mansoor showed polite interest in our appointment, but Baahir Jalali deferred going into detail until the following day. And before anyone, including the sun, was up, we set out.

     

    With only a sliver of moon to light our way, we found the ruined house of long dead Salam Al Saudi. We knew it by the Star of David hung high in a niche on the wall, just where Old Sa’idi had described it would be. Rubble piled high made our mission seem impossible, but Baahir Jilali began pulling large stone slabs and expected me to come to his aid. My hands are more accustomed to pen and paper, so I said ‘We’ll not get far like this. Two people in the dark.’ He eyed me in a way that could only mean, ‘dig or I don’t pay.’

    I shifted smaller stones, and after two tedious hours, it was daybreak and Baahir Jalali began to agree with me. We needed help, but first it was time for breakfast. Sweet words indeed! We walked back and Yahya Mansoor’s wife had prepared a simple meal with as much coffee as we desired. Mansoor was too busy to hear about the blacksmith, but on his way out said, ‘I’ll be seeing him later, myself!’

     

    ‘Better go see that blacksmith,’ grumbled Baahir Jalali, the moment Mansoor left the room.

    ‘Because?’

    ‘Because, we said we would and Mansoor may discover we lied.’  He was impatient with me.

    ‘But what business have we with the blacksmith?’ I asked.

    ‘You’ll think of something!’ he snapped.

    ‘More urgently, who will help us dig in the ruins for the tablet? Shall we trust Sa’idi?’

    ‘Let us ponder that on the way to the blacksmith,’ answered Baahir Jalali. And on our way to see Sa’idi we pondered more. Could we get Old Sa’idi’s help without the locals learning what we’re after?

    ‘We’ll give him something.’ Concluded Baahir Jalali.

    ‘But what have we to give?’ I simpered.

    ‘One always has something to give…’ What was in Baahir Jalali’s devious mind? Close to Sa’idi’s place Baahir Jalali stopped and said. ‘I must say something before we see Old Sa’idi. As you may have gathered by now, Cat is my mother, Safia.’

    Safia, was the daughter of an Italian, Doctor Montalbano, who lived in Eden. When the Sultan fell ill, his doctors, unable to cure him, called the Italian to Lahaj. Montalbano’s wife was originally from Lahaj and happily accompanied her husband back to her hometown. The couple brought along their adorable daughter Safia, who had just turned twelve.

     

    During his treatment, the Sultan took a particular shine to this green-eyed girl in his palace, as did she for his statuette, a cat cut from stone. It sat on a windowsill of the Sultan’s private chamber, and one day lifting the statue, Safia found a key fitted into the base of it. Since nobody was looking, into her pocket slipped the key.

     

    ‘My father told me, the moment she held that key in her hand, she knew it was meant to be hers and hers alone.’ Baahir Jalali repeated like a mantra.

    ‘I don’t follow,’ I mumbled mostly to myself before he added…

    ‘My father never explained this preternatural episode to my satisfaction. Perhaps he didn’t understand it himself? He did say, there are some things in life we are not meant to understand and the wisest of us would not try.’

     

    For safekeeping, Safia stowed the key deep in the stuffing of a doll and sewn up tight, returned with it to Eden. Months passed before the complacent Sultan discovered his key missing and with that, all hell broke loose. No one really remembered the significance of the key, dutifully passed down from father to son, for generations. Long before the people of Lahaj were who they are today, the key was always there. When the imams and aristocracy had not yet converted to Judaism, already they believed the key to be essential, a lucky charm. Its absence made the superstitious Sultan and his people uneasy. Its loss could bring permanent misfortune on the tribe. This made it imperative to locate the key, and bring it back where it belonged.

     

    The Sultan trusted his youngest son, his favourite, to resolve this affair. Shafiki was a smart young man, and assembled the whole tribe. Investigating each great family, he deduced only an outsider could have taken the key. Who strolled through palace gates and gardens, right in to the Sultan’s inner sanctum? His father’s concubines. So Shafiki conducted careful interrogations to satisfy himself of their ignorant bliss. Previously unaware of the key, word of its disappearance had even reached their exquisite ears and all over Lahaj, hushed whispers hung in the air.

     

    Good citizens began sulking in anticipation of evil genies unleashed on the world. Shafiki was determined to calm them. He had a theory and so set out to see Doctor Montalbano in Eden.  Montalbano received him cordially. Shafiki avoided any discussion about the key, describing the purpose of the visit as an expression of the Sultan’s ongoing gratitude. The doctor dismissed the idea of yet more lavish gifts, insisting Shafiki remain rather than rushing his return to Lahaj.

     

    During the days that followed, Shafiki noticed Safia’s strange attachment to her doll. Wisely, he surmised she was beyond the age of clutching such a toy but not too young to be the thief. ‘What is it about this doll that makes you cling to it so?’ Safia’s eyes filled with defiance as she bit her lips in determination that not one word of confession would spill from them.

    Shafiki demanded ‘Give it back. It’s not yours. You know what they do to thieves, don’t you? They cut off the hand that stole!’ He glared fiercely and after an eternity spent staring in to her eyes so green, found himself hopelessly ensnared. Shafiki had fallen in love with Safia.

