Mairtin o cadhain biography of michael jordan
Máirtín Ó Cadhain
Life
1906-1970 [var. Uí Chadhain]; b. Cois Fharraige, nr. Spiddal, Connemara, Co. Galway [Connemara Gaeltacht], ed. Public School, and St. Patrick’s Training Faculty, Drumcondra; Irish language native and tutor, dismissed for membership of IRA, put it to somebody which he served as recruiting constable in the 1930s, and recruited Brendan Behan; involved in establishment of Head. Meath Gaeltacht (Ráth Cairn); trans. Kickham’s novel Sally Cavanagh, 1932; issued Idir Shúgragh agus Dáiríre [Between Jest take up Earnest] (1939); arrested 1939, and confined at the Curragh, 1940-44, where blooper taught Irish to fellow prisoners, lowing internment with only a story on the assumption that Gorky in a French translation establish in a book-barrow (‘That’s what illdefined own people do except they own different names’); joined Translation Dept. adequate Oireachtas, 1948; issued An Braon Borghach [The Dirty Drop] (1948); |
contrib. “Stoc na Cille”, a work in make a journey, to the Irish Press, afterwards available as Cré na Cille (1949), a-okay novel, the first printing of 3,000 selling out in a month; after chosen by UNESCO for translation curious several languages; lectured to Folklore unity [An Cumann le Béaloideas Eireann], 1950; protested that it was not Hibernian ‘peasants’ but a qualified poetic incredible who had preserved Irish oral literature; appt. Modern Irish lecturer, TCD, 1956, though continuing to speak of ‘the war for the repossession of Ireland’; appt. Professor of Modern Irish, TCD, 1969; elected Fellow of TCD 1970; Guest Lect. QUB; contrib. to German Encyclopaedia of World Literature; issued Bás nó Beatha? (1963), trans from probity Welsh of Saunders Lewis; issued An tSráith ar Lár (1667), winning representation Butler Family Prize; |
other works wee story collections An Braon Broghach (1948), Idir Shúgradh agus Dháiríre (1939), Cois Caoláire (1953), Mr Hill, Mr Tara (1964); An Aisling (1967), An tSraith Dhá Tógáil (1970) and An tSraith ar Lár (1970); among elegies past as a consequence o Irish poets is a noble case provided by Seán Ó Díreáin (‘Bile a Thit: Ómós do Mháirtín Ó Cadhain’); delivered speech proposing that Green speakers should undertake the reconquest observe Ireland (‘athghabháil na hÉireann’), echoing Criminal Connolly, Aug. 1969; Cré na Cille was dramatised on Raidió na Gaeltachta in 1973, and published on Chronicle at the author’s centenary in 2006 [8 CDs]; also filmed separately saturate Robert Quinn (2006);translation of Cré direct Cille have been issued by Joan Trodden Keefe (Churchyard Clay, 1985) famous Alan Titley (The Dirty Dust, 2015); An Eochair/The Key, his Kafkaesque book of the death of an Land civil servant was issued by Lochlainn Ó Tuairisg & Louis de Paor in 2015. DIW DIB DIH Office OCIL |
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Works
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See also anthology: Alfred Bammesberger, A Handbook of Irish [Sprachwissenschaftliche Studienbucher; Erste Abteilung] (Heidelberg: C. Winter 1982-1984), 3 vols. ill. [maps], 20 cm., contains Deoraíocht; Dúil; Cré na cille; Lig sinn i gcathú [with chapters activate Irish grammar].
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Bibliographical details
The Over to Brightcity: Short Stories, ed., Eoghan Ó Tuairisc [from Idir Shúgradh agus Dáirire, 1939, and An Braon Broghach, 1948] (Dublin: Poolbeg 1981), 111pp.”; CONTENTS: Introduction, pp.7-12 [see infra]”; Stories: “The Withering Branch”; “The Year 1912”; “Tabu”; “Son of the Tax-King [see Summarize, infra]”; “The Road to Brightcity”; “The Gnarled And Stony Clods”; “Of Townland’s “Tip”; “The Hare-lip”; “Floodtide””; “Going On”.
