First Written for Shiny New Books
First Written for The Reviews Hub
Vampirella – Smock Alley, Dublin
Director: Conor Hanratty
Composer: Siobhan Cleary
Librettist: Katy Hayes
Conductor: Andrew Synnott
The world premiere of Opera Briefs 2017 production of Vampirella took place this evening in the main stage of Smock Alley Theatre. This work by composer Siobhan Cleary is the result of a creative partnership between the Royal Irish Academy of Music and The Lir National Academy of Dramatic Art at Trinity College Dublin.
Based on Angela Carter’s story this makes for an interesting and entertaining basis for an opera. As the somewhat unusual title suggests vampires feature heavily in this work. Set deep in the Carpathian Mountains The Count watches posthumously over his beloved daughter. His love outliving death. The young Countess meanwhile is consumed by loneliness, living in the shadows with only her Scottish Governess for company. In 1914 an English soldier called Hero seeks shelter in a desolate castle. Arriving on a bicycle in tweeds with a perfect upper class English accent his hunt for a cup of tea couldn’t be more out of place in this home of the undead. Soon he meets the beautiful Countess but is taken aback by her unusually sharp, pointy teeth and lengthy nails. When her pet cat scratches him she cannot resist the chance to drink.
Hero is presented as an innocent. He enters the stage from the right completely free of fear with a naïve sense of humour. Throughout the performance one waits to see whether he will retain this innocence and go onto survive or whether he will eventually be drawn into darkness. The final scene sees a change in tone that rounds of the opera on a sad and tragic note. Traditionally, in pantomime in particular, the characters representing good enter from stage right and those representing evil enter from stage left. This idea is used and played with in Vampirella when our protagonists take their places on the stage. The Count sits above the proceedings, only descending to the stage when he fears that his daughter will be lost to the charms of this invading Englishman.
Special applause should go to the orchestra who navigated the piece successfully from beginning to end while also managing to play in near darkness. They seemed to be both technically exact while supplementing and furthering the narrative without ever overpowering and obstructing the vocalists. The compact team worked well together in this tightly organised and plotted production. In line with this the stage is effectively utilised with simple props; a bicycle and a bed moving easily from one side to the other. Eight cloaked figures holding candles haunt the stage; singing, chanting, moving in unison.
This is an ideal opera to take place in the city that gave birth to Bram Stoker and that has been drawn year after year into tales of vampires. At the close of Vampirella one is left questioning who the real monsters are and can innocence survive in this world?
First Written for Shiny New Books October 2016
The Temptation of Elizabeth Tudor concerns itself with the potential marriage between the teenage Elizabeth Tudor and Thomas Seymour. The book focuses primarily on Seymour, his story being less well documented. This is the story of his rise and fall and of the risks that the young Elizabeth faced as a princess without the protection of her parents. The stage is set with the death of the much loved and feared Henry VIII in 1547.
Thomas Seymour was brother to Jane, Henry VIII’s third wife and the one that finally bore him a son. As Jane became Queen and royal mother her family’s status significantly improved. In time his older brother Edward went on to become Lord Protector of England during Edward VI’s minority. As uncle to the King Thomas, envious of his brother’s success, allowed his vanity and entitlement to guide him he set out to raise his own status. His schemes, political plots and spying make for the most fascinating of political intrigues.
Seymour married Henry’s sixth and final wife Catherine Parr. Already widowed three times by her early thirties she was finally in a position to marry for love and it seems Seymour returned her feelings. Shortly after Henry’s death they, rather scandalously, married. However, before this Seymour had already courted the attentions of Princesses Mary and Elizabeth, and also possible the child Jane Grey, making his hope to marry into royalty and power clear from the start. He was a power hungry and charming courtier who saw his opportunity to climb to power in the aftermath of Henry VIII’s death. In late 1547 Elizabeth was only fourteen years old and living with her step mother the Dowager Queen, and her new husband, Thomas Seymour.
