I’m really looking forward to reading this Friday, 15th September, at the Shorelines Arts Festival in Portumna, Galway, a wonderful long weekend of the Arts on the shores of historic Lough Derg.
The festival will be opened by Vinnie Browne
of Charlie Byrne’s bookshop in Galway on Thursday at 7pm and end on Sunday evening. I’ll be booking into what looks like a lovely place to stay: Portumna House
on Friday, to read at lunchtime
, but plan to make a weekend of it.
Particularly looking forward to seeing Cherish The Ladies
, and catching up with the wonderful Joanie Madden, a friend from the days I lived in New York. Joanie’s father, Joe was an All-Ireland Champion accordion player who hailed from Portumna himself, so that’s a gig not to miss.
There is a spectacular art exhibition at the formidable, now restored Irish Workhouse Centre and a pop-up museum on the theme of “Lace”. There are short and feature films, plays, workshops, children’s events. But don’t just trust me, download the brochure here yourself and see the full programme.
But if you want to hear some good stories and poems, of course – I want to invite you to join fellow Doire Press
author Martin Malone
and myself, along with Kerry poet Simon O’Faoláin, for the lunchtime reading on Friday at 1:30pm
in Hayes’ pub – all three for a fiver, plus songs and sandwiches! Click on the image below for details.
Trawling through my hard drive in search of an errant fiction file, I came across my original “Trainspotting” review, done this month 21 years ago for one or other of the New York publications at the time …
Currently not so much a film as a phenomenon, “Trainspotting” has been preceded by a blast of mega-hype reaching all the way across the Atlantic. Do you have to see it? Do you really? Well, read on…
Based on the novel by Scottish writer Irvine Welsh (who also wrote “The Acid House”), the book meanders in and around of the lives of the post-punk, no-future generation of unemployed Edinburgh youths enmeshed in heroine addiction, not unlike many in our other favourite post-colonial city, Dublin.
For all the hype, though, it grossed $15 million, more than any other Scottish film. Made by director Danny Boyle, screenwriter John Hodge and producer Andrew McDonald (who made “Shallow Grave”, released last year), it deals with heroine addiction, AIDS, unemployment and poverty. But it also delivers a full-blast infusion of the lust for life that any gang of twenty-somethings will have in any city.
Taking no prisoners, it’s an honest, brilliant and devastating take on a very real part of urban life, managing to deliver that world faithfully – with all its gallows humor and its highs and lows.
If the book is one of the best ever penned about about heroine addiction, the film follows suit. Because while anybody watching the film will work out that heroine is an evil that consumes its victims continuously and relentlessly, you see that the characters, to put it in their own words, “aren’t stupid” – they do it because of the sheer pleasure. They have fun, they are rebels, they care nothing for the society that has provided them with nothing, they run around committing small-time robberies, organizing scams and petty deals to fund their habits, and they do their drugs. Addiction is set out on the screen with no frills, no excuses. It’s comparable in grit to Gus Van Sant’s “Drugstore Cowboy”, although for sheer scatological detail “Trainspotting” is more harrowing.
Renton, Spud, Sick Boy, Begby and the others know no pain when they are on smack, they have no everyday worries, no bills, no problems, no rent, no emotional hassles – everything in their lives is solved and sugared by this incredible substance. And yet everything in their lives is at the same time reduced to a vile lowest common denominator, as when one squat mate’s baby dies of neglect in its cot, and all the mother can think of doing is banging up another hit of smack. Or when Tommy, the only one in the crowd who remained outside the game, finally joins in and falls faster than any of them.
The controversy surrounding “Trainspotting” in England and Ireland is centred on whether this film “glorifies” drugs. This is fairly typical of the Irish and British authorities, who seem to get more worked up about peripherals than actually getting down and dealing with the everyday challenges of their gang-strangled streets. Recently the Irish government sent 500 of their policemen up to the Northern Ireland border to save the Republic from the illegal crossings of potentially “mad” cows, while journalist Veronica Guerin was gunned to bits in Dublin city by drug lords. With an estimated 10,000 heroine addicts in Dublin alone, how worrying can one film about drugs be?