     

    Returning to Lahaj, Shafiki informed his father that he had located the key. The Sultan demanded details, but instead Shafiki reminded him, “Did you not stress the key should remain in good hands, with the people of Lahaj? The Sultan admitted that was true. Then you must allow me to marry Doctor Montalbano’s daughter.’

     

    This statement confounded the Sultan, who saw no connection between the missing key and his son’s future. Shafiki went on to say, ‘I’ve been to see Montalbano in Eden and his beautiful Safia resembles that cat statue in your private chamber.’ The Sultan’s furrowed face brightened as finally he followed his favorite son’s plan.

     

    Doctor Montalbano was taken aback when Shafiki asked his daughter’s hand in marriage and his wife said her little girl was too young. Shafiki was willing to wait years for kids, but about the ceremony he insisted, ‘I must marry her now.’ The doctor could only consult with Safia, explaining, ‘I’m European and in Europe we let our daughters decide for themselves.’

     

    So besotted was Shafiki by Safia, he endured the doctor’s delays and Italian egalitarianism. Montalbano’s final condition stipulated that instead of his daughter living with her in-laws in Lahaj, he preferred Shafiki stay in Eden to help in his medical practice. ‘I always wanted a son. I’ll teach you medicine.’ This seemed to Shafiki a last straw. His life was in Lahaj and the great outdoors.

     

    He spent his days on horseback, supervising the farming activities that sustained his tribe. Riding alongside the Sultan amongst palm trees, disgruntled Shafiki consulted his father regarding this complicated marriage. ‘I find it a splendid idea,’ said the Sultan. ‘Lahaj is not far from Eden. You’ll visit often.’

     

    I’d been standing around in the heat, listening to Baahir Jalali’s story when all of a sudden he looked up, appalled, ‘I’ve said too much! You know quite enough already. Sai’di’s young wife is his weakest link. Just let me do the talking and don’t try to help.’

    God bless us and save us, I thought to myself. Did I ever meet a more conceited man? But he’s paying the bills, so I will obey.

    Nearing Old Saidi”s place, we found him right where we’d left him. If anyone told me he’d slept squatting on his soles like that, looking at the mountains, I would’ve believed them. Sa’idi saw us and didn’t seem surprised in the least. ‘Salam Alaikum,’ We replied in kind.

    ‘Did you find the house?’ His question clarified just how transparent we appeared.

     

     

    To his credit, Baahir Jalali was quick to recover, seeing no point in beating about the bush.

    ‘Yes, we did,’ he replied. ‘Shame the place is in ruins.’ But Sa’idi was not sentimental. ‘And the tablet?’ His knowing eyes found me and he smiled. ‘Many come searching but none find,’ was his answer to the question we had not asked. He sucked deeply on his pipe, and the water it contained gurgling through the filter was the only noise we heard until he set it down.

     

    Old Sa’idi jumped again like a young goat, calling lovely Latifah who brought us black spicy coffee. We sat sipping and Sa’idi said, ‘I’m an old man.’

    That is fairly obvious, I thought to myself.

    ‘And I have a young wife,’ he continued.

    What was he driving at? I kept quiet, looking at Baahir Jalali politely nod.

    ‘I would like to live longer for Latifah,’ said the old man whose eyes began to well up. Baahir Jalali stopped nodding to stare harshly at Old Sa’idi when he said ‘and be young again.’ Returning Baahir Jalali’s judgemental stare he demanded, ‘What will you do for me? I want more time.’

     

    After some silence Sa’idi said with utmost confidence, ‘I presume you possess the key.’

    Baahir Jalali croaked, ‘What makes you say such a thing?’

    ‘Because Cat was your mother.’

    Beneath his sallow skin, Baahir Jalali blushed.

    ‘Don’t have her green eyes, but you’re certainly Safia’s son.’

     

    ‘What is the key for?’ I blurted, carried away by my confusion in the moment until Old Sa’idi’s eyes darted disdain in my direction. ‘He didn’t tell you?’ I was starting to feel stupid.

    “First, find the tablet,” Old Sa’idi advised as if the entire story were written there and Baahir Jalali wore a silly smile until Sa’idi said, ‘The Sultan, Shafiki, Cat. All dead now.’

    ‘Yes.’

    Sa’idi sucked his pipe, then offered with some finality,

    ‘So we’ll do a deal.’

    Old Sa’idi wasn’t in a rush. It seems old men never are, despite the short span that stretches ahead of them. No, he meandered like a slow stream licks every stone with love.

    ‘I don’t pray for riches or immortality. All I ask is another forty years. No more. I’ve learned too late contentment in a woman’s company.’

    You could have fooled me, I thought. Latifah seemed more a servant than a companion.

    Baahir Jalali was not laughing, but said ‘What have you got?’

    ‘I’ve got the tablet,’ said Sa’idi, resolute.

    Jalali jumped up glaring, ‘You said it was in the ruins!’

    ‘I lied,’ said Sa’idi.

