Showing posts with label Cherry Smyth. Show all posts
Showing posts with label Cherry Smyth. Show all posts

Friday, April 4, 2014

Hold Still by Cherry Smyth (2013)







Hold Still is a marvelous intellectually superb and sensuously rich novel, by Cherry Smyth, based on the painter and artist model, Jo Hiffernan (1843 to 1903).  Jo was born in Ireland and she with her parents left the country while she was quite young to seek refuge from the famine in London.   She dreamed of being an artist.  She was an outstanding beauty and soon got offers to work as an artist's model, hence the title Hold Still. Her strict Irish mother gave her permission to pose only if she kept her clothes on.  You can see in my strictly educational collage, how that worked out.

She was the model, mistress and muse for the American painter, James Whistler (1834 to 1903).  The novel shows us that Whistler wanted to keep his relationship with Jo secret from his wealthy mother.  She also poses for the French artist, and fell in love with the beauty of France, Gustave Courbet (1819 to 1877).  Courbet painted, for a rich Turkish pasha, images of Jo meant to be, for the time, forbidden erotica.  

Smyth lets us see how Jo was exploited, used for sex and low paid model work by men who thought themselves way above an Irish woman who posed nude.  We learn a lot about the business side of the high end art world in London an Paris.  We see Jo develop as an artist herself.  We see the traumas of Whistler and Courbet, Jo is as much nanny as mistress at times.  We see how hard it was for a woman to be taken seriously as an artist. We get a good feel for what sleeping with Jo was like and we do like the idea of it.

Holding Still is a very interesting, meticulously well researched book, rich in details about the art world.   It is first rate literary historical fiction. I recommend it without reservation to all.

Smyth has kindly allowed me to publish two of her short stories.

She completed a very informative Q and A Session during ISSM last year. 







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.  

You can learn much more about her work on her very well done web page.


I hope to read much more of her work.

Monday, July 1, 2013

Cherry Smyth A Question and Answer Session-author of When the Lights Go Up and numerous essays and short stories

   


Today I am very honored to present a Q and A Session with Cherry Smyth.  I have posted on some of her wonderful short stories and have published two of her works.






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', '









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?

Katherine Mansfield - oh, but she's not contemporary….nor is Frank O'Connor…Ali Smith is wonderfully fresh, witty and subversive.  Alice Munro is outstanding.  I enjoyed Jhumpa Lahiri, Jayne Ann Phillips and Yiyun Li.  Mary Gaitskill for darkness.  Raymond Carver for truth.  (His 'Cathedral' is a masterpiece.)  Lorrie Moore for sad laughs.  Lydia Davis for experimentation.  Grace Paley for wow.  'Summer Night' by Elizabeth Bowen is one of my favourite all time stories.  Mary Lavin is often forgotten and quite subtly amazing.  I also go back to Eugene McCabe often.  Rebecca Brown's story 'Bread' has stayed with me for nearly 20 years!

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.
I imagine you're right, sadly.  It eats into our culture and social life quite significantly.  We were raised to believe that drinking everyone under the table (i.e. when everyone else had collapsed from inebriation already and you were still going) was an admirable feat.  'The Penguin Book of Irish Fiction' edited by Colm Toibin has an interesting analysis of this in his introduction and also comments on the pervasiveness of fires and funerals in Irish fiction.

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.
 In "Watches, Walkmen, and Chains" and older man takes a paternal-like attitude toward a young girl and then abuses her terribly, do you see this as part of this theme-one of my responders to this question said the dominant theme might be the father as monster?

Yes, I think I would be more drawn to the father-as-monster theme than the missing father.  The men in my family often showed extreme violence or extreme sentimentality when drunk and these heightened emotions feed fiction and poetry.  They allowed a kind of excess, while the women often held quiet and disapproved.  Although in my new forthcoming novel, Hold Still, the father is much more supportive of the artistic ambitions of his daughter, my protagonist, than her mother.  For women who want to explore the world beyond the domestic, the father often provides a positive conduit for that.


