Tuesday, April 2, 2013

Cherry Smyth "Broken Banks" a short story



March 1 to April 14
Cherry Smyth
"Broken Banks"

Today I am publishing the first of two short stories that Cherry Smyth has honored me by allowing me to publish.  Both of the stories are protected under international copyright laws and cannot be published or posted online without the permission of the author.






Official Author Bio

Cherry Smyth is an Irish poet, born in Ballymoney, County Antrim and raised

in Portstewart. She has written two collections of poetry, a poetry pamphlet as
well as a book, essays and reviews on contemporary visual arts. She has also
published short fiction.  Her debut poetry collection, 'When the Lights Go Up'
was published by Lagan Press, 2001. Her anthology of women prisoners'
writing, 'A Strong Voice in a Small Space', Cherry Picking Press, 2002, won
the Raymond Williams Community Publishing Award in 2003.  A poetry
pamphlet, 'The Future of Something Delicate' was published by
Smith/Doorstop, 2005. A second collection called 'One Wanted Thing' (Lagan
Press) appeared in 2006.

Her poems have been published in 'Breaking the Skin', an anthology of Irish
poets, Black Mountain Press, 2002, the Apples and Snakes Anthology,
'Velocity', 2003, 'Magnetic North', The Verbal Arts Centre, 2006.  New poems
have been published in various magazines including 'The North', '


"Broken Banks"

by 

Cherry Smyth



We hauled the badly folded heap of cracking rubber into the yard.  It was the same every summer.  Dad would make us look forward to it, from Easter onwards.  He’d watch the evening falling and say, ‘The days are getting longer.  The sun is setting down further to the West.’   It was April and the sun was a waxy blob behind the block of flats opposite our house.  In full summer it would disappear behind The Tarmon, the pub on the corner.  His voice was sweet when he watched the sunset.  We used to watch it too, hoping that the more of us who witnessed its power, the longer it would last.  

Or he would talk about repairing the dinghy to take on the trip and get Angus and I to fetch it from the garage.  Each time we would already be rowing out to Inishboffin or Inishowen with our Dad, fishing rods at our feet, a bucket of squirming maggots under the prow.  If our hearts were jumping, we made sure to not let a flicker show.  If he caught even the tiniest glimpse of it, Dad would pounce.  

‘Lift that thing like men.  What kind of eejits are ye all?  Did no-one think of the pump?  You have to think ahead in this life.  Jennifer, go you and find the pump.’
Dad stood with the tin of patches and glue in his hand, his old brown cardigan over his work shirt.  Angus started working the foot pump, his knee jerking up a rhythm like someone getting into a piece of jazz.  
‘Give James a go.  He needs to build up them chicken legs.  Don’t you son?’  He ruffled my hair, then clipped my ear lightly.  I juked out of the way, laughing but holding back so it came out like a whinny.
‘Aye, Dad.’  
The dinghy twitched and expanded into life like a slo-mo film of a big yellow flower opening.  I was slower than Angus and in trying to speed up, my foot slipped.  I didn’t stop, didn’t look at Dad.  Sweat broke across the middle of my back, sending a chill up it.  I put my hands on my hips to steady my stand.
‘Would you look at him?  Angus?  God help us.’  I didn’t see the first clout coming.  ‘The bloody bathing belle.’  I fell to the side, my elbow grazing the concrete.  Then I scrambled up before he started to kick me and began to run.  The rodeo had begun.
‘Come here, you lily-livered wee shite.  You’ve got to learn to take it, for crying out loud.’
He chased and kicked at me.  I scuttled round the yard, my hands trying to deflect his foot.  I held back my cries then yelped, my voice scraping, ‘Sorry Daddy, I’m sorry.’
‘Give a proper howl, you great nit.’
I howled and kept running, buffeted by his boot.  Then I stumbled, my face and t-shirt a mess of shot and tears.  I buried my head.
‘Get up, you useless worm.’  Dad pulled at the neck of my shirt and the seat of my trousers and lifted me off the ground.  He circled the yard with me like a sack of coal.  Angus and Jennifer watched.  Jennifer was crying.  ‘Don’t Daddy.  Please.’  Angus’s face was tight.  I was all extended and rigid with fright like some creature that needs to curl up but can’t.  Then I went limp, trailed my feet.  He dropped me and went inside.   
Angus came over and stood beside me.  ‘Alright Jimmy?’ he said.  I ran my sleeve across my nose.
Jennifer did her nurse thing, knelt, took my head onto her knee and stroked it.  ‘You’ve been at the Front, sonny Jim, but you’re safe now.  We’ll fix you up.’  She took my pulse with her thin purple fingers, put her imaginary stethoscope in her ears and listened to my heartbeat.  I still had the after-shudders.
‘You’ll be as right as rain,’ she said.
I was trying to learn what it was that had set him off, promising myself to go limp earlier, let the blows rain on me even though every instinct said not to.  The toes of my Clarke’s sandals, the new navy ones that were to do all summer, were scuffed.  Mum would have my guts for garters.

