Sunday, March 15, 2020

A House of Cards by Elizabeth MacDonald (2014, Second Edition)

A House of Cards by Elizabeth MacDonald (2014, Second Edition)

My family, my wife, our three daughters, my brother, his wife and son  had planned a trip to Italy in July. I was looking forward to sharing the history and beauty of Italy with our girls and helping my wife realize her dream of a visit to St. Peter’s in Rome.  Of course this is now on hold.  I am sharing this post as it conveys a sense of Tuscany found only in the finest literature.









"My world revolves around art history, it has been my overriding passion for as long as I can remember.  A passion, however, that is the source of something close to pain at this stage, for it has become increasingly difficult to give myself up to immutable beauty of my favorite sculptures and paintings as I become more decrepit.   There was a time, you see, when it was easier for me to connect with Michelangelo's  David than it was with life:  its strength, beauty and heroic purpose were all that life was not.   Life was but a series of betrayals of these ideals.  And why would I want to connect with that?"-Elizabeth MacDonald in "Babele"




Elizabeth MacDonald

A House of  Cards  
(a collection of short stories) by Elizabeth MacDonald was listed for the Frank O'Connor Prize in 2007.   It is an  exquisite collection of short stories set mostly in the Tuscany region of Italy.    I will post on a number of the stories individually and I will then attempt to make a few overall observations.   Tuscany is one of the most beautiful places in the world and a strong feeling for this comes through in the stories.    It is Keatsian level reflection on the nature of beauty, with Tuscany as  a deeply pervasive backdrop.  These stories do not just talk about the beauty of Tuscany, but rather they also create a depth wisdom of their own worthy of their setting.   


The collection offers us the opportunity to ponder what it means to leave your birthland and if you go deep enough in these stories you can see a legacy of colonialism in the presence of the Irish in Tuscany, still driven from their home and making their new homes a better place.  If you read the Q and A session with MacDonald you will soon see her high culture and her ability to relate the sensibility of Ireland to that of Tuscany.  


"A  House of Cards"

The title and lead story, "The House of Cards" is narrated by a woman who left her home country Ireland at age twenty-one.    She has been living in Tuscany for twenty six years.   She is now a wife and a mother and a keeper of  a lovely home in the Tuscan hills.    Her husband, Giacomo, is a successful engineer, a man of predictable habits,  impeccable tastes, a loving if perhaps not as exciting romantically a husband as he once was.  (Who is after twenty six years?)    He gives her a kiss on the cheek as he leaves for work but you can see it is just past of his "going to work to do list".  Her son, twenty one, is enrolled in the fine arts course at college.   Her husband does not really approve of this but he does not say anything.  You can see the woman still sometimes has to translate her Tuscany experience into an Irish framework to relate fully to it.  MacDonald brings the beauty of the gardens of the house wonderfully alive for us and we know the woman loves her house, her garden and having them all to herself all day long.  


"September in Tuscany is a time of golden sunlight and mellow stillness;  of opulent bunches of grapes, opaque green and velvety purple, hanging from laden trellises throughout the countryside;  then piled up in fruit bowls on kitchen tables.   It is a time of sweet-tasting figs, of mushrooms, and of pumpkins.   This I have come to associate with September".

She thinks back to a very different September long ago in Ireland.   She thinks back to an old love, she still wanders why he left her so long ago. It was this that drove her out of Ireland to Tuscany/    She looks at herself in the mirrors and thinks about how she looked twenty six years ago.    She begins to think of an event that happened many years ago, one she had almost repressed.    I will leave this unspoiled for you.   This is a story about memory, how the past intrudes on the future, about the nature of marriage, about living in exile from your home country and about the effects of living in a place of great beauty.

"Babele"

I love this story for its portrayal of an older man, once a professor now living in Italy for many years from an inheritance from a wealthy aunt.   The story is set at the hottest time of the year in Tuscany.  MacDonald sets the tone of the story perfectly its her sensuously rich descriptions of colors and sounds.   The man is from Ireland, I think.  He tells us that even after twenty years he still finds sleeping in the afternoon somehow decadent.   He has been going to the same hotel for long stays for twenty years now.   The man is having some difficulty dealing with the consequences of aging.  He has to use a walking stick.   He seems very much alone but he seems to prefer it that way.  I think he has raised his level of culture so high it is hard for him to relate to most people and for sure vice-versa.   He was once a professor of art history.   A scene where he encounters some tourists at the hotel is really hilarious and completely wonderful.  My opening quotation is taken from this story.  I think if it were not for my wife I would be like the man in this story, substituting literature for art.  Like him  I have not worked in many years.    

"Falling Stars"

"Falling Stars" is about two couples, one seemingly happy and one in deep conflict.   Rosemary and her husband have located a Tuscan farmhouse for Valerie and her husband to spend a week in during a holiday. The beauty of Tuscany is never far from the surface in The House of Cards and it is very much apart of this story.   The dialogue between the couples is very well done.   They are not actually close and you can see the two women struggle to find things to talk about.  We get to see the meal being prepared and it does sound delicious.   During the dinner Valerie's husband makes a cutting remark to her when she has what he thinks is too much wine and she goes from the jugular in her response.   There is a very well done and subtle echo of Anna Karenina at the close of the story (I might be reading this into it but for me it is there.)  This is a very real story, almost painfully so.

"New Year's Resolutions"

I guess it is reasonable to assume that if you live in Tuscany and are from Ireland you will have a lot of visitors and this story, like "Falling Stars" centers around a visit, though one of a very different sort.   In this case the host is an unmarried woman  and the visitor is a man she once had a long term relationship with and now hopes to have him come and live with her.   You can feel her longing and loneliness.   In the stories of MacDonald we are often left with the feeling that things seem like they are about to happen but then we do not know if they will or not.  Life is often like that.

"In Hindsight", one of the longer stories in the collection is set in an art Gallery in Pisa.   The owner arrived in  Italy from Ireland with only his honors degree in art, his wife with her degree in English. He was there to purse advanced studies in his field in Florence.    He decides when the time and the money are right to open an art gallery in Pisa.   He struggled for a long time but is now doing fairly well.   He feels an exhibit he has arranged show casing the work of a famous local artist will greatly increase his standing in the art community.   You can see he and his wife still are very bonded but they do get on each other's nerves at times.  MacDonald does a very good job handling dialogues between couples in which one of the couple is holding back some anger and the other is kind of submitting just to get the conversation over with.   He needs an assistant for his gallery.   A beautiful woman, who reminds him of the woman in the painting The Dancer by Gustav Klimt,  applies for the job.   At first he cannot get past her looks but he sees her qualifications for the job are impeccable and soon she is indispensable  to him.   The artist he will exhibit is difficult and temperamental and she can handle him perfectly.   If you see trouble coming here, you are right.   The more I read of MacDonald's stories, the more I see Tuscany in the background.   Remember this is where the English poets and painters went to bask in the beauty.   There was a time, past now, where Italy felt almost like the tropics to the English.   You can see this in E. M. Foster's story, "The Story of a Panic".    

