The main purpose of these notes is to assist you in forming an overview of Heaney’s work. For this reason, the material is structured as a series of ‘thinking points’, grouped under general headings. These cover the poet’s main preoccupations and methods, but they are not exhaustive. Neither are they ‘carved in stone’, to be memorised: ideally, they should be altered, added to or deleted as you develop your own set of notes. This priceless pearl of wisdom is relevant for Heaney BUT it equally applies to all the other poets on your course as well!
The following ‘grace notes’ presuppose a basic knowledge of the following poems by Heaney on your Leaving Cert Poetry Syllabus:
The Tollund Man
A Constable Calls
The Harvest Bow
IRISHNESS – HISTORY, MYTHS, POLITICS
In his early poems, Heaney was preoccupied with local history, with communicating the experience of his own place with its numerous customs, rituals and ancient rural crafts (See ‘Sunlight’ and ‘The Forge’).
Then he began to think of history as landscape, exploring downwards, finding evidence of history in the bogs and the very contours of the land, exploring what myth and prehistoric evidence revealed about Irishness (See ‘Bogland’)
Exploring back in time, he makes historical connections between the Iron Age and the present. He draws parallels between ancient human sacrifices and the contemporary violence which was engulfing his native Ulster at the time. He seems to be saying that violence is indeed endemic in all societies throughout history, that human sacrifice is necessary for the integrity of territory, that myths, however savage, are an integral part of the creation of the identity of a people (See ‘The Tollund Man’).
Overall, Heaney’s position has been seen as ambivalent and has been misunderstood by many. His poetry constantly explores the divisions tearing present-day Ulster apart. His position has often met with criticism from all sides regarding his treatment of recent Ulster history. Some critics say he has too much politics in his poetry, while others say he should stand up for his people and take sides. He has been accused of obscuring the horrors of sectarian killings; of endorsing a ‘tribal’ position, or of not endorsing it enough; he has also been accused of evading the issues and being non-committal in his writing.
For many critics, like Elmer Andrews, Heaney doesn’t go far enough: ‘Heaney’s art is fundamentally an art of consciously and carefully cultivated non-engagement’. Do you agree? Is Heaney completely uncritical of his own side? (See ‘Bogland’, ‘The Tollund Man’, ‘A Constable Calls’).
PLACE AND LANDSCAPE
Like Patrick Kavanagh, who is synonymous with his native Inniskeen, Heaney too has immortalised his native place and Mossbawn and Anahorish are mentioned often, especially in those poems which deal with childhood. ‘Sunlight’ presents us with a picture of an idealised childhood, his aunt Mary Heaney’s kitchen is depicted as enveloping him in a womb-like security. His earlier poems, especially those from his collections Death of a Naturalist (1966), Door into the Dark (1969), North (1975), and Field Work (1979), focus very much on home and family, his relationship with his father and mother and the need for continuity between the generations (See ‘Sunlight’, ‘The Harvest Bow’)
Anybody who has read ‘Blackberry Picking’ or ‘Death of a Naturalist’ and other such poems by Heaney will need no convincing that he is a fine descriptive nature poet. Terence Brown says that he has an ‘extraordinary gift in realising the physical world freshly and with vigorous exact economy. Heaney can bring everyday natural events before the readers’ eyes with such telling precision that his images are both recognition and revelation’ (See any of his poems!).
Landscape for Heaney is more than just a subject to be painted: it is a living presence, an ever-present force, a sort of third party to human activity in the poems. This is the same immediate personal presence that we also find in Kavanagh and Wordsworth (See ‘Postscript’, ‘Bogland’, ‘The Tollund Man’).
He shows us differing aspects, different faces, of the landscape: from the life force (‘spirit of the corn’) to the threatening, menacing aspect (‘the bottomless bog’). When writing about the farming traditions of his community he also presents us with the juxtaposing ideas of growth and decay.
Heaney believes that people have a human and a religious relationship with the landscape (See ‘Bogland’, ‘The Tollund Man’, ‘The Harvest Bow’).