4. Do you see Lesbian writers as somehow having more in common with other women or with gay men?

Feminism and queer politics inform my world and my writing but I have learnt my craft from straight, fishing-loving macho male writers too.  Other women, like Alice Walker, and Dorothy Allison gave me permission to speak
from the body and later gay men encouraged me to explore deeper taboos in my work. I can't really speak for 'Lesbian writers' but I do know that Women's Press, Virago and Sheba Press in the UK made it possible for a new kind of writing to emerge and that needed to focus entirely on women.  Many of us then went on to publish more broadly.

5. I went to graduate school back in the stone ages before the internet.  We did our research in the library.  Is almost all research now internet based?  (Cherry, this is just to get you to say a bit about how the internet has taken over research in the humanities)

Having just finished a novel set in 1860s London and Paris, I was thrilled to be able to read letters by James Whistler via the internet in a house in the deepest Australian bush!  I have always been a little intimidated by forms and libraries love forms.  However, I love the atmosphere in libraries and having access to the British Library is an extraordinary privilege - you order a book and it can be delivered to your desk within 90 minutes.  But many people haven't got that access and I think the research sources on the internet are excellent, if used well.  It's the democratisation of information that appeals to me.  However, I also researched some 17th century documents in the John Rylands University of Manchester Library last year.  It required being presented with white gloves, a sort of wide cloth-lined tray and a beaded bookmark which made it all very precious, like hatching eggs.  Quite a wonder.




6.   Most homophobic big city?-Dublin, London,
Paris, New York City-

 I have heard scary stories in every city.  I was recently in Amsterdam which used to be tolerance- typified and apparently these days young Muslim gays come in from the suburbs simply to queer-bash.  London seems less queer-friendly than it used to be.  We used to see many more gay and lesbian couples holding hands.  The specifically LGBT cafes and bookshops are having on by a thread now.

7. Tell us a bit about your non-academic non literary work experience please

Does that include working as a writer in residence in a women's prison?  It wasn't academic but it was literary.  I introduced them to John Donne and was amazed by the response.  Together we published their poems in a book called A Strong Voice in a Small Space.  It made me connect fully and painfully with the reality that writing can save your life and mental equilibrium.  I also used to programme the LGBT film festival at the National Film Theatre in London which was a great experience at a time when drag kings were being invented and queer film coming into its own.

8.    Please explain the concept of "essentialist dyke reading"?  is all reading either shaped by one's sexuality?  going with this or answer as you like, is there such a thing as the "true way to read a work" or is it all relative to the culture and nature of the reader?

I think it’s a mistake to read something as promoting an essentialist, fixed identity.  I can enjoy Bukowski as much as the next dyke.  But would Bukowski have enjoyed me?

9. Why have the Irish produced such a disproportionate number of great writers to their population?

The rain and more rain!  I’ve noticed that there remains a great respect for writers and reading there.  I gave a poetry reading recently in Greece and some of the audience approached me with tears in their eyes and a kind of awe that I rarely encounter in England.  It reminded me of Irish audiences.  Is it something to do with being the underdog and having once had a richly mythic oral tradition?

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."

I agree with the latter.  The belief in fairies – good
and bad – has kept some of our Neolithic monuments safe from harm.  No one dared rob or destroy a tomb in case of invoking the wrath of the giants or the fairies.  There are less of both these days.  I remember reading an oral account from an old woman in Beara and she said life had changed with new road construction to her village:  ‘Strange things used to happen on the old road, but nothing happens on the new road.’

11.  Quick Pic Questions
a.  Cats or Dogs'"/
b.  RTE or BBC
c.  best restaurant city-Dublin, London, Paris?
d.  Jane Eyre or Wuthering Heights
e.. if you have seen them-the old Greta Garbo version of Anna Karenina or the new one?