                    MacDonald does a better job than Forster, it pains me to say this of a writer I love, of showing us how the transcendent beauty of Tuscany effects those not used to it.  Maybe that is one reason MacDonald makes her characters mostly from Ireland, as outsiders they lack complacency and indifference.

"Fire Works"

"Fireworks" also centers on a couple.   In this case tourists who have just checked into their hotel in Pisa, it is pouring down rain.    They have just made love.   The man tells the woman he is going outside for a while to look around and he will be back in time for dinner.   He does not want to wait for her to get dressed so she can go with him.   Pisa is an exotic destination for them and she knows in the back of her mind that the man is really desiring to go out alone so he can look at the local "talent", or so she thinks.   It is poring down rain and she did not expect this.   MacDonald makes excellent use of colors to set the tome for the story.   I liked and think I understood what it means when we read of the "strange intimacy of a hotel room on a rainy afternoon", we can feel the void the man's walk has opened in her.   She decides to go for a walk herself.    Keeping in mind that she sees the Italians as somehow more passionate and "earthy" than people back home she does not quite know how to react when a man who seems Italian, he is described as dark, approaches her on the street.   There is a surprise ending to this story.    Maybe we see the limits of the woman's liberality and into a bit of perhaps ugly xenophobia.   The ending of the story was really a lot of fun and quite smart.



"Sunday Lunch"

"Sunday Lunch" is another superb story about the dynamics of power within families and marriages.   The newly married couple at the heart of this story are an Italian man and an Irish woman, they are just back from their long honeymoon in the Seychelles Islands.  In this very smart detail MacDonald sends the message that these are affluent people with very refined taste, not happy with the ordinary.   One of the things this story is about is the contrast of the Mediterranean temperament of the Italian versus the constrained perceived as icy tone of the Irish. It is about the joy of the first few months of marriage.   But above all it is about a poor woman who does not seem to stand much of a change against her extended in law family and especially against her mother-in-law who plays the strings of guilt with the mastery of a first violin at the Dublin Symphony.   If this woman thinks she is going to take her place in the affections of her son she has another think coming!    This story displays the brilliance and subtlety of MacDonald's use of dialogue and her ability to convey decades of history in just a few half spoken sentences.

There are five other equally enthralling  stories in A House of Cards.   Most of the stories are about eleven pages long.    There is a very perceptive and passionate introduction by George Szirtes, a  well known Hungarian poet and translator.

I really liked this collection and I totally endorse it to all lovers of the art of the short story. The prose is of the highest quality.    There are fragments that stunned me with their beauty.   The last time anyone, in English, wrote so deeply of the beauty of Italy it was D. H. Lawrence.

Author Bio



Elizabeth MacDonald was born in Dublin, where she studied Italian and Music at UCD. In 2001 she completed the M.Phil in creative writing at Trinity College, Dublin. She teaches English at the University of Pisa, where she lives with her husband and son. Her translations of the short stories of Liam O'Flaherty were the first in Italy. She has translated the poetry of Dermot Healy, Seamus Heaney, Brendan Kennelly, Dennis O’Driscoll, George Szirtes, Derek Mahon, and Old Irish nature poetry. She has a special interest is the poetry of Mario Luzi. Her translations have appeared in  many journals, including Modern Poetry in Translation, Poetry Ireland Review, The Cork Liteary Review and Soglie. A House of Cards was first published by Pillar Press in 2006 and a second edition will be published by Portia Publishing later this year.
“This is a tender, understated and beautiful collection of stories that will leave you longing for more. ” Emma Walsh, The Irish Book Review.  


Elizabeth MacDonald is a principal in a dynamic new  venture, Portia Communications which offers a diverse range of services to the book buying and producing community.


Mel u









Saturday, March 14, 2020

The Soul of Place A Creative Writing Workbook Ideas and Exercises forConjuring the Genius Loci by Linda Lappin (2015)





Author and Writing Teacher Linda Lappin won a gold medal in the prestigious Nautilus Awards, taking the top prize in the category CREATIVE PROCESS for her multigenre creative writing book  The Soul of Place - A Creative Writing Workbook: Ideas and Exercises for Conjuring the Genius Loci. Now in its eighteenth year, the Nautilus Book Awards program honors, rewards, and promotes world-changing books that inspire and connect our lives as individuals, communities, and global citizens. Awards are given in 24 categories in children and adult titles supporting green values, spiritual growth, conscious living, and high-level wellness. Previous winners include Julia Cameron, Betty Edwards, Catherine Ann Jones, Andrew Weil, and His Holiness the Dalai Lama

I'm very glad to see this very prestigious award being given to Linda Lappin.  




My Q and A Session with Linda Lappin


An excellent Q and A session with Linda Lappin, conducted by Shauna Gilligan, Author of Happiness Comes from Nowhere


My Post on The Etruscan by Linda Lappin


My Post on Signatures in Stone by Linda Lappin


My Post on Katherine's Wish by Linda Lapain. A wonderful work on the final days of Katherine Mansfield


One great writer often leads you to another, but not always in the ways we might expect.  Five years ago I began reading and posting on all the then published short stories of Katherine Mansfield.   After completing the stories I discovered Linda Lappin had written a highly regarded novel centering on Katherine Mansfield's last year.  I read Katherine's Wish and felt Lappin had a profound understanding and sympathy for Mansfield as a writer and as a person.  I now see how this all ties in with Lappin's wonderful, The Soul of Place, A Creative Writing Workbook, Ideas and Exercises for Capturing the Genius Loci.  Mansfield (1888 to 1923) left her home country of New Zealand for London  in 1908 never to return.  In the stories of Mansfield you see a constant search for a home, a longing for a place of beauty.  I feel Mansfield was searching for a Sacred Place, for holy texts and holy men.  In her brief stories, such as the wonderful early works contained within In a German Pension, she is able to create a strong and deep sense of place.  The ability to do this is one of the lessons imparted in Lappin's workbook. 

Lappin's book partially focuses on creating a sense of place in your writing.  In order to do this we must first be able to deeply experience a locale.  Lappin refrences writers who can show us how this is done and provides very interesting exercises.  Her extensive discussion of "deep mapping" was fascinating and open my mind to many new ideas.


The work opens with a section on landscapes. Lappin talks about how we need to remove our complacency to really describe what we see.  Good writing requires, among other things, an ability to see the beauty, wonder and horror in what we always have taken for granted.  

