Where The Hell Was I?

Hi! How is everybody? Good? It's been a while...

Jeeeeez, look at the state of this website. It’s covered in MOULD. I need to spring clean. Fumigate. Pour petrol on it, torch it, and start again. Also, I need to transition the whole site to the new Squarespace architecture. I’ve been meaning to do that for the last two years. Goddamn. (You can tell I’m listening to a lot of Marc Maron lately, can’t you? It’s a seductive voice. SEDUCTIVE.)

Julian doing something mysterious, somewhere tasteless. Photo by Solana Joy.

Why have I neglected my website?

1.) Twitter. (Hypocrite Twitter! My blog’s tongue-tied brother, my blog’s tiny, deformed twin!)

2.) I’ve been writing a novel called Infinite Ammo (more on that in a second).

3.) My Kickstarter last August, set up to fund the completion of that novel, blew up, and raised nearly six times what I’d asked for, and took over my life for a while (the parts of my life that weren’t already obsessively writing a novel). And one of the best things about Kickstarter (I’ve backed a few projects there, as well as launching my own) is that, as a backer, you get regular updates. So I’ve been updating my lovely backers since August; but writing an update satisfies the blogging urge. Thus, no blog posts here.

So if you want to catch up on the last six months of my life (Las Vegas! Singapore! Russia! Guns! Germs! Ice cream!) go read all the updates on my Kickstarter. It’s called The Las Vegas Postcards, and all the public updates are there, just click. (There have also been a few private ones between me and my backers, but a guy has to have some secrets.)

Oh, the novel: It’s finished. I finished it last week. Hmmm? What? Is it a relief? Oh man, it’s like putting down a piano you’ve been carrying everywhere for three years.

So, today (hey, Saint Patrick’s Day! My middle name! Auspicious!), my beloved agent Charlie Campbell started sending it out to the select few publishers out there with the right type of traumatic childhood and subsequent deep-seated personality disorder to fully appreciate it. I think it’s my best book. (Although it’s so radically different from the Jude books, that’s like comparing an iPhone with some bananas.) 

Anyway, the London Book Fair comes up next month, and there may be some hot contractual action by then. We’ll see. Whatever happens, I’ll tell you instantly on Twitter, later on Kickstarter, and eventually here. It is all very exciting.

OK, now go love each other (yeah, enemies and all, you know it makes sense).

 

-Julian

Extreme Metaphors: Selected Interviews with J.G. Ballard, 1967-2008

To celebrate the paperback release this week of Extreme Metaphors: Selected Interviews with J.G. Ballard, 1967-2008, I've reprinted my Irish Times review of the 2012 hardback, below. (That original review has now vanished into the Irish Times archive, behind the paywall.) For those too busy to read the whole review: basically,Extreme Metaphors was my book of the year. I read it with delight, frequently chortling. An extraordinary alternate history of the 20th century, packed with prescient ideas which help explain the 21st.

- Julian

A photo of my copy of Extreme Metaphors, taken five minutes ago. The image links to more information, from the website of one of the editors, Simon Sellars.

 

Extreme Metaphors: Selected Interviews with J.G. Ballard, 1967-2008

Edited by Simon Sellars and Dan O’Hara

Fourth Estate

503pp, price £stg25


J.G. Ballard might be the greatest English writer of the 20th century. He was certainly, for much of the second half of that century, the least understood, and most misread, when he was read at all. In 1970, when Nelson Doubleday Jr, a senior executive at Ballard’s American publishing house, finally got round to reading a finished copy of The Atrocity Exhibition, he was so horrified he ordered all copies pulped. In the UK, the reader’s report for Ballard’s 1972 novel Crash famously said “This writer is beyond psychiatric help. Do not publish.”


But live long enough, and respectability eventually covers you, like jungle vegetation claiming a wartime runway. In 1984, his most nakedly autobiographical novel, Empire of the Sun, was shortlisted for the Booker Prize. Martin Amis says on the back of this handsome hardback collection of interviews, “Ballard will be remembered as the most original English writer of the last century.” Will Self concurs; “Ballard issued a series of bulletins on the modern world of almost unerring prescience. Other writers describe; Ballard anticipated.”


Ballard most certainly did. The chapter of The Atrocity Exhibition which so disgusted Ballard's own publisher was titled “Why I Want To Fuck Ronald Reagan”. In it, Ballard portrayed the former Hollywood actor, who’d co-starred with a chimpanzee in Bedtime for Bonzo, as President of the United States. It would be over a decade before reality caught up with Ballard’s imagination.


Indeed, some of the interviews here are almost comically prescient; Ballard predicted Facebook before the internet even existed. In 1979, dismissing the BBC and ITV news as “that irrelevant mixture of information about a largely fictional external world”, he describes a future in which we video everything, and


“…the real news of course will be a computer-selected and computer-edited version of the day’s rushes. ‘My God, there’s Jenny having her first ice cream!’ or ‘There’s Candy coming home from school with her new friend.’ Now all that may seem madly mundane, but, as I said, it will be the real news of the day, and how it affects every individual.” (And yes, he goes on to predict Youporn…)


He predicts the future; but he also questions the present. And many of the questions he raises here have not yet been answered. The real issue, behind all the fake issues, in this year's American election [2012], was summed up succinctly by Ballard in 1984, talking to Thomas Frick:


“Marxism is a social philosophy for the poor, and what we need badly is a social philosophy for the rich.”


As with a number of the more interesting American SF writers of his era (Philip K. Dick, Thomas M. Disch, John Sladek), Ballard became a science fiction writer by default. The SF market was the only available outlet for fiction this odd. But he is not a science fiction writer. He is not, indeed, a writer, in the normal sense of the term. Ballard is a visual artist. He makes the point again and again here; the greatest influences on his works are not other literary works; they are the paintings of the surrealists. As he said in an interview with James Goddard and David Pringle in 1975,“They’re all paintings, really, my novels and stories.”


And it is true. You read his spare, functional prose, and the most astonishing images erect themselves in your mind. The beauty of the sentence itself didn’t interest him. (This makes him hard to quote: reading Ballard, you drift into a dreamstate which can’t be evoked in a couple of lines.) Certainly he set much of his work in the future. But there isn't a space ship to be found. (Well, OK, one, in an early story.) As mainstream SF explored outer space, J.G. Ballard explored what he came to call inner space. He wasn't similar to SF writers like Heinlein and Asimov and Arthur C. Clark, he was their opposite, a point he makes in an interview from 1975:


“You can’t have a Space Age until you’ve got a lot of people in space. This is where I disagree, and I’ve often argued the point when I’ve met him, with Arthur C. Clarke. He believes that the future of fiction is in space, that this is the only subject. But I’m certain you can’t have a serious fiction based on experience from which the vast body of readers and writers is excluded.”


I get the feeling J.G. Ballard passed Ireland by. He was seldom piled high on the front tables in Easons. Seen, perhaps, as too English for our tastes? But of course, he wasn’t English at all. His sensibility was formed in Shanghai, where he was born to English parents in 1930; and in particular in the vast civilian internment camp of Lunghua, where he was interned by the Japanese (at the age of 11), along with his family. In this book he frequently talks of never getting used to the England he first encountered aged 16, in 1946, as a traumatised child of the tropics.


Exiled from Shanghai, an alien in England, Ballard nonetheless had a spiritual home. No matter where his books were ostensibly set, Ballard always wrote about America; not as a place, but as a state of mind. America as a condition. America as a psychological disorder… He loved America. Though Crash is set in England, on the motorways connecting his quiet home in Shepperton to London, the cars in Crash are American cars. His Shanghai childhood — in an Americanized Asia — was a century ahead of its time. He grew up in the future. As a result, these interviews have aged well. It helps that Simon Sellars and Dan O’Hara have edited this 500 page book with such love, intelligence, and deep knowledge of the material and its context. Extreme Metaphors presents, in chronological order, 44 interviews from the many hundreds he gave. (The editors estimate the total wordage of the novels as 1,100,000; short stories, 500,000 words; non-fiction, 300,000… and interviews, 650,000.) The interviews they’ve chosen have a very low fluff content. Many of the best originally appeared in long-vanished, never-digitised, photocopied fanzines, and are genuine, deeply engaged and engaging conversations about important subjects. Nobody is trying to sell you anything (it’s often impossible to tell what book Ballard is supposed to be promoting).


The wide range of interviewers adds to the pleasure of the book. Ballard attracted intense, usually male, interviewers, who had a deep engagement with his work. There is a pleasantly kaleidoscopic effect, as each sees Ballard through the lens of their obsession. Fellow novelists Toby Litt, Will Self and Hari Kunzru take a literary approach. John Gray is philosophical. The Russian Zinovy Zinik gets Ballard to talk about Soviet utopias and dystopias. With Iain Sinclair, Ballard discusses the design of 1970s multi-story carparks in Watford. (Ballard; “They covered them in strange trellises. It was a bizarre time.”)


And he is very open. When Joan Bakewell says of Crash, “Now, this is a deeply disturbing book. Were you very disturbed when you wrote it?” he replies “I think I was. I think in a way the novel is the record of a sort of mental crash that I had in the mid-sixties after the death of my wife…”


Ah, death. Yes, it’s everywhere in his work. Ballard’s fiction is largely set in the dead spaces of the modern world. Underpasses, flyovers; abandoned and disintegrating runways; nuclear test sites; blockhouses; drained swimmingpools. The tide of humanity has gone out. What is left is returning to the natural world. The atmosphere is that of Max Ernst’s Europe After The Rain. The organic and the inorganic are inextricably linked. Things grow, and things crumble. The work of man is absorbed by the jungle.


It’s hard, reading this book, not to think of contemporary, Americanised Ireland, with its motorways and drive-thru McDonalds. Of Dublin, with its low corporate tax rate, reckless financial zone, and Euro-HQs of American corporations; with its expat communities of British, German and US workers in gated dockside settlements, surrounded by grinding native poverty; an open city, in a state too weak to defend itself. Dublin was, for a decade there, the closest thing Europe had to the booming, buckaneering Shanghai of the 1930s.


Now, in neglected Dublin back gardens, the outdoor hot tubs fill with dead leaves. Beyond the M50, the ghost estates are reclaimed by the whitethorn bushes. Ireland has become a Ballardian landscape. Given the extraordinary relevance of his work to Ireland’s psychological condition, it might be time for more Irish people to start reading J.G. Ballard. And this lovingly curated book of interviews is a fine place to start.


I will be very surprised if any novel this year gives me as much pleasure as this book. And I can guarantee (now that Ballard is dead) that no novel will contain so many provocative, intriguing, and visionary ideas.



Julian Gough is an Irish writer, living in Berlin, whose work was shortlisted this year for both the Bollinger Everyman Wodehouse Prize and the BBC International Short Story Award. His latest novel, Jude in London, is out now in paperback from Old Street Publishing.


ENDS.


50 Free Copies of “CRASH! How I Lost A Hundred Billion And Found True Love”

So, I’ve been laughing and crying, listening to the Anglo Irish Bank tapes for the past fortnight. How can you satirize this? The line about the bailout figure of €7bn —  “I pulled it out of my arse…” — sounds more like one of my lines than most of my actual lines do.

 

First cover designMore specifically, they sound like they come from the comic novella I’m publishing next week. Which, oddly enough, stars a senior Irish banker, naming no names (and a very broke Irish taxpayer… and a woman awfully like Angela Merkel… and a man awfully like the head of the European Central Bank).

 

It’s called “CRASH! How I Lost A Hundred Billion And Found True Love”, and DailyLit are collaborating with Amazon to publish it as a Kindle Single, on July 11th. On the left there you can see all the cover designs we considered. But let's get down to the meat of the matter...

 

FREE COPIES!

 

I’ve talked to DailyLit, and to Amazon (who are publishing this together worldwide), and they’ve given me 50 free copies, to give away to my long-suffering followers, here and on Twitter. (At last, a reward for putting up with my blog posts about German elephants eating Christmas trees, and my 3am Twitter rants about African toilet design improvements.)

 

Second cover ideaGive me your email address, and whether you use the UK Amazon store or the US store, and I’ll paste the info into our elegantly named DailyLit Amazon Kindle Gifting Spreadsheet, and, on the day of release (July 11th), you will be sent a free code so you can download a copy.

 

Your emails will just be used for this, they won’t be shared in any way. You can mail me personally —  I’m juliangough (easy enough to remember) at gmail dot com — or mail me through the website; or leave it in a comment down below; or tell me by tweet (or DM, if our relationship is already intimate) on Twitter. Disguise it (yourname at something dot com) if you fear spambots, or give it to me straight. Whatever works for you.

 

First 50 I see will get a copy. (I may even be able to give away more copies than that, but I don’t want to over-promise.) 

 

Third cover idea. Funky angle! Funky chicken!Oh, and tell me which cover design you like best, while you’re at it, in the comments below, or on Twitter. We’ll see if our tastes align…

 

OK! I will blog more about this in a few days. And maybe put up an extract. Hey, it’s practically a media strategy!

 

Talk soon,

 

 

-Julian

Fourth cover design. Magnificent chicken, but you can't read CRASH! Take more drugs, drink more coffee, off we go...

 

 

 

 

 

 


Fifth cover design. The winner! Perfectly balanced. Hurray for Michele de la Menardiere and Tiya Tiyasirichokchai!

The Anorexic Bodybuilder (a poem from a long time ago)

The ebook version of my collected poetryI got a fan email last month, from Japan, about a poem I once wrote. This — trust me —  doesn’t happen very often.

I wrote the poem for a nightclub flyer in Galway almost 20 years ago. I found a copy of the flyer in my parents’ attic, while I was assembling my collected poems in 2010, and included it in the book.

She came across probably the only copy in Japan, brought there by Robert, a friend of mine. I would guess that a few hundred people have read it, certainly less than a thousand. It occurred to me that if it meant so much to her, maybe it would mean something to some other strangers too. So I’ve decided to put it on my blog, below. (Poems are just birds that fly in your window; the writer doesn’t own them.)

If it means something to you, no problem; copy it, print it out, put it on a T-shirt, whatever.

For those who like to know the story behind any piece of writing; no, I won’t tell you the details. But yes, it turned out OK for some of the women I knew back then. Not so well for others.

 

-Julian, Berlin, June 2013

 

 

 

 

 

 

 

 

THE ANOREXIC BODY-BUILDER

 

If I'm very lucky, once a year

(Maybe twice, if I've been eating fish)

I am dazzled by a bright idea

And here's the one I got this year (I wish

It was a bit more bright, but it's bright-ish)

Anyway, yes, body-building, then.

It's an anorexia for men.

 

All the girls I know hate body-builders,

Find the mass of rippling flesh disgusting

Certainly not sexy. It bewilders

Boys to think their sister could be thrusting

Fingers down her throat like that... No lusting

After bulk for women then. And mannish

Boys have no desire at all to vanish.

 

To blow the self up, and to disappear:

Two expressions of a single urge

To shout the Will and make the body hear

The body-builder wills the flesh to surge

The anorexic wills an ebb, a purge

The Stalin of the mind lets the tanks roll:

The body is a place they can control

 

Each pursues a lunatic ideal

Each is lonely in the mad pursuit

When the vision of oneself's unreal

The vision of all others lacks a root

The muscle-man exploding through his suit

The wisp of girl who frowns at her reflection

They both recede from us toward Perfection.

 

This should end with some kind of conclusion.

Final statement. Answer to the riddle.

If I could, I'd give you the solution

Or at least some figures you could fiddle

But I can't, I'm stuck here in the middle

Seeing men expand and women shrink

I watch them go, and don't know what to think.

