This summer, I brought my children to Tayto Park for the first time. Why didn’t we go earlier? No particular reason, except that I — along with most visitors — had no earthly idea what Tayto Park was. Read my review over on my main blog, atriptoIreland.com…
Anna Sweeney’s novel Deadly Intent is an atmospheric murder mystery set on the Beara peninsula in Co. Kerry.
The story opens with an unconscious woman found on an isolated path in the country. The woman, Maureen, is a guest at a high-end guest house run by Nessa, a former journalist from Dublin, and her husband Patrick, a political refugee from Malawi. Although the initial suspect is Maureen’s husband, an unstable man named Dominic, the case gets complicated quickly as there is a suggestion that she may have been having an affair with another guest, the rich industrialist Oscar Maldin, who has now vanished.
Sweeney unravels her tale in chapters alternating between Nessa’s point of view, and that of a young Garda, Redmond Joyce, recently transplanted from Dublin, and bitterly unhappy to be languishing in a rural Garda station. These are two wonderful viewpoint characters…
Yesterday, U2 unexpectedly dropped a new album, Songs of Innocence, on the world, and released it for free to anyone with an iTunes account. But, is it any good?
I say they released the album unexpectedly because although there has been chatter about a new album for years, we’ve grown accustomed to U2 taking a long time in the studio. They certainly don’t need the money, so they go to great lengths to get the songs right before releasing anything. At the same time, there’s been a general sense over the last couple of albums of a band growing middle-aged and questioning whether they still have what it takes to create new music. Everyone changes, but U2 have clearly been asking themselves “Why are we doing this? Do we what to keep making music?” At a time when younger bands are coining it in on the nostalgia circuit and making no attempt to record new material, surely the temptation must be to take the easier road of touring a greatest hits show and reveling in past glory?
Songs of Innocence shows that any thoughts the band might have been entertaining about taking that road have been banished unceremoniously!
Read the rest of this review over on my other blog, A Trip to Ireland…
The guardian have a great collection of authors’ annotations on hard copies of some of their books, revealing roads not taken, regrets, and the motivations behind some creative choices. Here are the Irish writers:
Seamus Heaney on Death of a Naturalist…
And one foreign writer who’s apparently taken to life in Leitrim:
And J.K. Rowling, who’s just awesome:
Notes from a Coma by Mike McCormack is a fantastic and unusual novel that strives to break many of the ‘rules’ of novel writing and gets away with it. On the surface, the story is about a troubled young man who decides to volunteer to be placed in a coma for three months as part of a public test of an experimental new form of imprisonment. But underneath, it’s a story about so much more: the slow strangulation of small rural communities through lack of opportunity; a commentary on the pervasive culture of low expectations in Irish life; and, an astute observation of the subtle ways a European legislative agenda has come to almost seamlessly and invisibly overwrite Ireland’s political life and process.
Mike McCormack tells the story brilliantly through the voices of five participants in the events described, but not through the eyes of the central character, JJ O’Malley — something that appears to be a sly comment on the individual’s ability to influence their own life in the modern world, as well as breaking one of the cardinal rules of the novel. We get JJ’s father’s concerned bewilderment, the voice of a well-meaning older generation unable to understand the half of their children’s world; his neighbor’s essential decency, the voice of the community in a sense; his old teacher’s tolerant hope, the (naturally clichéd) voice of modernism, of progress; his girlfriend’s approving passivity, the voice of hopeful but clueless youth; and the local politician’s cynical choreography of the whole situation so it reflects well on himself, without requiring him to actually poke his neck out of his profoundly conservative shell. The storytellers are wonderfully written, verbally colorful, distinct, even funny, and they give the voice of the novel the light, humane, entertaining feel that is the hallmark of good conversation in Ireland. As the old joke goes, the Irish can tell you to go to hell in such a way that you’re actually looking forward to the trip, and Mike McCormack has this ability in spades.