The landscape is seen as essentially female, often with erotic associations in its relationship with man (Examine ‘The Tollund Man’ closely).
Heaney’s landscape is dominated by the earth rather than the sky, with the bog providing a metaphor for Irish consciousness (See ‘Bogland’, ‘The Tollund Man’).
‘The landscape for me is an image and it’s almost an element to work with as much as it is an object of admiration or description’. Heaney often uses nature metaphors to express his feelings of frustration and loneliness. For example, in ‘The Harvest Bow’ he describes his frustrating attempts at communicating with his father like this: ‘your stick / Whacking the tops off weeds and bushes / Beats out of time, and beats, but flushes / Nothing’ (See also ‘Postscript’).
Driving out west along the now famous Wild Atlantic Way, along by Flaggy Shore near Ballyvaughan on the West Coast of Clare, the poet explores the beauty of the Irish landscape as a tourist would. Heaney describes the beauty of the landscape and the changing light and the feelings it will inspire. It is a journey poem where the poet finds himself caught between wild things and settled things, between things earthed and things in flight. The sonnet-like structure of the poem gives it a postcard quality ending with simple and powerful words: ‘And catch the heart off guard and blow it open’ (‘Postscript’)
Above all, the landscape for Heaney is a source of creativity and insight: ‘poems … come up … like bodies out of the bog of my own imagination’ (See ‘Bogland’, ‘The Tollund Man’).
TRADITION AND IDENTITY
For Heaney, an awareness of one’s tradition is fundamental to a sense of identity. He explains and explores his own roots, celebrating the ancient skills and crafts that sustained the farming community that nurtured him and his family for generations: the digging, the ploughing, the water-divining, the bread-making, the skills of the farmer, the blacksmith, etc. These skills are described in a reverential way as if they were sacred rituals. (See ‘Sunlight’, ‘The Forge’).
Sometimes he still hankers back to the womb-like security of that life of early childhood. Some interpret these poems describing his Aunt Mary’s kitchen in Mossbawn as a form of regression or escapism from the daily horrors of life in Northern Ireland in the Seventies and Eighties (See ‘Sunlight’). Sometimes he needs to re-forge, reinterpret and understand his links with family in order to rediscover his identity (See ‘The Harvest Bow’ where he says, ‘I tell and finger it like braille’).
‘Our sense of the past, our sense of the land and perhaps even our sense of identity are inextricably interwoven,’ according to Heaney (The Irish Press, June 1st 1974). Therefore, finding and maintaining a sense of continuity is vital to Heaney: family, traditions, customs and values come to him as memories in his poetry and reassure and comfort him amidst the mayhem and uncertainty of daily atrocities in his home place (See ‘Sunlight’, ‘The Harvest Bow’).
He explores his Catholic roots too, as set against the other traditions. According to Robert Welch: ‘Heaney is engaged upon a cultural and tribal exploration; he is testing out his cultural inheritance to see where the significant deposits are located; but he is not engaged upon a mindless submission to the old tradition of the goddess or whatever.’ (See ‘Sunlight’, ‘The Harvest Bow’, ‘Bogland’, ‘The Tollund Man’).
There are times in his writing when his personal identity has overtones of victimhood about it. He certainly seems to identify with victims: ‘something of this sad freedom … should come to me.’ (See ‘The Tollund Man’, ‘A Constable Calls’).
IDENTITY AND POETRY
Heaney’s identity as a poet is inextricably linked in with his historical and cultural identity. The autographical voice we encounter in his first collection, Death of a Naturalist, becomes the spokesperson of his people in the later collection, Door into the Dark (See ‘Bogland’).
He identifies with the bog – he takes on board the implied insult that he is ‘a bogman’ and he owns it! The bog, with all its implications, becomes a kind of subconscious racial memory for him, providing him with inspiration for his poetry. The Danes weren’t the only ones to bury their dead in the bog – there were numerous victims of violence ‘disappeared’ during ‘The Troubles’ and buried in remote, windswept locations on this island too (See ‘The Tollund Man’, ‘Bogland’).