We all knew to look sharpish when we loaded the boot, struggling under the weight of boxes and suitcases
without showing any sign of it.  Mum was pregnant and sat in the front, her hands on her lap, her horses and
hounds headscarf tied under her chin.  Dad was securing the bikes to the roof rack with a long piece of white rope.  
‘Here, Jimmy.  Put your finger there.’  He pointed to a cross made in the rope.  I wiped my hands on my shorts.
‘Press tight.’  
I wanted to do it right.  I looked around for Angus.  The whole family and the holiday in Donegal depended on this one gesture, my index finger pressing hard and long enough.  He threaded one end of the rope under the rack, then looped and tightened the knot with an abrupt tug.  I swiped out my finger in the nick of time.  The knot held fast.
‘Good man,’ he said.  
I was alive with giggles, giggles I meant to keep in my heart but they travelled down and danced out through the fingers that had done a good job.  It was the feeling I got on winter evenings when Dad was in a good mood and he’d roll me onto his knee after tea and play the piano on my front.  ‘Ladies and Gents, I’d like to present, Noel Baker, brother of the great Chet Baker.  Please put your hands together….’  He’d sing a da-da dah, da-da dah jazz tune and plunge his hands up and down my torso, tickling me, playing the scales of my ribs till I laughed and cried and begged him to stop.  Spittle bubbled at the edges of his lips when he sang, but I didn’t care because at the corners of his eyes tears formed and they were real and proved Dad did have a human heart and not the heart of a wolf.
We were off, the worn map of Ireland stretched out over Mum’s knee, a crease opening into a crack across the Sperrins.  I always waited for the bend in the road near Derry, when the car entered a canopy of trees and the sunlight flickered like shallow water on golden coins.  Then I began to taste Donegal.  If we got over the border without a row over the directions or a peep out of us in the back, we were going to make it.  We played travel scrabble, or Happy Families or the Misfits, nothing out loud like ‘I Spy’ or animals beginning with ‘A’, plants beginning with ‘B’ etcetera, which would rouse Dad’s despair about how long it took us to guess the right answer or how little we knew about the natural world.  He was a big fan of the natural world.  He often would spend a whole evening watching programmes like ‘The World Beneath Our Feet’ or Jacques Cousteau’s underwater discoveries.  We could watch too if we didn’t speak.  Dad would lounge in his leather winged-back chair, his feet on a pouffe, and we’d crowd in under Mum’s arms on the sofa, her warm smell of wool and hair lacquer ringing a lair around us.
‘God that cub’s a wee fighter.  Did you see that, boys?’  He’d punch towards the TV.  ‘That’s gumption for ye.’  And we’d watch as the lone wolf cub would straggle behind the pack, be stranded on a treeless ridge against the African gloaming and eventually get eaten by coyotes.
‘The poor mother,’ my Mum would say.
‘The poor mother, my eye.  She couldn’t be doing with a runt.’  His tone was still jolly.  Then it swung.  ‘Do I smell a smell?’  He leered, as if the sofa was a thing in the room he hadn’t noticed.
‘No, Daddy,’ we said.
‘It wasn’t me,’ Jennifer said.
‘Someone has let off a bad smell,’ he said, rising out of the chair.  ‘No excuse me, nothing.  Who was it?’
We cowered into Mum.
‘Now Noel – ’
‘Hush woman!  Who was it, I want to know.  All of yous up.’
Anger made him sound like Barney, the man who came to fix things.  Jennifer drew up her feet.  Angus folded his arms.  I couldn’t move.  
‘Are yous all deaf?’
‘It was only an accident, Noel.  An accident of nature –’
‘Hold your tongue, Ann.  I won’t have it in my house.’
He grabbed me by the hair and hoisted me up.  I shrieked and kicked.
‘You foul wee article.  The shed’s where you belong.  With them rats.’
‘It was me, Daddy.’  Angus’s voice was round and loud, his throat clear.  He stood up.  He must have only been twelve or thirteen at the time but he looked tall, his shoulders broad.  I felt holiness rise in me.  My soul popped.  I now know it’s called beatitude.  I loved my brother in that moment more than I’ve ever loved anyone again.  
Dad seemed to stick to the carpet.
‘I said it was me.  I apologise.’
I skited back into Mum’s arms, set things in motion again.  Dad undid his belt and then seemed to lose heat.  His arms fell to his sides.
‘I’ve had it with the lot of you.  Another nice evening ruined.  Get out of me sight.’
We walked out in single file like Indians being released from Fort Knox at the end of a long Western.