The other ‘half’ of the novel (although it probably accounts for less than 5% of the word-count) is made up of the ‘notes’ from the coma, footnotes that take a more academic, higher-level view of the coma project: an experiment to test the viability of putting prisoners into comas for the duration of their sentences, thus removing the ability of prisons to harden their population into master criminals, and reducing to overall cost of incarceration to the government. The voice of these footnotes is that of a slightly unhinged academic gleefully commenting on his work. Why many reviewers have praised the novel but felt the need to caution readers that it’s necessary to push through these footnotes as if they’re your necessary daily dose of fiber is beyond me. McCormack finds an erudition and lightness to this strand of the tale that belies the cold calculus of the economics of incarceration, and enables to novel to succeed as entertainment where it could have felt didactic.
The story of JJ O’Malley’s life that gently emerges is a sly mirror image of modern Ireland’s relationship with Europe: his adoption from central Europe, acceptance into the local community, the adoption of Irish ways and perspectives, leading to a existential struggle to know what to do with himself, indeed how to even think of himself. The Irish adapted to the great European experiment quickly, gratefully accepting the money and resources that flowed into the economy, but carried on as they always had done. Ireland is now struggling with the bill for those years, and must confront questions of national identity in a way that it hasn’t since independence.
JJ O‘Malley is blessed/cursed with an strong mind, but nothing particular to turn it to, except himself, and the riddles of his own existence. While others numb themselves with work, drink, or religion, JJ voices the endless questions and drives himself to a nervous breakdown. There’s probably a lot of Irish people who would welcome a few months away from worrying about their mortgage, their debts, their failing business. JJ O’Malley doesn’t offer a way out of our economic crisis, but he is an apt metaphor for the post-boom Irish psyche.
Irish lit is full of what I think of as “Directionless-young-bollixs-on-the-tear” novels. Inarticulate young men with nothing much to do, except feign cynicism and drown their uncertainty in drink. Every Irish male writer seems to need to get one of these books out of his system before going on to more original things. McCormack turns the genre on its head in many subtle and refreshing ways: JJ isn’t cynical at all, he’s disarmingly earnest; he’s a profoundly gentle soul, who turns the impotent rage inwards and thinks himself into an asylum, rather than going on a destructive rampage; and he has perhaps the most-decent father in the history of Irish literature. JJ is far more articulate than the average directionless-young-bollix, but perhaps his articulacy, coupled with his ability to appreciate every side of the story, every point of view, is as much of a problem as the inability to express himself?
Ireland has a suicide problem; whether to a greater or lesser degree than other countries I have no idea, nor do such comparisons matter. The apparent causes change from era to era — currently these can be summarized roughly as jobless young men in rural counties, farmers at the end of their credit, and teenage girls suffering online bullying — but the state of affairs has endured at least since the exodus from the countryside to the growing cities began, and probably much longer. You can read JJ’s decision as a temporary suicide, and the agonizing of his family and friends reads much like that of the bereaved, only without the raw, inescapable pain. The feeling is that the family, the community, even the enjoyment of life itself is diminished for those left behind when one person chooses to leave their company prematurely. That this leave-taking is not permanent, nor even the strange indefinite absence of emigration, appears to leave no less confusion. JJ’s enigmatic explanation for his decision (“I want to take my mind off my mind for a while.”) is as difficult for his family and friends to understand as silence. After suicide, everyone asks “Why?” McCormack’s novel seems to suggest that even if suicides could answer, we might not understand their reasoning any better.
Originally published before the Celtic Tiger sickened and died, Notes from a Coma reflects some of the contemporary undercurrents that the Irish are now bemoaning: a political system that strives to maintain the status quo and appease Europe, the dearth of opportunity for an educated population, an uncritical mass media that avoids uncomfortable questions. In those respects, Notes from a Coma now reads like a novel ahead of its time. It’s interesting that the book received a strong critical reception on publication (during the boom years), but poor sales. Five years later — after the bust of 2008 — it was being hailed by some as “the greatest Irish novel of the decade.” Now Mike McCormack is experiencing a bit of a comeback, with his first book, the collection of short stories Getting it in the Head, being republishing, a new volume of stories, Forensic Songs, out now, and Notes from a Coma finding a publisher in the US for the first time. Perhaps in the future this will come of be regarded as one of the touchstone novels of this period of Irish life?