     

    Jalali paced up and down the road. Muttering to himself, he kicked the dust, then shouted ‘It’s not yours!’

    ‘It’s not yours either,’ said Sa’idi, unfazed.

    ‘How do you know you have the right tablet?’ growled Baahir Jalali.

    ‘If the key fits.’

     

    Baahir Jalali must have had a better idea because now he was positively beaming.

    ‘Ok,’ he said. ‘You’ve stated your wish. To be young again and live for another forty years? Am I correct?’ Sa’idi bowed, but his eyes remained opaque.

     

    ‘Shall we dine to conclude our deal?’ asked Baahir Jalali.  ‘I’m famished!’ The old man was also ravenous. Making love to Latifah, even if only imagined, produced in him a vigorous appetite. At last we spoke of something I understood. Together we approached Sa’idi’s home. In the Yemeni style, the tall building was constructed of red mud and decorated with white filigree around the windows.  We entered the dewan where Latifah and an older woman were preparing a minor feast. Gesturing to the older woman baking fresh pita bread in a hot charcoal oven, Sa’idi introduced her as, ‘My first wife.’

     

    Both women served zehook, hilbe and a fragrant chicken soup. There was rice with shredded carrot and also baba ghanouj. We tucked in like there was no tomorrow and finished the meal with coffee. The older wife brought a nargila which we then smoked in silence. The water in the pipe was still gurgling when Sa’idi left the room.

     

    Soon he returned with a heavy stone slab wrapped in soft white cotton. Laying the tablet down on a low table, Sa’idi sat now ignorant as I. It was Baahir Jalali who recited the strange words carved on the stone, and me dying to know, ‘So what does it say?’

     

    I detected a slight tremor in the hands of Baahir Jilali as he translated, ‘The green eyed Cat, you and yours will be obeyed,’ he said. Sa’idi bowed his head, but Baahir Jallali mulled over this, mumbling ‘You and yours.’

    ‘What does that mean?’ I asked.

    Baahir Jalali shot me a look that said ‘Silence.’ If Sai’idi noticed anything, he didn’t let on, standing still as a stone statue, himself. Impatient, I watched the key in Baahir Jalali’s hand, move in slow motion, and I was suspicious. Did he have  something devious in mind ? Sai’idi, as usual, seemed less hurried than I.  Baahir Jalali, finally ready, flipped the tablet over. There was a point carved in to the stone, where he was able to insert the key. Just as he was about to turn the key, Old Sa’idi’s voice came out of him, as if from a cavern made of the same stone. ‘Don’t forget I’m yours.’

    Baahir Jallali retracted his hand. ‘What are you saying?’ He asked.

    ‘The Cat blessed me, and don’t you forget it! She made me one of you! I couldn’t comprehend what she said at the time, but later I saw the tablet and understood everything,’ said Sa’idi.

    The old man motioned for Baahir Jalali to go ahead and turn the key. At a loss, he did just that. The tablet’s tiny door sprang open to reveal a compartment. Its box-like interior was beautifully inlaid with gold, but otherwise quite empty. Staring in to it, we saw nothing but heard what Baahir Jalali said was the sound of the sea. Sa’idi and I had never seen nor heard the sea in all our lives. So over the deafening roar Baahir Jalali described to us what waves looked like and in our imagination we watched them crash on the shore.

     

    To our astonishment, a golden bird materialised inside the box. But before we could catch it, the bird flew away into the blue sky, taking the lining of the box with it. All the gold was gone. And when Baahir Jalali closed the little door, we saw even the key had vanished.

     

    Stupefied, we stared at each other and then at Sa’idi. In his place was a much younger man with a big open smile full of strong white teeth. I was speechless but Baahir Jallali shouted,

    ‘Our wish came true!’ I could see that Sa’idi got his wish, but what did Baahir Jalali get?

     

    He hugged me, singing ‘All is good! My son is healed! I saved my son!’

    ‘You have a son? Your son is saved? How do you know?’

    “I just know,” said Baahir Jalali. “I thought Sa’idi would spoil it all but it still worked.”

    Mystified by these events, I was feeling a little left behind. That is until Baahir Jallali took my face in his hands and said, ‘It is only for you and yours connected to the cat.’

     

    A willing hostage to him and his secret I asked, ‘But where is the key now? Is what’s left of the tablet of any use? And what about the people of Lahaj?’ So many of my questions remained unanswered, but now we were distracted by Latifah entering.

     

    She carried fresh coffee and pushed Sa’idi away when he tried to fondle her. His wife screamed, ‘Get hold of yourself, I’m a married woman!’

    ‘Of course you are,’ said Sa’idi delightedly, ‘You’re married to me!’ She looked around in confusion and panic.

    ‘It’s me, Sa’idi! Don’t you see I’m the same, only younger?’

    ‘Stop fooling around. You’ll get me into trouble! Where is the man I married?’ wailed Latifah and then she began to cry. The old wife, hearing the commotion, came out and started shooing Sai’idi out of the place.

     

    Baahir guided me out into the garden. ‘Better let him explain,’ and then under his breath, almost to himself, ‘it’s going to be tough.’ Hurrying down the Mareb road, Baahir Jalali promised to clarify it all for me. But as we headed toward Sana’a, he said we would save that story for some other time.