We missed the turn-off to Murvagh and ended up in Ballyshannon.  Dad pulled over and took the map with a huff.
‘I could get some messages here,’ Mum said, keen to invent a silver lining.
‘More food?  The car’s full of food.  We’ve spent enough as it is.’
‘Just some fresh eggs and a pint of milk.  I thought it would sour on the road.’
He handed her twenty pounds to show how we were bleeding him dry starting with this very note.
‘That’s too much, dear.’
He waved his hand as if batting off a fly.
She knew to leave, meekly shutting the car-door, giving us a little wave.  For a minute I thought that she wouldn’t come back and as I watched her blue and green dress, her bare calves disappear down the street, my hand shot to the door handle.  Angus knew what I was thinking and slid down the knob so I couldn’t get out.
‘It’s your go.’  He held up a fan of cards.
‘Did I ever tell you the story of Leda and the Swan?’ Dad said.
Indeed he had.  He loved telling Greek and Roman myths.  The Rape of the Sabine women.  The sacrifice of Iphigenia.  The murder of Agamemnon.  He really got into it.  Made them so alive and contemporary it was as if, had we happened to look out the window, we’d see the sirens half-walking, half-flying down the main street, the bloodstained heroes, all lean-loined, charging after them, swords flashing over their noble heads.  
I didn’t listen.  I went to Nana’s garden where I often went when he began a big lecture in his big proper voice.  In Nana’s garden were rows of lilac and pink lupins, strung up in rows, which she would walk you through, like walking down scented avenues in a French watercolour.  Her lovely soft voice could tell you things about people that you wouldn’t take in till later when the words set like fruit in jelly.
‘Your father, James,’ she told me once, ‘was a delicate child.  We almost lost him.  Chest and lungs.  He was in an incubator for the first fortnight of his life, the hardest fortnight of mine.  We made a great fuss of him.  Cosseted by all his aunts, but no-one could touch him.  If you’d heard the screams of him.  Your papa called him Bird.  He hopped out of reach as soon as he could walk.’  
Nothing could align the image of a young bird with my father.  A squab.  Still needing to be fed.  
Back in Dad’s story, Helen was born and had grown up to be too beautiful, the cause of the downfall of a great city, the start of a tremendous war the likes of which no-one had ever seen.
I caught sight of Mum’s dress first.  Then saw her clipping walk towards us, her handbag in the crook of her elbow. She must have spent a penny in the Ladies at the foot of the hill because I noticed that she’d renewed her lipstick.  I loved watching her without us around her, how she moved through the world not as a mother, a wife, but as a woman who didn’t know what lay ahead and she was up for it, her heart fresh and open.  I’d imagine that I didn’t know her, gauge her figure, her looks as a stranger would.  She was tall with a handsome face and dark eyebrows.  She seemed unconcerned at first but as she drew closer, I could see the tension around her eyes and her mouth as though she’d been pecked at and had had to duck out of the way.  I realised then that it was only when she talked to my father, her head took on a slight twitch as if all the nerves in her mind were too tightly wound.