One particular story is often touched upon in documentaries; the famous scene of Seymour tearing up the young princesses dress with his sword as she is held by her stepmother Catherine. There was more to it than this one scene though. The domineering Seymour would enter Elizabeth’s chamber early in the morning, trying to catch her still in bed dressed only in her nightdress, where he would proceed to ‘tickle’ her, sometimes even with the assistance of Catherine. This flirtation seems to become increasingly overt and threatening, with the result that Elizabeth, at the risk of scandal, is sent away out of Seymour’s reach. Her line in the succession makes her both powerful and vulnerable to attack. As the daughter of convicted adulteress Anne Boleyn many expected Elizabeth to behave in the same way so she was particularly vulnerable to rumour and gossip.
After Catherine’s death Seymour acts in an increasingly reckless manner until he is arrested for treason, thus endangering the very existence of the princess. Norton delves into this chapter of her life in detail and picks out the happenings and feelings that go on to form Elizabeth’s character. Without the threats she faced as a result of Seymour’s interest in her Elizabeth’s path in life might have been very different. Norton argues that is from this episode that she learned that relationships could be dangerous and scandalous. Although Elizabeth is not known to have expressed a clear desire for or interest in Seymour, in the sixteenth century a princess’s virtue and reputation could be threatened by rumour alone.
One of the main arguments of The Temptation of Elizabeth Tudor is that her early bruising experiences of her flirtation and thoughts of marriage with Seymour resulted in Elizabeth’s decision to remain unmarried; becoming the ‘Virgin Queen’. Although this is likely a contributing factor it seems unlikely to be the only cause. This is a rare portrait of the early romantic life of the princess, instead of the frequent focus on Robert Dudley and her international suitors when Queen. As this is more a biography of Thomas Seymour’s political life and death rather than of Elizabeth’s youth or early romantic relationships the title is perhaps a misnomer; catchy and intriguing but slightly misleading. The lines Norton chooses to end on do not fully fit with the narrative thrust of the rest of the book when she suggests that ‘he was her temptation’.
The sibling rivalry and consternation between the Seymour brothers is a particularly interesting counterpoint to the royal siblings who appear to have shown remarkably little jealousy or rivalry despite their much closer proximity to power. Some elements of the scandal seem remarkably relevant to today’s tabloid magazine articles; the question over virginity, pregnancy, secret pregnancies, interfamily love triangles and affairs.
Norton is an accomplished and prolific writer, having written multiple biographies of royal women. It is rare to find a history book that is so readable and enjoyable. Fortunately a family tree is included at the back, which is necessary for following the relationships between the two closely connected families. This is a well-studied period of history, but Norton has found a section that can go towards feeding the ever present Tudor mania. Her sources show a wide and thorough reading and research that went into forming this intellectual yet lively investigation.
The Temptation of Elizabeth Tudor is a vivid and entertaining read, on occasions full of suspense and intrigue. It shows how a young royal could become trapped, used as a pawn, between the competing factions looking for political dominance in the court. The extent to which Elizabeth, and her younger sibling Edward, had control of their own lives is debateable. This is certainly one of the most comprehensive and interesting accounts of Thomas Seymour. The backstabbing and political machinations make for a deeply involving account; one can easily see why this period of history still has the power to fascinate.
Elizabeth Norton, The Temptation of Elizabeth Tudor (Head of Zeus, 2016). 9781784081737. 368pp., paperback.
First Written for Headstuff June 2016
On the 10th of August 1916, a new film premiered in London’s Scala Theatre. This in itself was not unusual. Even during war time, the entertainment industry remained active. What was unusual was that this film marked the first time a recording made in a war zone was shown to the public before the battle in question had come to an end. The Battle of the Somme documentary and propaganda film would prove to be one of the most controversial, shocking and realistic depictions of the war that the British public had ever seen.