Elmer Andrews describes Heaney’s method in this way: ‘He is proposing an idea of poetry which combines psychic investigation with historical enquiry’. In an essay entitled ‘Feeling into Words’, Heaney himself spoke of ‘poetry as divination, poetry as revelation of the self to the self, as restoration of the culture to itself; poems as elements of continuity, with the aura of authenticity of archaeological finds, where the buried shard has an importance that is not diminished by the importance of the buried city; poetry as a dig, a dig for finds that end up being plants’ (Preoccupations, 1980) (See also ‘The Tollund Man’, ‘Bogland’).
Heaney sees the craft of poetry not just as something mechanical but rather a ‘combination of imagination and skill. He uses a brilliant analogy to describe a poem as ‘a completely successful love act between the craft and the gift’ (See ‘The Forge’).
Heaney’s voice in his poems is often indecisive, timid and ambiguous, his position is that of a hesitant observer on the fringes of the scene. For example, in The Forge he is outside looking in, afraid of the darkness within.
Heaney and other Northern poets such as Montague, Mahon, and Longley have come to prominence because of their efforts to make poetry relevant in a difficult political backdrop. He feels at times that poetry may be powerless to influence politics but nevertheless, it is vital to a sense of identity.
SAMPLE ANSWER: What are the recurring themes in the poetry of Seamus Heaney?
Heaney’s poetry brings us to our senses! There is a tactile, sensuous quality to his poetry and his poetry is often multi-layered. When he says that he will ‘dig’ with his pen he is referring to how layer after layer of meaning can be revealed in the act of writing. In ‘The Forge’ he records a changing way of life as the horse and car make way for the motorcar, but the poem also reveals a growing awareness of the mystery of the creative process. It becomes, therefore, a poem about poetry.
His poetry often draws on childhood memories of growing up on a farm in Co. Derry. In ‘Sunlight’ and ‘A Constable Calls’ he presents us with two contrasting memories, one beautifully tranquil, the other troubled and uneasy. Place is of vital importance, as in Kavanagh’s poetry, but so too are the people associated with that place: the exhumed Tollund man, his Aunt Mary in the family kitchen, his father ‘making tillage returns /In acres, roods and perches’, and his father making the harvest bow.
There is, therefore, a preoccupation with the past and a fascination with it. In both ‘Bogland’ and ‘The Tollund Man’ Heaney, like the ‘pioneers’ who keep ‘striking / Inwards and downwards’, prompts us to think across thousands of years. ‘Bogland’ speaks of how our ancestors’ lives are recorded and contained within the bog. ‘The Tollund Man’, though it also speaks of a bog find, is a more complex poem in that it relates a violent death that took place two thousand years ago in Jutland to the violent deaths which occurred almost daily in Northern Ireland from 1969 until the signing of the Belfast Agreement on Good Friday in 1998. Though Heaney writes about contemporary events, he does so sometimes at a tangent. Heaney himself has said that he has searched for ‘images and symbols adequate to our predicament’. And despite what some of his critics say, he never shirks or avoids the savage reality of violence: in ‘The Tollund Man’ he writes with stark realism of how the mutilated bodies of four young brothers were dragged along the train tracks, their skin and teeth flecking the railway sleepers.
Heaney’s lyric voice is often straightforward. Lines can be plain, unadorned, and deceptively simple: ‘His bicycle stood at the windowsill’, but these opening lines open up and at the same time deepen our understanding of a particular experience. In Heaney’s own words a poem preserves an experience, but ‘it should also open experience up and move it along … so that, first of all, the poet and then the reader, hopefully, gets carried away a little.’
‘So’ is a key word in Heaney’s poetry. It signals a clear-sighted focus on the scene before. For example, in ‘Sunlight’ he says, ‘So her hands scuffled / over the bakeboard’. By his use of this simple word, he achieves an immediate, direct, warm tone in his poetry. Also in ‘Sunlight’, we can see how his use of a shift in tense from past to present indicates how memory or a remembered event can be given a living quality within the poem. The poem begins in the past – ‘There was a sunlit absence’ – but ends in the present – ‘Now she dusts the board … now sits broad-lapped …
And here is love
like a tinsmith’s scoop
sunk past its gleam
in the meal-bin.