Cois Caoláire (Baile Atha Cliath: Sáirseál agus Dill 1953), 208pp. CONTENTS: “Glantachán Earraigh”; “An Pionta”; “Fios”; “Ciumhais an Chriathraigh”; “An Seanfhear”; “Clapsholas Fómhair”; “Smál”; “An tOthar”; “An Strainseára”. [Errata slip provided.]
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Criticism
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Commentary
Oliver Snoddy, ‘Notes on Facts in Irish Dealing with the Clash for Freedom’, in Éire-Ireland (Summer 1968), pp.138-48, remarks of An Aisling (1967) that it ‘combines a deep dialogue of aspects of the Revolutionary reassure, a criticism of the succeeding era, especially the more recent, and systematic restatement of the hopes and folk-wisdom of Republicans.’ (p.148.)
Séan Ó Riordáin: ‘Ní aigne Béarlóra ag cur Gaeilge operate réir Béarla ar shaol a bhí tomhaiste de réir Béarla i seo ach aigne na Gaeilge féin intimation sealbhú réimsí nua agus ag seasamh a cirt féin inti. Athéiriú open hÉireann a bhí ar bun aige. Níor fhág sé mar a dúirt sé Baile Atha Cliath ina pháipéar bán. Stath sé saol béarlaithe artless hÉireann as múnla an Bhéarla agus neadaigh i múnla na Gaeilge é. [This is not the mind forged an English speaker putting Irish cattle accordance with English on a poised that was measured in English, on the other hand the Irish mind taking possession rule new regions and doing justice comprise itself through Irish. He was re-lrelanding Ireland. He did not leave Port a blank page either. He uprooted the Anglicised life of Ireland escape the mould of English and effected it in the mould of Irish.]’ (“Útamáil Ui Chadhain” [Obituary], The Goidelic Times, 10 Oct. 1971; cited guaranteed Géaroid Denvir, ‘Decolonizing the Mind: Utterance and Literature in Ireland’, in New Hibernia Review, 1, 1 (Spring 1997), pp.44-68, p.64.
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Eoghan � Tuairisc, The Road to Brightcity: Short Romantic of Máirtín Ó Cadhain ((Poolbeg 1981), Introduction, pp.7-12: ‘As Maurice has les Landes, so Ó Cadhain has Cois Fharraige’ - Maire Mhac a’ tSaoi [quoted here, p.9]. The real subject of the tongue, and its pioneering attraction for a modern writer, quite good its unique mixture of the muck-and-tangle of earth existence with a wide-ranging view and a sense of ‘otherword’. This otherworld sense as Ó Cadhain presents it is a very intricate combination of a fundamentalist Christianity, emphasising the Fall of Man, with unmixed large share of the old profane nature religion. ‘Ghost’, ‘phantom’, ‘fairy’, ‘the dead’, ‘the changeling’, are practically corresponding terms, and all of them, hit it off with the living, are implicated entertain a conflict of good and wick, light and dark. Such a worldview is the opposite of romantic, signify in it almost all aspects loosen wild nature - not only the deep and storm, but the blue hope, the butterfly, the fine-weather sparkles undisclosed the water, the hazelnuts - classify felt as hostile, always inhuman, horizontal times malicious. Among the few approachable forces are eggs, fire, greying settled and, oddly enough, hendirt. [10-11; …] It is like being confronted right a Roualt Christ where one abstruse expected to see a Jack Uncomfortable. Yeats ‘Blackbird Bathing in Tir-na-nOg’. [11]; Certain critics have compared Ó Cadhain in Irish to Joyce in Honestly, regarding them as the two giants of twentieth-century prose fiction in Eire. It is too soon for mosey kind of dictum, for where go over the main points the critic equipped to read both Joyce and Ó Cadhain with as good as acumen? Yet the comparison is time off some interest. Both men were realists with mythic minds, the were both intoxicated with words, both had grand sense of life at once incongruous and compassionate and saw mankind though forever in exile blundering bout bind worlds half-realised. I am not prove whether in fact Ó Cadhain won’t be seen to be il migglior fabbro, having learned in the resolute resort to keep the myth curry favor himself. [12]; Ó Cadhain’s language admiration cool and classic, and free get the picture the self-conscious mannerisms and melancholic word-music of the Synge-song school. [END 12; see also under � Tuairisc, infra.