By January 1916, conscription had become necessary, and as the war continued, the roll of propaganda became increasingly important to act as a counterpoint to the lists of dead and damaged soldiers returning home from the front.
The war was supposed to have been over by Christmas 1914. As it dragged on, the patriotic fervour that marked the first months receded. By this point there was little left of the marching bands making their way through town and city streets to a chorus of cheers; men standing tall in their bright, and as yet unbloodied, uniforms. The attempt to portray the war as an old fashioned ‘all boys adventure’ had had some early success thanks to peer pressure and propaganda posters. Perhaps the most famous being the Lord Kitchener poster stating boldly: “Your Country Needs You”.
Many of the posters from the early months of the war also attempted to appeal to ideas of masculinity with slogans such as: “Daddy, what did you do in the Great War?” and “Women of Britain Say ‘Go!’”. In Dublin, recruitment officers went house to house with money in their hands to encourage the poor to sign up. However, by January 1916, conscription had become necessary. At first it was for single men, and shortly after for married men aged 18 – 41. As the war continued, the roll of propaganda became increasingly important to act as a counterpoint to the lists of dead and damaged soldiers returning home from the front.
This year sees the centenary of the Battle of the Somme – the largest battle of the First World War. Its name resonates down the years, symbolising the futility of war; the thousands ordered to walk to their deaths in No Man’s Land. The battle began at dawn on the 1st of July and crawled to its end on the 18th of November. Before the Allies went over the top, there had been a sustained bombardment of German lines intended to destroy the barbed wire and enemy defences, clearing the path for the advance. This attempt failed. The German trenches were barely touched by the shells and the barbed wire remained intact. In the end, all the bombardment had done was to alert the Germans to an oncoming attack, giving them time to prepare. Not expecting any opposition, the order to go over the top was issued. This resulted in one of the bloodiest battles continental Europe had ever seen.
Although the total number of Irish dead is still uncertain, nearly 2,000 soldiers were killed from Northern Ireland in the first few hours of fighting. At the end of the battle, there were around 420,000 British casualties. (This number includes the Irish dead and injured.) Ultimately, over a million men were killed or wounded. On the first day of the attack alone, there were 5,500 casualties from the 36th Ulster Division who were solely drawn from one community in Ulster. This goes some way to explaining how two civilian cinematographers found themselves and their equipment on the front lines. Filming a battle or war effort was still relatively unusual at this time. The film was created by two commercial cameramen, Geoffrey Malins and John MacDowell, under military supervision. In 1915, the British Government had sold the film rights to the war on the Western Front to a small group of commercial news film companies. The film was not produced by the government or the military but it was approved by them. This has led to some questioning of the bias and trustworthiness of the edited footage.
Filming began in late June and continued to the 10th of July, taking in the brutal first day that saw 19,000 British soldiers die. Malins detailed his experiences in a fascinating book called How I Filmed the War (1919). The book encompasses his Christmas spent on the Front, multiple arrests, being reported dead, attempting to film under heavy shellfire, the difficult trench conditions and a collision with a rather obstructive mule.
The silent black and white film is overlaid with a piano score as it captures the preparations being made for the upcoming attack. It includes soldiers marching to their positions, images of well-treated German prisoners, men preparing their weapons, religious services and long shots of No Man’s Land. Information panels hint at success when they inform the viewers that “high explosive shells fired by the 12-inch howitzers created havoc in the enemy’s lines”. The film also explicitly tries to tie the viewers back home, involved in the war effort, to the direct effect of their hard work. This can be seen from the information panel stating “along the entire front the munition ‘dumps’ are receiving vast supplies of shells: thanks to the British munitions workers”.
The preparations take up the first 30 minutes of the 75 minute film. After this, the action moves onto the battle itself. One of the earliest images is particularly famous: the soldiers all rushing over the top except for one man who seems to stumble; then the audience realises that he is dead, face down in the mud. Other men struggle to make it through their own barbed wire and some indeed are shot down. There’s footage of men sitting by the side of a road, armed with bayonets and grinning at the camera. A mere 20 minutes after this section was filmed, they came under heavy machine gun fire. The bravery of the soldiers is shown alongside the wounded on stretchers.