From this Lappin deepens the teachings with a chapter, taking  a lead from Mircea Eliade, on Sacred Spaces.  I think Lappin is trying to tell us that we do not just have to limit our selves to the standard sacred spaces of our culture.  Writers can and have created their own sacred spaces.  Beyond this there is a very valuable spiritual lesson in this chapter about how we can create our own scared landscape.  I will try to illustrate what this means.  Not long ago I read E. F. Forester's marvelous short story, "The Celestial Omnibus".  The story concerns an omnibus that picks people up, you can return, for a trip to literary heaven.  I was sitting on the verandah of a family home way out in rural northern Philppines.  The peace and the tranquility of this place made me imagine that I was waiting for the celestial omnibus to stop for me.  I was on the verandah alone and my wife came out and asked me who I was talking with.  I did not know I was conversing but I can accept somehow this place, combined with the impact of six years of blogging and intensive reading has given me the power to create my own sacred space.  Perhaps I was in touch with deeper reaches of my consciousness, as Linda will later in the book guide us.

The next chapter is devoted to food writing.  The book will be a great help to food writers, travel writers, not just fiction authors.  Food writing done well is not easy at all.  Lappin gives us a good list of first rate food writers and provides very useful exercises.

Chapter Five, "Submerged Territories Writing and the Unconscious" will take most into unfamiliar ground and suggest exercises that will take  "rational minded" readers out of their comfort zone.  I think part of the structure of the book and from it the picture of a workshop of Lappin's, is to first show you how to become strongly  anchored in place, virtual or sacred, then as the book or workshop closes show you how you can use the Genius Loci you have created or discovered (the lines blur) to let your mind roam free.  The exercises and thoughts on matters such as automatic writing are designed to provide you with a structure to look for deeper springs for your writing.  

The book returns us home with a practical down to earth discussion about designing a writing space that works for you.

There is much more in The Soul of Place, A Creative Writing Workbook, Ideas and Exercises for Capturing the Genius Loci than mentioned.  Almost every page contains thought provoking observations and there are a lot of super interesting reading suggestions.

The Soul of Place, A Creative Writing Workbook, Ideas and Exercises for Capturing the Genius Loci also will make those who take it seriously better readers.  Deep reading requires we open our consciousness without fear and that we observe deeply.  Lappin's prose is exquisite and is a pleasure to experience it in a different format than her three great novels.

The book is no doubt a work of great value to writers but as a reader I found it gave me a greater understanding of the creative process, increased my sense of reading as a creative act and as a side benefits had numerous excellent exercises and suggestions for further reading.  The author has read widely and deeply, traveled and stayed in place with equal intensity and her own beautiful prose testifies to the value of her teachings.

I strongly endorse this book and if life were to ever make it possible I would happily enroll in one of Lappin's workshops.


  Author Bio




Linda Lappin is an American poet, novelist, and travel writer. She has published three novels, The Etruscan, Katherine’s Wish, and Signatures in Stone: A Bomarzo Mystery, which won the 2014 Daphne Du Maurier Award for Mystery and Suspense Writing. She holds an MFA from the University of Iowa Writers Workshop.

More information, including detailed participant testimonials on her workshops cam be found on her webpage Lindalappin.net.

In an appendix she talks about how the literary culture of Greece is impacted by the very large number of sacred spaces.  I found what she says in accord with my experiences talking in Q and A sessions to 80 or so Irish writers about how the conversion of the island into a sacred space has impacted Irish writing.   

In a strange way i don't walk to really talk about yet, Linda helped me understand what the purpose of my blog has evolved to become, how it has impacted my consciousness.

Mel u


















Friday, March 13, 2020

River of Fire by Qurratulain Hyder - 1998 - Translated from Urdu by the author.



The Masterwork of Modern Urdu Fiction.


Urdu is a living language which, according to estimates, is spoken by close to 100 million people around the world. It is the official language of Pakistan, a status which it shares with English. It is also spoken and understood in parts of India, Bangladesh, Nepal, the Middle East, and many other countries around the world where Pakistani communities have settled.


Qurratulain Hyder’s River of Fire is considered by all the greatest work of the modern Urdu novel. 

Chronicling twenty five hundred years of life in India we are presented with a profound and sweeping collage of princes, paupers,philosophers and many points in between. Prior to completing this I read and loved two of her translated from Urdu short stories. Both short stories are historic fictions.

I am very glad I took the time to read River of Fire.  

My mind is not totally focused right now so I will share with you the quote from TLS on Amazon

“Qurratulain Hyder’s River of Fire encompasses the fates of four recurring characters over two and a half millennia. These characters become crisscrossed and strangely inseparable over different eras, forming and reforming their relationships in romance and war, in possession and dispossession. River of Fire interweaves parables, legends, dreams, diaries, and letters, forming a rich tapestry of history and human emotions and redefining Indian identity. But above all, it’s a unique pleasure to read Hyder’s singular prose style: “Lyrical and witty, occasionally idiosyncratic, it is always alluring and allusive: Flora Annie Steel and E. M. Forster encounter classical Urdu poets; Eliot and Virginia Woolf meet Faiz Ahmed Faiz” (The Times Literary Supplement).

I endorse this book for those wish to expand their knowledge of Indian literature










Thursday, March 12, 2020

The Emperor of Russia - A Short Story by Jaki McCarrick - A Guest Post

Irish Short Story Month Year Ten


My Q and A Session with Jaki McCarrick





In March 2013 during Irish Short Story Month Three I posted on The Scattering, the debut collection of Jaki McCarrick.  The Scattering - A Collection of Short Stories is an amazing body of work, with  shimmering and incredibly entertaining stories that go deep into the heart of many of the issues facing contemporary Ireland.  This book deserves tremendous success and a very wide readership.  It both confirms and rises above the common elements of the Irish short story I have spoken upon: the weak or missing father, the presence of the stage Irishmen, the uneasiness of the relationships of men and women,  the heavy reliance on alcohol, the temptation toward arrogance as a way of dealing with the humiliating consequences of colonialism, the obsession with death, and the false rebellions of posers of all sorts.
Today I am very pleased and honoured that she is allowing me to share with my readers one of her stories, The Emperor of Russia. (She is the sole owner of this short which cannot be published in any format with out her approval.)
Jaki McCarrick is an award-winning writer of plays, poetry and fiction. Her debut short story collection The Scattering was published by Seren Books and was shortlisted for the 2014 Edge Hill Prize. The collection includes her story The Visit, which won the 2010 Wasafiri Short Fiction Prize and was included in Best British Short Stories (published by Salt), 2012. On the basis of her debut collection, Jaki was longlisted in 2014 for the inaugural Irish Fiction Laureate. Her play LEOPOLDVILLE won the 2010 Papatango Prize for New Writing, and her play THE NATURALISTS premiered in 2018 in New York to rave reviews: "Impeccable, a gift to its actors" New York Times; "Beautifully performed" The New Yorker. Her play BELFAST GIRLS, developed at the National Theatre Studio, London, was shortlisted for the 2012 Susan Smith Blackburn Prize and the 2014 BBC Tony Doyle Award. It premiered in the US in Chicago in 2015 to much critical acclaim and has since been staged widely internationally with recent premieres in Australia and Sweden. In 2016, Jaki was selected for Screen Ireland's Talent Development Initiative and has recently completed the screen adaptation of BELFAST GIRLS. She is currently working on her second collection of short fiction and her first novel, The Family Wolves. Jaki also writes critical pieces for the Times Literary Supplement, Irish Examiner, Poetry Ireland Review and other publications.