 

 

(From The Psychedelian, Issue 3 Volume 1, Thursday Oct. 21st, 1994. Collected in Free Sex Chocolate, Salmon Poetry, 2010.)

Town & Country, edited by Kevin Barry. A mysterious new book of mysterious new stories by mysterious new writers. And some old writers.

I can't say much about this yet, or they will KILL ME AND FEED ME TO THE RATS, in the dungeon beneath the Faber & Faber HQ. (OK, OK, I am exaggerating. The dungeon beneath the Faber & Faber HQ is only used for consensual BDSM sex.)

Town. Not to mention Country. On Amazon. Or in your local bookshop. Wait, no that's a boutique now. Hang on, didn't they go bust? It's an artisan bakery. Feck it, there's always the library... Hey, where's the library?

But I can say, it's the cover of a book that may or may not contain stories by **k* ********k, and *e**** *e***, and good lord, *****n* ****n.

And, wow, *i*í* *í ***i****, and the excellent **i** *i*****, and **ll* ***l*****!

And *a* ***a**, not to be confused with *a** ****a*, who ALSO has a story in it... What's that noise? That squeaking noise, from behind the door? Two kinds of similar, yet distinct, squeaking? Getting louder... The door! It's swinging open... Rats! Rats in bondage gear! Their tiny, rubber-clad thighs rubbing together as they cautiously approach... break suddenly into a run... leap for my throat!

AAaaaaAAAAaaaaaAAaaaaaaaaaAAAääaäàááaAAAaááaááæaaãããæAAAæææååååāaāaāäaääààaa.....

Here you go. "The Orphan and the Mob": A free, award-winning, and slightly rude story, to celebrate “The iHole” making the shortlist of the BBC International Short Story Award

Gareth Allen's fine drawing (from Jude in London) of a totally different and entirely fictional prize ceremony, at which Jude is borne aloft

 

Woo-hoo! as Blur so eloquently put it.

 

My story, "The iHole", has been shortlisted for this year’s super-special, one-off, BBC International Short Story Award. (This is the literary equivalent of qualifying for the 100 meters final at the Olympics. Only with fifteen grand for the winner instead of a gold medal. And you don’t have to run, thank God.)

 

The ten shortlisted stories, by such splendid writers as Deborah Levy, Lucy Caldwell, and MJ Hyland, are being broadcast on BBC Radio 4, and are (or will be) also available for two weeks as free podcasts from here, and published in this book here.

 

So, to celebrate all that, I'm giving away my best short story that ISN'T "The iHole".

 

“The Orphan and the Mob” is a serious comedy, about an orphan who desperately needs to go to the toilet. (It’s also an allegory of 20th century Irish history, a visual pun on The Wizard of Oz, and quite a few other things, but shush, let’s not frighten the children.) It won the BBC National Short Story Prize in 2007 (at that time, the largest prize in the world for a single short story), and was broadcast twice on BBC Radio 4. It represented Ireland in the Dalkey Archive anthology, Best European Fiction 2010. It also forms the prologue to the novel Jude in Ireland (which the Sunday Tribune chose, in 2010, as their Irish Novel of the Decade).

 

OK, enough of that; you can lash into it online below. If you like it, please do tell me in the comments. And if you REALLY like it, buy the Jude novels and find out what happens next. (My long-suffering publisher, Ben, has, at my request, set the e-book prices particularly low, to entice and seduce you.)

 

Any questions? Ask them in the comments below, or mail me here. In fact mail me anyhow, say hello, and I’ll tell you what I’m up to, and send you the odd free story and poem.

 

Enjoy...

 

-Julian

 

 

 

The Orphan and the Mob

 

-Julian Gough

 

 

         If I had urinated immediately after breakfast, the Mob would never have burnt down the Orphanage. But, as I left the dining hall to relieve myself, the letterbox clattered. I turned in the long corridor. A single white envelope lay on the doormat.

I hesitated, and heard through the door the muffled roar of a motorcycle starting. With a crunching turn on the gravel drive and a splatter of pebbles against the door, it was gone.

Odd, I thought, for the postman has a bicycle. I walked to the large oak door, picked up the envelope, and gazed upon it.

                 

         Jude

The Orphanage

         Tipperary

         Ireland

 

         For me! On this day, of all significant days! I sniffed both sides of the smooth white envelope, in the hope of detecting a woman's perfume, or a man's cologne. It smelt, faintly, of itself.

I pondered. I was unaccustomed to letters, never having received one before, and I did not wish to use this one up in the One Go. As  I stood in silent thought, I could feel the Orphanage Coffee burning relentlessly through my small dark passages. Should I open the letter before, or after, urinating? It was a dilemma. I wished to open it immediately. But a full bladder distorts judgement, and is a great obstacle to understanding. Yet could I do justice to my very dilemma, with a full bladder?

         As I pondered,  both dilemma and letter were removed from my hands by the Master of Orphans, Brother Madrigal.

"You've no time for that now, boy," he said. "Organise the Honour Guard and get them out to the site. You may open your letter this evening, in my presence, after the Visit." He gazed at my letter with its handsome handwriting, and thrust it up the sleeve of his cassock.

I sighed, and went to find the Orphans of the Honour Guard.

 

 

         I found most of the young Orphans hiding under Brother Thomond in the darkness of the hay barn.

         "Excuse me, Sir," I said, lifting his skirts and ushering out the protesting infants.

         "He is Asleep," said a young Orphan, and indeed, as I looked closer, I saw Brother Thomond was at a slight tilt. Supported from behind by a pillar of the hay barn, he was maintained erect only by the stiffness of his ancient joints. Golden straws protruded from the neck and sleeves of his long black cassock, and emerged at all angles from his wild white hair.

         "He said he wished to speak to you, Jude," said another Orphan. I hesitated. We were already late. I decided not to wake him, for Brother Thomond, once he had Stopped, took a great deal of time to warm up and get rightly going again.

         "Where is Agamemnon?" I asked.

         The smallest Orphan removed one thumb from his mouth and jerked it upward, to the loft.

         "Agamemnon!" I called softly.

Old Agamemnon, my dearest companion and the Orphanage Pet, emerged slowly from the shadows of the loft and stepped, with a tread remarkably dainty for a dog of such enormous size, down the wooden ladder to the ground. He shook his great ruff of yellow hair and yawned at me loudly.

         "Walkies," I said, and he stepped to my side. We exited the hay barn into the golden light of a perfect Tipperary summer's day.

         I lined up the Honour Guard and counted them by the front door, in the shadow of the South Tower of the Orphanage. Its yellow brick façade glowed in the morning sun.

         We set out.

 

 

 

         From the gates of the Orphanage to the site of the speeches was several strong miles.

We passed through Town, and out the other side. The smaller Orphans began to wail, afraid they would see Black People, or be savaged by Beasts. Agamemnon stuck closely to my rear. We walked until we ran out of road. Then we followed a track, till we ran out of track.

We hopped over a fence, crossed a field, waded a dyke, cut through a ditch, traversed scrub land, forded a river and entered Nobber Nolan's bog. Spang plumb in the middle of Nobber Nolan's Bog, and therefore spang plumb in the middle of Tipperary, and thus Ireland, was the Nation's most famous Boghole, famed in song and story, in History book and Ballad sheet: the most desolate place in Ireland, and the last place God created.

         I had never seen the famous boghole, for Nobber Nolan had, until his recent death and his bequest of the Bog to the State, guarded it fiercely from locals and tourists alike. Many's the American was winged with birdshot over the years, attempting to make pilgrimage here. I looked about me for the Hole, but it was hid from my view by an enormous Car-Park, a concrete Interpretive Centre of imposing dimensions, and a tall, broad, wooden stage, or platform, bearing Politicians. Beyond Car-Park and Interpretive Centre, an eight-lane motorway of almost excessive straightness stretched clean to the Horizon, in the direction of Dublin.

Facing the stage stood fifty thousand farmers.

We made our way through the farmers to the stage. They parted politely, many raising their hats, and seemed in high good humour. "'Tis better than the Radio Head concert at Punchestown," said a sophisticated farmer from Cloughjordan, pulling on a shop-bought cigarette.

         Once onstage, I counted the smaller Orphans. We had lost only the one, which was good going over such a quantity of rough ground. I reported our arrival to Teddy “Noddy” Nolan, the Fianna Fáil TD for Tipperary Central, and a direct descendent of Neddy "Nobber" Nolan. Nodding vigorously, he waved us to our places, high at the back of the sloping stage. The Guard of Honour lined up in front of an enormous green cloth backdrop and stood to attention, flanked by groups of seated dignitaries. I myself sat where I could unobtrusively supervise, in a vacant seat at the end of a row. When the last of the stragglers had arrived in the crowd below us, Teddy cleared his throat. The crowd fell silent, as though shot. He began his speech.

         "It was in this place..." he said, with a generous gesture which incorporated much of Tipperary, "... that Eamonn DeValera..."

         Everybody removed their hats.

         "... hid heroically from the Entire British Army..."

         Everybody scowled and put their hats back on.

         "... during the War of Independence. It was in this very boghole that Eamonn DeValera..."

         Everybody removed their hats again.

         "...had his Vision: A Vision of Irish Maidens dancing barefoot at the crossroads, and of Irish Manhood dying heroically while refusing to the last breath to buy English shoes..."

         At the word English the crowd put their hats back on, though some took them off again when it turned out only to be Shoes. Others glared at them. They put the hats back on again.

         "We in Tipperary have fought long and hard to get the Government to make Brussels pay for this fine Interpretive Centre and its fine Car-Park, and in Brünhilde DeValera we found the ideal Minister to fight our corner. It is therefore with great pleasure, with great pride, that I invite the great grand-daughter of Eamonn DeValera's cousin... the Minister for Beef, Culture and the Islands... Brünhilde DeValera... to officially reopen... Dev's Hole!"

         The crowd roared and waved their hats in the air, though long experience ensured they kept a firm grip on the peak, for as all the hats were of the same design and entirely indistinguishable, the One from the Other, it was common practice at a Fianna Fáil hat-flinging rally for the less scrupulous farmers to loft an Old Hat, yet pick up a New.

         Brünhilde DeValera took the microphone, tapped it, and cleared her throat.

         "Spit on me, Brünhilde!" cried an excitable farmer down the front. The crowd surged forward, toppling and trampling the feeble-legged and bock-kneed, in expectation of Fiery Rhetoric. She began.

         "Although it is European Money which has paid for this fine Interpretive Centre… Although it is European Money which has paid for this fine new eight-lane Motorway from Dublin and this Car Park, that has Tarmacadamed Toomevara in its Entirety… Although it is European Money which has paid for everything built West of Grafton Street in my Lifetime… And although we are grateful to Europe for its Largesse..."

         She paused to draw a great Breath. The crowd were growing restless, not having a Bull's Notion where she was going with all this, and distressed by the use of a foreign word.

         "It is not for this I brought my Hat," said the Dignitary next to me, and spat on the foot of the Dignitary beside him.

         "Nonetheless," said Brünhilde DeValera, "Grateful as we are to the Europeans...

 

         ...we should never forget...

 

 

                  ...that...

 

 

 

                           ...they..."

 

         Fifty thousand right hands began to drift, with a wonderful easy slowness, up towards the brims of fifty thousand Hats in anticipation of a Climax.

         "...are a shower of Foreign Bastards who would Murder us in our Beds given Half a Chance!"

         A great cheer went up from the massive crowd and the air was filled with Hats till they hid the face of the sun and we cheered in an eerie half-light.

         The minister paused for some minutes while everybody recovered their own Hat and returned it to their own Head.

         "Those foreign bastards in Brussels think they can buy us with their money! They are Wrong! Wrong! Wrong! You cannot buy an Irishman's Heart, an Irishman's Soul, an Irishman's Loyalty! Remember '98!"

         There was a hesitation in the crowd, as the younger farmers tried to recall if we had won the Eurovision Song Contest in 1998.

         "1798!" Brünhilde clarified.

         A great cheer went up  as we recalled the gallant failed rebellion of 1798. "Was It For This That Wolfe Tone Died?" came a wisp of song from the back of the crowd.

         "Remember 1803!"

         We applauded Emmet's great failed rebellion of 1803. A quavering chorus came from the oldest farmers at the rear of the great crowd: “Bold Robert Emmet, the darling of Ireland… "

         "Remember 1916!"

         Grown men wept as they recalled the great failed rebellion of 1916, and so many contradictory songs were started that none got rightly going.

There was a pause.

All held their breath.

         "…Remember 1988!"

         Pride so great it felt like anguish filled our hearts as we recalled the year Ireland finally threw off her shackles and stood proud among the community of nations, with our heroic victory over England in the first match in Group Two of the Group Stage of the European Football Championship Finals. A brief chant went up from the Young Farmers in the Mosh Pit: "Who put the ball in the England net?"

         Older farmers, further back, added bass to the reply of "Houghton! Houghton!"

         I shifted uncomfortably in my seat.

         "My great grand-father's cousin did not Fight and Die in bed of old age so that foreign monkey-men could swing from our trees and rape our women! He did not walk out of the Daíl, start a Civil War and kill Michael Collins so a bunch of dirty foreign bastards could..."

         I missed a number of Fiery Words, as excited farmers began to leap up and down roaring at the front, the younger and more nimble mounting each other’s shoulders, then throwing themselves forward to surf toward the stage on a sea of hands, holding their Hats on as they went.

         "Never forget,” roared Brünhilde DeValera, “that a Vision of Ireland came out of Dev's Hole!"

         "Dev's Hole! Dev's Hole! Dev's Hole!" roared the crowd.

         By my side, Agamemnon began to howl, and tried to dig a hole in the stage with his long claws.

Neglecting to empty my bladder after breakfast had been an error the awful significance of which I only now began to grasp. A good Fianna Fáil Ministerial speech to a loyal audience in the heart of a Tipperary bog could go on for up to five hours. I pondered my situation. My only choice seemed to be as to precisely how I would disgrace myself in front of thousands. To rise and walk off the stage during a speech by a semi-descendent of DeValera would be tantamount to treason, and would earn me a series of beatings on my way to the portable toilets. The alternative was to relieve myself into my breeches where I sat.

My waist-band creaked under the terrible pressure.

         With the gravest reluctance, I willed the loosening of my urethral sphincter.

 

 

 

         Nothing happened. My subsequent efforts, over the next few minutes, to void my bladder, resulted only in the vigorous exercising of my superficial abdominal muscles. At length, I realised that there was a fundamental setting in my Subconscious, and it was set firmly against public voidance. To this adamant subconscious setting, my conscious mind had no access.

         Meanwhile, the pressure grew intolerable as the Orphanage Coffee continued to bore through my system.

         I grew desperate. Yet, within the line of sight of fifty thousand farmers, I could not unleash the torrent.

         Then, inspiration. The Velvet Curtain! All I needed was an instant's distraction, and I could step behind the billowing green backdrop beside me, and vanish. There would, no doubt, be an exit off the back of the stage, through which I could pass to relieve myself, before returning, unobserved, to my place.

         A magnificent gust of Nationalist Rhetoric lifted every hat again aloft and, in the moment of eclipse, I stood, took one step sideways, and vanished behind the Curtain.

 

 

 

 

I shuffled along, my face to the Emerald Curtain, my rear to the back wall of the stage, until the wall ceased. I turned, and beheld, to my astonished delight, the solution to all my problems.

Hidden from stage and crowd by the vast Curtain was a magnificent circular long-drop toilet of the type employed in the Orphanage. But where we sat around a splintered circle of rough wooden plank, our buttocks overhanging a fetid pit, here was elegant splendour: a great golden rail encircled a pit of surpassing beauty. Mossy walls ran down to a limpid pool into which a lone frog gently ‘plashed.