It is strange to think that the men who lived, worked and died in the trenches, who would climb over the sandbags into No Man’s Land, would also be requested at some point to act out the process that would shortly leave many of them dead.
At about 55 minutes in, the camera takes in the dead bodies that litter the Somme. It is important to note that some of the footage was staged, including one of the key scenes depicting men going over the top. This was controversial and damaged the filmmakers claims of realism. Also, there is little actual combat footage. It is strange to think that the men who lived, worked and died in the trenches, and who would climb over the sandbags into No Man’s Land, would also be requested at some point to act out the process that would shortly leave many of them dead.
The film premiered in London on the 10th of August 1916 before its general release on the 21st of August. Why was it shown before victory had been sealed? There is no definite reason for this. It is very possible that this was done to try and counteract the tide of negative information making its way across the channel. However tightly controlled the media had been, they could not stop news of the huge numbers of casualties from making its way home. Presumably, as the authorities had not expected any opposition, they might have hoped that the battle would be swift and victorious.
Within the first six weeks of its general release, The Battle of the Somme had been shown in around 2,000 British cinemas reaching a probable audience of 20 million people (i.e. half the population of Britain). It is one of the most attended films of all time. King George V is reported to have said, “The public should see these pictures that they may have some idea of what the army is doing and what it means”. It seems even by this point there was a general weariness to the bombardment of propaganda and the film may have been designed to try to counteract this. This is reflected in the headline chosen for The Manchester Guardian front page: ‘The Real Thing At Last!’, as the realism shown in the film proved deeply shocking, if not traumatic, for many. Newspapers reported how some fled cinemas screaming at the sight of the dead. One London cinema placed a sign outside stating: ‘We are not showing The Battle of the Somme. This is a place of amusement, not a chamber of horrors’.
Ground breaking during its day, The Battle of the Somme remains as a remarkable work, having gone on to influence generations of documentary filmmakers and journalists. It marked a movement towards a more involved, visual form of war reportage, with journalists and cinematographers risking their lives alongside soldiers in battle in order to capture the events for posterity. The considerable viewership numbers also suggest a thirst to better understand the realities of war from those left behind, and foreshadows the future use and form of mass media propaganda. Even after 100 years, the film is still at times difficult, upsetting and shocking, taking the viewer as close as it is possible to be to the realities of life and war on the Western Front.
First Written for Shiny New Books 2016
I always thought it would be classy to not kiss and tell … but after a while you just get sick of having other people trying to tell your story for you.”
This is how Madison addresses at the beginning of her autobiography what is probably the first thought everyone has when a celebrity announces they are going to sell their story. Why and why now? The memoir caused a sensation when first released in America and the discussion around it doesn’t seem likely to dim as she takes the reader behind the scenes of the once mysterious Playboy Mansion and the man who reigns over it: her former boyfriend, octogenarian pornographer Hugh Hefner.
Madison grew up in small town Oregon before trying her luck in LA. Waitressing and studying at college she found herself in difficult financial circumstances when an opportunity presented itself to live at the Playboy Mansion. This would involve becoming one of Hefner’s girlfriends. At first she was one of seven. By the time the top rated behind the scenes reality TV show Girls of the Playboy mansion went to air she was now the number one of three girlfriends, alongside Bridget Marquardt and Kendra Wilkinson. The show was a hit, introducing Madison to a wide audience. When she finally left the mansion after seven years she found she was still only known for her association to Playboy, almost tainted by it. She went on to star in her own E! reality show Holly’s World which followed Madison as she began her new life. After leaving the Mansion she embarked on an ill-fated love affair with illusionist Criss Angel, before becoming a hit on Dancing With the Stars. Then her chance to find success independently came along as she headlined the popular Las Vegas burlesque show Peepshow, at Planet Hollywood to great acclaim. All of this is covered in depth in the memoir.