     

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  • Carbon Negative

    One fine day all this will burn
    Strange but true

    The blue woods of Oregon
    Silver snakes of her rivers
    Her dark lakes gone like steam

    Something will come
    A hammer at high noon
    To stove in this huge porcelain egg of a world

    Our hopes were only ever
    The white wisps of clouds
    Full of love and silence

    Let them nestle there
    Snug as shadows
    In the shoulders of the hills

    We are men
    We ride high
    Brains blazing on jet fuel.

  • Review: Night Boat to Tangier by Kevin Barry

    In the ferry terminal of Algeciras, on Spain’s southern coast, two middle-aged gangsters from Cork sit and wait. Maurice and Charlie have been tipped off that at some stage in the next twenty-four-hours Maurice’s estranged daughter Dilly will show up. They can’t be sure whether she will, or what she’ll do if and when she does. For now, they keep watch, and reminisce about their wild and violent past.

    Night Boat to Tangier cuts from the ferry terminal to locations across Spain and Ireland, at various points between the mid-90s and the present day. Maurice and Charlie are no strangers to the sea routes between Morocco and Ireland, having smuggled hash along them for many years. Lately times have been hard on them though: ‘The men are elegiacal, woeful, heavy in the bones. Also they are broke and grieving.’

    The gritty port-side setting is tense and edgy, and makes for a vivid backdrop to the gangsters’ dialogue. These conversations are by turns comical, philosophical, sentimental, and laced with the threat of violence. Towards the end of the first scene, Maurice and Charlie accost a passing English traveller to ask if he’s seen Dilly. They charm his dog and chat about football, but it’s not long before the threat is spelled out: ‘I don’t know if you’re getting the sense of this yet… But you’re dealing with truly dreadful fucken men here.’

    Night Boat to Tangier is Kevin Barry’s third novel. His first, City of Bohane, cemented his reputation as one of Ireland’s most inventive and exhilarating writers. A gangland thriller set in 2053, City of Bohane is futuristic and nostalgic, violent and tender, funny and sad, sometimes all at once. Barry’s second novel, Beatlebone, imagined John Lennon’s 1978 visit to Ireland. Barry conjures Lennon’s voice with uncanny accuracy, giving it unexpected depth and pathos, and he makes some bold choices with the novel’s form. To say any more would amount to a spoiler…

    Alongside the two novels, two collections of short stories have been published, There Are Little Kingdoms and Dark Lies The Island. In a quieter way, these are at least as impressive; they certainly show the breadth of Kevin Barry’s ability and imagination just as clearly.

    Night Boat to Tangier is effortlessly readable, the pacing succinct and cinematic. Impressionistic images flash past rapidly. Descriptive passages are pared back to a few evocative details. Even the punctuation is economical: by leaving out speech marks, Barry blurs the lines between what his characters think, feel, see and say. The fluidity of his free indirect style quickly brings each character to life. This is true not only of Maurice and Charlie, but also of the three women in their lives, each of whom emerges as complex and convincing.

    Kevin Barry’s first novel was a genuine ground-breaker. It was inevitable that Night Boat to Tangier would come freighted with high expectations and unfair comparisons. Each one of Barry’s books brings its own distinct pleasures though. His latest is funny, wistful, colourful, violent, tender and profound. It will stand with the best of them.

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  • Visita de obra

    No soy yo quien atraviesa
    estos valles prendidos de ocres,
    ni este el tren que me lleva
    de un lugar a otro lugar.

    La tierra se retuerce
    mostrando sus costuras
    y de las balsas de agua
    emana un vapor sin voz.

    Los túneles construyen el paisaje
    con su lenguaje de fronteras.

    En el vidrio reflejado,
    superpuesto a los adolescentes chopos,
    a los desnudos almendros de otoño,
    a las hayas, sabinas y retama,
    al maíz con sus artríticos penachos secos,
    mi rostro descansa entre los otros.

    Por delante del dormido campanario,
    de la vejiga de la fábrica,
    de los afilados dedos de los álamos,
    otros ensayan a escuchar
    el rumor de un tren que nunca se detiene.

    Site Visit

    It is not I who traverses
    these valleys hung in ochres,
    nor this the train that takes me
    from one place to another.

    The earth writhes
    uncovering its seams,
    and from the water reservoirs
    a voiceless vapour rises.

    Tunnels build the landscape up
    with their language of borders.

    Reflected on the glass,
    superimposed over the adolescent black poplars,
    the naked almond trees of autumn,
    the beeches, phoenician junipers and brooms,
    the cornfields with their arthritic dry cobs,
    my face rests amongst the others.

    In front of the sleeping bell tower,
    the factory’s bladder,
    and the sharpened fingers of the poplars,
    others are rehearsing to listen
    to the whisper of this train that never stops. 