         Installed, no doubt, for the private convenience of the Minister, should she be caught short during the long hours of her speech, it was the most beautiful sight I had yet seen in this world. It seemed nearly a shame to urinate into so perfect a pastoral picture, and it was almost with reluctance that I unbuttoned my breeches and allowed my manhood its release.

         I aimed my member so as to inconvenience the Frog as little as possible. At last my Conscious made connection with my Unconscious; the Setting was Reset; Mind and Body were as One; Will became Action: I was Unified. In that transcendent moment all my senses were polished to perfection.

         I could smell the sweet pollen of the Heather and the Whitethorn, and the mingled Colognes of a thousand Bachelor Farmers.

         I could taste the lingering, bitter grounds of the Orphanage Coffee, and feel the grit of them lodged in the joins of my teeth.

         I could hear the murmur and sigh of the crowd like an ocean at my back, and Brünhilde DeValera's mighty voice bounding from rhetorical Peak to rhetorical Peak, ever higher.

And as this moment of Perfection began its slow decay into the past, and as the delicious frozen moment of Anticipation deliquesced into Attainment and the pent-up waters leaped forth, far forward, and fell in their glorious swoon, Brünhilde DeValera's voice rang out as from Olympus

         "I

          hereby

                  officially

                           reopen...

                                    Dev's Hole!"

         A suspicion dreadful beyond words began to dawn on me. I attempted to Arrest the Flow, but I may as well have attempted to block by effort of will the course of the mighty Amazon River.

         Thus the Great Curtain parted, to reveal me Urinating into Dev's Hole: into the very Source of the Sacred Spring of Irish Nationalism: the Headwater, the Holy Well, the Font of our Nation.

 

 

 

         I feel, looking back, that it would not have gone so badly against me, had I not turned at Brünhilde De Valera's shriek and hosed her with urine.

 

 

 

         They pursued me across rough ground for some considerable time.

 

 

 

         Agamemnon held my pursuers at the Gap in the Wall, as I crossed the grounds and gained the House. He had not had such vigorous exercise since running away from Fossetts' Circus and hiding in our hay barn a decade before, as a pup.

Now, undaunted, he slumped in the gap, panting at them.

         Slamming the Orphanage Door behind me, I came upon old Brother Thomond in the Long Corridor, beating a Small Orphan in a desultory manner.

         "Ah, Jude," said Brother Thomond, on seeing me. The brown leather of his face creaked as he smiled, revealing the perfect, white teeth of Brother Jasper.

         "A little lower, Sir, if you please," piped the Small Orphan, and Brother Thomond obliged. The weakness of Brother Thomond's brittle limbs made his beatings popular with the Lads, as a rest and a relief from those of the more supple and youthful Brothers.

         "Yes, Jude..." he began again, "I had something I wanted to... yes... to... yes..." He nodded his head, and was distracted by straw falling past his eyes, from his tangled hair.

         I moved from foot to foot, uncomfortably aware of the shouts of the approaching Mob. Agamemnon, by his roars, was now retreating heroically ahead of them as they crossed the grounds toward the front door.

         "'Tis the Orphanage!" I heard one cry.

         "'Tis full of Orphans!" cried another.

         "From Orphania!" cried a third.

         "As we suspected!" called a fourth. "He is a Foreigner!"

         I had a bad feeling about this. The voices were closer. There was the thud of Agamemnon's retreating buttocks against the door. Agamemnon stood firm at the steps, but no dog, however brave, can hold off a Mob forever.

         "Yes!" said Brother Thomond, and fixed me with a glare. "Very good." He fell asleep briefly, one arm aloft above the Small Orphan.

         The mob continued to discuss me on the far side of the door.

         "You're thinking of Romania, and of the Romanian orphans. You're confusing the two," said a level head, to my relief. I made to tiptoe past Brother Thomond and the Small Orphan.

         "Romanian, by God!"

         "He is Romanian?"

         "That man said so."

         "I did not..."

         "A Gypsy Bastard!"

         "Kill the Gypsy Bastard!"

         The Voice of Reason was lost in the hubbub, and a rock came in through the stained-glass window above the front door. It put a Hole in Jesus and it hit Brother Thomond in the back of the neck.

         Brother Thomond awoke.

         "Dismissed," he said to the Small Orphan sternly.

         "Oh but Sir you hadn't finished!"

         "No backchat from you, young fellow, or I shan't beat you for a week."

         The Small Orphan scampered away into the darkness of the Long Corridor. Brother Thomond sighed deeply, and rubbed his neck.

         "Jude, today is your eighteenth birthday, is it not?"

         I nodded.

         Brother Thomond sighed again. "I have carried a secret this long time, regarding your Birth. I feel it is only right to tell you now..."

He fell briefly asleep.

         The cries of the Mob grew as they assembled, eager to enter, and destroy me. The yelps and whimpers of brave Agamemnon were growing fainter. I had but little time. I poked Brother Thomond in the Clavicle with a Finger. He started awake. “What? WHAT? WHAT?”

         Though to rush Brother Thomond was usually counter-productive, circumstances dictated that I try. I shouted, the better to penetrate both the Yellow Wax and the Fog of Years.

"You were about to tell me the Secret of my Birth, Sir."

         "Ah yes. The secret..." He hesitated. "The secret of your birth... The secret I have held these many years... which was told to me by... by one of the... by Brother Feeny... who was one of the Cloughjordan Feenys... His mother was a Thornton..."

         "If you could Speed It Up, Sir," I suggested, as the Mob forced open the window-catch above us. Brother Thomond obliged.

         "The Secret of Your Birth..."

         Outside, with a last choking yelp, Agamemnon fell silent. There was a tremendous hammering on the old oak door.

         "I'll just get that," said Brother Thomond. "I think there was a knock."

         As he reached it, the door burst open with extraordinary violence, sweeping old Brother Thomond aside with a crackling of many bones in assorted sizes, and throwing him backwards against the wall where he impaled the back of his head on a coathook. Though he continued to speak, the rattle of his last breath rendered the Secret unintelligible. The Mob poured in.

         I ran on, into the dark of the Long Corridor.

 

 

 

         I found the Master of Orphans, Brother Madrigal, in his office in the South Tower, beating an orphan in a desultory manner.

         "Ah, Jude," he said. "Went the day well?"

         Wishing not to burden him with the lengthy Truth, and with both time and breath in short supply, I said "Yes."

         He nodded approvingly.

         "May I have my Letter, Sir?" I said.

         "Yes, yes, of course..." He dismissed the small orphan, who trudged off disconsolate. Brother Madrigal turned from his desk toward the Confiscation Safe, then paused by the open window. "Who are those strange men on the Lawn, waving blazing torches?"

         "I do not precisely know," I said truthfully.

He frowned.

"They followed me home," I felt moved to explain.

         "And who could blame them?" said Brother Madrigal. He smiled and tousled my hair, before moving again toward the Confiscation Safe, tucked into the room’s rear left corner. From the lawn far below could be heard confused cries.

         Unlocking the safe, he took out the letter and turned. Behind him, outside the window, I saw flames race along the dead ivy and creepers, and vanish up into the roof timbers. "Who," he mused, looking at the envelope, "could be writing to you...?" Suddenly he started, and looked up at me. " Of course! " he said. "Jude, it is your eighteenth birthday, is it not?"

         I nodded.

         He sighed, the tantalising letter now held disregarded in his right hand.  "Jude… I have carried a secret this long time, regarding your Birth. It is a secret known only to Brother Thomond and myself, and it has weighed heavy on us. I feel it is only right to tell you now... The secret of your birth..." He hesitated. "Is..."

My heart Clattered in its Cage at this Second Chance.

Brother Madrigal threw up his hands. "But where are my manners? Would you like a cup of tea first? And we must have music. Ah, music."

         He pressed Play on the record player that sat at the left edge of the broad desk. The turntable bearing the Orphanage single began to rotate at forty-five revolutions per minute. The tone-arm lifted, swung out, and dropped onto the broad opening groove of the record, nearly dislodging from the needle a Ball of Dust the size and colour of a small mouse.

         The blunt needle in its fuzzy ball of dust juddered through the scratched groove. Faintly, beneath the roar and crackle of its erratic passage, could be heard traces of an ancient tune.

         Brother Madrigal returned to the safe and switched on the old kettle that sat atop it. Leaving my letter leaning against the kettle, he came back to his desk and sat behind it in his old black leather armchair.

         Unfortunately, the rising roar of the old kettle and the roar and crackle of the record player disguised the rising roar and crackle of the flames in the dry timbers of the old tower roof.

         Brother Madrigal patted the side of the Record Player affectionately. "The sound is so much warmer than from all these new digital dohickeys, don't you find? And of course you can tell it is a good-quality machine from the way, when the needle hops free of the surface of the record, it often falls back into the self-same groove it has just left, with neither loss nor repetition of much music. The Arm..." He tapped his nose and slowly closed one eye. "...Is True."

         He dug out an Italia '90 cup and a USA '94 mug from his desk, and put a teabag in each.

         "Milk?"

         "No, thank you," I said. The ceiling above him had begun to bulge down in a manner alarming to me. The old leaded roof had undoubtedly begun to collapse, and I feared my second and last link to my past would be crushed along with all my hopes.

         "Very wise. Milk is fattening, and thickens the phlegm," said Brother Madrigal. "But you would like your letter, no doubt. And also... the Secret of your Birth." He arose, his head almost brushing the great Bulge in the Plaster, now yellowing from the intense heat of the blazing roof above it.

         "Thirty years old, that record player," said Brother Madrigal proudly, catching my glance at it. "And never had to replace the needle, or the record. It came with a wonderful record, thank God. I really must turn it over one of these days," he said, lifting the gently vibrating letter from alongside the rumbling kettle whose low tones, as it neared boiling, were lost in the bellow of flame above. "Have you any experience of turning records over, Jude?"

         "No sir," I said as he returned to the desk, my letter shining white against the black of his dress. Brother Madrigal extended the letter halfway across the table. I began to reach out for it. The envelope, containing perhaps the secret of my origin, brushed against my fingertips, electric with potential.

At that moment, with a crash, in a bravura finale of crackle, the record came to an end. The lifting mechanism hauled the Tone Arm up off the vinyl, and returned it to its rest position with a sturdy click.

         "Curious," said Brother Madrigal, absentmindedly taking back the letter. "It is most unusual for the Crackling to continue after the Record has stopped." He stood, and moved to the Record Player. The pop and crackle of flames was by now uncommonly loud. Tilting his head from side to side, he nodded slowly. "It is in Stereo," he said. "There are a lot of Mid-Range Frequencies. That is of course where the Human Voice is strongest... I subscribed for a time to the Hi-Fi Gazette."

         Behind Brother Madrigal, the Bulge in the ceiling gave a great Lurch downward. He turned, and looked up.

         "Ah! There's the problem!" he said. "A Flood! Note the bulging ceiling! The water tank must have overflowed in the attic, and the subsequent Damp is causing a Crackling in the Circuits of the Record Player. Damp” (here he touched his temple twice), “is the great Enemy of the Electrical Circuit."

         He was by now required to Shout on account of the great noise of the holocaust in the roofbeams. Smoke entered the room.

         "Do you smell smoke?" he enquired. I replied that I did. He nodded. "The Damp has caused a Short Circuit," he said. "Just as I suspected." He went to the corner of the room, removed a fire-ax from its glass-fronted wooden case, and strode to beneath the Bulge. "Nothing for it but to Pierce it, and relieve the pressure, or it'll have the roof down." He swung the ax up into the heart of the bulge.

         A stream of liquid metal poured over him, as the pool of molten lead from the burning roof found release. Both ax and man were coated in a thick sheet of still-bright lead that swiftly thickened and set as it ran down Brother Madrigal’s upstretched arm and upturned head, encasing his torso before pooling and solidifying in a thick base about his feet on the smoking carpet.

         Entirely covered, he shone under the electric light, ax aloft in his right hand, my letter smouldering and silvered in his left.

         I snatched the last uncovered corner of the letter from his metallic grasp, the heat-brittled triangle snapping cleanly off at the bright leaden boundary.

         In that little corner of envelope nestled a small triangle of yellowed paper.

         My fingers tingled with mingled dread and anticipation as they drew the scrap from its casing. Being the burnt corner of a single sheet, folded twice to form three rectangles of equal size, the scrap comprised a larger triangle of paper folded down the middle from apex to baseline, and a smaller, uncreased triangle of paper of the size and shape of its folded brother.

         I regarded the small triangle.

         Blank.

         I turned it over.

         Blank.

         I unfolded and regarded the larger triangle.

         Blank.

         I turned it over, and read…

 

 

 

gents

anal

cruise.

 

I tilted it obliquely to catch the light, the better to reread it.

 

gents

anal

cruise.

 

         The secret of my origin was not entirely clear from this fragment, and the tower was beginning to collapse around me. I sighed, for I could not help but feel a certain disappointment in how my birthday had turned out.

I left Brother Madrigal's office. Behind me, the floorboards gave way beneath his lead encased mass. I looked back, to see him vanish down through successive floors of the tower.

         I ran down the stairs. A breeze cooled my face as the fires above me sucked air up the stairwell. Chaos was by now general and Orphans and Brothers sprang from every door, laughing, and speculating that Brother McGee must have once again lost control of his Woodwork Class.

         The first members of the Mob began to push their way up the first flight of stairs, and, Our Lads not recognising the newcomers, fisticuffs ensued. I hesitated on the first-floor landing.

         One member of the Mob broke free of the mêlée and, seeing me, exclaimed "There he is, boys!" He threw his Hat at me, and made a leap in my direction. I leapt sideways, through the nearest door, and entered Nurse's quarters.

         Nurse, the most attractive woman in the Orphanage, and on whom we all had a crush, was absent, at her grandson's wedding in Borris-in-Ossary. I felt it prudent to disguise myself from the mob, and slipped into a charming blue gingham dress. Only briefly paralysed by pleasure at the scent of Nurse’s perfume, I soon made my way back out through the battle, as Orphans and Farmers knocked lumps out of each other.

         "Foreigners!" shouted the Farmers at the Orphans.

"Foreigners!" shouted the Orphans back, for some of the Farmers were from as far away as Cloughjordan, Ballylusky, Toomevara, Ardcrony, Lofty Bog, and even far-off South Tipperary itself, as could be told by the unusual sophistication of the stitching on the leather patches at the elbows of their tweed jackets and the richer, darker tones, redolent of the lush grasslands of the Suir valley, of the cowshit on their Wellington Boots.

         "Dirty Foreign Bastards!"

         "Fuck off back to Orphania!"

         "Ardcrony Ballocks!"

         The sophisticated farmer, who had seen The Radio Head at Punchestown, was hurled over the balcony, and his unconscious body looted of its shop-bought cigarettes by the Baby Infants.

         I appeared, in Nurse’s attire. The crowd parted to let me through, the Young Farmers removing their Hats as I passed. Some Orphans shouted "It is Jude in a Dress!" but the unfortunate sexual ambiguity of my name served me well on this occasion and allayed the suspicions of the more doubtful farmers, who took me for an ill-favoured girl who usually wore Slacks.

         At the bottom of the stairs, I found myself once again in the deserted Long Corridor.

         From behind me came the confused sounds of the Mob in fierce combat with the Orphans and the Brothers Of Jesus Christ Almighty. From above me came the crack of expanding brick, a crackle of burning timber, sharp explosions of window-panes in the blazing tower.

The Mob would not rest till they found me.

My actions had led to the destruction of the Orphanage.

I had brought bitter disgrace to my family, whoever they should turn out to be.

         I realised with a jolt that I would have to leave the place of my greatest happiness.