It was dusk by the time we drove down the long drive of the country house where we had rented a cottage.  All along one side was a flat shapeless lake, where a couple of trees stood as though on islands in a Chinese print.  Their reflections floated upside down in the still surface.  Then we spotted a statue of a nymph, rising out of the water, and another, a bust on a half-submerged plinth.  It was like driving into the beginning of a black and white movie, where the set had been used for something else the week before and the characters hadn’t cottoned on yet.
‘It’s all flooded,’ Dad said.
‘Right enough.’ Mum peered ahead as if looking for dry land, dry sheets, aired beds.
‘It’s the spring tide,’ Dad said.
‘Fantastic!’ Angus said.  ‘We could fish there, Dad.’
‘Or row a boat,’ I said.
‘Maybe it’s private,’ Mum said.
‘It will be when they see this lot coming.’
A couple were having dinner at the bay window.  They were sitting at a large round table lit by a candelabra.  The white tablecloth seemed to fill up the room.  The man got up and answered the door.  He gave Dad the keys and we heard he was German.  Dad spoke in his best RP voice, calling ‘Toodleloo,’ as he strode back to the car.
‘Everywhere…’ he said as he started the ignition.

The cottage was a converted outhouse at the back of the big house.  It smelt of camphor and dust and books no-one ever read.  I had my own room, a little box room up its own flight of stairs in the attic.  I could see the laths underneath where a patch of plaster had crumbled away.  We could hear the swollen river.  Mum heated up a tin of Heinz Tomato Soup.  I put out glasses of milk, a plate of wheaten.  We sat on unmatching chairs around the kitchen table which was covered in Fablon, with drawings of bunches of grapes and amphorae on it.  We blew on our soup and watched the steam puff out.  We held our spoons correctly and slid them away from us to collect up each spoonful.  No-one slurped.   
‘All up at six to catch the rise,’ Dad said.  
‘Righto,’ Jennifer said, plucky as a pigeon in Trafalgar Square.
‘Girls scare away the fish, I’m afraid,’ Dad said.  He wiped the edges of his mouth with a napkin.
‘Oh.’  Jennifer looked into the centre of her bowl where her spoon moved in smaller and smaller circles, her trout vanishing.  Her bottom lip pushed its way out.
‘You stay with me and get the house ready.’ Mum squeezed Jennifer’s arm.  She snatched it away, gave a tiny growl.  Dad came at her face with the back of his hand, sent the soup bowl flying, scattering red ribbons across the whitewashed chimney.
Yes please, Mummy.  Say it.’ He leant over Jennifer whose sob hadn’t caught up with the blow.  Then it did.  She took an enormous breath and bawled.
‘Say it.’
‘It’s alright, Noel,’ Mum said.
‘Say it, my girl or I’ll give you something to cry about.’
I held my thighs together.  I was about to wet myself.  Pity burnt a hole inside me but the wind that stoked it was relief that it wasn’t me.  I jiggled in my chair.
‘And what d’ye think you’re smirking at?’ Dad hadn’t finished.  ‘Don’t just sit there, get a dishcloth and wipe that wall, save your mother some trouble.’  
I got up and went to the sink.  My bladder was blown up, pressing against all my other organs.  I walked funny.
‘What in God’s name’s the matter with him?’
Dad followed me walking like a duck.  Everyone started to laugh.  He made quacking noises, pumped his elbows.  They all laughed harder.  I hated them.  I waited.  The tension didn’t break.
‘Please Daddy…’ I started to cry, held up my forearms to shield my face.
‘I haven’t even touched him yet.’  He laughed then hit me hard.  Heat ran down my legs, into my socks, my shoes and out to the floor.  I sat down to hide it but the puddle spread.
‘You’re right filth, so you are.  Would you look at what’s your son’s done now.’  He hit at me again and then pulled the shorts and pants off me and made me stand at the fireplace facing the wall.  
‘Lick it off.’  He laughed again as if at his own brilliance.
‘Noel, that’s far enough – ’ I heard Mum’s chair scrape along the tiles as she pushed back from the table.
‘Do you want he’s getting?’  I imagined her hands cupped over her belly.
‘Lick the bloody wall.  I’ll not have good food wasted in this house.’
I studied one of the drips of flung soup in front of me.  A skin was beginning to pucker the surface.  Don’t ask me why, but I thought of Jesus, his wounds.  The piercings in his palms, his feet.  I thought of the Marys weeping for him on the hill.  The whitewash was the white sun of Calvary, the white stone walls of Jerusalem.  I leant forward and I began to lick.  I followed the line of one drip with my full tongue, lapping at the wall, tasting camphor and dust.  But I didn’t care.  I didn’t stop until Dad peeled me away, saw the look in my eyes and for one moment he matched it, a look of wonder and astonished love.  Then he felt all the defiance of it like a wave and he lunged for me.
‘You fucking wee heathen bastard.  Catch him, Angus.’
I darted round the room, high on my evil transcendent octane, slipping out of his hands like Thetis, the Nereid.  I was born of the sea, as intangible as salt, and each time he caught me, I was an animal, a snake around his legs, a cheetah at his shoulders, a hummingbird about his arms, and I broke free.  No mortal would entrap me.  I opened the door and I ran fleet-footed out along the river bank, my bare legs thrashing, and I tore into the flooded meadow, my pace slowed by the water now, the ground mushy, but I splashed and scrambled until I reached the garden statue and I climbed up it and clung on for dear life, my arms around its cold stone form.