The Emperor of Russia - A Short Story by Jaki McCarrick,

(The Emperor of Russia story comes from the 2019 Willesden Herald New Short Story Anthology

I could hear my father singing in the lower field. In between the lines of the poorly-sung Joe Dolan number he would call for me, each time more demanding, though he did not bother to draw near to where I actually was, which was at the back of the house, pegging his newly-washed clothes to the line. I knew I’d give in eventually to his calls, but I wanted him to hurt his voice as much as possible with the screeching. ‘Rose! Come down to the big tree,’ he said, finally, his song ended. When I finished the laundry, I sauntered towards him. Course it was me who let out the loudest screech of all when I got to the lower field, where he stood by the eucalyptus tree in his brown pinstripe suit with its shiny stains and frayed cuffs, leaning on his pellet gun. Hanging from a high branch of the tree was a crow, plump and stiff, and I knew straight away by the white in its feathers that it was Hermione, my brother’s pet, and that my bastard father had killed her. I fell to my knees and cried out, worse than any time when he’d left us first and gone to England.


‘Crows are a dime a dozen, wee one, and you better stop with that whining,’ my father said. There wasn’t an ounce of remorse in his voice.
‘You’d no business doing that,’ I said.
‘I told you what we’d be doing to stop the crop getting took off us from under our noses, didn’t I? A certain measure your mother would have none of.  But she’s not here now is she?’ He was right, of course: he had told me what he planned to do to a crow, and yes, my mother wasn’t around to protest. She’d died in the years he was away, and here he was now, as he’d been this past while, acting as if he knew everything about how to run our farm, when truth was he knew next to nothing about farming. He was just as he was before; all he was good for was guns and shooting and everyone knew it.

Hanging a dead crow from a tree is a practice they used do in the country, in the border areas especially, to ward off other crows from the new barley, wheat, spuds. The belief was that crows, being sensitive, intelligent birds, would spend a week ‘waking’ their fellow (dead) crow, and in that time the crop would be harvested. I’d seen it once before, years ago, a pair of crows hanging from blue rope off the gate to a backwoods field in Omeath.
‘Julian’s been rearing her since she was a chick fell out of her nest,’ I said. ‘The one white wing, the crack in the beak. How could you do a thing like that?’ I went to the ladder lying in the grass by my father’s feet, picked it up and brought it to the tree.
‘What you doing, Rose?’ he said, as I rested the ladder against the eucalyptus.
‘Going burying this bird that’s what. I’ll not have it swinging around for you to poke and swing, and for to call me down from the house to goad at.’ On the third step of the ladder I winced at the grip of his sizeable fingers.


‘You’ll not be burying this bird today,’ he said. I couldn’t help myself then and looked him straight in the eye and said:
‘Well, aren’t you the bastard Ma married.’ He went to slap my face, as he’d done a few times before, though he stopped due to the stern look I gave him. It is hilarious to consider how much respect my father demands from me and Julian. It’s like he thinks that by virtue of the fact of having conceived us he’s the right to the utmost loyalty and respect. Though from where I stood on the ladder, eye-to-eye with him, I could see I had crossed a line, and what’s more it felt bad to cross it, as I too held some weird store in his having conceived me, if even he had done that.
‘ You kill a crow, it keeps the rest of them off your field, and you know why?’ he said.
‘No.’
‘Because the others will wake him.’
‘The bird was a her,’ I said.
‘Because the others will wake her. They’ll screech and croak and they’ll not eat, just go back to the trees and cry for a day. That’s when we harvest. And we’ll not be robbed blind by them then. You see? That’s how it was done in the old days. It’s the crows or us.’
I got off the ladder and paced about on the grass. What was I going to tell Julian? I had so much hope in his recent sense of happiness with Hermione. I was planning to leave home the following May, you see; I’d a job lined up and everything - in a summer camp in New Jersey - so how could I leave Julian here now with our father, who insisted upon running the farm according to rumour and myth rather than sound agricultural knowledge?
‘Haven’t the crows as much right to the crop?’ I said.
‘What you know about anything?’
‘I know I can’t leave our fella here with you the way you are, going round killing innocent animals.’
‘I don’t care what you do,’ my father said, and looked up at the sky, at the slowly
circling crows, who must have been appalled at the sight of one their own tied to a eucalyptus tree like some kind of offering or ‘strange fruit’. My father was certainly the lynching kind after all, except that this was the Irish border and not Alabama, though bar the weather and accents the two places are twins on many levels.


‘They’ll start up now with their waking, and in the morning we’ll reap this harvest and we’ll have what we reap all to our bloody selves,’ he said. I watched him walk off towards the house. When he was out of sight I could hear the front door open, then shut, though I was sure he would watch me from the window in case I’d climb up the tree and cut down the bird: I thought better of doing that.
The following day, a team of men arrived from Bush to help with the harvest. I’d seen some of them before, in town, or in church; Poles and Lithuanians who’d been hired by neighbouring farms for the potato picking. In the yard, where they’d parked their cars, I met them with my father and shook the burly pickers’ hands as he’d instructed me to do. I gave them a few lines about seeing some of them in town and how I’d love to travel to their beautiful countries, which they must be missing in this hole of a place, etc etc. My father quickly took over then and told them about Hermione. As he stood chattering amongst them, I slipped away and went to the house. I’d not had a chance to talk to Julian about her – not alone at least (my Da had watched me like a hawk the night before) and I was waiting for my opportunity.

I threw stones at Julian’s window, which was open a little. The thick lace curtains inside moved gently in the breeze. Julian didn’t answer, and I didn’t want to go inside for fear of my father catching me talking to him and squealing about the bird. He never likes me talking to Julian. He especially doesn’t like squealing; has some weird ‘code’ about it. So I decided that with my father holding court with the pickers, like a big bear or some clownish figure from a Shakespearian play, that I’d talk to my brother from the safety of the front garden.
‘Julian, did you see we’re to have a big harvest, even with the terrible summer and the rain and all?’ I said, but there was no reply.