         With a creak and a bang, the South Tower settled a little. Dust and smoke gushed from the ragged hole in the ceiling through which the lead-encased body of Brother Madrigal had earlier plunged. I gazed upon him, standing proudly erect on his thick metal base, holding his axe aloft, the whole of him shining like a freshly washed baked bean tin in the light of the setting sun that shone in through the open front door at the end of the corridor,. 

         And by the front door, hanging from the coathook in his skull, his posture more alert than his old bones had been able to manage in life, was Brother Thomond. The bright yellow straw that burst up out of the neckhole of his cassock and jutted forth from his black sleeves was stained dark red by his old, slow blood on its slow voyage to the floor.

         And in the doorway itself, hung by his neck from a rope, was my old friend Agamemnon, his thick head of long golden hair fluffed up into a huge ruff by the noose, his mighty claws unsheathed, his tawny fur bristling as his dead tongue rolled from between his black lips to eclipse his fierce, yellow teeth.

         What was left for me here, now?

         With  a splintering crash, a dull movement of air through a long moment of near-silence, and a flat, rumbling, bursting impact, the entire facade of the South Tower detached itself, unpeeled, and fell in a long roll across the lawn and down the driveway, scattering warm bricks the length of the drive.

         Dislodged by the lurch of the tower, the Orphanage Record Player fell, tumbling, three stories, through the holes made by Brother Madrigal himself, and landed rightway up by his side with a smashing of innards.

         The tone arm lurched onto the Record and, with a twang of elastic, the turntable began to rotate. Music sweet and pure filled the air and a sweet voice sang words I had only ever heard dimly.

         "Some...

         Where...

         Oh…

         Werther…

Aon…

         Bó... "

         I filled to brimming with an ineffable emotion. I felt a great... presence? No, it was an absence, an absence of? Of... I could not name it. I wished I had someone to say goodbye to, to say goodbye to me.

It is a sad song, I think.

         The record ground to a slow halt with a crunching of broken gear-teeth. I felt a soft touch on my cheek, then on the back of my hand.

         I looked down to see the great ball of Dust, dislodged from the Record Player's needle during the long fall, drifting the last few inches to the ground.

I looked around me for the last time and sighed.

         "There is no place like home," I said quietly to nobody, and walked out the door onto the warm bricks in my blue dress. The heat came up through the soles of my shoes, so that I skipped nimbly along the warm yellow bricks, till they ended.

         I looked back once, to see the broken wall, the burning roof and tower.

         And Agamemnon dead.

 

 

 

 

 

 

                  END        

 

 

 

 

 

Jude's continuing adventures, on Amazon...



Jude in Waterstones - a new and exciting adventure for Jude, with an unfortunate ending

Two copies of Jude in London

Waterstones are the biggest book chain in the UK, with 296 shops. They sold five hundred million pounds worth of books last year. I’m very happy about that, because I write books. In fact, Jude in London, my most recent novel, came out in paperback this month. The Observer just named it their Paperback of the Week.

The paperback is the cheaper, mass market edition. It’s the one covered in great reviews of the more expensive trade paperback, or hardback, from a year earlier. The paperback is how you reach a mass audience.

I’d had a busy year since Jude in London first came out. The kind of busy year retailers like; one that raises your public profile, and brings new people to your work. My second BBC radio play starring Jude — The Great Squanderland Roof — had picked up roughly a million listeners. My stageplay starring Jude (The Great Goat Bubble), had sold out its run, every ticket, every night. The novel itself had been shortlisted for the Bollinger Everyman Wodehouse Prize (former winners: Will Self, Ian McEwan, Howard Jacobson…) It was even shortlisted for the Guardian's anarchic anti-award, the Not The Booker Prize. And, since Jude in London first came out, I’d written the long narrative at the end of Minecraft. (Winning every award going, Minecraft was Time Magazine's Computer Game of the Year for 2011). Given that Minecraft had by now sold nine million copies, my work had quite possibly had more readers than that of any other quirky literary novelist this year.

One of the exciting things about being a writer is when your publisher tells you how many copies Waterstones have ordered. It is exciting partly because they completely dominate the retail market for literary fiction in the UK. (If they don’t stock you, your book is dead.) But it is also exciting because I love Waterstones. Theirs are the shops in which I browse, and buy, when I’m in England. Their staff are terrific; friendly and knowledgeable. It’s a special pleasure to ask someone in the fiction section to recommend something odd and interesting. (Last time, in their flagship Picadilly branch — which has eight and a half miles of shelves — I was lovingly introduced to Daniil Kharms.) Their Oxford Street branch is a delight, and its witty Twitter account is a must-follow. Of course, those staff and managers are no longer allowed to order anything. It all has to come from head office. But that means head office can put in a huge order. (Waterstones ordered 12,000 copies of the paperback of my first novel, back when I was even more obscure than I am now.) My hopes were, cautiously, high.

So, how many copies did Waterstones order of the paperback? Two. Two copies. Not two copies per shop. Two copies to share between all 296 stores. That's less than 1% of a copy per shop. That’s… (Does the maths on a napkin)… exactly three pages for each manager. (Hmm. That reminds me of something… It’ll come to me.)

Now, I have no problem with this. I understand that nobody wants to read highly praised novels that have been shortlisted for well-known awards, especially when they’ve been written by award-winning cult writers whose writing gets millions of listeners and readers in other media.

What’s been puzzling me is…  why did Waterstones order two copies? Why not no copies? I mean obviously they don’t like the book. Fair enough. My stuff has a strong flavour that is not to everyone’s taste. Ordering no copies would make sense. But a head office order that comes to only three pages for every shop? Why would they want… wait a minute. (Googles feverishly. Returns a couple of minutes later…)

Hey, did you know that, in the UK, the average person uses three sheets of paper to wipe their backside after a crap? Obviously, some use less, and some use more, but the UK average is three.

So, Waterstones have ordered two copies of Jude in London.

Just enough to give every manager of every shop in the Waterstones chain exactly three pages each…

Hmmm.

They REALLY don’t like my book.

An Open Letter To Jonathan Ive (and Apple)

Yes my short story, the iHole, was here. No, it's not there now...

Yes, there was an open letter to Jonathan Ive (and Apple) here. No, there isn't now.

Sorry about that. (If you are REALLY disappointed, here's a different free story instead, as a consolation prize. It's a comedy about a financial catastrophe involving goats. You might even like it more than The iHole.)

Back to the missing iHole.... For background, I'll just quote briefly from the original open letter:

 

"Dear Jonathan,

My name is Julian Gough. I write fiction. And I have a problem that only you can solve.

I recently wrote a short story called The iHole, and I think it’s the best I’ve ever written. It’s about the design of an imaginary product, and it’s set inside a fictional version of Apple, at some time in the near future. A fictional version of you is mentioned, by name, a couple of times, though he stays offstage as a character.

A major media player wants the story. Their editorial people love the story. The potential audience is a million plus. So far, so good. But now their lawyers have asked me to change the name of the fictional company from Apple, and change the name of the character I’ve called Jonathan Ive..."

 

 

OK, I put that letter, and the story, online three days ago. This morning, we've all come to a satisfactory resolution.  I'm really sorry if you came here to read The iHole and are disappointed. It will be available (legally) again later this year, honest. 

First, I want to say thanks to everyone - Minecraft fans, fiction fans - on Twitter and elsewhere, for their support, encouragement (and even editorial suggestions), over the past three days.

And second, I want to say that THERE ARE NO VILLAINS in what's just happened. Apple behaved perfectly, and the media organisation wanting to use The iHole behaved perfectly, as did their lawyers. I'm not mad at anyone and I don't want you to be mad at anyone. if there was a problem here, it was with archaic laws that make it hard for writers to write about the modern world.

In fact, I particularly want to defend the media organisation involved. There are precious few media outlets for short stories already, so the last thing these guys deserve is to be kicked for having the courage to take on an unusually tricky modern story like mine. They have behaved impeccably throughout, attempting to keep the story intact while still obeying the law.

My attempts to sort this out directly, by going over their heads, have almost certainly made their lives more difficult, for which I apologize. There's always a healthy creative tension between the artist and the industry, but I realize I generate a lot more tension than most. Sorry, everyone...

Finally, I'm happy that we seem to have sorted out a compromise that doesn't damage the story artistically. And I'm very happy to discover that such large numbers of people can still get excited, and passionate, over a short story.

Fond regards,

 

-Julian Gough

 

 Photo courtesy Sophie Gough Fives (age 7)

Irish Writer Pardoned For Stealing Pig

 "The pig is rightfully MINE, Sir Terence!" (Photo by Sophie Gough Fives.) Actually, to contradict the caption, (which, on reflection, I realise is more Sherlock Holmes than Bertie Wooster) - I hope Sir Terry Pratchett wins. THIS time...

Well, well, well. My new novel, Jude in London, has been shortlisted for the Bollinger Everyman Wodehouse Prize. Older readers will understand why I am so surprised (as well as, of course, delighted); younger readers will have it explained to them shortly. It involves dark literary doings, and the theft of livestock. Stick around.

The Bollinger Everyman Wodehouse Prize for comic fiction is the one where they give you the prize at the Hay Festival, name a pig after your book, and take your photo with the pig. A great, idiosyncratic prize, with a good track record. The Wodehouse judges discovered
Marina Lewycka's A Short History of Tractors in Ukrainian, they chose Vernon God Little before it won the Booker, and last year they gave the prize to Gary Shteyngart's Super Sad True Love Story.

This year, it's a very strong shortlist: the other four are Terry Pratchett (for Snuff), Sue Townsend (of The Secret Diary of Adrian Mole fame, for The Woman Who Went To Bed For A Year), John O'Farrell (for The Man Who Forgot His Wife), and John Lanchester (for his sprawling financial comedy of London life, Capital). Normally, natural humility would cause any author surprise at being on such a splendid shortlist. However, as regular readers of my work will know, I do not suffer from humility. My surprise at being on the shortlist comes from the fact that, last time I was on it, I disgraced myself so thoroughly that I'd assumed the judges were more likely to put me on a blacklist than a second shortlist.

Back in 2008, the first novel in my Jude trilogy - Jude in Ireland - was shortlisted for the Bollinger Everyman Wodehouse Prize, alongside Alan Bennett, Will Self, Garrison Keillor (of Lake Wobegon Days fame), and Joe Dunthorne. I swelled with pride, chiefly in the region of the head. I blogged about my joy. But... well, at this point I may as well quote from a slightly later blog entry:

"You can imagine then my dismay when I discovered, shortly afterwards, buried in the small print of the Hay-on-Wye festival programme, the odd phrase "Will Self, winner of the 2008  Bollinger Everyman Wodehouse Prize." Winner? WINNER?!?!?!

As the festival program had gone to print before the shortlist was announced, this meant that the prize committee had picked the winner before they had announced, or perhaps even picked, the shortlist. It was a stitch-up. But worse, I had been denied my rightful month of anticipation, tingling, hiccups and giddy excitement.

Also I'd put serious money on Alan Bennett to win. His The Uncommon Reader is a little masterpiece. Something had to be done.

I thought long and hard. The prize is named after that comic god, P. G. Wodehouse, inventor of Jeeves and Wooster. What, I thought would Wodehouse have done, faced with such provocation? Sat in his room and written another comic novel, probably. That's how he reacted to everything, including World War 2. As I was already sitting in a room writing a comic novel this wasn't much help. Action was called for, dash it. So I asked myself, what would P. G. Wodehouse's greatest creation Bertie Wooster do, nobly backed by the genius of his manservant Jeeves?

 

And the answer came to me as in a vision - as though the ghost of Wodehouse himself whispered in my ear - he would steal the pig.

For if there is one constant in the work of P. G. Wodehouse, from Pigs Have Wings to Pig Hooey, it is that God put pigs on this good green earth to be kidnapped. Not a chapter goes by without somebody chloroforming Lord Emsworth's favourite sow, The Empress of Blandings.

And thus I made my way to the Welsh borders and, with the assistant of my trusty gentleman's gentleman, Jeeves (not his real name, but he would like to remain anonymous for some reason), I stole Will Self's pig.

I sent the organisers this, ah, pignapping video, containing my ransom demands. Tense negotiations continued up until the last minute. They, understandably, did not wish to give the prize to the man who had stolen their pig. I offered, as a very reasonable compromise, to deliver the pig to Alan Bennett's door in London if they would re-award the prize to him. They baulked - Will Self was in the program - his angry fans, denied, might rampage, torching tents, incinerating Gore Vidal in his invalid chair... The intervention of a bishop almost led to a compromise candidate (Joe Dunthorne), but we ran out of time..."

The full story is here. And in this story in The Mail. And in various pieces by Hugo Rifkind, now stuck behind The Times paywall... And The New York Times' arts blog... And in India's Sunday Tribune... I know, I know. And not a thought for my long-suffering mother.


OK, basically, I got a bit carried away. It's always a bad idea for comic writers to leave their padded cells and attempt to do things in a real world for which they are so ill prepared. Still, one learns valuable lessons, which can be fed back into the fiction. I learnt that stealing pigs, for instance, is considerably harder and more complicated in real life than in books. The paperwork for the transfer of livestock across EU borders is shockingly complex. I strongly suspect that PG Wodehouse never stole a pig in his life...

Anyway, it all turned out OK; Will Self kept the title, but I made my point, and I got a pig out of it, which, once converted into wurst and salty bacon, got me through the long Berlin winter.

The only downside, I thought, was that I'd thoroughly burnt all my bridges to the only prize in these islands for comic fiction - pretty much the prize I most wanted.

And thus my surprise at being shortlisted again this week. I think it reflects very well on the people who run the Prize. They have shown true Christian - or Wodehousian - charity. Moral of the story (if there is one): There is greater rejoicing in the literary world over the pig thief who repents, than over the author who never steals a pig at all.


 

(For those not put off Jude in London by the moral depravity of its author... the free Trust Edition is available from Ben, my publisher, here. You may download it and read it for nothing. If you like it, you can pay whatever you think it was worth. More orthodox editions of the book are available here...)

The Jude in London, Not The Booker Prize, Flashmob Book Club

OK, if you want something meaningful and life-changing to do this weekend (and who doesn't?), you can join this one-off, high-speed, hold-onto-your-hats, Jude in London/Not The Booker Prize, flashmob bookclub. Will the life you change be yours, or mine, or both? We won't know till Monday.

 

A totally gratuitous topless shot of the author. Wearing a David Shrigley temporary tattoo. Long story.Here's the deal: my publisher and I will let you download my brand new book, for free, here. (It's usually £12.99 in trade paperback, or £4.99 on Kindle). You read it over the weekend, throwing in comments and arguing with each other (and me) in the comments section below. And if you love the book - and only if you love it - you can vote for it to win the Guardian's (in)famous Not The Booker Prize, anytime before midnight London time, this Monday (17th of October, 2011).

 

If you choose to vote for Jude in London to win the Not The Booker Prize, you'll need to vote in the comments on this page, and write a very short review here to prove you've read it. Also, bear in mind there's several other excellent books on the shortlist for the prize (I'm thinking in particular of Spurious, by Lars Iyer, and King Crow by Michael Stewart), so feel free to check those out, or read and discuss them instead.

 

And yes, when it's all over, you can pay as much (or as little) as you think the book was worth, directly to me & my publisher Ben. (We'll split it equally between us.) But if you're really poor, forget it, the book is on me & Ben. (I was on the dole for ten years, learning to write. I know what it's like to be too broke to join in the fun.)

 

So, it's an experiment - we're going to try and assemble a virtual flashmob book club. If you have any friends who might be interested, tell them. And I'll see you in the comments section down below, later.