An interview with Mike McCormack
This short interview was recorded as part of Poitics & Prose Bookstore’s reading series.
I came across an interesting documentary about the abandonment of Inis Airc, a tiny island off the Galway coast. Right next to the much-larger Inis Bofin, Inis Airc would have have supported about 300 people at the start of the famine (the famine being the high-water mark for the Irish population as a whole). By 1960, the inhabitants numbered just 24. The key reasons the population left seem to have been the incredible hardship of island life, coupled with the difficulty of getting to or from the island. Inis Airc lacked a pier or jetty, so tiny currachs were the only way on or off. The inhabitants could be cut off for weeks during winter, with no way to get help to the sick, or bring in food or supplies. Other islands remained inhabited once newer piers and berthing facilities were put in place, but the cost of such for all the Irish islands inhabited at the turn of the century would have been enormous.
TG4 made a documentary about the abandonment of the Irish in 2007, and it can be found, in several parts, on YouTube.
The tale of Inis Airc is similar to the abandonment of many other Irish islands over the course of the twentieth century. The Blaskets off Co. Kerry are the ones I’m most familiar with, mainly due to the compulsory reading of Peig Sayers’ Irish-language memoir in school. There’s plenty of info on the Blaskets and island life from the mid-19th century on, thanks to several memoirs written in the early days of the Irish state by several islanders.
I’ve only ever been out to the Aran Islands, so perhaps I should add the Blaskets or some of the other uninhabited islands to my bucket list. Before that, it’s time to dig out that old copy of Peig, and see how my childhood Irish has stood up to the years and life in a foreign country.
There are weird and unearthly places where the known laws of physics do not seem to apply. My first memory of this was as a child, reading an Enid Blyton novel in which there is a hill on which all cars stutter to a stop. Another such phenomenon is the fabled river where water runs upslope or the road where a car will roll uphill. There appears to be one of these oddities in most countries. (I came across a stream in Western NC many years ago that appeared to flow uphill — but strangely I’ve never been able to find it again.) Needless to say, Ireland has several of these magical spots, in fact Ireland appears to have more of these gravity-defying wonders per square mile and any other country.
One, known locally as “The Magic Road” or “Magic Hill,” is in Co. Louth, near the Long Woman’s Grave in the Cooley Mountains. The American actor-turned-TV-presenter Andrew McCarthy recently featured this stretch of road on his show (video below). The Cooley penisula is an area of long association with legends and magical folklore. Much of The Tain takes place here, there are several neolithic tombs in the area (including the highest one in all Ireland on Slieve Gullion), and one of the oldest churches in the country is nearby at Killevy. Oddly, the agencies responsible for promoting the Ring of Gullion make no mention of the “Magic Hill” in their pamphlets, but then again, hordes of tourists stopping on a back road to try and make their car roll uphill really has disaster-waiting-to-happen written all over it.
Here’s a clip of Andrew McCarthy’s take on the “Magic Hill”:
Another “Magic Hill” is said to be found down in Co. Waterford, in the Comeragh Mountains. Along the road to Mahon Falls you appear to crest a hill and travel down into a valley. Near the foot there’s a Wishing Tree/May Bush on the left. Stop next to this tree, put the car in neutral, take you foot off the brake, and it appears you’ll find the car rolling uphill all the way back to the corner. (Don’t forget to put your blinkers on to warn other motorists you’re acting strangely.)
A YouTube video of people experiencing the effect in the Comeraghs:
The folkloric explanation for these magic spots appears to be that you’ve trespassed on sacred fairy land and the Fey are pushing you away. This makes me wonder if the phenomenon was well-known before cars came on the scene, or if this is just another example of our love of yarn-spinning. Did horses get pulled back upslope by their wagons if they idled in the same spot?