‘Can you see that the field is almost white entirely with the potato flowers? He’s a whole team over from Bush today to gather them this year. Listen, about Hermione. I think she’s gone, Julian. That’s what crows do, Love,’ I said. I wanted to tell him about my plan, but thought better of shouting it out in case I’d be heard by the pickers or my father. Julian would have understood though, because he knows the whole history of our farm, which is in the district of Grange, in the Cooley Hills, County Louth. This land is old, with dozens of brown information signs to do with the legends of the Táin, the oldest legend in Europe, about Cú Chulainn and Queen Maebh, dotted about the place.
 There are wells and souterrains all over, too, old traps and holes like the ones that’d be in Alice in Wonderland. Only they’re not Wonderland. They’re dark and cold inside, sometimes lined with stone but more often than not it’s just the bog down there, which is much worse, as it’s darker and weirder than stone when all around you. And if you were ever to get stuck down one of those traps or holes you’d never again get out, especially if someone were to block the entrance. The bad thing about our beautiful fields, of course, is that they are so lovely, full of clover and all manner of flowers, the harebells in May, the foxgloves in June, so that you’d never know they are also full of such dangers, such holes. And a person, a man for instance, who’d been away, who’d fecked off, left his wife and children fending for themselves in these hinterland fields with all their hidden dangers, might not be so used to them holes and wells and tunnels and traps, and one day when he’s … But I digress. I did not discuss my plan with Julian, nor had I the heart to tell him the truth about Hermione. Julian was housebound, and unless he stuck his head out his window he’d never see the crow hanging from the eucalyptus tree, so I hoped he would believe me that Hermione had flown away.  My father called out. ‘What you want now?’ I said.


‘We’re starting. Lads are ready. Not a living crow in sight neither. All cleared off into the hazel wood. Stop slacking now, Rose.’ I felt the usual rage at him rise up in me. I wondered why it was he bothered me so much. He should not have had such a hold over me (I hardly knew him after all), but he had. I returned to the window:
‘Julian? I’m serious. I need you to get well and strong and not leave me to that stranger we’ve let back in the house. Treats me like his slave. Like Ma.’ And as I said those words I thought I could hear Julian crying and I began to feel ashamed.
‘Ah sure, I know you loved him. Wasn’t he a funny old Da when we were tiny? Swinging us round the place. But he’s not the same. He’s not. And I need you to get strong, Julian, so we can take steps. Because that’s what we need to do.’
*
He doesn’t know this, my father, whose name is Dan, but I keep a photo of him when he was in his teens, maybe my age now. I keep it under my pillow.  He would be very surprised to find it there, that’s for sure. It’s black and white and as old as Methuselah. In the photo he’s holding a greyhound puppy, and there’s a smile across his face as wide as a sea. One that exudes gushing unadulterated joy. His eyes water with it. His love for the puppy is all over that photograph, like a good sort of stain. Yet whenever I asked him about having a pup or dog as a boy, he would shrug and say he’d never any time for animals when he was young, that he’d never any pets. So, I believe something happened him after he joined the Republican ‘war’, as he calls it, which he joined when he was fifteen. He not only put away childish things, as they say, but he put away the child, and any memory of him. There is something about the photo that helps me exist in the same house as my father, that makes me think he is not a monster. Even though there are others in the vicinity of the border who think differently.
            *
‘You’re taking long enough with that grub, Rose,’ my father said, like the greatest nag that ever lived. I’d made the sandwiches earlier that morning. And I’d been very careful and precise about making them, measured you might say, though I lied to buy time at the window with my brother.
‘I’ve to make it yet,’ I said.
‘Well hurry up about it. Come on.’
‘Coming Da. Coming.’
When I got back to him with the grub, I invited my father to eat with me, away from the pickers, who were gathered now round a long table we’d set out in the yard-cum-car-park. He liked seeing I’d taken care with his lunch and that I’d packed it in a picnic basket along with a check tablecloth. He always likes to be treated nicely, my father, delicately even, like bone bloody china, such is the man’s vanity. I guided him to sit at the edge of the field, where the land is flat. I laid out the cloth and placed the sandwiches and flask and teacups on it. He tucked in immediately. ‘That’s a fine lunch you packed us, Rose. You not having any?’ he said.
‘No.’
‘You’ll make some fella a fine wife one day,’ he said. Did he not see I was far from being interested in men, having had him as a father and therefore a good reason to hate the entire male species?
‘La-la-la-la-la …’ I said.


‘What you la-laing at?’ he said, and stuffed a hunk of bread into his mouth.
‘Making me sick with that kind of talk, Da,’ I said, and sipped on my Diet Coke, watching out of one eye in case any of the pickers came upon us.
‘Only I suppose he’d have to cut your tongue out in order to get through a day in peace,’ he said, and threw back his head and laughed. My father’s jokes are always laced with cruelty, but, annoyingly, they are also told well, and with expert timing.
‘Lovely thing to say to me, Da,’ I said, and sat back on the grass, my feet on the cloth. I looked at him directly and nearly blurted out there and then exactly what I’d put in the sandwiches.
‘Well, it’s true,’ he said. ‘You’ve repelled every fella came gathering spuds and barley here this past two years.’


‘Me and fellas is not your concern,’ I said. There was a period of silence between us then and I felt myself dying to tell him what I’d done but stopped myself in time. ‘So, you like my sándwiches do you?’ I said. He grunted something and nodded. Seeing as he couldn’t speak with the relish leaking out of his gob, I decided to make it even more difficult for him. ‘Which one do you like most?’
‘Most, I like the beef,’ he said, and licked his lips.
‘Ah, the beef,’ I said. ‘Well the beef I knew you’d go for. The beef I knew you’d like. So they’re the ones I paid most attention to.’ I watched him as he sucked carefully each of his fat fingers, probably thinking the only reason I was put on this earth was to serve him, like he was some sort of king or emperor. He’d been the same way with my mother.


‘Well, you’re a good cook anyways. That’s something,’ he said. He swallowed the food, wiped his mouth with his sleeve and made an almighty burp. Then he began to snigger. ‘ I suppose if the fella was deaf you’d be all right,’ he said. ‘Deaf, and fucken half-blind maybe.’ And he rolled about laughing, slapping the tablecloth rapidly as if he’d said the funniest thing.
‘Ah that’s it, you go right ahead. Entertain yourself with your own jokes,’ I said. ‘I’d say you’re very good at that now, entertaining yourself. Seeing as you were gone out of this house almost twelve years roaming the streets of places, sure you must be a grandmaster of entertaining yourself by now.’ He knew where I was going with this, where I always went: berating him for leaving us, all those years before. He lit up a cigarette without offering one to me.


‘I came home not to see you reared without a mother. Because I care. Because I’m your father. And what went on between her and me is not your concern neither,’ he said, sniffily. He stood and looked towards the pickers, who were already back at their work in the fields. We could hear their voices coming close, their fractured laughter floating on the air. ‘ You ask them lads to go from the drills that side?’ he said, perplexed.
‘I did,’ I replied. ‘That’s how we’ve done it all these years. Left to right.’
‘Good to split the work up I suppose,’ he said.
‘I thought we’d start this end now you’re finished eating,’ I said, and showed him the sacks I’d brought for the spuds we were yet to pick.
‘Just this is the rough side, rolls down to ditches and all, and I would have thought you’d have preferred, you know, an easier go of it,’ he said. I shook my head.
‘If you start left we’ll meet the lads coming halfway, you see? I’ll go right,’ I said. We stood and put the picnic things away. We folded up the tablecloth, corner to corner, and I was surprised he remembered how to do it. As we met with the folding of the cloth, I felt a pang of guilt in my heart and tried to shake it off. He saw it of course, the confused flicker of love in my eyes.
‘ I thought of you all the time wee one. When I was away. You and Julian. You been talking to him?’ I nodded and felt the burn of his eyes on me.
‘What does he say now?’
‘Not much. He wants to forget about it. The accident. Who wouldn’t want to forget a thing like that, nearly took your life, made you a ghost of your former self,’ I said. My father nodded and looked out at the land. Before us was Carlingford Lough, blue and flat. I would miss the sight of the Lough in America. The day was bright, the heather on the hills turning a soft aubergine colour. My father seemed fixed on the road towards Carlingford.