END


I give my great thanks to Cherry Smyth for the honor she bestowed on my blog by allowing me to post this story.  It is under copyright to her and is her exclusive property.







Monday, April 1, 2013

Michael Gallagher A Question and Answer Session with the Editor of First Cut, the online journal of the Listowel Writers Group





Q & A with Michael Gallagher
Listowel, Ireland

Links to Q and A Sessions with Irish Writers

Author Data

Michael Gallagher is the editor of First Cut, the online Journal of the  Listowel Writers Group.

ISSM3 will be open until April 14.  There are lots of exciting things in the works.  You are invited to participate-please
e mail me if you are interested


Michael Gallagher



1..  Who are some of the contemporary short story writers you admire?.   If you had to say, who do you regard as the three best ever short story writers?  

John MacKenna, Claire Keegan, Colum McCann, Valerie Sirr, 

William Trevor, John McGahern. Nuala Ní Chonchúir.



Best ever: Frank O'Connor, Liam O'Flaherty, Gogol, Carver, Mary 

Levin, Elizabeth Bowen


2.  I have read lots of Indian and American short stories in addition to Irish and alcohol plays a much bigger part in the Irish stories.   How should an outsider take this and what does it say about Irish culture.
Drinking to excess is part of our culture. The industry sponsors nearly every event or festival, cultural or sporting, that takes place in Ireland. Our government promotes consumption by ensuring that important visitors are seen drinking Guinness on State visits. Pubs boost consumption by charging extortionate prices for alternatives such as soft drinks, tea and coffee.
I did not drink until I arrived in London. As an emigrant I soon discovered that the pub was the place to find jobs, friends, fellow-countrymen, and girls. It was also a means of escaping the daily grind of work and going back each night to the room I shared with four others.

3.  Declan Kiberd has said the dominant theme of modern Irish literature is that of the weak or missing father?   Do you think he is right and how does this, if it does, reveal itself in your work.  It seems present in several of your stories
I do not find this to be particularity true. Certainly, there is a sense in which women have been portrayed as becoming more assertive but this is surely because of the feminist movement. The most prominent father in modern Irish writing is John McGahern's. He may, indeed, have been missing but he certainly was not weak.My own father was, like most Achill men, a migratory labour. I would only see him for two weeks each year and in those two weeks he would be busy cutting the turf or digging the spuds. Like most Achill fathers, yes, he was missing but this was not out of choice. They emigrated because of the conditions that existed in Ireland at that time. Weak? Not at all. These men (and women) were much stronger characters than the politicians, priests, teachers (and academics) who hung around to live off the fat of the land or sauntered off to cushy sinecures abroad.