12.
Please expand on this a bit ?   Queer Poetry-your term

the word ‘queer’ was grasped as a proud thistle in the nineteen eighties largely in response
to the homophobia and indifference to the HIV/ AIDS emergency; and as a rallying cry
against Clause 28, a British law that made it illegal to discuss (ie ‘promote’) homosexuality
in schools or publicly-funded groups. It eschewed the positive imagery campaigns that attempted
to make gay and lesbian ‘lifestyles’ more acceptable to the hetero mainstream, and developed a
strategy that was unapologetic, sexual and raging.Its sexually bold aesthetic welcomed anyone who
renounced the privileges of heteronormativity and was willing to call themselves queer regardless
of their sexual object choice. It created a cultural and activist explosion: a giant, liberating wave of
energised belonging led by artists and writers such as Karen Finley, Essex Hemphill, Derek Jarman
and Eileen Myles.
Queer poetry strived to define itself differently from lesbian and gay poetry in its politics,
linguistics, address and audience. As Amy King explains in ‘The What Else of Queer Poetry’: “A
queer poetry is the province to surpass identity... to open to the other scary self I think I am not
and find another way to be.” Queer promised a way to inhabit shame as well as ‘gay pride’ and reeroticise the lesbian and gay body. In her scintillating essay, ‘Hanging Out Beneath Orlando’s Oak
Tree, or Towards a Queer British Poetry’, Sophie Mayer puts it: “To be queer is to look with
newfangled eyes at the body”and indeed proclaim it as a site of politicised experience.
More than twenty years later, the definition between gay and lesbian, and queer, has blurred
and the category of queer gained a different kind of fluidity. By the nineteen nineties when queer
had become assimilated to market white gay male culture and commodities, the term LGBT
(lesbian, gay, bisexual, transgender) became a common shorthand, one that I suspect makes it
easier for heterosexuals to avoid uttering the word ‘lesbian’, but a term that tries for more
inclusivity. Mayer suggests that queer remains a radical tool in the US. W
Cherry, if comfortable with it please talk a bit about the differences between gay and lesbian poetry and what you and others refer to as "queer" poetry-why do you wish to use the term "queer" still used many places as word of hate?

Oh my dear I wrote a book about this and can’t answer it in a paragraph!!  See Queer Notions, Scarlet Press, 1996.

13.
 Do you feel Aosdana is the best use of the Irish governments limited funds to promote the arts or do you think the money could be better spent in another
way?

Keep it. Enlarge it.  What an amazing thing to give artists an annual salary.  More please.

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?
Yes.  See Kevin Barry’s fiction.

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?

I can only quote Sam Beckett:
"Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better."



16. Oscar Wilde said he did not really feel Irish until he moved to London, how does that relate to your experience?

Oh completely, and the history and gay identity would have been quite different if Oscar Wilde had been known by his second name Flaherty!  He always sounded like an invented persona and I remember being shocked and overjoyed when I realized he was Irish!

17. "  what is queer poetry? "-your expression of course-

See the above quoted essay.

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).

It was my experience that both the English and the Americans nursed stereotypes about the Irish.  To the English we were drunken, violent and stupid.  To the Americans, we were poetic, articulate and scholarly.  I preferred the latter.


19.  In my "bible" in Irish literature, Declan Kiberd says part of the reason Oscar Wilde and other gay writers were so creative was that they had no role models as to how to be a man, how to live in the world, so they had to invent themselves-this is in
line with what Edmund White says in Art in Literature when he talks about Gay Writers-the suggestion is that to be gay is some how already intrinsically creative.  how do you feel on this?

It seems to hold more true for gay men though, doesn’t it?  I think lesbians are just as creative but are more punished for being out in a phallocracy.


20.  You teach creative writing at The University of Greenwich-what do you find the biggest challenges your students face and you face as a teacher

Not becoming uncreative.





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

Tibet.  I could learn so much from those Buddhist minds and masks.

22  When you are outside of Ireland, besides friends and family, what do you miss the most?  What are you glad to be away from?


I offer my great thanks to Cherry Smyth for these very interesting responses.  I look forward to reading her new novel soon

Mel u

Monday, April 15, 2013

"Teasels" a short story by Cherry Smyth



March 1 to April 21
A Short Story by Cherry Smyth
"Teasels"



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.