‘Down there,’ he said,  ‘the road North. I remember it well. Men in uniform. “Papers, Paddy” – and me not yards from my own farm.’
‘I’ve no memory of those days and I don’t want to have either,’ I said.
‘Well I do,’ he said, and I felt a little ashamed for offering him no understanding on this subject.
‘Why d’you go to England then if you hate it so much?’ I said.
‘We all run back to the colonizer, to the one that hurts us – eventually. Do you not know that, Rose? Didn’t your mother teach you how that game worked? They take something from you, a part of your heritage, your identity, that you need so as to know yourself, and you go always looking for that thing.’ I knew there was something in what my father said. To do with our history here, perhaps. About how the border area, all three hundred twisty-turny miles of it, had been ravaged by the Troubles.  How it had formerly been plagued by checkpoints and police and soldiers. My father knew things. And if I could have removed the bitterness I felt towards him from my heart I might have learned some of them. There was a moment then between us; in fact it was the culmination of many moments, when I felt he was the grand figure, the giant I’d made him into when I was a child. He felt awkward then, I could see it in him, though he quickly lapsed, purposefully it seemed to me, into the crow-killing coward I’d become more used to, as if this were a mask, one behind which he felt safe:  ‘Well, the spuds won’t be lifted by themselves,’ he said, rubbing his hands together. ‘And we better get into it before the crows stop caring.’

As he picked along his drill, I slipped away from him and went back to the house. The window was again open in Julian’s room at the front and I threw stones against the pane for my brother to show himself, but as was his way he did not come. I directed my voice to the window: ‘Julian. You remember when he was gunrunning? Hiding guns all over Ma’s land? Putting us all in danger? Well, he was a bad egg then and he’s bad egg now. So you better hang in there, and stop moaning, sounding so lost and sad.’ I said. ‘Hermione’s a fucken stupid name for a crow anyways. As if I didn’t know where you got it. Look, buck up. Because we’re to be free soon, the two of us, of the stranger we let back in this house when we shouldn’t have.’ I sensed Julian would know what I meant and what I was planning now to do.

When I got back to the meadow I saw my father retching over the white potato flowers. I’d brought another sack with me, flung over my shoulder. I went to him and asked him to lean on me so I could bring him back to the house. ‘Into the meadow here, by the crocus. That’s it, Da,’ I said. I took a few paces with him and stopped. ‘Rest here on this big stone a while. Sit, and I’ll see if I can find you some wild mint that’ll settle your stomach and then we’ll go home,’ I said. As he sat on the stone, clinging to his stomach, I rummaged around in the grass, not for mint at all, as you can imagine. Eventually, I found what I was looking for. My father whined with pain and I did my best not to pay any heed.
‘Oh Rose, I’ve something to tell you, love,’ he said, as he wiped down his sweaty brow.
‘Too late for talk like that, Da,’ I said. ‘I’d save it for Julian. He’s the young one now.’
‘Isn’t it about Julian,’ my father said. He looked about him, his wide eyes darting from rock to bush. ‘This bit of your mother’s land. Ah, we would walk here many’s a time. Looks very familiar. During my “political career” perhaps. Aye, I’m sure this is a place I’ve been to and hidden certain things in.’
‘Much good your politics did you. Much good it did any of us. Had to go to England in the end, left us half-starved most of the time.’ I stood him up and walked him towards where I’d rummaged. He sort of half-hummed, half-sang as he walked: ‘Oh me oh my, oh me oh my, you’re such a good-looking woman.’ I pressed on his shoulder and urged him to stop.
‘Now where’s that mint?’ He said. And with that I pushed him into the hole that had been hidden all these years in the grass. He let out a roar as he fell. I knew all about the holes and souterrains on this land, as I’d farmed it for years without my father’s help. As he cried, I pulled Hermione from the sack I’d brought with me, and threw her down on top of him.


‘There,’ I said to the mouth of the hole, ‘the crows can mourn the two of yez now. Because I won’t, nor will Julian. “Crow’s wake!” This is modern Ireland and we don’t string up crows no more! And if anyone comes looking for you, Da, I’ll say he fecked off to England, as he was wont to do. And I’ll be believed. I’m a young woman with prospects, off to America for a job that’s lined up already, a brother, half-dead from a joy-riding accident, and a feckless father who has nothing to do now there’s peace in Ireland only to tell me how to work my own farm. No one will come looking for you here, Da, because no one will fucken miss you.’
‘Rose, Rose!’ my father screamed. I went to the stone and began to roll it towards the mouth of the hole. It was tough going as over and over I rolled it.
‘I’ll be rolling the stone over now, Da, so you’ll have to shut up,’ I said.
‘Rose, Rose!’ he continued. What did he want to say? That he was sorry for the life he’d made us all lead? The hard work and the poverty, that had undoubtedly caused my mother’s early death? It was too late for apologies.
‘What is it, Da? I can’t let you out. You go stringing things up that people love; you go slapping me and me eighteen years old. You’re no good. And no good for Julian, who is my only friend here at all.’ And then he said the words that deep down I knew were true:
‘Rose, Julian’s dead this two years.’
‘ What are you talking about, you mad bastard?’
‘After the accident, sure you went demented. What with your mother and all.’


‘What’s that?’
‘You started talking to him six months later. And I always thought that somewhere in your mind you must have known Julian wasn’t in that room.’ I cried out then. My hands shook and I retched into the grass though I’d eaten nothing.
‘What about Hermione?’
‘Who?’
‘The crow! The crow down there on top of you. Who reared it from a chick if it wasn’t Julian?’
‘He did. But that was long ago. If this is that bird, it’s come back after a long time away, just like myself. Julian’s dead, daughter, and you better believe it. So, you go rolling that stone over this hole you’ll have no one at all. No Ma, no brother, no Herm…’
‘Hermione.’
‘And no Da! You’ll be an orphan entirely.’ I knew then he was right. Wasn’t he
always? Though I wished he’d said something about Julian before. I was embarrassed to think he knew all along I’d been talking to a ghost.
‘Oh Da,’ I cried, ‘why’d you have to kill that crow?’
‘I’m sorry about it. Oh me stomach.’
‘That’ll be the strychnine,’ I said.
‘The what?’
‘I poisoned the beef.’
‘Oh Rose. Why d’you have to do a thing like that?’
‘You shouldn’t have gone away, Da. That’s when, when it all started.’
‘What Rose, what?’
‘Oh, didn’t I miss you, Da?’ I said, and felt something inside me begin to shatter. What had I done? Bad enough I’d poisoned my own father, but now he was at the bottom of a cold deep pit. I thought about screaming out to the pickers for help. I heard him laughing. I drew closer to the edge. There was the sound of a chest or trunk of some kind being opened, of creaking, rusty hinges, and of the clatter of metal within.