The scientific explanation is much simpler: these are actually optical illusions. The roads only appear to be going downhill because of the surrounding landscape. The distant horizon is not visible at these spots, so the eye takes its cues for what is a flat surface, an up- or a downslope from the relationship between the visible landforms. These two roads appear to be going downhill, but really they’re each a gentle upslope, so when you stop your car and remove the brake, gravity takes over and pulls you gently backwards down the slope, even though to onlookers you appear to be traveling uphill.
Even so, I don’t intend to let the scientific truth deprive me of an unusual experience. Next time we’re home, both of these spots are on the travel itinerary. (If anyone has good directions to either — or to one of the other two “Magic Hills” in Ireland — please leave a note in the comments.)
Brilliant bit of time-lapse photography showing off the Burren in all its atmospheric majesty. I could watch this for ages.
[I try to keep this as personal blog, but by trade I am a book promoter. As most of the people I engage with both in real life and online are writers and book people, I thought I should share a few observations about the trade. This is the first in an occasional series of posts.]
Local Bookstores vs. “Local” Authors.
One thing that comes up over and over again when self-published or small press authors responsible for their own publicity/marketing discuss bookstores is a level of anger that it’s often difficult to get their books into indie bookstores (either on the shelves or for an event). I often see writers comment online (and hear it at festivals) that “even” their local stores “make it hard” for them and that local stores should want to work with local authors, and somewhere along the way I’ve realized there’s a disconnect between many fledgling writers and bookstores about what exactly a local author is. Newsflash: it’s about a lot more than your ZIP code.
Let’s start with the obvious factor: physical proximity. Do you live a short drive or walk from the bookstore? This is an essential part of the equation, but it’s not the only relevant consideration. Another question is even more vital: do you shop at this bookstore regularly? The key difference is between someplace being a local bookstore and it being your local bookstore.
From there the questions go on: How many booksellers do you know on a first name basis? Do they smile or grimace when you walk in? How many events have you attended there? Have you ever ended up in a bar, after hours, boozing it up with a touring author friend, a couple of booksellers from the store, and a sales rep for a publishing company who you still can’t see at a party without blushing? How many times has the manager pulled a book from under the counter and said, “You’re gonna love this!” the moment you crossed the threshold?
I’m not saying you have to be best friends with the owner and blow your kids’ college savings at the bookstore, but you have to use it. You should be a known face — not necessarily a confidant — and part of the local literary community. If you’ve been working away in beautiful isolation and ordering all your own reading material from Amazon, then how can you expect your local bookstore to regard you as a local author? You’re a local, certainly, and you’re an author, but neither alone is a compelling reason for any bookstore to want to work with you. (They are swamped with authors asking them to carry their books or host events.) They need to know you the individual, and know you have a level of respect and support for their mission before they might consider supporting yours.
Your local store should be the one in the community where you live, where your children go to school, where you and your friends shop, the one with the cafe where you meet for safe first dates, and the place you bring out-of-town family when they visit. If you do not have a local store like this, find one. Pick a store, shop there, chat with the booksellers, ask for recommendations, buy birthday gifts there, attend events, get to know the staff and let them get to know you. It’ll make your literary life more interesting, more varied, and more eventful, and when you finish your manuscript and finally have a book to promote, your local booksellers will be much more enthusiastic and supportive because your success will be personal for them. During the writing process there’s a time for isolation and contemplation, for quiet work and freedom from distractions, but everyone needs a literary community to present their work to, and your local bookstore can be the cornerstone of that.
Bear this in mind: one of the criteria bookstores use in deciding whether to carry your book or to host an event is the question “Does this author have a local network to mobilize in support of their book?” If you haven’t even bothered to get to know people at the area bookstore, this doesn’t suggest you’ll be any better at networking in any other aspect of your life.
Bottom line: No bookstore is compelled to work with an author, especially not one who claims to be local, but whom they’ve never seen or heard from before. Take the time to get involved in your local literary community and support your local bookstore, your life will be the richer for it, and the booksellers will be more inclined to support your book in turn.
This is not to say that cultivating a good relationship with your local bookstore is the only thing you need to make a successful book. It’s just one part of your overall marketing plan — I’ll try to write about some of the others shortly. But, it’s a key relationship, and new writers should not take it for granted.