Take “Trainspotting” as you like. See it to get a bloody hard look at a problem that is widespread in Irish and Scottish society today. See it for its spectacularly stylish cinematic qualities or its fabulous soundtrack. See it for Ewan McGregor’s grin, for Spud’s glasses, for Kelly McDonald’s demented school uniform, see it to have a good laugh – or see it and weep. But see it.
Senator Tom Hayden once pointed out that one of the reasons why traditional Irish American culture tends towards the light and aery sentimentalism of chuckling leprechauns and rustic simplicity, is not because our history is cheery and uncomplicated, but rather the opposite.
The original stories of many who reached the New World from Ireland have been simply too full of horror to tell. Their sadness and hardship was quickly replaced by a selective memory process that eventually led to the quaint, cute or rambunctious stage and screen Irish images we have come to know.
This resulting mythology is often more interesting for what it conceals than what it shows. As with the old John Cleese joke, “don’t talk about the war”, the true experience of immigrants was frequently silenced for the following generations, and it often takes a long time for realities to be faced, or even discovered.
This is My Father is about such a discovery, and is simply one of the best Irish American films ever. Its powerful exploration of the kind of social and religious constraints that often drove people away from Ireland, its heartfelt portrayal of real Irish people in an accurate, unsentimentalized setting, and its capacity for humor as well as pathos, make it an exceptional work. It’s story will be especially poignant for Irish American viewers, but is universal enough in its theme and treatment to appeal to any movie goer.
While the film is a striking directorial debut from Paul Quinn, its also somewhat of a family collaboration. The lead is played by Paul’s brother, the actor Aidan Quinn (Legends of the Fall, Benny & Joon, Michael Collins), his sister Marion (I Shot Andy Warhol, 2×4), features in a smaller role, and the cinematographer Declan Quinn (Leaving Las Vegas, The Ballad of Little Jo). Its strong cast includes such distinguished actors as Donal Donnally, James Caan, Moira Deady, John Cusack, Stephen Rea, Gina Moxley, Colm Meaney and Brendan Gleeson (recently seen in The General), and the film boasts a memorable soundtrack from Master Irish musician Donal Lunny.
The story begins in Chicago, when Kieran Jr. (James Caan), finds himself in a genuine crisis of identity. His mother Fiona, who arrived in America pregnant just before the outbreak of World War II, never told him who his father was. Having now suffered a stroke, she is unable to communicate any longer with her family. Kieran is a schoolteacher in a modest suburban school, whose life lacks context and purpose. When a homework task he assigns his students coincides with the unearthing of an old family photo revealing a man who might possibly be his father, he heads back to Ireland with his nephew, Jack (Jacob Tierney), in search of the truth.
When Jack and Kieran arrive in Ireland, their B&B is run by Seamus (Colm Meaney in a truly flamboyant role!) and his mother, Mrs Kearney. Initially faced with a blank wall from locals in the village, Kieran can only learn the tale under the auspices of Mrs. Kearney’s “fortune telling” sessions. It is through these that we learn the tale of young Fiona and her first love, Kieran.
Fiona (Moya Farrelly) is a bright, gorgeous girl with a lust for life that burns brightly despite the odds. Her mother is a domineering, bitter and snobbish widow – the only woman in the village with a car. Having taken to the drink after her husband’s death, she is determined that no romance will blossom between her daughter and the lowly Kieran, played by Aidan Quinn.
Quinn gives a stunning performance. Fiona’s unlikely suitor is a “poor house bastard” who cuts turf for his stepparents and is regarded generally in the locality as the village idiot. He is deeply religious, but his love for her is unquenchable – even in the face of opposition from the widow (Gina Moxley) and the all-powerful local parish priest (Eamonn Morrissey). Quinn put on thirty pounds for the role, and his metamorphosis into a painfully shy, rural batchelor who is overwhelmed at Fiona’s attentions, is nothing short of brilliant. He manages to evince the gentle soul inside the “outsider” and gives such a touching performance, that many of the audience (including the male contingent) were moved to quiet tears by the end of the film.