‘What is it, Da, what’s down there?’ I said. I could hear him talking away to himself.
‘They don’t make them like this anymore. Look at the spin on that.’
He shouted my name up at me, his voice full of sorrow and sincerity, like the old Da, the one I’d idolized before he left:
‘The bird, Rose. I’m awfully sorry about him,’ he said.
‘Her Da, her.’
‘Where’d our fella get that name anyways?’
‘He was studying Shakespeare at school. And I was helping him. A Winter’s Tale he took that name from,’ I said, as tears streamed down my face, the memories of our once vaguely-happy family flooding my mind.


‘Right,’ my father said.
‘”The Emperor of Russia was my father.”’
‘What’s that, Love?’ he said.
‘You mustn’t call me that, Da.’ I said. ‘You’re a stranger to me now.’ His voice got quiet then, like a whisper, thin as a goose feather, and I concentrated intently as if it was the last time I might ever hear the tenderness in my father’s voice, which had always been there, I realised, had I bothered to listen for it.
‘Come here to me, Rose. Come to the edge and I’ll see your face just one more time before you roll over that stone, and say again to me the sweet-sounding thing I just heard you say.’ So I did. Who could resist the way my charming father could ask a thing? I went close to the hole, my face hanging over its dark mouth, and whispered:
‘”The Emperor of Russia was my father.”’ It was a line from A Winter’s Tale that I’d always loved. And I meant every soft-sounding syllable.
‘I know, Rose. I know,’ he said, and swiftly he lifted up the long contraption in his hand, and pointed the dark metal end straight at me. His hands shook. Our eyes, which were similar, round and slate-grey, locked for a second, his betrayal of me and mine of him suspended momentarily outside our eye contact, allowing for this rare exchange of pure familial love, before he fired with his trademark expertise.
End of guest post
I hope to follow the work of Jaki McCarrick for a long time.  I urge anyone able to attend a performance of one of her plays to do so.

Mel u

 

 

 

Tuesday, March 10, 2020

Friends of the Kookaburra - A Short Story by Elaine Chiew - from her collection The Heartsick Diaspora - 2020



Friends of the Kookaburra - A Short Story by Elaine Chiew - from her debut collection, The Heartsick Diaspora - 2020

Gateway to Elaine Chiew on The Reading Life 

Set in contemporary London,and told by Sansan, a Malaysian,she is shocked to be contacted by Irene.  an American.They were best friends when attending a liberal arts college in New England.  She has not heard from Irene for a long time. Irene is in London for a pharmaceutical conference and tracked down Sansan through the alumni network.  Irene starts the conversation by asking her if since her divorce has she been involved with any men.?  To Sansan this is intrusive.

She begins to think back on how close they were in college. Sansan was devastated when during Junior year, Irene seems to become best friends with another American girl.  The longest segment of the story is devoted to a hilarious dinner meetup between Sansan,Irene and Irene’s boyfriend.  We learn quite a bit about their College years.

Irene is a collector of friends and lovers of a background diverse from her.  I was pleasantly surprised by an r-rated interlude.

Irene has a travel blog and it was fun to hear about that, it is called
Friends of the Kookaburra.

This is the 11th story from The Heartsick Diaspora by Elaine Chiew upon which I have posted.  I look Forward very much to the remaining three.  I give this collection my highest endorsement.


Elaine Chiew
Elaine is a writer and a visual arts researcher, and editor of Cooked Up: Food Fiction From Around the World (New Internationalist, 2015).
Twice winner of the Bridport Short Story Competition, she has published numerous stories in anthologies in the UK, US and Singapore.

Originally from Malaysia, Chiew graduated from Stanford Law School and worked as a corporate securities lawyer in New York and Hong Kong before studying for an MA in Asian Art History at Lasalle College of the Arts Singapore, a degree conferred by Goldsmiths, University of London.

Elaine lives in Singapore and her book, The Heartsick Diaspora, and other stories, was published by Myriad in 2020 as well  by Penquin Books.












Sunday, March 8, 2020

The Vanishing Sky by L. Annette Binder - June, 2020






The Vanishing Sky by L. Annette Binder - June 2020

Last month I posted on a deeply moving short story by L. Annette Binder ,”Lay My Head”, from her award winning debut collection, Rise.  Here are my opening thoughts on this profound story.

My earliest reading memories are of being read fairy tales.  Long ago our youngest daughter saw an edition of The Complete Fairy 
Tales of the Brothers Grimm on  my book shelves years ago and asked if she could keep on the shelves in her room. She  still has it booked marked so I know she is reading it.

One of the associations in literature throughout history is that of beautiful people with goodness and unattractive, ugly people with evil.  You see this every where from the latest popular novel to the great works of literature.  I increasingly think this, as it is mostly women who are described as beautiful, represents the deeply pervasive image of women as commodities for men to consume.  This prejuduce runs so far down into our consciousness that most repudiate my idea.  Illness as it changes appearances away from standard notions of beauty is seen as a manifestation of evil within the person, either an ancient curse or inherent malignancy coming out for the "beautiful" people and their admirers to fear.  These  are part of what I see as themes of "Lay My Head".

I was very happy and gratified to be given the opportunity to read an advance review copy of her forthcoming novel, The Vanishing Sky.  The Vanishing Sky is set in 1945 in Germany as the country’s defeat is inevitable.  The story centers on the Huber family.

The central character is Etta, mother of two young men.Max is in the army, serving on the Eastern front.  Her younger son, Georg is in the Hitler Youth. He is not quite old enough to fight the coming America invasion,he is very devoted to the German cause and is being prepared for the final stand.  There are lots of bombing raids, in one very moving scene Georg and other boys find a body in a bombed out building.  As things get worse her husband Josef becomes ever more nationalist, oblivious to reality.

Their son Max returns from the war.  He has suffered serious mental harm.  He wants to back to fight but his mother tries to hide him from Nazis  rounding up soldiers.  There is a very 
powerful Holocaust related scene.



The Hubers are just an ordinary Family caught up in a nightmare.  Just sort of people that have died in wars for thousands of years, to no point.

The Vanishing Sky is a fine work of art.  There are many subtle touches that create a cinematic feel of perfect verisimilitude. It conveys a strong sense of day to day Life in Germany as the war ends.  