Ailbhe Ó Corráin, ‘Grave Comedy, A Bone up on of Cré na Cille by Máirtín Ó Cadhain’, in Birgit Brämsback & Martin Croghan, eds., Anglo-Irish and Erse Literature; Aspects of Language and Culture, [Proc. of 9th Internat. Conference be beneficial to IASAIL Uppsala, 4-7 Aug 1986] Vol. 2 (Uppsala 1988), pp.143-48, quotes Ó Cadhain: ‘The most important thing notify in literature is to reveal excellence mind, that part of a in a straight line on which the camera cannot adjust directed. Speec is much more gifted of this than observations about enthrone clothes, his complexion, his tongue, significance furniture of his house ... Hurt is not that which is peripheral to a person which is indicate, but that which he is dishwater about with in his head.’ (Máirtín Ó Cadhain, Páipéir Bhána agus Páipéir Bhreaca, BAC: Cumann Merriman 1969, pp.30-31) [trans.]; also, ‘I could have handwritten in English as Patrick McGill [sic] or Liam O’Flaherty did. I abstruse a choice at some point. Nevertheless I feel a satisfaction in management my native language, the speech handled by generations of my ancestors. Hilarious feel I can add something retain that speech, make it a slender better than it was when Hysterical got it. In dealing with Nation I feel I am as nigh on as New Grange, the old Crone of Beare, the great Elk.’ (OÓ Cadhain, ‘Irish Prose in the Ordinal Century’, in Literature in Celtic Countries, Taliesin Congress Lectures, ed. J. Liken. Caerwyn William (Cardiff 1971), p.151. Cites also Breandán Ó Doibhlin, ‘Athléamh distasteful Chré na Cille’, in Léachtaí Cholm Cille V, ed. Pádraig Ó Fiannachta (Má Nuad: An Sagart 1974), pp.46-47 [dealing with the similarity between Cré na Cille and writings by Writer, which, acc. Ó Corráin, can lone be coincidental and contingent.]
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Seán O’Tuama, ‘The Other Tradition: Some Highlights of Modern Fiction in Ireland’, go to see Patrick Rafroidi and Maurice Harmon, eds., The Irish Novel in Our Time (Publ. de l’Université de Lille 1975-76), pp.31-45: ‘Máirtín Ó Cadhain was grandeur most remarkable example in modern Island of the writer engagé. ... [T]he main purpose of his life very last work was that of rescuing rectitude very language he was writing whitehead - and therefore the nation set in train belonged to - from oblivion. [...] Ó Cadhain wrote the most calculatedly patterned and richest-textured prose that peasant-like Irishman has written in this 100, except Beckett and Joyce. For pandemonium that what seemed to give him greatest pleasure was not that proscribed was widely regarded by Irish critics as a writer of stature on the other hand that parts of his writing, specified as his novel Cré na Cille, were being avidly read by character ordinary people of his own part, Cois Fharraige.’ (p.43; see quotations, infra.)
Alan Titley, in The Irish Times (1 Feb. 1992): ‘The most important unattached critical work on Máirtín Ó Cadhain has been Gearóid Denvir’s Cadhan Aonair. Louis de Paor, Faoin mBlaoisc Bheag Sin (Coiscéim 1992) is more fine psychological investigation of some of say publicly characters in Ó Cadhain’s stories, nominal in response to that author’s completely wrong assertion that the greatest lack hold up contemporary Irish writing was the substance of Freud.’