"Teasels"
by Cherry Smyth


It started with the phone ringing in an empty house.  It was an old-fashioned ring, sonorous with gaps of three seconds between each sound.  But the house was not empty and it started long before that.  It started with a look at a dinner party.  Across candle flame and a bowl of golden rod and purple teasels.  It started when a woman ran her finger over a teasel to see if it was rough or smooth.  If she’d known its name, she would have guessed its texture.  A teasel teases.  It raises the nap on a fabric.  
Melanie didn’t know her oranges from her pinks, her Mont Bretia from her hollyhocks.  Caro had told her the teasel’s name.  Caro wanted to send her a copy of the column from her dictionary: ‘tear into, tear-jerker, tearoom, tease, teasel, teaspoon, teat, tea towel.’  It seemed to cover their story from beginning to end nicely, from tears to teas and back again.
There were six people at the dinner.  And there were no excuses.  One was Matthew, Melanie’s husband.  Then the hosts, Andrew and Luciano, and Caro’s ex-lover, Esme who kept texting someone under the table and chuckling to herself.  Caro didn’t enjoy Esme’s chuckle half as much now that she was no longer its subject.  Its throatiness was fake.  Esme was not a throaty kind of person.  Maybe that’s where it had started, with that first obstrusive beep between Esme’s thighs and her insincere apology.  Saying sorry had never been her strong point which was one of the reasons why they were both single.  
‘It reminds me of a sea urchin,’ Melanie had said. ‘I wonder what’s inside.’  She kept stroking the prickly head as if it gave her a sensation she couldn’t place.  Like the taste of something quite familiar served differently in another country.  She stared at Caro.  She dark serious eyes, solemn till she smiled and then they glistened and her whole face changed.  They were all a bit tanked, except Matthew who was driving, so Caro felt it wasn’t safe to watch his wife, though she found she wanted to.  The bright pink nail polish on Melanie’s fingernail made it a hard-shelled little insect trying to find nectar in an inaccessible flower.   
‘Was this your idea, Luciano?  The flowers like this?’ Caro asked.
Luciano smiled and gave a mock bow.
‘They really are beautiful,’ Caro said.  
‘Thank you.’
‘Cut flowers make me sad,’ Melanie said.  ‘Imagine what a day this teasel would have had outside on a day like this.’
‘It probably grew up in a hothouse,’ Caro said.
‘I grew up in a children’s home but I still saw the sun,’ Melanie said.
‘Oh Melanie,’ Matthew said.
Caro looked down at a slice of kiwi on a hem of meringue and cream on her plate.
‘It might as well have been.  You couldn’t call it normal, could you?  You couldn’t exactly say there were parents around.’
Everyone laughed.  Andrew reached over to top up the wine glasses.  Caro slid her hand over hers.
‘How many kids were there?’ Esme said.
‘I don’t know, I lost count after seven.’
‘Eleven,’ Matthew said.
Caro didn’t want to say anything else for the rest of the evening and when the phone rang a few days later she said, ‘Melanie who?’  ‘Luciano said you do gardens,’ she said.  Caro could hardly lie.  ‘I do.’  Melanie said they needed work doing and could she come over.  Caro was busy.  It was late summer, her busiest time.  No, she said.  Melanie said she lived in the same borough, that she’d make her dinner, that she wouldn’t have to do the landscaping just give them advice.  
‘Please,’ she said.  
‘I’m sorry,’ Caro said.  She had an image of eleven little mouths opening their beaks for food.  Me, me, me.  
‘Please,’ she said again.  
Then Caro said, ‘I suppose you missed a garden when you were in jail.’
Melanie roared with laughter.  ‘Touché,’ she said.  ‘Bloody touché.’
A week later Caro was facing a sea of waist-high nettles, a choked raspberry, a suffering beech, a rockery and raised bed overtaken by ivy and weeds.
‘Let me guess,’ she said, sliding her pencil behind her ears.  ‘You wanted the romantic back-to-nature look and nature ran riot.’
‘Exactly.’