    Alberto Marcos is an architect and designer who lives between Madrid and Hampshire. He has published several books of poetry:  “Mujer desnudando el Mediterráneo”, Calambur, 1999  (UPM Poetry Prize), “maya”, Pez Privé, 2001, and  “NSEO, la urdimbre del mapa”, in-constant, 2014. He has been inconstantly working on his new collection of poems, “School Run”, since then. Hopefully it will soon see the light.

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  • No Comment: Istanbul Election Week

    [Best_Wordpress_Gallery id=”49″ gal_title=”No Comment: Istanbul election week.”]

  • Archiving the Recent Past: the Loopline Collection

    In 2015, documentary filmmaker and Director of Loopline Film, Sé Merry Doyle, and the Irish Film Institute, received funding from the Broadcasting Authority of Ireland to archive the company’s collection. Over a twelve-month period, Sé and I fully catalogued 16mm and 35mm films, tapes in a variety of formats, and numerous audio materials. These were simultaneously preserved and digitised at IFI Film Archive.

    The Loopline Collection comprises some thirty-eight titles made over its thirty-five-year lifespan. There are full documentaries and TV series as well as previously unseen pilot materials for projects that, for one reason or another, never got the green light. These outtakes are the vein of gold running through the collection.

    The most accomplished works, in my opinion, are the full-length biographical documentaries on Irish artists: ‘John Henry Foley – Sculptor of the Empire’ (Sé Merry Doyle, 2007), ‘Patrick Kavanagh – No Man’s Fool’ (Merry Doyle, 1994), ‘James Gandon – A Life’ (Merry Doyle, 1996), and ‘Patrick Scott – Golden Boy’ (Merry Doyle, 2003).

    Later films focus on journeys made by artists across geographical and emotional frontiers: ‘John Ford – Dreaming the Quiet Man’ (Sé Merry Doyle, 2011) and ‘Jimmy Murakami – Non-Alien’ (Merry Doyle, 2014). Other productions deal with the issue of Irish Republicanism as seen from the female perspective: ‘Mairéad Farrell – an Unfinished Conversation’ (Martina Durac, 2014), ‘Kathleen Lynn – Rebel Doctor’ (Merry Doyle, 2011), and the series ‘Mna an IRA’ (Durac, 2012).

    Working-class life in Dublin is a prominent theme. The 1984 observational documentary, ‘Looking On’, focuses on efforts by artists and communal activists to highlight the inner city community’s struggle against property developers and Dublin Corporation. It’s a theme taken up and developed in later works: ‘Essie’s Last Stand’ (Liam McGrath, Merry Doyle, 1999), the elegiac ‘Alive-Alive-O – A Requiem for Dublin’ (Merry Doyle, 1999), and in rushes for a proposed documentary on the regeneration of Ballymun in 2004 – which, sadly, was never completed.

    Expressionist Art in Ireland 

    Working through the materials, I was struck by Merry Doyle’s persistent exploration of expressionist art in Ireland, a subject scarcely touched on in Irish documentary. His extraordinarily intimate portrait of artist Patrick Scott, ‘Golden Boy’, traces the development of expressionist art in Ireland since World War II.

    Similarly, ‘Lament for Patrick Ireland’ (Merry Doyle, 2010) depicts Irish-American artist Brian O’Doherty’s artistic response to the Northern Ireland conflict. Rushes for another Loopline series, ‘Soiscéal Phádraic’, look at art exhibitions by modernists Scott and Robert Ballagh.

    One of the most ambitious of several unfinished projects is the substantial footage shot between 1999 and 2007 for ‘Outside Looking In’, a planned documentary series on the impact of modernist art on Ireland. The unseen rushes focus on architects Scott-Tallon-Walker, and artists Robert Ballagh, Dorothy Cross, Michael Cullen, Louis Le Broquy, Ann Madden, Patrick Scott, Sean Scully and Corban Walker.

    ‘Outside Looking In’ also features a detailed report on the ‘Breaking Ground’ art retrospective exhibition at the Irish Museum of Modern Art (IMMA) in 2000, which includes a fascinating interview with then-Director, Declan McGonagle. There are filmed reports on Irish artists Annie Tallentire and Katie Holton representing Ireland at the Venice Biennale in 1999 and 2003; an item on video installation artist Willie Doherty; and audio of Seamus Heaney reading two poems written for his late friend, architect Robin Walker (the subject of Merry Doyle’s latest award-winning documentary, ‘Talking to My Father’).

    Watching this material, I was reminded of Merry Doyle’s passion and commitment to his projects through the years. He deserves enormous credit for putting together this significant collection of materials for future artists and art historians.

    Patrick Scott with Sé Merry Doyle.

    Dublin’s Popular Music Scene

    For those interested in the popular music scene in Dublin from the 1980s to the present, the collection contains some intriguing items. Outtakes from ‘Looking On’ feature unseen footage of 1980s bands The Atrix and Hotfoot and an early impromptu rooftop show in Sheriff Street by U2.

    U2 on Sheriff Street. Photo courtesy of Christine Bond.