Moya Farrelly also gives a splendid performance. Finally – we see a strong Irish woman on the big screen that does not fit into the “feisty redhead” stereotype. She is a naturally sexy and outspoken girl whose place in society prohibits a passion as strong as her love for Kieran, and her departure for America at the end of the film is no surprise.
It is to director/writer Paul Quinn’s credit that a film entitled This Is My Father is as much about the mother in the family as well as the father. Notable too, is that while the film flashbacks are set at the end of the 1930s, the contemporary scenes really are contemporary Ireland – not just more Hollywood-Irish romanticism. Quinn, as an Irish American who has spent two separate sojourns in Ireland as a child, is well able to address the past, but has his feet planted firmly in the present. One looks forward to his future work, and hopefully we’ll see more Irish and Irish American films of this calibre gracing our screens over the next couple of years.
Having celebrated its East Coast premiere at the First Annual New York Film Fleadh last month, This Is My Father opens in May at theaters around the U.S.
* Posted on what would have been the 57th birthday of the director of the film director, Paul Quinn, RIP
This evening, we meet around eight o’clock, at a rambling old colonial villa in the heart of Eritrea’s sleepy capital, Asmara. Bougainvillea and Clematis crawl along the old stone walls, Italianate stucco designs frame the peeling storm shutters, the hallway has that 1930s feel of space and marble that disappeared after the Second World War. The equally spacious living room is hung with paintings, lined with books and evinces the peripatetic essence of the international worker: wood carvings from Indonesia, wall hangings from Afghanistan, carved wooden footstools from Kenya and batik prints from Benin. On the coffee table, a beautifully crafted Eritrean bread basket.
Apart from this hodge-podge of domestic style, the most fascinating sight to behold here tonight is a massive collection of books, arrayed on the dining table, tumbling over onto the sideboard, piled on chairs and on the windowsill, arranged without rhyme or reason. Their authors range from Shakespeare to Michael Herr, from Jane Austin to Zadie Smith, but their random placement is all part of the charm and glory of what is simply known in Asmara as “The Book Club”.
The Book Club is an anarchic entity. Its library of around 700 tomes has no geographical resting place. People meet, discuss books, drink wine, and at the end of the night, somebody just volunteers to host the next Book Club. It’s like ‘Fight Club’ without Brad Pitt. There is no treasurer, no fee, no headquarters, no membership requirements. The books travel, each month, in an assortment of cardboard boxes, from the location of the last Book Club, to the location the next Book Club, and are then simply stacked in any suitable space in the host/hostess’s living room for all to peruse. (more…)
So delighted to get up this dark December morning and read the lovely piece today in The Irish Examiner by Sue Leonard, run as part of the “Beginner’s Pluck” column. Sue’s kind words further made my day as she accredited the work with something every writer tries to acheive: Whether she is describing the heartbreak of a family whose child has been damaged by a landmine; the impermanence of love on the field, or an exquisite encounter on a beach at dawn, Mulkerns creates magic. With the verdict concluding that the book is “quite a wonderful collection of linked stories” I’ll be starting the new year on a high tomorrow. It was great to meet with Sue and chat, and you can see more about her on her own website here.
Meanwhile, click here or click on the image below for the article. My favourite line of it quotes me on working for Hot Press Magazine during my rock’n’roll years: “I was hanging around backstage with various bands,” she says.’ Yes indeed – what a job description!
The Irish Independent newspaper asked Irish Writers for their “top book picks” of 2016 for the Christmas Eve issue, and it was great to see Dermot Bolger giving the heads up to Ferenji in his input. Click here or on the image below for details.
He notes: “It is also lovely when a writer whose stories you have read with pleasure for years finally collects them in an overdue debut, and I was very taken with Helena Mulkerns’ Ferenji (Doire Press) where she mines her experiences as someone working in remote, dangerous regions with the United Nations to create short fictions which are finely written and astutely observed, in terms of the human heart and of the physical terrain they skilfully traverse.”