 

Just click to go to the download page for the Jude in London Trust Edition

Oh, if you're wondering will Jude in London be to your taste, here's some recent reviews from The Guardian, The Irish Times, and The Cadaverine. (And if you want to go straight to the source and judge for yourself, here's an instant extract you don't have to download, about goats and financial bubbles: The Great Hargeisa Goat Bubble...)

 

If you've any problems downloading the book free from here, just email me at JulianGoughsSecretEmailAddress@gmail.com, or tell me on Twitter (I'm @juliangough), and I'll email you a copy directly.

 

Have fun, be nice. Enjoy the weekend.

 

(EDIT: As soon as I posted this, and tweeted about it, the responses began - on Twitter. D'oh! I hadn't thought this through... So yes, we can talk about the book here; but also on Twitter (where I am @juliangough), using the hashtag #judeinlondon. I'll mosey back and forth. Talk soon...)

Help save civilization by reading a funny book

It's not every day you get a chance to help an award-winning impoverished author (er, that's me) solve a major dilemma, while simultaneously helping to humanise Capitalism, revolutionise Publishing, and save Civilization. But today is that day.

 

Jude in London - soon to be a major bookHere's the background (the dilemma will follow): my new novel, Jude in London, has just been longlisted for the Guardian's Not The Booker Prize. Now, The Not The Booker Prize is the most entertaining prize in the literary calendar; an annual online flame-war-slash-literary-debate that can be very helpful in drawing attention to unusual books. (The prize itself is a mug, worth about £1.50. But the glory is incalculable!)

 

BUT: For a long-listed novel to make the shortlist, readers have to nominate the book, and post a very short review on the Guardian website (to prove they've read it). The process is explained in detail here.

 

Here's the dilemma: Jude in London is officially published on September 6th. But the shortlist votes (and reviews) have to be in by this coming Wednesday. As my novel isn't in the shops for another fortnight, I don't have any readers yet to nominate it.

 

So, if any of you would like to read Jude in London, for free, I can send you a pdf of the entire finished book, nicely laid out and readable, today. And if you like it a lot, I'd be extremely pleased if you would post a 150 word review, and nominate it for the shortlist by Wednesday. You're under no pressure to review it or vote for it: only do that if you genuinely like it a lot and think it's worthy of going through to the next round.

 

There you go. Anyone who wants a free pdf of Jude in London, just ask in the comments below, or on Twitter (I'm @juliangough), or email me at juliangoughssecretemailaddress@gmail.com...

 

Now, here's the bit where we revolutionise Capitalism. My beloved publisher Ben, who runs Old Street, has conniptions at the thought of a professional-quality pdf of the entire book escaping into the wild before publication. Understandably so - he's sunk a lot of time and money into making a beautiful book out of Jude in London. But I think the future for peculiar writers like me has to be a kind of love-based mutant version of capitalism where you trust your readers, and in return your readers help to keep you alive. Because the free market isn't going to. Bear in mind, I've gone bust and been evicted while writing this book. I've wandered Europe homeless, relying on the kindness of friends (and the occasional stranger) to get it finished. So I, too, would like to see it, somehow, earn me enough to keep going and finish the next one.

 

So here's the deal: I give you the book for free. You don't have to review it or nominate it. But if you really like the book, if you read all the way to the end and have a good time... I'd love you to buy a copy for a friend. Does that seem fair?

 

And if you do like it, and buy a copy for a friend, tell me, and I'll tell my publisher, and maybe this trust-based model (where a book is always a present, and yet small publishers stay in business and weird writers get to eat) could take off.

World Women in Literature Day

Mr. Jonathan Franzen, author of the acclaimed novel, Freedom, was unable to attend the launch of World Women in Literarature Day.

 BREAKING NEWS: Jonathan Franzen, author of the acclaimed novel Freedom, was unable to attend the launch of World Women in Literature Day.

 

Philip Roth and the President of America discuss World Women in Literature Day

Philip Roth, author of the great American novels, The Great American Novel, American Pastoral, and The Plot Against America, said last night "It is a tragedy for world literature that Jonathan Franzen was unable to attend."

 

Women's literature is currently making a big splash in America. News that a woman had won the recent Pulizer prize for fiction was covered by the New York Times, who devoted a full line to it in their initial announcement. In a break with tradition, they even spelt her name correctly in some later editions of the paper (see correction below the article).

 

David Foster Wallace celebrates World Women in Literature Day. Image courtesy Esquire and the collective unconscious.And the publishing world has been swept by rumours that several female Nobel Prize winning authors from unfashionable countries may be briefly reviewed in two, or even three, American news outlets next year, so long as David Foster Wallace (author of the wildly acclaimed first half of a novel, The Pale King), doesn't release a collection of unfinished short stories, or a facsimile of a notebook.

 

 

 

 

 

 

A spokesman for the American Press Association said last night: "Your mouth is moving but I can't hear you, I think because your voice is so high."



Please click on the three photographs for further information on this story.

In Honour of the Moriarty Tribunal Report: guns, camels, icebergs, and brown envelopes.

In honour of the recently published (2,400 page) Moriarty Tribunal report, I thought I'd post 20 pages from my last novel, Jude: Level 1. In these chapters, (spoiler alert!) Jude is shot at by Charles J. Haughey, "heroic leader of the Fianna Fáil Party, former Taoiseach, Celtic Chieftain of all the Gaels, gun-runner, phone-tapper, tax-dodger, cute hoor and Saviour of Ireland." He also accidentally kills Dan Bunne, "Supermarket Magnate, and one of the great Political Donors of our Age". And he ends up in a Mexican stand-off with the man who made him homeless, Jimmy "Bungle" O'Bliss, "Ireland's greatest property developer"...

No similarity to any person either living or dead is intended or should be inferred. Especially to Charles J. Haughey, Ben Dunne, or, most of all

((Julian's lawyer wrenches Julian's hands off the keyboard at this point.))

 

            CHAPTER TWENTY SIX

 

            I determined to leave the hospital immediately, and have no more to do with women. My clothes having been destroyed, the hospital authorities issued me a pinstripe suit, from the stock of charitable clothing out of which they habitually re-clothed injured street drinkers before their discharge. The lady Doctor attempted to persuade me to stay for a week's further treatment, to stabilise my erectile nose, but I could not bear to stay another hour. When she realised there was no changing my mind, she left me, to return some minutes later with a brown paper bag.

            Silently she gave me the eloquent gift of sandwiches, and left the ward without turning back.

            I paused only to say good-bye to Miguel de Navarra, my Mexican neighbour. He looked up from the Galway Advertiser and shook my right hand sorrowfully with his right hand.

            "This Banana," he said, waving the Illustrative Fruit with his left, "Is a weapon of Oppression."

            I nodded. "Can I have it, so?" I said.

 

I left the hospital with only a brown paper bag full of sandwiches, a banana, and a broken heart.

            During the long morphine dream of my stay in hospital, Galway had changed. Most of its buildings had been knocked and replaced with buildings one storey taller. Many of these new buildings were now, in their turn, being replaced with buildings two storeys taller again. I grew confused and lost among the taller storeys and the construction's confusions. All about me as I walked I heard talk of Shares and Options, of New Technologies, Investment Properties, and Easy Money. Galway seemed to be accelerating into the new millennium in an explosion of optimism and cement dust. Fellow teenagers passed me in Mercedes-Benz cars, often several times, trying in vain to find a place to park.

            A shoe-shine boy offered me a share tip as I passed Griffins' Bakery, and the street entertainer, Johnny Massacre, was now swallowing swords of gold.

            I finally found Saint Nicholas's Church, my beloved home. I was surprised to see the entire Church of Ireland population of Galway outside it, weeping and wailing in the shelter of a golf umbrella. Far above them, a fat man atop a high ladder was nailing a "SOLD" sign to the Bell Tower. The fat man turned to address the crowd. His lower face was covered by a scarf.

            "Feck off,” he told them. “It's mine now.”

            "Who is that masked man?" I enquired.

            "'Tis Jimmy O' Bliss," sobbed the pensioner holding the umbrella.

            I reeled. Jimmy “Bungle” O'Bliss was Ireland's greatest living Property Developer. No deal of his had ever fallen through. His fame had spread even to Tipperary, where he had bought the abattoir and converted it into luxury eco-friendly apartments, using only paint and plywood. This was the crack of doom for Saint Nick's.

            O'Bliss descended, the better to address the pensioners.

            "Ye selfish bastards! Don't ye care about Galway's homeless?" He wiped a tear from his eye with a silken 'kerchief. "All those young, unmarried management consultants, without a roof over their heads? Dear God, you people have hearts of stone."

            "But 'tis our Church," quavered a pensioner.

            "Pah! I bought it fair and square, at auction, for a grand."

            "Auction?"

            "Look, it's not my fault if somebody forgot to put a reserve on the property. Next thing you'll be telling me it's my fault that the other bidder came down with the flu and broke both his arms."

            "The flu doesn't break your arms."

            "This flu does."

            "But where will we worship? Wed? Baptise?"

            "Amn't I providing you with a Portakabin out near Menlo, for the love of God? What more can I do? Do ye want to ruin me, with your religious shenanigans? Have ye any idea what it'll cost me to replace this knackered wreck with decent townhouses, with ground-level Retail Premises? If I hadn’t got an offshore client for all these old stones, I’d hardly bother."

            "But... what of my Bell Tower, my Home?" I burst out.

            "Oh the Bell Tower stays."

            I breathed a sigh of relief.

            He nodded. "We're enhancing it into a twelve-storey, Swedish, state-of-the-art, automated vehicle-storage tower facility."

            "So I can continue living there, then?" I said, in happy confusion.

            Jimmy O'Bliss winked at me.

            I relaxed.

            "No," he said. "It's a fecking carpark, you big gom."

            Having lost my Job, my Good Looks and my True Love in swift succession, I had come Home to find that I had also lost my Home. My sandwiches slipped from my fingers to land in the mud, my legs trembled and gave way, and I fell to my knees in the muck and rain...

 

 

CHAPTER TWENTY SEVEN           

 

            The National Anthem rang out in thin, high, single notes from the inside pocket of the lumpy navy jacket of Jimmy "Bungle" O'Bliss.

            As I knelt, in my devastation, in a puddle, Jimmy O'Bliss high-stepped over me. Pulling a small telephone from his inside pocket, he dislodged a bulging Brown Envelope. It splashed into the puddle in front of me.

            A strangely familiar voice came tinny from the tiny telephone, its tone a question.

            "I got it, Big Man," replied Jimmy shortly. “Deal's done and dusted." He poked at the little machine, and slid it back into the empty inside pocket.

He stopped. Withdrew his hand. Slapped the pocket.

He stared all around, then down at the ground. With a start and a grunt, he glared at me, then scooped the soaking brown envelope from the muck and thrust it, mud and all, back into his inside pocket.

            "You saw nutting," he said, and walked rapidly away.

            Wet-kneed, I pulled a disconsolate sandwich from its damp brown wrapper.

My initial bite met with unexpected resistance. I could not recall a tougher crust. I removed it from my mouth to have a look at it. It was green. It had an elastic band around it. I looked at the wet brown paper bag I had taken it out of. It wasn't a bag.

            A curious hush had fallen over the crowd. "'Tis the legendary Brown Envelope," whispered one ancient.

            I looked back at my sandwich. It wasn't a sandwich.

            I gave pursuit.

            "Sir!" I cried as I ran.

            He did not appear to hear me over the noise of construction. I almost caught up with him on High Street, but the demolition of Sonny Molloy’s shop sent a cloud of dust billowing.

Jimmy O’Bliss vanished.

By the time the rain had damped the dust down, he was gone.

There! At the far end of Quay Street.

But when I got there, he had crossed to the Spanish Arch, where a helicopter sat, in the lashing rain, on Buckfast Plaza. Above it was a blur of whirling blades which blew the surface water off the Plaza in a great circle about it, so that it rained sideways, as well as from above, on the young men nearby as they leaped a limestone bench on their rollerskatingboards.

It rained sideways, too, on the woman in black who fed the white Corrib swans that had gathered below her on the river.

            The woman in black turned, to stare at me. I took a step towards her. The swans began to swim obliquely away, across the Corrib, towards the Claddagh Basin and its rich sewage outfalls.

            Her eyes, now, were all I could see; her body, her face, her head wrapped tightly in black as she stood in the horizontal and vertical rain.

            There was something unusual about her eyes…

            This woman, I thought, could mean something to me. This woman of whom I know nothing, could tangle her destiny with mine. I merely have to take another step, and speak, and the threads of our destiny cross, and who knows where it will end? Together on some tropical island? In wild flight? In love? In madness?

            She stared into my eyes. I shuddered with possibilities. On the blankness of her canvas I painted future after future.

            In the distance, the white birds moved, slowly.

            She turned, and walked away, over the bridge to the Claddagh, following them obliquely in her vertical rain.

            Behind me the helicopter’s blades sped up. I turned away from her, to face my horizontal rain.

The helicopter was marked with familiar bold greens. Celtic Helicopters, I thought. The company owned by the family of the much-loved Charles J. Haughey, heroic leader of the Fianna Fáil Party, former Taoiseach, Celtic Chieftain of all the Gaels, gun-runner, phone-tapper, tax-dodger, cute hoor and Saviour of Ireland.

            Jimmy O'Bliss leaped aboard, and the helicopter whined and rose immediately.

            As I reached it, it was already above my head. Eager both to return the poor man's envelope with its huge wad of banknotes, and to regain my sandwiches, I bounded up onto the limestone bench, scattering the rollerskatingboarders, and leaped high, grabbing with my free hand one of the two fat rails or skis on which it had previously been resting.

            I began to regret my rash impulse when the helicopter lurched, turned and began to head out across the water.

            The mouth of the river opened into the sea.

            The helicopter swung low above the rain-swept wave crests. My weight seemed to tug it lower by the second. My hand began to slip. With my other hand, I crammed the Brown Envelope down alongside the banana in the inside pocket of my pinstripe jacket. Then, with both hands, I hung on.

            Dear God, was this the end of me?

            Slowly, surely, my strength faded...

As we approached the Aran Islands I made out the black bulk of Inis Mór, then Inis Meáin, then Inis Óirr... Far below me I saw the rusting hulk of an enormous cargo vessel, hurled by storm up the beach and into the rocky fields, long before I was born.

            Then we were above the sea again, and into a thick wall of offshore mist. There was no sea and no sky and I had the curious illusion that, were I to let go of the helicopter, I would simply hang where I was, suspended, cushioned on all sides by the cotton wool mist, as the helicopter laboured away from me and vanished.

Cushioned, suspended, no effort, no noise...

My weary fingers began to relax their hold. No! I fought this treacherous vision of comfort, and with numb hands hauled myself higher on the ski, and slung a leg up onto it, and managed, at length, with difficulty, one-handed, to button my jacket around the ski so that my weight was half-supported by my jacket, in which I now hung as in a sling. My aching hands could relax a little.

Then, from out of the mist, loomed the terrible and wonderful shape of the fourth Aran Island.

Hy Brasil…

Yet it did not look right. Its bleak profile should have been familiar from old photographs in the Lifestyle Supplements, back when our Chieftain still gave interviews, before disgrace and self-imposed exile. But no, the familiar dark bulk was half-eclipsed by a great white mountain thrusting out of the water, hard against the island. White fog condensed and rolled off its sides, to form an enormous ring about the white mountain.