    Rushes for an unedited tribute concert staged by friends and fellow musicians of guitarist Jimmy Faulkner at the Olympia Theatre in 2008 capture the full show (filmed with four cameras) with performances by Paul Brady, Christy Moore, Mary Stokes, Declan Sinnott, Noel Bridgeman, Ed Deane, Don Baker, Honor Heffernan and others. The show is compered by musical impresario Smiley Bolger and politician Eamonn McCann, and the rushes contain informative and amusing backstage interviews about the Dublin music scene from the 1970s to the millennium.

    Other musical treasures include audio rushes of the soundtracks composed for the later documentaries by multi-instrumentalist Ger Kiely and complete audio takes of traditional Dublin ballads sung by musicologist Frank Harte for ‘Alive-Alive-O’. These are records of a vibrant, but largely unexplored, Dublin music scene.

    Frosty Interview

    Going through the tapes, it became obvious that some of the finished documentaries could have been further enhanced by more extensive use of the rushes. We can see, in retrospect, that the requirements of TV scheduling put constraints on the running times of the documentaries.

    It’s one of the great benefits of this particular archive project that that these outtakes can now be encountered and enjoyed as stand-alone pieces. For example, Merry Doyle’s personalised portrait of poet Patrick Kavanagh, ‘Patrick Kavanagh – No Man’s Fool’, is heartfelt and full of intimate moments, but the outtakes flesh out the story considerably. There are in-depth, previously-unseen interviews with actor T.P. McKenna, author Dermot Healy, poet John Montague and other people close to the poet.

    A fascinating sequence with Kavanagh’s brother, Peter, at the installation of a plaque at Parson’s Bookshop on Baggot Street, sheds light on the controversial relationship of the siblings. Audio recordings of actor Gerard McSorley’s beautiful readings of Kavanagh’s poems, only partially used in the film’s final cut, emphasise the genius of both actor and poet.

    Writers Dermot Healy and Leland Bardwell perform a wonderful dialogue on the subject of Kavanagh’s women at the Model Arts Theatre, Sligo. A hitherto unseen lecture on Kavanagh by poet Paul Durcan at a Carrickmacross hotel is affectionate and funny.

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

    The same can be said regarding the rushes for the historical biography, ‘James Gandon – A Life’, which feature lengthy interviews with the late architect Sam Stephenson, art historian Edward McParland, and conservationist David Slattery.

    There’s a wonderful guided tour of Gandon’s architecture along Dublin’s River Liffey by art historian Maurice Craig, which was not included in the film and comprises a colourful history lesson in itself. The rushes for the scenes in which veteran Irish actor Christopher Casson plays an ageing Gandon show him engaged on the final work in his distinguished career. One of the best things here is a spectacularly frosty interview with former Taoiseach, Charles J. Haughey at his Gandon-built home, Abbeyville, in North Dublin.

    Street Traders

    The copious rushes for one of the finest Loopline productions, the personal and impressionistic ‘Alive-Alive-O: A Requiem for Dublin’, are astonishing. They encompass an unprecedented record of the suppression by the state of Dublin’s traditional street traders, the closure of marketplaces, the heroin epidemic that devastated the inner city communities in the 80s, and the work of TDs and social activists in defending the workers livelihoods.

    Among the outtakes is interview with the the fiercely articulate late T.D. Tony Gregory. The collection also has lovely audio recordings of actor Jasmine Russell reading commissioned verse by contemporary working-class poet, Paula Meehan.

    Supporters of Tony Gregory. Photo courtesy of Derek Spiers.

    The rushes for ‘John Henry Foley – Sculptor of the Empire’ are equally detailed and rich. They feature, for example, lengthy interviews with sculptor Cliodhna Cullen, art historians Paula Murray and John Turpin, Senator David Norris and then-Director of the National Museum, Pat Wallace.

    Also contained herein are extended rushes of two intriguing journeys: one to Cambridge, England, where Foley’s statue of General Hardinge, once proudly displayed in Ireland, now stands in a relative’s country garden; and another to Barrack Pore in Calcutta, India, a cemetery for decommissioned imperial statues. The high production values of the finished documentary are reflected in the breadth and richness of these rushes.

    Watching the outtakes of ‘Patrick Scott – Golden Boy’, one becomes aware of the closeness between director Merry Doyle and Scott. In a lengthy week-long interview, the modest, Zen-like Scott reflects on his career in an Ireland inimical to non-representational art.

    There are many interviews never used in the final cut with people such as art critic Bruce Arnold and others intimate with Scott. An interview with Scott’s friend, the late poet Seamus Heaney, is of particular interest. Merry Doyle has done Scott an enormous service in recording this material for future generations. It all amounts to a truly compendious overview of the history of modern art in Ireland.

    Folk Art

    ‘Hidden Treasures’ (Anne O’Leary, 1998) is a four-part anthropological series looking at Irish folk-life. It was structured around 16mm field recordings of traditional rural crafts made by the National Museum of Ireland from the 1950s to the 1970s, which Merry Doyle had restored and digitised before inviting folklorist O’Leary to direct.

    The series focuses on man’s relationship with the sea, traditional agricultural tools and technologies, and the role of ritual in rural life. Haunting colour footage shot by cinematographers Brendan Doyle and John T. Davis throughout rural Ireland complements this early archive footage and the rushes add up to a beautiful folklore archive in themselves.