In Girls of the Playboy Mansion Madison was widely perceived to be in love with Hefner, with hopes of marriage and children. In the end however they broke up. Madison discusses this in her book, answering the question of whether she was really in love and what it was like in practice to be one of several girlfriends to the ageing lothario. On this point her account differs somewhat to the programme. Whether this is down to clever video editing or Madison is trying to reclaim and retell her story one cannot be sure.
This candid and detailed memoir goes much further than Girls of the Playboy Mansion ever did. Through living at the Mansion Madison quickly lost her sense of identity, connections to the outside world, self-worth and hope for her future which resulted in some very dark lows. At her darkest she considered ending it all. “Maybe it was the pot and the alcohol, but drowning myself seemed like the logical way to escape the ridiculous life I was leading.” The double edged sword that is fame and the life she chose is explored with clarity. In the end she takes charge of her life and digs her own way out of the rabbit hole, creating her own happy ending.
Those looking for gossip and behind the scene anecdotes to life and the Playboy Mansion and her relationships with the other girls will find that aplenty. Depictions of the happenings in his bedroom are detailed and enlightening. Her portrayal of Hefner differs significantly from the image of himself that he presents to the media; coming across as old fashioned, manipulative and jealous. She also delves into her relationship with the other girls of the Mansion. First the many other girlfriends she was in competition with and finally the two who became with Madison Hefner’s main girlfriends: Marquardt and Wilkinson. Rumoured tension between Madison and Wilkinson is addressed in an impersonal, short and matter of fact manner near the end of the book.
If the Playboy Mansion seemed bizarre before Madison’s account is only going to enhance this idea. She discusses the dated décor, the hierarchy that existed between the different girlfriends, the 9pm curfew and the undignified lining up to be given their allowance and hear any complaints against them. Those living at the Mansion had to follow a strict code of conduct. The stories of sex, drugs, abuse and rivalry are both shocking and surprising.
Cleverly Madison avoids the pitfall that many autobiographies fall into and only gives a short amount of space to her early life, aware that what the reader is looking for comes later. Madison treads the fine line between telling her story and descending into scandalous point scoring largely successfully. She is a capable writer (no ghost writer is credited) and the chapters skip along. It is very easy to find you have started the book and next thing you know you are a hundred pages in. Madison comes across very well, as an intelligent, hardworking and friendly individual. Although many will have difficulty with the life path she chose for herself Down the Rabbit Hole sounds more like a cautionary tale than a how to guide. She does not encourage others to follow in her footsteps but instead re-examines her life as she takes charge and rediscovers herself. Down the Rabbit Hole is a juicy and unpredictable memoir that has much to offer fans and the curious alike.
Holly Madison, Down the Rabbit Hole: Curious Adventures and Cautionary Tales of a Former Playboy Bunny (Harper Collins, 2016). 978-0062372116. 334pp., paperback.
First written for Shiny New Books, June 2016
Tremarnock is a picture perfect Cornish fishing village, largely untouched by gentrification, poverty or seasonal tourism. It is here that we find our protagonists, for whom the beautiful, peaceful Tremarnock is a sanctuary. Its mutli – coloured houses cluster around the harbour where fishermen still make their living catching fresh fish each day. The village has a local pub and award winning restaurant that the villagers gather around for all social occasions. It is presented as the perfect idyll.
Our protagonist and guide to Tremarnock is Liz. Still only in her thirties, she has taken her daughter Rosie to live by the sea; far away from her useless cheating father. Here she does little except work and care for her only child. She has successfully built up a good network of friends and helpers although she is always keen to shoulder the burden of motherhood alone. Their involved, realistic mother – daughter relationship is the highlight of the novel and should be instantly recognisable to the reader. Often this relationship will make you want to go and hold your relatives, your mother, close.