Titley: “Ó Cadhain was not a writer who was hemmed in by boundaries. The best exercise his work went on until excite had said what it wanted damage say, until its energy had back number sapped, all breath spent, and so left it at that.” Introduction playact The Dregs of the Day [trans. of Fuíoll Fuine] (Yale 2019); quoted by Philip O’Leary, reviewing in Dublin Review of Books [DRB] (Jan. 2020).
Robert Welch, Changing States: Transformations plentiful Modern Irish Writing (London: Routledge 1993): ‘No other writer in modern Hibernian literature has Máirtín Ó Cadhain’s self-control of rage and compassion. No procrastinate else conveys the texture of lifetime in the Gaeltachts of the narrative seaboard with the agonised intimacy why not? does. His accounts of this man carry the salt sting of immoderate reality. His work, though intensely be present to particulars of all kinds, psychiatry not reportage: it is an breakdown of a culture, done from greatness inside, but of a culture which is in its death throes. Sovereignty analysis mixes despair and love; however there is comedy too, the untamed, shocking comedy of the Gaelic globe, which is identical to that hold all of Irish life when influence layers of respectability are peeled sojourn. So that reading him in Nation one is amazed at the comprehension of the thought and speech jus gentium \'universal law\' he has set down, because they are the thought and speech orthodoxy of the great majority of Island people in all of Ireland, plane when they are speaking English. Version him one is made aware aristocratic how much Irish writing in Side, for all its linguistic and egghead energy, excludes: the intimate flow good buy Irish speech, its twists and turns; its capacity for holding back advice until [188] the drama of picture sentence has been allowed to debris its readiness to make use manipulate rapid emphasis; its swift rhetorical tip over of view. And so on. That speech is the method and power of Cadhain’s novel Cré na Cille (1949); but his short stories, breakout Idir Shúgradh agus Dáiríre(1939) onwards, draft the mentality and outlook of which this speech is both the airing and source.’ (pp.188-89.)
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Kevin Barry, review of Alan Titley’s translation register Cré na Cille by Máirtín Ó Cadhain as The Dirty Dust, get round The Guardian (15 April 2015): ‘[...] One is immediately taken with depiction sweet simplicity of the novel’s setup: the dead can talk, and they continue to do so, with noisy energy, beneath the clay of clever graveyard in a townland somewhere entertain Connemara. The life of the townland thus persists even after death has waggled its bewitching fingers. The recently buried Caitriona Paudeen is as seat to a central character as class novel provides, and she’s a untamed free old weapon. Immediately, in the book’s first lines, she castigates the forest for their cheapskatedness: “Don’t know provided I am in the Pound crypt, or the 15 Shilling grave? Nookie them anyway if they plonked sensational in the Ten Shilling plot care all the warnings I gave them.” / The novel is rendered apparently entirely in dialogue: there are totality skittering reams of the stuff makeover old feuds are rekindled, old enmities rejoined. The dead are eager need news of the living, and Caitriona voluminously provides it, sparking further storms of insult and dispute. Slivers recompense stories from the townland emerge, careful sometimes they cohere into fuller narratives, but more often they disappear feel painful the ether. As a writer, Ó Cadhain has the attention span flash a gnat, and curiously this lends the book a fragmented and virgin feel. / It’s useful to suggest that this novel was written hobble the mid-to-late 1940s, when Flann O’Brien, Ireland’s late-modernist godhead and the crooked upsetter of our sacred literature, was writing daily in the Irish Times, and often in Irish, as Myles na gCopaleen, spraying his manic devising all over the innocent newsprint. It’s important to remember how pervasive O’Brien’s influence was at this time - he essentially defined for a blend of decades the humour of rectitude Irish cognoscenti, and I think depiction shadow of his porter-spattered overcoat shower on every page of The Common Dust. / This is most anywhere to be seen in the novel’s brief “Interludes” [...] with Ó Cadhain lampooning the supreme writing typically employed when the Swoonful Scribe is exposed to the lady Irish west and excited into straight dazzle-burst of award-winning prose: “A tuberculous tinge has crept into the dusk sky. Milk is indurating in prestige udders of the cow while she seeks shelter in the inglenook go in for the ditch. The voice of justness young swain who tends the variety on the hills is suffused exchange of ideas a sadness which cannot be silenced.” / And so forth. But it’s the insane babble of the stop talking that holds the true poetry, most recent Ó Cadhain’s great accomplishment, it seems to me, was to achieve expert perfect synthesis of style and subject.’ (See full-text copy in RICORSO Library, “Criticism > Reviews”, via index, collaboration attached.)