    Like its companion piece, the one-off Christmas documentary, ‘Ó Bhéal go Beal um Nollag’ (Durac, Vanessa Gildea, 2010), ‘Hidden Treasures’ provides a final glimpse of quickly fading traditions. (Incidentally, this was not Merry Doyle’s only foray into film archiving. He was also responsible for the 1996 restoration of ‘O’Donoghue’s Opera’ (Kevin Sheldon, 1965), a lost film featuring The Dubliners, and Peter Lennon’s 1968 documentary, ‘The Rocky Road to Dublin’.)

    One of the finest Loopline productions, ‘Jimmy Murakami – Non-Alien’, is a moving account of the animator-director’s attempt to reconcile the events of a troubled childhood by journeying from his adopted home in Dublin back to the site of trauma – Tule Lake, California. There his family were incarcerated in a Japanese-American concentration camp during World War II.

    JImmy Murakmai at Tule Lake.

    As in the Scott portrait, the rushes here reveal Merry Doyle’s close relationship with his subject (he and Murakami had been friends for years before the film’s production). While the film itself is a moving account of Murakami’s spiritual journey, the rushes show the ways in which Merry Doyle attempts, over many takes, to get to the core of his friend’s emotional conflict.

    While Murakami drives along a Californian highway at sunset, Paddy Jordan’s camera captures perfectly the emotions coming to his face, as producer Vanessa Gildea sobs in the back seat of the car. As the journey comes to an end, the rushes show how the director’s patience is rewarded by the arrival of an exquisite sunset that permeates the closing scenes.

    Sadly, Jimmy Murakami passed away not long after the film’s release, but, as with the Patrick Scott project, Merry Doyle and crew have created a staggering portrait of this unique artist for the generations.

    In ‘Kathleen Lynn – Rebel Doctor’, Merry Doyle and crew tell the little-known story of the suffragette, Republican and doctor and her conflict with the independent state in establishing Saint Ultan’s Children’s Hospital in Dublin.

    The rushes feature in-depth interviews with feminist historians Sinead McCoole, Loretta Clarke, Margaret Ó hÓgartaigh, author of a book on Lynn, Honor O’Brolchain, historian Margaret MacCurtain, feminist activist and historian Dr. Margaret Ward, medical experts Dr. Barbara Stokes and Dr. Rosarie Barry, as well as a touching interview with 109-year-old Bridget Dirrane, author, Republican and former staff member at Saint Ultans.

    The Quiet Man

    Merry Doyle’s hugely-ambitious work, ‘John Ford – Dreaming the Quiet Man’ is, like ‘Jimmy Murakami – Non-Alien’, another story of an artist’s journey into the past.

    Seven years in the making, it’s Merry Doyle’s imagining of Irish-American film director John Ford’s dream of returning to Ireland to make the film ‘The Quiet Man’ (1952), as well as a conscious attempt to redress the film’s negative reputation on home ground.

    With Martin Scorsese (l).

    The rushes include a detailed interview with American director, Martin Scorsese, in which he discusses the poetry of Ford’s film and themes of emigration and community. American director, Peter Bogdanovich, talks about his personal relationship with Ford and his deeply-felt affection for The Quiet Man. Dublin-born Hollywood actress, Maureen O’Hara, the film’s female lead, entertainingly reveals her relationships with the difficult Ford, actor John Wayne and her experience working on the film.

    In an interview with Jay Cocks at the Algonquin Hotel in New York, the scriptwriter explains how the boxing scene from Ford’s film influenced the ringside scenes in Scorsese’s ‘Raging Bull’. John Wayne’s daughter Aissa talks about how Ford, O’Hara and Wayne struggled to get the film financed. American academics Joseph McBride and William C. Dowling speak almost obsessively about Ford and ‘The Quiet Man’. The rushes also contain some breath-taking footage of Monument Valley, Utah, where Ford shot many of his Westerns, through the lens of regular Loopline cameraman, Paddy Jordan.

    Sé Merry Doyle & Maureen O’Hara at The Maureen O’Hara Film Festival, at the Eccles Hotel, Glengarriff, Co. Cork.
    Picture: John Delea/Muskerry Photos.

    Poetry and Literature

    While the collection focuses mainly on the visual arts in Ireland, there is a special emphasis on poetry and literature. An outtake from the ‘Soiscéal Phádraic’ arts magazine series, for example, features an amicable interview with writer John McGahern at the Galway launch of his ‘Memoir’ in 2005.

    The popular Imprint series, produced and broadcast between 1999 and 2001, features interviews with national and international writers and is presented by poet Theo Dorgan. Irish writers interviewed are poets Eavan Boland, Dermot Bolger, Anthony Cronin, Brendan Kennelly, John Montague, Michael Longley and Nuala Ní Domhnaill; novelists Leland Bardwell, Maeve Binchy, Roddy Doyle, Jennifer Johnston, Bernard MacLaverty, Joseph O’Connor and Colm Toibín; and playwrights Thomas Kilroy and Hugh Leonard. International writers interviewed are Margaret Atwood, J.G.Ballard, Thomas Keneally, Richard Ford, Doris Lessing, Edward W. Said and Gore Vidal. These interviews have never been seen before in their entirety. An hilarious interview with American writer Kinky Freedman is one of my personal favourites.