‘Now you want it tidied, but not fussy, and low maintenance.’
‘Well, yes,’ Melanie smiled.  She looked embarrassed.  ‘I hurt my back in an accident last year and Matthew gets hay fever so –’
‘I’m sorry,’ Caro said. ‘It’s just that some clients don’t realise there’s constant –’
‘I know.  I plan to crawl.’  They both laughed and Caro caught the thought fly through her head, ‘God, this woman’s attractive.’  She was built like a boy with breasts.  About thirty-five.  She tilted forward a little when she walked as if she was about to break into a run or leap over something only she could see.  Her hair was light brown and curved behind her ears in a short bob, like her garden, unkempt and shaggy.
‘Where are you from?’ Melanie said.  She was chopping an onion in the kitchen.  She switched the knife back and forth, as if she couldn’t decide whether to slice or dice.
‘You mean my DNA?’
‘Yes.’
‘My mum’s English, my dad’s Moroccan.’
‘You mean she’s white?’
Caro smiled.  ‘Yes, white.  Half-Jewish – but that was the half they decided not to keep.’
‘Mine kept it all with bells on.  They’re orthodox.  Hence the psychosis.’
‘You grew up in north London?’
‘Yep, Stamford Hill.  Half the siblings moved to Israel and are living in forts on hillsides in the desert.’
‘Christ.’
‘Not exactly.  You like artichokes?’
Caro remembered a wonderful smell of onions, bay leaves and pepper.  Melanie said she couldn’t cook.
‘I just heat and steam and boil,’ she said, but she served the artichokes with Spanish olive oil and fresh squeezed orange juice which they chased round a saucer, then tugged the leaves through their teeth till their tongues went black.  It was delicious.  That sweet aftertaste that keeps surfacing on the back of the tongue.  
Matthew was working late.  They ate penne and pesto, drank a bottle of red and moved into the lounge.
‘So why did you and Esme split up?’ Melanie asked as she handed her a foamy espresso.   Caro’s quick sketch for the garden lay on the table between them.
‘She had an affair.’
‘And you didn’t forgive her?’
‘She left me.’
‘And then?’
‘Then she wanted me back.’
‘And you forgave her?’
Caro took a pause.  She wanted to duck out of the firing line.  ‘None of what she said was ever enough.  It’s like trying to stick a tree that’s been felled back in the ground and thinking it will grow.  You forgive but there’s no sap, no passion no matter how hard you will it.’
‘My father had an affair.’
Caro didn’t know whether to believe her at first.
‘With my mum’s sister.’
‘That must be the hardest.  Did she forgive him?’
‘She went doo-lally when she found out.  I came home on the tube one day and saw her running down the platform with her blouse on back to front and her head completely bald.’
Caro said nothing.  She felt as if she’d seen this image somewhere years ago.  She couldn’t place it.  She didn’t know if she’d seen it happen or seen a photograph or a film of it.     
‘What did you do?’
‘I tried to pretend I hadn’t seen her.  Then one of my mates shouted, “Oi Mel, isn’t that your mum?”  She was pregnant and tired and running.  It was the worst thing I’ve ever seen in my life.  She didn’t know me.  She was talking in Polish and Yiddish and she thought I was her mother or her auntie.  If she’d forgiven him she maybe wouldn’t have gone mad.’
Melanie’s eyes were full of tears.  Caro wanted to sit beside her, comfort her.  She didn’t move.  She felt as though she was climbing up a under a huge wide tree where all the ground is dead leaves and mulch and darkness, where no sun has reached for decades.  She’d lost her foothold and she was crawling and in some kind of pain she’d never experienced before.

End

This story is protected under international copyright law and cannot be printed or published without the permission of the author.

I am very honored that Cherry Smyth has allowed me to share this great stories with me readers.

She will be doing a Q & A Session soon so look for that.

Mel u

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.







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