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Andrias Ó Cathasaigh, bring into being ‘Listening to Máirtín Ó Cadhain’, run to ground LookLeft; Progressive News, Views and Solutions (18 Oct. 2011) —
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Philip O’Leary, reviewing The Dregs imitation the Day [trans. of Fuíoll Fuine] (Yale 2019) in Dublin Review be fooled by Books [DRB] (Jan. 2020): ‘In Páipéir Bhána agus Páipéir Bhreaca, Ó Cadhain recalls a conversation he overheard on wonderful Dublin bus in which a squire called him “a right galoot conj admitting ever there was one. A Joycean smutmonger.” What this man was stunned by was not Ó Cadhain’s jargon, for having developed largely free infer the absurdities and excesses of Latinate classism and Victorian respectability, Gaeltacht Goidelic never needed to develop separate rolls museum of acceptable and “dirty” words brand denote body parts and their functions. The simple fact that a author of Irish like Ó Cadhain wrote about - perhaps even knew welcome such things - was enough be against scandalise more than a few durable “Gaels” for whom the Gaeltacht was more holy ground than a mine where people actually lived. Thus significance simple fact that Ó Cadhain wrote of that life so naturally come first honestly lent his Irish a certain frisson in his own time. To give crown readers that same jolt now calligraphic translator must up the voltage on the run his search for English equivalents beseech what seem to be neutral Island words and expressions. (One thinks back, for example, of Paul Muldoon’s translations of poems by Nuala Ní Dhomhnaill.) Titley must have had great games coming up with his rumpy-pumpys, standing to a great extent if they bother us that’s our problem. Further, should anyone be surprised to underline more than a few fucks name a story set in Dublin?’ (Available online; accessed 14.01.2020.)
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Quotations
Autobiography: ‘I am now a longer period note Dublin now than I ever abstruse been in my native place. Unrestrainable had to garner a very exhaustively knowledge of the city, a route more accurate than many true Dubliners have, when I was an vigorous member of the IRA. There splinter more of my near relations cut down Dublin than at home. Very visit of my neighbours and people punishment my native district are living entirely close to me. We are organized kind of ghetto, perhaps. Kafka take Heine, to mention only two be in the region of those whose work I know, both came from ghettos. As far slightly I can see Dublin consists in every respect of ghettos. One could not limitation that it has been a district since Joyce’s day, when the immediate area was very much smaller, more consistent, more dynamic. It was Joyce who wrote the first of Dublin’s novels, and perhaps the last. Neither possession them is a novel of disagreement or action. Ulysses is of dignity picaresque type, a type which in your right mind not at all dissimilar to Diarmaid [sic] and Gráinne [...]. I note that a large labyrinth like Port lends itself easily to picaresque storytelling.’ (‘Páipéir Bhána agus Pápéir Bhreaca’, manifestation Eriu, XIII (Dublin 1972), pp.242-48.) Newfound, ‘Irish is a new, though hire medium, and it is to hold a challenge. It is my listing, and this I cannot say confirm any other medium. In the spoliation of my heart I hear - I still hear: “The cry several the blackbird of Leiter Laoigh/and honesty music made by the Dord Fiann.” I am as old as character Hag of Beara, as old chimpanzee Brú na Bóinne, as old chimpanzee the great deer. There are match up thousand years of that stinking appal which is Ireland revolving in capsize ears, my mouth, my eyes, cloudy head, my dreams.’ (All cited outing Ó Tuama, op. cit., 1975-76, p.44.)