At the heart of all families and villages there are secrets. These create plot twists and show certain characters in a new light. Sometimes people are not as clear as we think they are and the reader follows Liz as she navigates her way through the mysteries of this close knit community. The novel does not always remain completely light hearted and often surprises the reader with its depth and direction. One of the ways in which Liz seems to stand out is the way in which she is an open book for all to read.
This bucolic village depiction is somewhat idealised and certainly different from the experiences of myself and my contemporaries of living in a small Cornish community. It appears to have been written from the point of view of a visitor cherry picking the image and not the reality of rural living. This is perhaps best shown in the way Liz is strangely instantly accepted and absorbed into the local community. Her new friends and neighbours quickly become her family.
This sense of instant inclusion is however capitalised upon when Liz becomes friends with a Plymouth-based family who run a small, failing newsagents where she buys her cigarettes and lottery ticket each week. The lottery ticket, and all it symbolises of hope and potential opportunity and security acts as a recurrent symbol throughout the novel. Once again Liz and Rosie quickly become part of the family, but this soon leads into a web of intrigue that is not fully resolved until the novel’s closing pages. One thing about Tremarnock is that it has surprises scattered throughout. This begins with the intriguing prologue that hooks in the reader immediately; drawing them in as they wait to find out how the story will unravel.
Despite everything both Liz and Rosie have been through in their lives they always remain positive and never back down from the challenges facing them. In this way they are courageous, and the simple, pure, complete love Liz feels for Rosie echoes in every of her actions; from holding down multiple jobs to caring for her when sick to fundraising for a potential life-improving medical procedure. The challenges and joys of raising a child with cerebral palsy are excellently portrayed through the relationship between the pair and the challenges they face are explored in depth. It is important to note though that the ups and downs of their lives are expertly told through character and plot details, and at no point in time does the reader feel lectured to.
The main flaw in the novel is in the portrayal of Liz as being near perfect. The innocence and naiveté can be a little difficult, particularly when it comes to the way in which she refuses to stand up for herself or see the reality of her relationships with certain family members and friends. One element of the ending, although comforting, verges on the edge of being sickly sweet, as Liz forgives those who have wronged her but without any real assessment of the impact their actions have had on her and Rosie’s lives. At times it would be nice if Liz stood up for herself in the way she stands up for Rosie a little more. However this mild frustration one feels arguably adds to the realism of being presented with a fully fleshed out character.
Interestingly the press release states that Tremarnock is the first in the series. This is intriguing and the reader will be keen to find out whether the rest of the series continues to focus on Liz, Rosie and their new life or whether it will delve into the intrigues offered by other village members. A colourful cast of supporting characters feature throughout and their own narratives and characteristics are touched upon; leaving the potential for many different routes to be taken with the rest of the series.
Burstall is a freelance journalist, which shows in the wealth of detail and local flavour that peppers the novel. Her love for the county pulses through the pages almost as another beloved character. This relaxing summer read is like being wrapped in a warm blanket as you allow yourself to be transported through the lives, loves and secrets of this ideal Cornish fishing village.
Emma Burstall, Tremarnock (Head of Zeus, 2016). 978-1781857892. 407pp., paperback.
With thanks to Head of Zeus publishing for a copy of this novel.
As Ireland commemorates the events surrounding the 1916 Easter Rising this timely novel teases out what this event means to the youth of today.
Citizens is set in Dublin 2011. In the aftermath of the collapse of the Celtic Tiger, Ireland is held in the grip of recession and austerity, and for apathetic 26 year old Neil it often feels as though his country has failed and the time is coming to leave. On the cusp of emigrating to Canada with his ambitious girlfriend Kathy, Neil finds his plans are put on hold when his grandfather dies. Neil delays his flight to Canada in order to receive his grandfather’s legacy. He is now stuck behind in Dublin, aiding his grieving grandmother, in the dole queue, and spending most of his free time at the gym or partying.