4.  When did you start writing?
I started writing in 2003. I had returned to Ireland in 1999, having lived in London for forty years. During these forty years I scarcely opened a book. True, I read the Telegraph or the Guardian every day but the Building environment in which I was engaged did not lend itself to bookworming.
I had become interested in stained glass following a chance conversation with someone in London and one day I happened on a man repairing a Harry Clarke window in Clonmel. The outcome of all of this was that I agreed to visit a writing group in which this glazier was involved provided he allowed me to visit his glazing workshop.
The rest, as they say, is cliché.

5.  How do you view Aosdana?  Is it a great aid to the arts in Ireland or does it perpetuate closed elitism?


I view it as an exclusive club. It is symptomatic of the many elitist, self-serving groups which afflict our clique-ridden society.

6.  I sometimes wonder why such a disproportionate amount of the regarded as great literature of the world is written in the colder temperate zones rather than in the tropics.   How big a factor do you think the Irish Weather is in shaping the literary output of its writers.   I cannot imagine The Brothers Karamazov being written on a tropical island, for example.

I should imagine that climate does influence writers, although not necessarily any more disproportionatily than other factors. Irish writers do spend a lot of their time looking through grey, mist-laden windows.

7. A character in an Ali Smith short story, asks in a conversation on the merits of short stories versus novels ""Is the short story a goddess and nymph and is the novel an old whore?"    Does this make a bit of sense to you?

Not a lot. Some writers are great at both. With writers such as William Trevor and John McGahern, it is often hard to see the join.


8.   Who do you regard as the first modern Irish short story writer?
   
Joyce. Both Frank OConnor and David Marcus would seem to agree with this in their introductions to various anthologies.I also think that Seamus O'Kelly broke new ground in 'The Weaver's Grave'.

9.  (OK I know this is big question and OK to not answer it)-why have the Irish produced such a disproportional to their population number of great writers?

Maybe it's because of the oral tradition we have inherited. There is a great history of 'ceili' houses where neighbours gathered to tell stories, play music or cards. This then got transferred onto the page along with our special twist or blas on the language.

10.   ( this may seem like a silly question but I pose it anyway-do you believe in Fairies?-this quote from Declain Kiberd sort of explains why I am asking this:
" One 1916 veteran recalled, in old age, his youthful conviction that the rebellion would “put an end to the rule of the fairies in Ireland”. In this it was notably unsuccessful: during the 1920s, a young student named Samuel Beckett reported seeing a fairy-man in the New Square of Trinity College Dublin; and two decades later a Galway woman, when asked by an American anthropologist whether she really believed in the “little people”, replied with terse sophistication: “I do not, sir – but they’re there."   

As kids, We were conditioned to believe in fairies. We were surrounded by fairy rings and forts and piseógs. Do I believe? Probably not, although I have had a couple of encounters with ghosts. But that's another tale.

11.  Do you think the very large amount of remains from neolithic periods (the highest in the world) in Ireland has shaped in the literature and psyche of  the country?
It may have done in the past but I don't see much evidence of its relevance to today's literature or psyche. As a people, we have become much more sceptical and scoffing.

12.  Do you like the Stories of an Irish R. M.?  either the stories or the TV show?   are the stories of Edith Somerville and Martin Ross mocking or celebrating Irish heritage?
I have read some excerpts in anthologies. To be honest, they are not my cup of tea. I was in England during the TV series and found the whole thing mildly embarrassing and lightweight.

13.  How important are the famines to the modern Irish psyche?  
Its signs and effects live on especially along the western seaboard of Ireland. It was the start of the emigration which has shorn us of our young ever since. We still have the old ridges dug into the sides of mountains. We have whole villages peopled by descendants of the original planters. I have dug up famine graves and the graves of the victims of the great fire of London. Things like that leave a deep scar in the psyche.

14.  Does the character of the "stage Irishman" live on still in the heavy drinking, violent, on the dole characters one finds in many contemporary Irish novels?
I don't know. Maybe this is why I do not read many contemporary Irish novels. I do know that they turn up on TV and that Irish people - to their shame - watch these programs.