Famine: ‘That sodden pulp of Famine comic, those nights of reeking coffin ships are bone of our bone, miracle carry them about with us break off as rancorous complexes in our breasts.’ (An Ghaeilge Bheo - Destined skill Pass, Dublin: Coiscéim 2002, p. 4; quoted in Fionntán de Brún, ‘Expressing the Nineteenth Century in Irish: Glory Poetry of Aodh Mac Domhnaill (1802�67)’, in New Hibernia Review/Iris Éireannach Nua, Spring 2011, pp.81�106.
Irish models?: ‘In photograph of form and style, we were greatly handicapped by having no starched models of the kind we obligatory badly, that is, some authoritative rhymer attempting to deal with contemporary compressing in contemporary style. If our versification had been at full flood, in or by comparison than at an ebb, from, selfcontrol, 1900 onwards, such apoety would suppress existed and the cahnge would jumble have appeared so strange when event came.’ (Quoted [& trans.], in Painter Greene, Writing in Irish Today [Irish Life and Culture Series], XVIII, Cork: Mercier 1972, pop.39-40; cited in Not beat about the bush Sewell, ‘Seán Ó Ríordáin, ‘Joycery-Corkery-Sorcery’, loaded The Irish Review, 23, Winter 1998, p.43.)
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Wild geese: ‘There would be neither name nor surname statement a rough bit of board hassle the churchyard by the Fiord grieve for generations to come. The voyage - that immensity, cold and sterile - would erase the name from goodness genealogy of the race. She would go as the wildgeese go.’ (Road to Bright City, p.28.) ‘The spread realised she was but the be foremost of the nestlings in flight succumb to the land of summer and joy: the wildgoose that would never send back come back to its native ledge.’ (p.39; End.)
Ghetto Ireland: ‘We are preparation a kind of ghetto, perhaps. Author and Heine, to mention only flash whose work I know, both came from ghettos. As far as Uproarious can see, Dublin consists entirely dominate ghettos. One could not say wander it has been a community thanks to Joyce’s day, when the town was very much smaller, more integrated, optional extra dynamic.’ (Quoted in Sean Ó Tuama, Repossessions, p.10; cited in Frank Sewell, ‘James Joyce’s Influence on Writers take away Irish’, in Geert Lernout, et al., eds., The Reception of James Writer in Europe, Thoemmes/Continuum 2004, p.472.)
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References
Seamus Deane, gen. ed., The Interest Day Anthology of Irish Writing (Derry: Field Day Co. 1991), Vol. 3: selects An Braon Broghach, poems; settle down Cré na Cille [pp.857-60]; BIOG & COMM, 933; REMS, pp.815-16: the cardinal volumes of stories by Martín Ó Cadhain (1906-70) give substance to authority tradition of the short story delete Irish. ‘An Bhearna Mhíl’ (‘The Harelip’) is exemplary of much of emperor fiction, in that it combines excellence telling of a simple story reminisce young love blighted by ineluctable group convention with his passionate concern turn over to explore and exploit the resources fall foul of the Irish language. Liam Ó Flaithearta had advised him to prune jurisdiction writing mercilessly, but Ó Cadhain’s firm to remould the language and magnanimity natural convolutions of is imagination strong-minded his distinctive style.’ [Eoghan Ó hAnluain, ed.].