The white peak itself, to my exhausted, wind-wracked eyes, seemed to resemble a giant Nose rising from a submerged Face. There were two dark ovals near its peak resembling nostrils . Yes, a Nose sticking up out of the waves. But this, I realised, must be a Neurotic Delusion, caused by the traumatic mutilation of my own nose. I felt delighted at my sophistication. To have acquired my very own Neurosis after so short a time in the Big City! Or, I mused, perhaps I was Hallucinating: an even more sophisticated Metropolitan response to reality, and one conferring great status back at the Orphanage. Thady Donnelly had not been right for a week after doing mushrooms on his way to the 1996 All-Ireland hurling semi-finals in Thurles, and the younger orphans had followed him around the Orphanage Grounds, beseeching him to speak of his Visions, till he finally Came Down on the following Friday…

            We approached the white peak which masked the dark island. The helicopter flew low over it, and a powerful downdraft sucked us lower still, so that we staggered from the sky to within a few metres of the White Mountain. Even above the Roar of Blades and Engine, I heard Jimmy "Bungle" O'Bliss and the pilot exclaim to their Maker.

            The lurching recovery of the helicopter, as it shot back up to a decent height, was good news for the occupants of the helicopter, though of slightly less benefit to me. My numb fingers had been shaken loose by the sudden fall, and all the buttons on my Charity Suit now gave way under the tug of the sudden rise.

For a moment I hung suspended, as the ski-tip caught in my inside jacket pocket... But the pocket ripped. 

 

 

CHAPTER TWENTY EIGHT

 

I fell thrice my height, to strike the White Mountain a glancing blow with my Arse.

The entire mountain rang like a bell, with a hollow, crystal-clear chime. I skidded, bounced, skidded and began to pick up speed as the sloping shoulder of the mountain dropped away beneath me. My sliding descent through the Arctic air grew pleasing to me, and I began to control my course by movements of the shoulders and hips.

            Bruised but exhilarated, I hurtled off the last ledge of the iceberg and crashed down to the shingly beach, which was knee-deep in a cushioning layer of  slush and fallen ice.

            I looked about me, as I brushed the slush from my pinstripe suit. The iceberg almost filled the tiny natural harbour of Hy Brasil.

I turned my back on harbour, iceberg, Aran Islands and Ireland, and walked inland.

            The shingly beach became, by imperceptible degrees, stony fields. There were signs of construction work: rough stone channels cut into the unique black limestone of the island and away across the desolate fields.

I looked back, and from this slight elevation could see that the towering mountain of ice was no longer a free-floating berg, but had been pushed or hauled or driven ashore, and up the gently sloping offshore sheet of basalt which surrounded the island.

            Why, he is irrigating the fourth Aran Island in the time-honoured way of the nomadic desert peoples of Arabia, I realised. He has towed an iceberg here from the poles. My respect for the genius of Charles J. Haughey grew greater still. Was this not a potent Metaphor for his benign stewardship of Ireland herself? Had he not inherited a desolate island, parched of self-belief, and remade her into an Earthly Paradise flowing with, awash with, drowning in...

            I was distracted from my Metaphor by a distant whinnying. Charles J. Haughey's famous string of racing camels! A generous gift to the then-Taoiseach from an Arabian admirer in the 1970s, all Ireland knew their fame. These beautiful beasts reputedly ran wild upon Hy Brasil. Further away again, I heard a curious cracking or crackling noise. It echoed back off the vast North Face of the towering iceberg and mingled with the whinnying, confusing my senses so that I could not make out the direction from which it came. I resolved to head further inland, for it was my vague recollection from the half-remembered Sunday colour supplements that Charles J. Haughey’s palatial retirement home was on the far side of the island from the harbour, facing only the bleak Atlantic waves, so that the great man would not have to look upon the Ireland that betrayed him.

            I headed directly across the black limestone island, featureless except for the dry stone walls around the dry stone fields and the occasional shallow labourer's grave, cut with a Kango hammer into the raw stone. Here and there, a white arm bone protruded.

            The going was extremely difficult, as I scrambled down and up the steep rocky gullies in whose shelter grew ferns and mosses and orchids.

            I was breathing heavily when the Salmon unexpectedly leapt in my rear pocket. I hauled it out, and received its Wisdom.

 

An oblique walk across an area of open crag is a continuous struggle with little cliffs and ridges and gullies, with no two successive steps on the same level, whereas if one follows the direction of the jointing, smooth flagged paths seem to unroll like carpets before one.

-Tim Robinson, English writer of Irish sympathy, Stones of Aran: Labyrinth, 1995

 

            Walking with the grain of the landscape, I made far better time.

            A thrill of delight ran through my chilled body at the thought that I might soon lay eyes upon the Great Banqueting Hall of our deposed Chief, and that I might be invited to partake in his fabled hospitality.

            As I crested the windswept hill I saw, sheltering behind a tall boulder from the wind, the noble profile and imposing brow, the long, sweeping eyelashes and strong jaw, of a racing camel. It turned and gazed with its warm, liquid eyes into my eyes.

"Hullo Camel," I said to it.

It whinnied. There was a crack, another crack, and the noble beast slumped to its knees as though shot.

            From the doorway of his palatial retirement mausoleum, former Taoiseach Charles J. Haughey, the smoke curling from the barrel of his rifle, trotted with dainty tread down the broad granite steps and across the gravel. He was followed by the masked figure of Jimmy O'Bliss, and by Dan Bunne, the Supermarket Magnate and one of the great Political Donors of our Age. Our greatest living Retailer, our greatest living Developer and our greatest living Politician! We would have been naked, homeless and ideologically incoherent without them. They had given us so much, no wonder they looked so Wrecked.

            "Great shot, Big Man, great shot, head shot, hard shot, great shot," said Dan Bunne, his voice somewhat muffled by his constant chewing on a piece of gum.

            "Shut your hole, Bunne, you fucking spastic mong," said Charles J, "You're giving me a fucking headache."

            The camel, its eyes now glazed and untenanted, toppled slowly sideways. Charles walked up to the dying beast and, carefully aiming behind its ear, fired a final shot into its brain. The camel’s flanks subsided as its last breath shuddered from its throat, rattling its relaxing tongue out of the way in a staccato spray of spittle.

            It was not how I had imagined meeting my hero, Charles J. Haughey, but one cannot entirely control one’s destiny. I stepped forward and reached for my inside pocket, intending to return the brown envelope full of money to its rightful owner, Jimmy O'Bliss. I cleared my throat.

The three Giants of Old Ireland failed to notice me, Dan Bunne being distracted by a lock of his own matted hair, and the others being distracted by Dan Bunne. The lock of Dan Bunne’s hair swung in the breeze, slightly to the right of his right eye. Unable to see it clearly by turning his eyes, he was turning his head.

The hair, being part of his head, turned an equal amount.

He swung around on his heel in an attempt to take the lock of hair by surprise. It remained slightly to the right of his field of vision. He began to pirouette, then reversed direction.

He fell over. Charles J. Haughey sighed.

            My fingers, still numb with the cold and locked in a clawlike grip from my helicopter ride, fumbled in my torn jacket pocket for the envelope and grabbed the banana instead, which had become stuck in the lining.

            "Shite," I said.

            Charles Haughey and Jimmy spun around and saw me for the first time. Dan looked up, blinking and chewing.

Charles Haughey stared at me with the most bloodshot eyes I had ever seen, until I looked down at Dan Bunne's. Their shirts were delightful.

            I was pleased that I looked so natty in my pinstriped suit. The bulge of the stuck banana, though, was ruining the cut of my jacket. I tried to jerk it free.

            “Drop the gun,” said Charles Haughey.

            “Gun?” I said, bewildered, and gave another tug on my banana.

            “Don’t play the innocent with me," said the former Taoiseach. "Freeze."

            "I'm already frozen."

            "Shut it, funnyman," said Charles J. Haughey.

            "He's after the fifty grand," said Jimmy O'Bliss. "I know that fecker from earlier, at Saint Nick's. Oldest trick in the book, kneeling, trying to trip me. He must have followed me in another chopper."

            "Which reminds me," said Charles Haughey. "Give me that money for safekeeping while I think what to do with our Mafia chum here."

I began to realise that they had grasped entirely the wrong end of the metaphorical stick.

            Jimmy reached into his pocket and brought out a sodden brown paper package. "It fell in a puddle boss, sorry," he said.

            Charles J. Haughey grunted and, without taking his eyes off me, ripped open the brown paper with his teeth.

            He glanced down at what he held.

            "What. The fuck. Is this."

            He looked upon my cold toast and chocolate spread sandwiches with a wild surmise. He looked up at me, then across at Jimmy. His eyes grew more bloodshot on the instant, as though a small blood vessel had burst.

            "My God. He takes my money and he comes back for more." He looked me up and down with an expression that bore a most curious resemblance to respect.

            "I can explain," I said.

            "Or die trying.”

            "I have your money here in my pocket. I merely wish to return it..."

            "Bollocks. You have a gun in that pocket."

            "No, that is a banana."

            "Who are you trying to cod? It's a gun."

            "A banana"

            "Gun"

            "Banana"

            "Gun"

            "Banana"

            Dan Bunne had meanwhile stood up, and now chose this moment to spin anti-clockwise upon his left heel, in an attempt to sneak up on his lock of hair from the far side.

            He failed. He fell over. His gun went off.

I jerked in reaction, and the banana flew out of my pocket, as Dan Bunne said, "Sweet Jesus Big Man, I've shot myself in the foot!"

Jimmy O’Bliss fell over.

“Oh no, wrong, cancel that, I’ve shot Jimmy in the foot,” said Dan Bunne, and tried to spit out his chewing gum. Nothing emerged but a small quantity of pink spit. "Dear God! I have been chewing my own cheek this past hour!" exclaimed Bunne. “Isn't that gas, now? Hah? Hah? Hah?" He spat more pink spit and had a poke at the inside of his mouth with a jittery finger.

            Charles J. ignored him and the yelping Jimmy. "Well, you were telling the truth about that banana. So give me my money."

            I delved deeper into my pocket to retrieve the fifty thousand pounds. My fingers slid down, and along the bottom seam, and up the side seam, and out the gaping flap of the ripped, empty pocket.

            "You'll never believe what I'm going to tell you," I said to Charles J. Haughey.

            Charles took a step towards me, raising his gun, a semi-automatic weapon that appeared custom built. Dan Bunne’s long barrelled goose-gun had a magazine big enough to contain a full box of cartridges. Jimmy O'Bliss had just dropped a Browning large-calibre sniper rifle.

            "Are such weapons not illegal in the Republic?" I enquired, interested.

"We're not in the Republic now, Pinocchio,” said the former Taoiseach, stroking his trigger and stepping closer. “This island is extra-territorial. It's beyond the remit of the glorious fucking Republic."

            "Which is handy if you're bringing in workers, and you don’t fancy the paperwork…" said Dan Bunne cryptically, with a wink.

            "Shut the fuck up, Bunne," said Charles J. Haughey, scowling. He turned back to me. "I am the law here. I am Judge, Jury and fucking Executioner."

            A vivid metaphor indeed, I thought. He had not lost his oratorical panache.

            “Hang on here a minute,” I said.

            I picked up my banana, and ran.

 

 

CHAPTER TWENTY NINE

 

            Obviously, the pocket had ripped open after being snagged on my fall from the helicopter. The great wad of cash could have slipped out at any point since. My only hope of clearing up this misunderstanding lay in recovering the money from where it had fallen and returning it, as proof of my bona fides. No doubt we would soon be laughing about their ludicrous mistake over a pewter goblet of hot mead. I retraced my route as exactly as possible, hopping into the fern-filled high-walled channels in the limestone and running along them for a while before leaping out and tacking across the grain of the land, leaping the channels at right angles, before dropping back into another for a long, oblique run.

            Further and further behind me followed Charles and Dan.

            I made it back to the beach with little incident, but there was no sign of the envelope. I clambered from the beach to the iceberg across a shifting mass of collapsed, melting debris.

            Cracks and fissures provided hand- and foot-holds in the hard, frictionless surface, and with difficulty, often on all fours, I retraced the path of my easy descent. The ice creaked and cracked beneath me, whole slabs sometimes peeling away as I searched for a solid handhold.

            At one point, spread-eagled on the face of a flat cliff of ice, I noticed a curious phenomenon: the ice exploded out in a small spray of shattered fragments just a foot to the left of my head. When I leaned across to look at the strange hole or crater revealed, the same phenomenon took place a foot to the right of my head. I looked back at Charles and Dan to see if they could explain this curiosity, but they seemed busy, a little way up from the base of the iceberg, fiddling with their guns. Not wishing to distract them, I pulled myself up over the lip of the cliff and kept climbing, hidden from them now by the high flank of the berg.

            At last, I reached the top:

            And there it was, pristine upon the peak: the Brown Envelope, lying where it, and I, had first fallen.

            I relaxed and awaited the others’ arrival. It had been an exhausting climb, and I was glad of the chance to rest and eat my banana. Though bruised from the morning's events, its flesh was sweet ambrosia to me. I warmed myself with the thought of how relieved and delighted they would be to have their money returned to them.

They seemed a long time coming. Dan Bunne had no doubt been slowed by his unsuitable shoes.

            At length I heard their slow, almost cautious approach. "Up here!" I cried. "Come and get it!"

            The boom and echo of my voice shook free several ledges of snow, and, disintegrating, they were whirled away down the berg by the chill wind. A split in the ice at my feet widened. I dropped my banana skin into it. The splayed yellow star vanished, tumbling, into the darkness.

            A low creak came from the depths.

            Charles Haughey’s rifle barrel appeared over the ridge, wearing a hat. I laughed at his prank. "Come up here and I'll give it to you!" I shouted, anxious to put the whole embarrassing misunderstanding behind me.

            From behind me, I heard the crunch of footsteps on fresh ice crystals. I turned in time to see Dan Bunne appear from over the far side of the frozen peak. He was looking at his feet, stepping carefully around the rim of the enormous nose-holes.

            “I’ll give it to you right now. You asked for it,” I said, reaching for my pocket, “And now you’re going to get it.”

            Dan Bunne swung the long barrel of his goose-gun in my general direction and convulsively pulled the trigger. The massive recoil sent him skidding a full three yards backwards on the smooth leather soles of his Italian shoes. This would not have been so bad had he not been standing two yards from the edge of the Northernmost Hole.

            I reached the edge too late to save him. "Dear God!" he cried as he fell. "The Snorter has become the Snorted! It is a judgement on me!"

            His hands still gripped the gun, and as he fell he fired, the recoils tumbling him end over end faster and faster till he vanished into the darkness spinning like a Catherine Wheel and emitting great blazing gouts of burning cordite with each report of his weapon until he had exhausted its capacity.

            The explosions echoed and re-echoed long after the last blast of flaming gunpowder had scorched the Arctic air. A booming rumble began as the last echoes died, and grew louder. Ice cracked and split far below.

            I stepped back from the edge of the Hole as the edge crumbled and fell in. A hairline fracture appeared in the hard ice beneath me. It ran past me in both directions, to the cliff edges.

             It widened to an inch, two inches...

The left side of the peak suddenly fell a full foot.

            I had a remarkably bad feeling about this.

            With awful slowness, the iceberg began to split down the middle.

 

 

CHAPTER THIRTY           

 

            As the shuddering iceberg began to split, I tried to decide which side of the divide would be the better one to ride out the collapse upon. Yet the great noise made thinking difficult.

My mind was finally made up by the arrival over the ridge of Charles J. Haughey. Perhaps in some way blaming me for the destruction of his iceberg and the death of his oldest friend, he loosed a wild shot at me from close range. I prudently leaped the widening chasm, and found myself falling inland atop a cliff of ice, as Charles J. Haughey’s side of the iceberg fell away from me, out to sea.

            I wedged myself in a fissure, and endured the accelerating fall.