The legacy is a surprise to Neil. His great grandfather left behind written memories of the Rising. During the Easter Rising of 1916 Irish volunteers took over government buildings in Dublin, in the hope that it would trigger a national uprising against the British colonialists. In this sense the rising was a military failure. However the strong reaction of the British administration – holding trials for the leaders in secret before executing them – led to mass outrage, setting the desire for and path to independence alight.
In the midst of this Neil’s great grandfather Harry is to be found. A Pathe newsreel cameraman armed with a cinemachine to capture the birth of the new republic for posterity. Harry fully understands the importance of recording the events, people, successes and disasters he often comes across. This is an inventive and brilliant way of drawing the reader into the events of 1916 and is particularly relatable due to the current obsession with photographing and recording everything around us. Neil’s story is intercut with sections of Harry’s memoirs, but will Neil realise the value of the legacy?
Neil and Kathy are not often the most likeable of characters; shallow and selfish, they care only about themselves. Kathy, who has gone ahead to Canada and is waiting for Neil to catch up, helps to propel the narrative forward, but she is often a greedy, manipulative character who is difficult to like. The main characters are all fully rounded and recognisable, but there has to be something else for the reader to hold on to, to care about. Curran provides this in Neil’s growing relationship with his great grandfather’s diaries. Partially based on real letters and diaries they feel authentic and Curran skilfully avoids the trap of idealising or mythologising the past.
Neil’s relationship with his grandmother is particularly well drawn and many a reader will be able to relate to the love and frustration that the two feel for each other. The two characters also represent the different value systems they were born into and the movement that has taken place over the decades from idealism and nationhood to monetary value. As Neil says to his Gran: ‘wealth is what defines you, not your passport of where you are from.’ However his Gran does not agree with this: ‘Not everything of value has monetary worth, dear.’
Neil embodies the disappointment and weariness that seems to typify Ireland’s youth. As Neil explains: ‘he doesn’t belong. There is an accent in Irish television he never hears: his. Or ones like it. There is a type of person he never sees on Irish television: him, or people like him. Desperate, disillusioned, angry, annoyed’. The cynicism and theme of emigration also touch a nerve in a country where thousands of young people are leaving every year.
The title Citizens chimes in with the general theme of the commemorations which have been emphasising that it was the individuals, ordinary people, who did extraordinary things. Further, Curran explores what it means to be a citizen, good or bad, in both 1916 and modern Ireland. He explores the frustration many millennials feel when the traditional routes of education and hard work ultimately lead nowhere, well, except back to the dole queue. Neil seems more able to deal with this shifting economic climate, whereas Kathy does not.
As Neil works his way through his great-grandfathers legacy he gains a deeper understanding of the rebellion and the ideals that led individuals to take the action that they did. This is a journey the reader goes on with Neil. Citizens brings to life this extraordinary time in history in a vivid and personal manner. Curran frames the Easter Rising in a modern narrative which is a fresh way of delving into the events that shaped modern Ireland. By using two relatable, ordinary characters Curran draws the reader in until they feel closer to the events as they were, and as they are remembered. The book’s cover reflects this. Its dark shades of black and blue, images of contemporary and twentieth century O’Connell Street at night with the GPO (General post Office) building standing tall. Still riddled with bullet holes from 1916 it is a symbol of Ireland that reaches through the decades.
This is the second novel from Curran and has been listed as one of theIndependent’s top 10 novels that reflect the spirit and legacy of the rebellion. Citizens has quickly become a top seller in Ireland and as the centenary progresses this success is likely to continue. Curran is a confidant writer, in tune with his city and the characters he has created. This is an enjoyable and important read.
Kevin Curran, Citizens (Liberties Press, 2016). 978-1910742259. 314pp., paperback.
With thanks to Liberties Press for a copy of this novel.