From http://lannettebinder.com/ 



“I was born in Germany and grew up in Colorado. Like many immigrant kids, I learned my English from primetime TV and the Saturday morning cartoons. My parents spoke to me in German, and -- to their dismay -- I started answering in English before the boxes were even unpacked. 
The Vanishing Sky, my first novel, is forthcoming from Bloomsbury and Bloomsbury UK in June 2020. It is inspired by my family's experiences in World War II Germany.
My collection of stories, Rise (Sarabande Books), received the Mary McCarthy Prize in Short Literature. My fiction has appeared in the Pushcart Prize Anthology, the PEN/O. Henry Prize Stories, One Story, American Short Fiction, The Southern Review, Third Coast, Fairy Tale Review and others. 
I have degrees from Harvard, UC Berkeley and the Programs in Writing at the University of California, Irvine. I live in New England with my husband and young daughter”

I give The Vanishing Star my total  endorsement.

Mel u









































































Thursday, March 5, 2020

Scapefish - A Short Story by Marc de Faoite - June, 2018 - Plus A Look at his exciting debut collection Tropical Madness

Irish Short Story Month Year Ten March 2020






Scapefish - A Short Story by Marc de Faoite - June, 2018 - with an overview of his dynamic Short Story debut collection, Tropical Madness 


Click HERE to read today’s story.


My full post on Tropical Madness by Marc de Faoite

Be sure to read his very interesting Q and A Session.  Marc, born in Dublin, has lived much of his life in Malaysia.   His Life experiences are very diffferent 
from most Irish writers.  I enjoyed talking to him about literary life in the tropics.

Click HERE to read his Q and A Session

Website of Marc de Faoite.  Included are Links to several more of his Short Stories


I first encountered the work of Marc de Faoite during Irish Short Story Month in March of 2013.  After too long a hiatus, I am glad to be featuring his work once again this year.



During Irish Short Story Month in March 2013 I posted on a marvelous collection of short stories,  Tropical Madness, by Marc de Faoite.  Here are my opening thoughts on it:


In talking about a collection of short stories (especially ones I really like such as Tropical Madness) I sometimes compare the reading experience to visiting a forest.  Most short story collections are like cold weather forests, forests out of deep rooted European memories.  I love tropical rain forests and I see a way to understand Tropical  Madness through this.  Many of the people in these stories ancestors lived for many generations in tropical forests, living from and in deep harmony with the land and with a love for old Gods and ways.  Now in modern Malaysia the rain forest is being cut for timber and to clear the land for industrial agriculture.  Young people do not want to live all their lives working a small plot of land and hunting and fishing.  They want and now have cell phones, IPads (or knock offs), they would rather work as a waiter or maid in a fancy hotel in Kuala Lumpur, maybe have a car one day and live in an air-conditioned place.  The appeal of western gadgets and luxury is hard to fight.  There is still beauty, and its friends, decay and  death in the rain forest.  For generations people from the forests worked as near slaves for colonial masters as rubber tappers, palm oil plantation workers and the women were the dusky beauties in the stories and novels of Joseph Conrad and Somerset Maugham.  Of course Christian missionaries and Muslim clerics tried to educate them away from their old folk beliefs that sustained them for centuries.  Now, based on TV commercials for MalaysianTourism shown on Manila TV, the country is marketing itself as a high affluence shopping paradise with exotic meals and beautiful beaches.  No mention is made of the teeming slums of the capital full of displaced forest dwellers or the squalor now found in forest communities where the young want out.  It is these people that de Faoite brings to life for us in his stories.  There is much to be learned about the very diversified ethos and culture of Malaysia in these marvelous stories.

  



”Scapefish  is narrated by a waiter in an upscale restaurant.  We learn he lives in a seaside town.  It seems we are on the west coast of Ireland.  

The  opening lets us see into the psyche of the narrator, perhaps a bit to full of his own importance:

“I watched her serving wine at table nine, a Chablis, not the best on the menu, but an acceptable wine all the same, and well paired with the local oysters. She served a sample for the man to taste. When he nodded his approval she reached across and poured wine into the woman’s glass. She filled the man’s glass, the couple smiled and thanked her, she left the bottle on the table, and that was that.
Fourteen steps from table nine to the kitchen.
“Are you out of your mind?” I asked, as the door swung closed behind us. “How could you?”
“How could I what?”
She acted as if nothing had happened, as if she didn’t give a damn.
“I can’t believe you, really I can’t. This isn’t some two-bit diner.”
I’m not sure where the two-bit diner came from, probably late nights reading the Chandler novel some guest had left behind.
“What are you on about?” she asked.
“What am I on about? You always, always serve the wine from the right.”
I might have said ‘always’ a bit loudly, especially the second time. She shook her head and blew air from her nostrils.”

To the waitress, her work is just a job, the waiter embodies a man too occupied  by things very few care about.  He lives above a laundromat, he enjoys free heat for much of the year.  On his days off, he fishes from a long pier, getting much of his own food, besides what he gets free at work, in this fashion.  He has as far as we see no social life and for sure no woman.  An older isolated bachelor is a common figure in Irish literature.  

We get a very good feel for working in the restaurant.

I think the waitress sees through him, and maybe feels a bit sorry for him.  She discovers that even though he lives next to the water, he has never been out on the sea.  Her father owns a fishing boat and she decided to take him on a short voyage.  

Part of the fun and power of “Scapefish” is seeing the different ways the waitress and the waiter see each other.  One sees a potential romance but is afraid to act his impulse and the other would be aghast at the idea.

“Scapefish” in just a few pages Faoite creates very real characters. 
I greatly enjoyed this story.

I highly endorse Tropical Madness


From The Website of Marc de Faoite




“I'm originally from Ireland. I left in 1989 and have never lived there since. Nowadays I live a simple, quiet and reclusive life on an island off the west coast of peninsular Malaysia.

My short stories and articles have been published both in print and online in Malaysia, Singapore, India, France, and Ireland. Tropical Madness, a collection of my short stories, was longlisted for the 2014 Frank O’Connor International Short Story Prize.

When I'm not writing, I'm generally busy doing other stuff, like reading, drinking tea, swimming, wandering around rainforests like a lost ascetic, or splashing about in waterfalls. I also spend a fair bit of time staring into the space behind my eyelids, or even the space beyond my eyelids.

There  is an interview I did with Mel u  from the Reading Life that might tell you more about me if you are interested”

I hope to follow the work of Marc de Faoite for many years 

Globe Scribe Solutions, managed by Marc de Faoite, provides services to writers,  including copywriting, editing, and proofreading.

Marc has worked on many projects with different writers and publishers. While not limited geographically, in addition to being a native English speaker his in-depth knowledge of Malaysia means that he is aware of the many social, political, and cultural sensitivities that need to be taken into account when writing in a Malaysian context.

Based on Seven years of contact with Faoite, i feel his services will be of great potential value to all sorts of authors.

Mel u
















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