            My half of the split mountain toppled inland, its broad point of contact rolling up the shingly beach and across the stony fields, ever faster, until the very peak slapped against the stony hill crest and snapped off, countless tons of ice now tobogganing down the far slope to overrun the retirement home of Our Great Leader, coming to a halt now in its ruins.

            I emerged from my fissure, and slid and fell down off the ice, through the shattered roof, and into the Imperial Bedroom.

            I landed upon the plumped, heaped, purple satin pillows.

            Sitting at the foot of the bed, bathing his wounded foot, happily untouched by the falling lumber, masonry, and ice, was Jimmy O'Bliss. He looked back at me over his shoulder with an expression I found difficult to interpret, due to the scarf obscuring his lower face.

            He stood, and hopped at high speed from the room.

 

 

            CHAPTER THIRTY ONE

 

            I was delighted by this unexpected chance to return to Jimmy O' Bliss his packet of money. Still shivering from the icy peak, I wrapped myself in a beautifully soft sheet of rich Egyptian cotton, and pursued him down the main stairs, through the banqueting hall, into the kitchens, down into the cellars, and further down into the sub-cellars and past a dark tunnel-mouth.

            Then back up again.

            Finally, as loss of blood slowed the modest and reluctant old fellow, I cornered him in the banqueting hall. Above us, the clear glass roof was spangled with chunks of ice, and, above that, the shuddering overhang of the iceberg itself was a rich, dark blue you could almost mistake for an evening sky, were it not for the facthe
that it dripped and creaked. Out through the French windows I could see the open-air swimming pool. A camel swam in its limpid waters. I advanced towards Jimmy and pressed the banknotes into his trembling hands. "You dropped this," I said, and turned to go.

            "Wait," said Jimmy in a weak voice, and I stopped, and turned. "One moment... I know it's here somewhere..." He opened a wooden cabinet and rooted around in its interior. Was I finally to be offered a glass of mead, in thanks for my kind deed? Jimmy O'Bliss emerged with a bolt-action rifle.

            "You're too fucking dangerous to live, Sonny Jim," he said, cocking the gun with a snap of the bolt. A tremor ran through the cliff of ice overhanging us, rattling the glass roof in its frame. A little avalanche of slush and melt-water ran across the glass, rippling the blue light that filtered through to us so that we seemed to move underwater. "It is a thing I never understood, in the James Bond fillums," said Jimmy O'Bliss, "why it is they always explain their nefarious plans to James Bond, and then leave him to be killed by some complicated, untried, and unsupervised stratagem. Lasers, indeed. Volcanoes. Fecking alligators… Myself and Charlie would always be roaring at the telly, 'Shoot him in the head! Just shoot him in the head!'" He sighed, pointed the gun at my head and pulled the trigger. The loud click of the firing pin on the empty chamber caused the cliff of ice above us to rumble, and lurch forward some inches. "Feck. No bullets. Hang on." He found a box of bullets in the cabinet.

            "You are planning to shoot me in the head?" I said, somewhat taken aback.

            "I am," he said, sliding out the empty magazine and loading it swiftly with bullets.

            "That thought is a source of sorrow to me," I said, "for I am on a quest to win the heart of my true love, the most beautiful woman in Ireland and possibly the world."

            "You intrigue me strangely," said Jimmy O'Bliss, pausing. "Tell me more."

            I told him more.

            "Sounds great. Where does she work?"

            "In SuperMacs of Eyre Square."

            He nodded, and closed his eyes, and smiled. “Ah, young love.” He opened his eyes. “God, I haven't ridden the hole off a young one in a long while. Yes, I have neglected the needs of the Heart.” He slammed the full magazine up into the gut of the gun with the palm of his hand. The tremendous blue ice-cliff overhanging us swayed and dropped a foot at the report. "Ah,” he sighed, “youth is wasted on the young." He swung up the barrel.

"I was intrigued by the tunnel mouth," I said.

"What?" said Jimmy.

"Mr Bunne said something, too, about workers..."

            "Oh, Big Mouth Strikes Again," said Jimmy. He put aside his rifle. "Sure, I suppose it won’t do any harm… This is where the Blacks are brought in. Hy Brasil is, by a curiosity of the law, in extra-territorial waters. Then down the tunnels with them, and Barney writes the cheque....”

            I was puzzled. “Is such importation of shackled humanity strictly legal?"

            “Our once and future King can do whatever he fucking wants here, sonny boy. It's his rocky kingdom, the barren field of his exile. From this stony grey soil he shall gather his strength, till the people repent their treachery and call for him..." Jimmy sighed. “He dragged this shit-hole out of the middle ages and into the twentieth fucking century, and how did the people thank him? They shafted him.” He brooded a bit on this, and clarified. “They fucked him up the arse and hung him out to dry. But why am I still yapping? Old age..." He snapped up the bolt on the rifle, hauled it back, baring the chamber into which popped up, spring-loaded, a large bullet. He then slammed forward the bolt, knocking the bullet into position.

            The cliff of ice above and behind him shifted, shifted again, lurched, and fell in its entirety on the banqueting hall, driving its stout pillars down through the next two floors, collapsing its own great wooden floor, the ancient carpet ripping free and sliding down the hole, so that I fell through the cellar, into the sub-cellar and rolled down the mouth of the tunnel wrapped in sheet and carpet. Jimmy, his suit snagging on a splintered joist as he fell through the cellar, did not follow me down. His rifle, jerked from his hands by his sudden arrest, did.

            Now I had a gun. Jimmy did not. My position had improved.

            Unfortunately, the collapsing iceberg had also breached the side wall of the open-air swimming pool, in which a camel still swam, alongside the banqueting hall.

            It would have gone easier with me if the swimming pool had not been connected by a deep channel to the sea, to ensure the freshness of the bathing water: but it was: and the tide, too, being high, all the broad Atlantic attempted to follow me, camel and all, into the cellar, the sub-cellar, and, subsequently, the Tunnel.

 

Jude: Level 1((There you go... This episode is taken from Jude: Level 1, which will be reprinted later this year as Jude in Ireland. Jude's adventures will continue in the new novel, Jude in London, due out this September from Old Street Publishing.))

The State of Irish Literature 2010

 

To my slight surprise (and immense delight), my story “The Orphan and the Mob” was chosen to represent Ireland in the ambitious new anthology, Best European Fiction 2010 (edited by Aleksandar Hemon, and introduced by Zadie Smith). The book’s publishers, Dalkey Archive Press, recently asked me five polite questions about the state of Irish literature. I replied with an intemperate rant. A slightly updated version follows below…

 

1. Are there any exciting trends, movement, or schools in contemporary Irish fiction? Who do you feel are the overlooked contemporary authors in Ireland who should be more widely read and translated?

 

I haven’t the faintest idea. As is traditional with my people, on achieving the status of Writer, I was strapped to an ass and driven from the City. I’ve lived in Berlin for the past few years. When I was in Ireland, I lived in Galway city, which is on the opposite side of the country to Dublin, where the novelists fester. Galway doesn’t really do literature. And I grew up in Tipperary, in the midlands, where writers were, until recently, killed and eaten. And quite rightly.

 

If there are exciting trends in literary Ireland, the excitement hasn’t made its way to Berlin yet. Anyway, I don’t believe in trends, movements, schools, and the whole German classification mania. That’s all made up after the fact, to help university libraries with their filing.  Each pen is held by a single hand. But for what it’s worth, none of my Irish friends read Irish books any more.

 

Indeed, I hardly read Irish writers any more, I’ve been disappointed so often. I mean, what the FECK are writers in their 20s and 30s doing, copying the very great John McGahern, his style, his subject matter, in the 21st century? To revive a useful old Celtic literary-critical expression: I puke my ring. And the older, more sophisticated Irish writers that want to be Nabokov give me the yellow squirts and a scaldy hole. If there is a movement in Ireland, it is backwards. Novel after novel set in the nineteen seventies, sixties, fifties. Reading award-winning Irish literary  fiction, you wouldn’t know television had been invented. Indeed, they seem apologetic about acknowledging electricity (or “the new Mechanikal Galvinism” as they like to call it.)

 

I do read the odd new, young writer, and it’s usually intensely disappointing. Mostly it’s grittily realistic, slightly depressing descriptions of events that aren’t very interesting. Though, to be fair, sometimes it’s sub-Joycean, slightly depressing descriptions of events that aren’t very interesting. I don’t get the impression many Irish writers have played Grand Theft Auto, or bought an X-Box, or watched Youporn. (And if there is good stuff coming up, for God’s sake someone, contact me, pass it on.) Really, Irish literary writers have become a priestly caste, scribbling by candlelight, cut off from the electric current of the culture. We’ve abolished the Catholic clergy, and replaced them with novelists. They wear black, they preach, they are concerned for our souls. Feck off.

 

But let us accentuate the positive, for the love of the Lord:

 

I do like Kevin Barry. His collection There Are Little Kingdoms had something special about it. Hints of glory ahead. (I gather there will be a novel. I’ll be buying it with cash money.) And from a few years back I loved Mike McCormack’s first book, the story collection Getting it in the Head. I always felt Mike McCormack had the great, demented, Irish small town heavy metal novel in him, he just needed to get it out. Then this week I discovered, from a very reliable source, that he’s finished his next novel, Pilgrim X, and it’s a post-apocalyptic Western set in the west of Ireland. Hurray! Exactly what Irish literature needs right now. I hear there’s a strong Scandinavian death metal vibe off it. This has all the signs of being his major breakthrough, and breakout.

 

For me, the only writer to grab the Celtic Tiger by the tail and pull hard while the tiger roared was Ross O’Carroll Kelly, the pseudonym of Paul Howard. And that was a newspaper column. (Collected every year into a new book – read them all if you want to understand Ireland’s rise and fall. No other writer caught it while it happened. The best, funniest, and most historically important run of Irish satirical journalism since Myles na gCopaleen.)

 

The Irish writer that most excited me recently was Diarmuid O’Brien, and he writes unproduced television scripts. Very funny, very Irish, on the edge of the surreal, a nice mixture of  WB Yeats and UK sitcoms. Padraig Kenny is another very funny, passionate, interesting guy trying to do interesting things with TV and radio scripts. (He has already managed to turn his Twitter rants into an artform.) Tommy Tiernan is Ireland’s most philosophical voice, but he has chosen stand-up comedy as his way of delivering his philosophical prose. Tiernan has read everything by Beckett, and everything by Lenny Bruce, and combined them. On the right night you will end up on the floor weeping tears of laughter and recognition as he takes Ireland apart. I remember reading Graham Linehan when he was only 17 and writing for Hot Press, and thinking, this guy is the funniest writer in Ireland. Of course, he got no recognition or encouragement in Ireland, so he went to London and co-wrote Father Ted, and Black Books, and now writes The I.T. Crowd. (Two days ago, as I write this, he won the British Comedy Award for writers.) The guy’s a genius, but he’s been working out of London, with UK broadcasters, since his early 20s, so he has no reason to address Ireland. (We had other geniuses, a decade or two back, but we didn't want them either. Cathal Coughlan tried to tell us who we were, spewing poetic vinegar with Microdisney, then sulphuric poetry with Fatima Mansions, but we didn't want to listen. Don't get me started on Cathal Coughlan, I'll cry.)

 

But then, why would our funniest, most original voices want to join a pompous, priestly, provincial literary community?  I’m pretty sure the best of the new, young Irish writers are writing for film, TV or computer games. Of course, anyone decent then has to go to England to get anything made. Another problem with Ireland is that its national broadcaster makes civil service television. Raidió Teilifís Éireann have never made a good comedy, they hardly ever make decent drama, and they treat writers like shit. Any work that has to go through an official Irish institution is slowly castrated by committee. All of those things are set up wrong. Our national theatre, The Abbey, is a weird, dysfunctional machine for setting fire to money. There is an almost total disconnect between the plays the Abbey puts on and the nation they are supposed to represent. (It does put on work by good playwrights: but with a thirty year delay.) Its most recent director, Fiach Mac Conghail, is doing his darndest, but turning round around The Abbey is like trying to do a wheelie in an Airbus full of American tourists. As an Irish playwright, you’ve a far better chance of getting your first play put on by the Royal Court in London than by any theatre in Dublin. Culturally, Ireland is a failed state. The fact is disguised because the UK and the USA have taken up the slack, and given our artists an outlet. But Ireland herself has, for example, never made a television program that anyone outside Ireland would want to watch. Given the quality of our writers, and the size of the global English-language TV audience, this is an immense national disgrace. (Just to repeat, everyone involved in Father Ted was Irish - but it was made by the British broadcaster Channel 4.) I know and like many of the individuals who work in RTÉ, but it is institutionally incapable of using the talents of its people, and it is institutionally incapable of change. Its news and sports coverage are excellent, the rest of it should be shut down. At the moment it’s a machine for wrecking talent, and the talented people inside it would be much happier under almost any other system.

 

The only area where Irish writing is thriving in Ireland itself is on the internet, because it’s a direct connection, writer-to-reader. Blogs captured, and capture, Ireland in a way literature  no longer does. Sweary Lady was brilliant (on her Arse End of Ireland blog), right through the Celtic Tiger years. Kav wrote the great Kav’s Blog. (Sweary and Kav both moved on to the Coddle Pot group blog…) And the quality, and quantity, of the swearing was and is very high on the Irish blogs, with guys like Twenty Major. The Irish swear better than almost anyone else on earth, bar maybe the Spanish and a couple of countries in Africa. That’s another area where I think recent Irish literary writers  – with the honourable exception of Roddy Doyle - have failed us badly. Ireland’s great lost playwright, Kevin McGee, was a master of the kind of swearing that had you desperately poking your inner ear with a biro to try and remove the images from your head. However, he was let down by professional theatre, moved into writing television soap operas (and translating the classics), and seems to have abandoned the stage. Who will swear for us now? Who will let rip the savage, guttural, primal utterance – half Yeats poem, half Guinness fart – required, DEMANDED, by the current state of Ireland? {EDIT: Probably Kevin Barry. Since this was first written, his apocalyptic story Fjord of Killary has appeared in the New Yorker, gracing its fragrant pages with North Galway lines as pinpoint accurate as these: 

“Fuckers are washin’ diesel up there again,” John Murphy said. “The Hourigans? Of course, they’d a father a diesel-washer before ’em, didn’t they? Cunts to a man.”

“Cunts,” Bill Knott confirmed.}


But I am biased, unstable, bitter, twisted, and living abroad, so don’t rely on my judgement. I’m sure there’s millions of brilliant writers in Ireland, I’m just mysteriously missing them every time I go there and look. In fact, aware of this, I outsourced the search to Twitter and asked who were the overlooked or neglected Irish writers that I’d missed. Here were the suggestions I got back, to balance my bile:

 

John MacKenna, Tomas O'Crohan, Mark O' Rowe (playwright and screenwriter), Antonia Logue, Sean O'Reilly, Vincent Woods (for “At the Black Pig's Dyke, the most underappreciated Irish play in the past 20 years.”), Gavin Duff, John Moriarty, Mike McCormack.

 

In an enjoyable and robust Twitter debate, Rosita Boland of the Irish Times took issue with the idea that O’Rowe, McCormack or O’Reilly were overlooked. This is a fair point, as all three do get excellent coverage in the Irish Times and on RTÉ, and O’Rowe has a powerful, thoughtful patron in Michael Colgan of the Gate Theatre.

 

Others on Twitter (some of them from lands far from Ireland) suggested Philip O Ceallaigh, Ken Bruen, and Dermot Healy, but it’s hard to think of these excellent, award-winning and acclaimed writers as being “overlooked” in any meaningful way.

 

As for Irish language writers – I’m not qualified to judge. They could all be geniuses for all I know.