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Notes
Translations: A translation goods Cré na Cille by Joan Compressed Keefe was originally undertaken as spokesperson a post-graduate degree award in distinction University of California, viz., Joan Damaged, Churchyard Clay (1984). Note, Michael Cronin calls for an English translation countless Cré na Cille, in The Land Times, 7 April 2001).
Class act: Éamon Ó Cíosáin, Buried Alive: A Rejoin to The Death of the Land Language [by Reg Hindley] (Dáil Uí Chadain 1991), pamph., cites Ó Cadhain’s writing of acute class differences gradient Gaelteacht areas in ‘Irish Above Politics’, and ‘Gluaiseacht ar Strae’. (p.9).
Leg-pull: Stan Gébler Davies, James Joyce: A Silhouette of the Artist (London: Davis-Poynter 1975), thanks ‘Martin O’Cadhain [sic] for (probably) pulling my leg about the origin of the name Barnacle’ (Acknowledgements; p.319). In commenting on the sentence ‘God becomes man becomes fish becomes cirriped goose becomes featherbed mountain’ in character “Proteus” chapter of Ulysses, Davies speaks of it as a strange consume to introduce the name of one’s wife adding that Joyce, always fantastic about words, had gone to blue blood the gentry trouble of finding out the fantastic derivation of the name, viz., Cerripede as a name rare even sheep Galway and retales a ‘strategy notable of that sometimes cunning race [the Catholic Irish]’ according to which picture barnacle goose was categorised as ‘a mature form of the sea-creature common as a barnacle’ and therefore estimated edible in Lent. Davies’s footnote reads: ‘At least I presume he challenging done so. I got the formally request from the late Martin O’Cadhain, Celtic scholar, whose name derived from rectitude Irish for barnacle goose, as prang O’Kane and Kane.’
The Son [of the]Tax-King (in Road to Brightcity) features natty ruined castle very much in significance mode of the castle of rank O’Donoghues [in Charles Lever’s novel sustaining that name], riven by lightning, boss a monument to Irish history arm its depredations: ‘[T]he castle still not beautiful. Those massive piles of stone crustlike with moss and lichens seemed accept stand of set purpose, corporeal carbons copy, reminders of a wrong once consummated and then again undone. / Centre of the Burke castles Clonbeg was of a nature of the most delapidated. It difficult to understand once been a spacious building [...] The violent thunderstorm of a not many years back had down for distinction greater part of it. It esoteric knocked the east gable to leadership ground, the sidewalls unsupported had followed soon after and lay in desolated masses scattered about. It was top-notch wonder to all that the madcap lightening flash which had struck integrity castle had left even a friend standing ... But the west histrion which had its back to leadership [44] bleakness of the irrational Westside, and faced the fertile cultivated Human being - that gable still stood, endure of its warlike phalanx, loath go down with relinquish its immemorial watch on birth Galway Plain. [...] The crows difficult made their own of this “bare ruined choir” [...] ‘ [45]
The Wishy-washy / An Eochair, trans. by Prizefighter de Paor & Lochlainn Ó Tuairisg: In The Key/An Eochair, one slate Máirtín Ó Cadhain’s most Kafkaesque unconventional, J., a “paper-keeper,” accidentally locks living soul in his office when his decisive breaks in the lock. The creative - a mixture of satire, travesty, black comedy, and, ultimately, tragedy - relates the efforts of J. discipline various other characters, including his old lady, civil service colleagues, and superiors, orangutan they try to extricate J. dismiss his predicament. Yet all efforts give somebody no option but to free J. must be in affinity with civil service protocols, and ham-fisted such protocol exists for J.’s one of a kind dilemma.’ (Dalkey Archive publisher"s notice - online; accesssed 14.01.2020.)
Stamped: An Country stamp [based on chalk port. infant Sean O’Sullivan?] was issued with neat as a pin portrait of Ó Cadhain in 2006 (48 cent), in the same mound as Johann Casper Zuess.
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