    The Imprint series also featured especially commissioned short films on poets and writers by new Irish directors: Maurice Healy’s charming short on legendary sports journalist Con Houlihan; Paul Duane’s films on novelists Patrick McCabe and J.M O’Neill; Art O’Leary’s meditation on Dublin’s War Memorial Park; Hilary Dully’s comic take on the poetry of Rita Ann Higgins; Barrie Dowdall’s atmospheric short on Wexford playwright Billy Roach; Donald Taylor Black’s rumination on Russian poet and novelist Boris Pasternak; Brendan J. Byrne’s lyrical and experimental pieces on poet Louis McNiece, novelist Brian Moore and poet Ciaran Carson; Eve Morrison’s visit to the Dublin Inner City Folklore Project; Niamh Barrett on novelist Marian Keyes; Sé Merry Doyle on Charles Dickens in Ireland and his short about Oscar Wilde, ‘Wild About Oscar’; and David Barker on writer Carlo Gebler. The rushes for the Con Houlihan short make for particularly absorbing viewing.

    In San Francisco.

    Master Class

    It struck me that the rushes and outtakes constitute a kind of master class in documentary filmmaking. Merry Doyle and crew members are present throughout and the process of filmmaking is often laid bare: the filming of establishing shots; the pursuit of the best takes; the honing in on ideas that arise during interviews; as well as the playfulness of the crew after a successful filming session.

    An unfinished project, ‘Documentary Where Art Thou?’, a series of interviews with prominent international documentary filmmakers filmed at workshops funded by Screen Training Ireland, examines the subject of documentary production itself. The interviews are loose and informal, allowing directors Jon Bang Carlsen, Molly Dineen, D.A. Pennebaker and Chris Hegadus, John T. Davis and Peter Wintonick to engage with the nuts and bolts of documentary theory and practice. Russian director, Maria Goldovskaya, is also filmed giving a class on her work as a political filmmaker.

    The rushes shot by the Loopline Film crew for projects that were never completed give a clear picture of the traditional difficulties of raising funding for serious cultural documentaries. Watching the footage shot for a projected film on writer Lafcadio Hearn (Greek-born but of Irish heritage), drove home to me how significant and entertaining such a film would have been and it becomes quite obvious that an opportunity had been missed.

    The unfolding events are funny and often moving as Merry Doyle’s camera accompanies great-grandson Bon Koizumi and his wife in the footsteps of the writer around Dublin, Waterford and Mayo. The preservation of these materials at the IFI leaves open the possibility that these projects might eventually be completed.

    Equally tantalising are the rushes for a documentary portrait of Irish writer, historian and critic, Ulick O’Connor. In retrospect, it’s a shame that Merry Doyle was unable to raise funding to complete the project as the pilot material shows a refined literary mind at work.

    O’Connor delivers a detailed lecture on the Irish Literary Renaissance at the United Arts Club in Dublin and gives an eyebrow-raising interview at his Dublin home. At one point he reads from his translation of an Irish-language poem by Brendan Behan on Oscar Wilde’s sexuality. It’s an unknown poem which could be read as Behan’s own coming-out statement (camouflaged, ironically, by the Irish language).

    Sé Merry Doyle.

    Life Goes On

    Abandoned footage (by Merry Doyle and Linda O’Sullivan) for a portrait of the late socialist politician Jim Kemmy, a humanist and visionary, once more indicates the short-sightedness of funders. The rushes outline Kemmy’s trade union work in the 1970s and 80s, his championing of the working-class, his contribution to the anti-apartheid movement, his work on family planning and his battle against the Catholic Church.

    Merry Doyle’s pilot material focuses on this important figure through informative interviews with Kemmy’s brother Joe, Labour TD Janice O’Sullivan, and Kemmy’s partner and co-worker, Patsy Harrold. Another incomplete project from 2002 comprises sketches for a portrait of Limerick old-school Republican, Richard Behal.

    While the incomplete projects in the Loopline Collection throw much light on the difficulties of raising funding for serious social, cultural and historical documentaries, one can only be grateful for Loopline Film’s commitment and determination to pursue important subjects through creative storytelling.

    Thankfully, the IFI and the BAI have been insightful enough to preserve for oncoming generations this broad panorama of Irish social, artistic and cultural life across two centuries. It’s a fitting testimony to the lifelong work and commitment of Sé Merry Doyle and his contributors at Loopline Film over thirty-five years.

    Life, meanwhile, goes on as Merry Doyle steers Loopline Film into the future with two fresh projects: ‘John Huston – A Man Without a Country’, the story of American film director John Huston’s adoption of Ireland as a home in the 1960s; and a work-in-progress, ‘Hanna & Me’, the story of Micheline Sheehy Skeffington’s retracing of her great-grandmother Hanna Sheehy Skeffington’s journey to America in the 1920s as a suffragette and political activist.