15.  William Butler Yeats said in "The Literary Movement"-- "“The popular poetry of England celebrates her victories, but the popular poetry of Ireland remembers only defeats and defeated persons”.    I see a similarity of this to the heroes of the Philippines.  American heroes were all victors, they won wars and achieved independence.   The national heroes of the Philippines were almost all ultimately failures, most executed by the Spanish or American rulers.   How do you think the fact Yeats is alluding too, assuming you agree, has shaped Irish literature
We can't deny facts. England had more victories, we had more defeats. But some victories can be dishonourable and many defeats are honourable. I see no honour in lauding the theory that might is right just as I see little point in writing 'something went wrong' dirges in defeat.

16.  Who was the first great Irish writer who was not at all Anglo/Irish?  

Patrick Pearse.

17.  Do you think poets have a social role to play in contemporary Ireland or are they pure artists writing for themselves and a few peers?
Yes. The poet has a duty to record, to argue, to protest and to reason. Many prefer, however, to gaze at their wretched navels or to struggle very publicly with their tortured conciences. True, a few champagne socialists do raise their voices from time to time but they have little or no effect on the general populace or, indeed, fellow writers outside their immediate circle.
Of course, there are honourable exceptions, poets who are prepared to use their talent for the betterment of others rather than for self promotion.

18.  "To creative artists may have fallen the task of explaining what no historian has fully illuminated – the reason why the English came to regard the Irish as inferior and barbarous, on the one hand, and, on the other, poetic and magical."-is this right?  Kiberd, Declan (2009-05-04). Inventing Ireland (p. 646).
I lived in England for forty years and never got anywhere near to understanding the thought process of the English.

19.  OK to ignore this question-   Do you think Irish Travellers should be granted the status of a distinct ethnic group and be given special rights to make up for past mistreatment?  are the Travellers to the Irish what the Irish were once to the English?  I became interested in this question partially through reading the short stories of Desmond Hogan.

As a youngster, I visited Traveller's tents when they camped at Kelly's bridge. I ate with them and sang with them. Similarly, I worked alongside the first generation of West Indians to immigrate to England. In my lifetime I have seen both groups move further and further away from mainstream culture. Both groups were discriminated against and eventually a new generation decided to resist that discrimination.
When I went to England in 1960, there were still sign on doors which said 'No Irish and No Blacks'. We were obviously more easily assimilated than they were. Travellers still find doors barred to them, if less blatantly.
Having said all that, I think that all citizens should have equal rights, equal respect for each other and equal responsibilities. That is the only true equality.

20.   Where is the best place in Galway to get a real Irish breakfast?   Fish and Chips and Irish Stew?  .
  
I don't live in Galway but I can tell you that the best place to eat in Listowel is Katie's Cafe in Charles Street.

21.  The literary productivity of Galway is incredible-what is there about Galway's social climate that produces this?

I have worked and read in Galway. It has tremendous energy and is also very good at self-promotion. I also read regularly in Tralee, Cork, Limerick and, of course, Listowel. In all of these venues I meet people with massive commitment to to the promotion of poetry and goodwill towards fellow poets. And Dublin seems to be absolutely teeming with venues, all peopled entirely, it seems, by geniuses.

22.  Do you prefer ereading or traditional books?

I don't own a Kindle. I hope someone out there is reading this. Maybe next Christmas?

23.   If you were to be given the option of living anywhere besides Ireland, where would you live?

London. Yes, I know I lived there for 40 years. But I never really saw it for what it was until I left it. Like many of my compatriots I loathed it and what it stood for on a daily basis. Only in the weeks before I left did I admit to myself that there were many good things about it. It gave me a family, a good living, good friends, good times and a disdain for begrudgery.
When I go back now, I visit museums, art galleries and poetry readings - things I would never think of doing when I lived there. (I can only imagine the reaction were I to walk into the Castle and announce that I was off to the Tate Modern!)
These treasures were always there but, in my prejudice, I chose not to see them. They are still there - next time around, I would look.