 

 

2. Who are the contemporary European writers from other countries that are writing compelling fiction?

 

I’d only be bullshitting you if I tried to answer that question. My pitiful French, street-German, bar-Spanish and school-Irish are not remotely good enough to make literary judgements. I can barely mangle my way through comics in any of them. So, for me, all of European mainland literature is at the mercy of the quality of its translators, which makes me reluctant to judge. For all I know, I should be praising the translator, not the original writer. If you read my first book in Swedish, you would think I was a genius. If you read my first book in German, you would think I was a fool. So it goes. In fact, I strongly suspect that the Swedish translator of my first novel is a better writer than me, and wrote a better book. Molle Kanmert’s emails asking me questions were far funnier than mine, and the Swedish version outsold every other version. Someone sign her up for a novel…

 

3. Do you want your work to be translated? Why or why not?


Of course I do. I want readers. I want to be understood, I want to be misunderstood, I want to get into fights, I want to swim in the Dead Sea, I want to die in my swimsuit, I want to visit Siberia (but leave again), I want to butt in on your national conversation, drink your national drink, shoot and stuff your national bird, eat your national icecream, kiss your poets and pat your dogs and weep at the airport as we hug each other and exchange email addresses and our respective national varieties of flu.

 

4. Are there enough publishing outlets in Ireland for contemporary fiction? Is there a market for literary fiction in Ireland?

 

Well, we have the usual situation that arises when you share a language with a larger neighbour. A perverse, S&M relationship. You fight your oppressor & occupier for 800 years, get your freedom, then immediately ask  them for a publishing deal. Just as Bosnian writers seek Croatian publishers, Irish writers seek English publishers. Of course, English publishers seek Irish writers, so it’s a healthy, wholesome S&M relationship. 80% of Irish novels come out of London publishing houses. There’s always a slight tension in that relationship, of course, because some of your jokes and references won’t be understood by your publisher. But London publishers are very good at making sure that doesn’t become a problem, and that the integrity of the work is protected. They have to navigate the same issues with Welsh and Scottish and Indian and Australian novelists, so it’s not a big deal. There are a lot of small, very noble but very undercapitalised Irish publishers, but they have great difficulty hanging on to their writers if a UK publisher offers a decent advance. Or any advance at all.

 

We don’t really have a problem with lack of recognition, lack of outlets. The best Irish writers get recognised, usually in London first, after which the Irish literary establishment falls into line.  Ireland very, very seldom discovers its own writers first. Roddy Doyle had to take out a bank loan to publish the Commitments in Ireland. After which, he was picked up by an English publisher.

 

That has an interesting effect, though. Knowing that you are addressing sixteen UK readers for every one Irish reader, in a very mild way your book goes into translation in your head, as you write it. Most Irish writers will deny this, but I think it’s true. Of course I was born in London to emigrant Irish parents, so I feel equally at home, or not at home, in both places.

 

 

5. Given a choice, would you prefer a faithful, literal translation of your work or an interpretive re-imagining of it? Why?

 

An interpretive re-imaging, definitely. I don’t think a “faithful, literal” translation of my work – of any work - is even possible. If a translation were to be literal, it wouldn’t be faithful, and vice versa. Any decent writer is playing with nuances, rhythms, echoes, soundstuff that will evaporate in any literal translation. I like a lot of layers. Puns, resonances, double-meanings, Tipperaryisms, things my mum says at Christmas. Often the point of the sentence hasn’t anything to do with its literal meaning at all.

 

I use deliberately “wrong”, literal translations of phrases from the Irish language sometimes myself, because they sound fecking great in English. Friends of my dad would still say “I walked several strong miles”, and that is straight out of the Irish.

 

The Jude books are deliberately written in a stilted, old-fashioned, formal English, of the type spoken in Ireland a century ago. It’s the first-generation English of speakers who learnt English in school, from books, because their parents spoke Irish at home. For me this is a very rich form of English, because you can let the underlying Irish thoughts, structured in Irish grammar, burst through now and again. There is always a nice tension in the speech, as though Jude is walking on linguistic stilts, and has to be careful. He is trying to be terribly precise with a language he doesn’t really control or own.

 

Sometimes the games I play with the various versions of English are fairly explicit, as in the case of this head injury in Jude in London:

 

           “Their noble Tipperary speech reminded me of my mental catastrophe. I looked up from my book, and took the opportunity to experiment with my deformity: I spoke a Catholic thought, and it came out Church of England: I praised a fine All-Ireland semi-final performance by the Tipperary Under-21 hurlers against Kilkenny; and from my mouth came alien speech of an F.A. Cup semi-final replay at Villa Park.

           Sweet Mother of Jesus, I thought, astonished, and

           “Queen of Heaven!” I said.

           Christ on a bicycle, I thought.

           “Good Lord!”

           Holy fuck.

           “Blessed Union!”


           I gave up the attempt to accurately express myself, and returned to my book.”

 

 

I must be a real bastard for translators, because increasingly I like to back-engineer scenes so that a crucial line of narrative, thrown up by the action, is also a line of poetry by Yeats, or a line of dialogue is also a line of Joyce, or Kafka, or is made out of Radiohead song titles. They can be tricky to spot - most of my native-English readers miss most of them. And I also use the misunderstandings and gaps between American English and English English and Irish English to generate jokes and misunderstandings, and moments of unease.

 

 

A single English word sings in many voices, and I like to set off a couple of them, and make my words sing harmonies with themselves, or beat each other up. I doubt if anyone but me gets the half of it, but I think readers find pleasure in it anyway. I remember a woman on a blog quoting her favourite piece of my writing. She said she couldn’t put her finger on why she liked it so much. Well, I could. It was the end of a chapter, and I’d written it in iambic pentameter. Because it was laid out like prose, she hadn’t consciously registered the formal rhythm, the internal rhymes. But subconsciously, she got it...

 

That makes me sound too much of a word wizard – I should also say that most of my sentences are extremely straightforward attempts to get a character through a door in such a way that the reader understands it without having to read it twice, and I don’t always even succeed at that.

 

 

{EDIT: OK, I'm getting Repetitive Strain Injury from putting in links to all these bastards, enough for tonight. Hope you enjoyed it, if you got this far. I'll link a few more lads tomorrow. Your comments are very welcome.}



What I'm Doing In 2010. (Books, Mostly.)

In 2010, I plan to make lots of paper aeroplanes

Allan Cavanagh (or @AllanCavanagh, as I fondly know him) just tweeted to ask me, "have you got a poetry collection coming out?" Which is one of those embarrassingly intimate questions about shameful practices best unmentioned. Apparently he had heard the magnificent Jessie Lendennie mention it earlier tonight on Lyric FM.

But the question reminded my that I haven't actually talked about, you know, books. The things I write. And what state they are in. For a long time. So let's deal with that distasteful stuff, category by category.

 

1.) Poems. Yes, I do have a poetry collection coming out. Salmon Poetry will publish my first collection in February 2010, God willing. It will contain all the poetry I've ever written that I'm not utterly ashamed of (which means, mostly, the recent poetry written in Berlin, and a mutilated fistful of older pieces), and all the Toasted Heretic lyrics that are fit to print. Working title is Free Sex Chocolate (collected songs and poems). And if anyone has a suitable cover image for such a book, with such a title, I'd be very interested to see it. It's poetry, so there's not much of a budget, but the glory! The glory! (You can contact me through the Mail Me button, off down there to the right.)

 

2.) Novels. Yes, Jude: Level 2 will finally emerge into the harsh global spotlight in June 2010, blinking, eating roadkill, and shagging anything that moves. It's set largely in London, and indeed may well get called Jude in London. You can read a piece from it here.


3.) Short Stories. I am very happy to be the official representative of the Republic of Ireland in the Dalkey Archive's scarily ambitious anthology, Best European Fiction 2010. If I were capable of humility, I'd be humbled. Here's a description I nicked off Amazon:


"Best European Fiction 2010 is the inaugural installment of what will become an annual anthology of stories from across Europe. Edited by acclaimed Bosnian novelist and MacArthur “Genius-Award” winner Aleksandar Hemon, and with dozens of editorial, media, and programming partners in the U.S., UK, and Europe, the Best European Fiction series will be a window onto what’s happening right now in literary scenes throughout Europe, where the next Kafka, Flaubert, or Mann is waiting to be discovered."

They've chosen "The Orphan and the Mob", which a lot of you will know already.

 

My exciting adventures in the categories of:

4.) Children's Books

5.) Feature Films

6.) Animated Films

7.) Theatre

8.) Computer Games, and

9.) Opera

 

...will all have to wait till I've had a good night's sleep.

(I'm afraid I lied about Opera. I have no plans to write an opera for 2010. Although 2011, now, is another matter...)

 

On Readings

A.L. Kennedy has been talking about readings, over on the Guardian Books Blog. I threw in a few comments, in the comments section. I may as well copy my first one here...

"Readings improve the work, and the confidence in the work. Having to read a chunk of prose aloud, you're forced to disentangle sentences that look lovely and literary on the page, but which are in fact merely incoherent and needed another draft. (Don't worry, good weird prose survives this process, you aren't going to flatten it all out to Ladybird Book level.)

And so much of good writing is about delivering information in the right order (especially inside the sentence, at sentence level). Reading it aloud to strangers (who don't already know it as horribly, blindingly well as you do), you can see where you've screwed up and delivered the tragic/comic punchline twice, or too early, before a vital piece of information needed to make it work. Or very simply that you've had a character do something in a new room before it's entirely obvious to the reader that she's walked through the door."

 

More on than topic over at the Guardian...

Covering Will Young's Buttocks With Butter

Will Young covered in butter

Well, that was a splendidly enjoyable reading in Kaffee Burger on Wednesday night. A lovely crowd, and excellent questions afterwards (except for Clare's one about bondage). One is always delighted with a crowd that contains both one's parents and Momus. (Giving the evening the air of a disturbing teenage dream.) I do like the way you can stay on in Kaffee Burger after the reading to catch the band, then the disco, and dance till dawn. (Though I wussed out, and only danced till 3.30am.)

 

I have just been contributing my opinion to a row on the Guardian's Books Unlimited about Will Young's fitness to judge the National Short Story Prize. I may as well cut 'n' paste my contribution in here too... Feel free to head over, and add your own thoughts...


I'm probably slightly biased in favour of the National Short Story Prize, as I won it in its second year.

But Alison, I think you are completely wrong when you say

"What's the point of having a literary prize if it isn't judged by someone with some kind of literary knowledge/qualifications?"

Wrong on two levels. The prize isn't judged by "someone", it is judged by a team of five. It's the overall balance of the team that you have to consider. I hope you agree that a team of, say, five professional semioticians would be very high in literary knowledge and qualifications. But they'd make for a lousy, unbalanced team of judges.

A short story contains a lot more than just literature. I note that the Guardian have linked, just below these comments, to an account of my 2007 win, headed "'Tipperary Star Wars' wins National Short Story Prize". Now, the team of judges in my particular year included the magnificent A.S. Byatt. I'm sure she got my references to Yeats, and to Voltaire's Candide. But I have no idea whether or not she got my story's references to, say, the Eurovision Song Contest, or knew what I was on about in lines like - "A brief chant went up from the Young Farmers in the Mosh Pit: "Who put the ball in the England net?" Older farmers, further back, added bass to the reply of "Houghton! Houghton!""

Yet I do know that the judges read and reread the stories, discussed them, and were unanimous in their final decision. And I believe a good range in age, sex, class, nationality, and experience of both life and literature can make for a richer collective decision.

This year, Margaret Drabble, for example, who was born before World War Two kicked off, needs a great deal of balancing in certain important areas. So, of course, does Will Young - but between them, there are very few references that they won't be able to explain to each other.

Last of all, but very important; a short story is not designed to be analysed by professionals. It is created to be read by human beings. If a short story, after several rereadings and much discussion with Margaret Drabble and others, still fails to make a connection with an intelligent young man who has read Ulysses, then it has on some level failed.

Will Young is OK by me as a judge (and no, I've no story entered this year, so I'm not covering his buttocks in butter with any selfish intent).

However, if you want a tip for a potential future judge from the pop world who likes his short fiction literary: I met Morrissey in a hotel in Galway when I was a teenager (long story). I happened to be holding a copy of James Joyce's Dubliners. "Dubliners!" he exclaimed. "Oh, you've read it?" I said. "Read it? I have it tattooed all over my body," he said.

I'm reading in Kaffee Burger on Wednesday

Just a reminder that I'm reading in Kaffee Burger, on Torstrasse, this Wednesday (March 25th 2009), at 9pm... Five euro in, and there's a band on after (a New England electrofolk trio called Erving).

I will extend to you the offer I just extended to my Berlin friends by email: If you'd like to come and you're broke this week, give me a shout and I'll try and get you in free... (There's an "Email me" button lurking somewhere on the sidebar.)

(Er, this offer is going to collapse into ignominious chaos, failure and bitter recrimination if more than three of you ask. But, this being Literature, that's not very likely...)

Not sure what I'm going to read... I might read The Orphan and the Mob, because it's won prizes, and it works well live, and I haven't read it here before. But it is also the opening section of Jude: Level 1, so some of you will be bored sick of it already.

Anyway, more information here.


And here.

 

And there's a charming picture of the magnificent venue here (it's not known as the Taj Mahal of Torstrasse for nothing).

See you down the mosh pit...

Do Not Approach This Man. He Has Just Finished Writing A Novel, And May Be Dangerous.

 

I have finished writing Jude: Level 2. Thus the depraved and hideous face you see above, exhausted from months of writing and rewriting. (Twenty drafts of the toughest sections... though of course by the last few drafts you're just tweaking, or - to use the more accurate technical term favoured by the serious novelist - disappearing up your own hole). Exhausted, in particular, from the final weeks of staying up till 5am every night, with no days off or weekends. By the end I wasn't entirely sure what year it was. (1987, by the look of the shirt and stubble.) I look like a released prisoner, bewildered by his freedom. Which is appropriate, because I am.

 

 

With three days to go, I developed stigmata. The skin on the backs of my hands began to break down as I wrote. I was quite pleased when I noticed. Oh you know you've given it everything, by God, when you develop stigmata in the final furlong. You haven't cheated the book by selfishly holding anything in reserve, for yourself, or those you love, or the future.

 

In fact I finished on Oscar night, but I've been too knackered to post until now. When I finally, finally, finally finished, at 5.30am, and hit send, and it vanished from my screen in a swirling stream of zeros and ones down the phonelines to my agent and my publisher, I ran out into the street and danced and sang and sprinted through the melting slush.

 

If New York is the city that never sleeps, then Berlin is the city that doesn't have to get up in the morning (because it doesn't have a job), so there's always something on. And so I ran, singing, around the corner to the Babylon Kino, where they were still screening the Oscars, live from LA - nine timezones away - on the big screen. I arrived in the middle of Kate Winslet's acceptance speech, stayed till the end, and talked to friends afterwards. There was a great buzz in the cinema, as the crew for Spielzeugland / Toyland were there, and it had won an Oscar for Best Short Film earlier in the evening, to mighty cheers and screams. So, between them snaffling an Oscar and me finishing my book, there was a bunch of very happy people jumping up and down on the pavement on Rosa-Luxemberg Strasse at 6.30am, as the birds on the roof of the People's Theatre across the road cleared their throats and thought about singing.

 

Spent the last few days recovering, and dealing with the backlog of a life that has been on hold for months. Visited the doctor with my stigmata (they are beginning to heal). Today was the best day yet, I had a brilliant plan and I carried it out: I stayed in bed all day, dozing, reading, drinking coffee, and eating chocolate.

 

So, now, back to work. Radio play. Screenplay. Poetry. Life.