24.  If you could time travel for 30 days (and be rich and safe) where would you go and why?

I could murder a few pints with Fionn MacCumail and Oscar and Gol and Caoilte and Diarmuid Donn and the rest of the Fianna. They must have been mighty company!

25.  John Synge-is he the second most important 20th century Irish writer?   

Synge, Joyce, Yeats, Beckett, O'Faolain, O'Flaherty, O'Connor, O'Brien? A lot of names there. And, anyway, who would deem himself good enough to choose?

26.  The Aran Islands-must see authentic experience or just for the tourists?

It depends on what one means by 'authentic'. Stringency is the new authenticity bringing with it the need to take in a few bob from anyone who is prepared to part with it.

27.   Best Literary Festival you have so far attended?

I have to say Writer's Week in Listowel, not because I live there, but because it eclipses the others in its expanse and in its vitality. And is there any reading more daunting than the bear pit that is Poet's Corner in the Kindom bar? There, nightly, scores of poets take up the challenge to strut their stuff at the open mic? Not for the faint-hearted!
I also love Feile Beag in Ballyferriter. It is friendly, genteel and gently bi-lingual.
Other great festivals are Féile na Gréine in Waterville and, of course, Eigse Michael Hartnett in Newcastlewest.

28.   Flash Fiction-how driven is the popularity of this form by social media like Twitter and its word limits?

Verily and virally. (Sorry! Have I exceeded the word limit?)

29.  How important in shaping the literature of Ireland is its proximity to the sea?

We are never very far from it so of course the sea has been a big influence on us, both individually and collectively. Our crossing of it has influenced the literature of continents.

30.  Best place to hear traditional music in Galway?   Best book store, best literary tourist experience, best "real people's" restaurant. 
Best tourist experience? The Atlantic Drive and the decent to Keem Bay.
Skinny-dipping in the Golden Strand. All on Achill Island, County Mayo.


End

I offer my great thanks to Michael Gallagher for these insightful carefully considered responses.



Mel u

"Between the Lines" by Henrietta McKervey (2012, 5 pages)


March 1 to April 14
Henrietta McKervey
Dublin

"‘But I don’t want a new reading companion.’ Surprised, he tells the truth, the words as honest and painful as love.  Who else could read the world to life the way she does? In her voice words become soft and round, burnished yellow and orange, straw spun like filigree into gold. Even the cruelest book – stories of blood-red, bruised blues and stormy purples – warms at the edges, an unspoken promise that the world outside it covers is not really so unloving".

"Between the Lines" is a very subtle deeply perceptive story about something no one in the reading life, or otherwise for that matter, wants to think about.  How do you keep reading, keep the stories flowing if you go blind and you are maybe too old to learn Braille?   Imagine how deeply alone, sad and isolated you would feel in an elder care facility  when all your life you loved reading, if you had little money and few friends you got by on your reading.  If you have enough money you could buy more books and read them in a nice house but that is still what you do.

The story covers just a very brief period, starting from the time the reader to the blind tells the man she is going back to her home country.  He is shocked, he never expected this, of course he only knows a little about the woman that reads to him.  He asks her why she wants to go home (we are not explicitly told where she is from but I think she is from the Caribbean area.)  She tells him she needs to get her stories back, she has not seen her children in two years.  
I have found people from the Caribbean in other stories I have read this ISSM, I think some how they mean something special to the Irish, maybe it is the accent, maybe the differences in climate, maybe it is the skin tones of  the people.  The author of the story has agreed to do a Q and A session for Irish Short Story Month Year III so perhaps I will ask her about that.

There is more to this wonderful story which I really liked a lot.  Sadly it is not yet published so I will refrain from talking about it to much.

Author Data


Once an advertising copywriter, I am now a student on the MFA in Creative Writing in UCD.  I've won a few short story prizes and am now writing my second novel. My first, 'What Becomes Of Us' was awarded a literature bursary from the Arts Council of Ireland for 2012.

I for sure will be reading more of Henrietta McKervey's work soon.  

She has kindly agreed to a participate in a Q & A Session for ISSM3 so perhaps she will tell us a bit about the MFA Creative Writing Program at University College Dublin.

Mel u




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