Throughout his career, Heaney was very interested in poetic form and structure. ‘The Forge’ is a sonnet and other poems on our course reveal a mastery of many forms – a variety of line lengths and differently shaped stanzas. In ‘The Harvest Bow’ the intricacies of the making of the bow is mirrored in the intricacies of the poem itself: in a line such as ‘brightens and tightens twist by twist’, with its perfect example of internal rhyme and repetition.
Heaney’s poetry is both sensitive and sympathetic. He identifies and understands others. Relationships are at the heart of his poetry, his relationships with loved ones, family, and also his relationship with significant places such as Mossbawn and later Glanmore. He recognises what is good and he cherishes and celebrates it. In his poems he is capable of delight and astonishment; the ordinary becomes marvellous, and such moments are conveyed with wonder, humility and gratitude.
You might also like to read some of the following:
Andrews, Elmer (ed). The Poetry of Seamus Heaney: Essays, Articles, Reviews. Columbia University Press (Icon Books Limited), 1998.
Brown, Terence. The Literature of Ireland: Culture and Criticism. Cambridge University Press, 2010.
Heaney, Seamus. The Government of the Tongue, Faber and Faber, 1989.
Heaney here scrutinizes the work of several poets, British and Irish, American and European, whose work he considers might call into question the rights of poetic utterance. The author asks whether the voice of the poet should be governed, or whether it should be the governor.
Nobel laureate Seamus Heaney’s first collection of prose, Preoccupations, begins with a vivid account of his early years on his father’s farm in Northern Ireland and his coming of age as a student and teacher in Belfast. Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.
Welch, Robert (ed). Irish Writers and Religion, Rowman and Littlefield, 1992
“I have two doctors, my left leg and my right” – G.M. Trevelyan
I have recently spent a glorious week in Puerto Rico in Gran Canaria rambling up hill and down dale, so to speak. This place is challenging enough and rambles in the early morning or after five in the evening are recommended. I hope I’m never there during an earthquake!
We have been coming here now for the past ten years and each visit uncovers new delights, improved pathways, steps and roadways. Our favourite walk is the Cliff Walk between Puerto Rico beach and the man-made Amadores Playa. This is an easy ramble and often a preamble to more strenuous excursions.
We invariably book accommodation on the lower level, Corona Cedral would be our favourite place of all but we have also stayed in Monte Verde, Letitia del Mar, Maracaibo, Canaima and also Rio Piedras with its terracotta terraces overlooking the beach. All these are very central – near the main Shopping Centre and also the beach and its many restaurants.
Our favourite restaurants are all on the beachfront. We’ve been evangelists for Oscar’s Restaurant for years and recently it seems to have amalgamated with its near neighbour Restaurante Aguaviva but I’m glad to report that the standards haven’t slipped – the most fantastic prawn cocktail, salmon, fillet steak, Crepes Suzette and all washed down with copious amounts of Marques de Caceres Crianza! The nearby El Greco apartment complex also has three restaurants which are worth a visit, especially La Cantina which is the best of the three El Greco options. The new kid on the block is Frank’s Gourmet Restaurant and after our one visit on this trip, it is guaranteed to keep the others on their toes!
The only drawback I find with Puerto Rico is its distance from the airport – approximately 40 kilometres. However, Gran Canaria has a first class public transport system and once free of Arrivals and the terminal building you can go to the bus terminal and get the 91 bus to Puerto Rico for €5.45 – as opposed to €50 for a taxi. Alternatively, Ryanair and others provide reasonably priced shuttle services to and from the airport.
As one becomes familiar with the area one becomes more confident in foraging out new trails, loops and challenging treks. The one thing to notice is that there are steps everywhere linking the various levels. The local authority has done fabulous work in the past five years building a series of steps from the beach to the high point near Puerto Azul apartments. In all, there are 756 steps in this series – individually counted! – and depending on your exertions you can decide to descend the 756 or take on the more daunting challenge and ascend – or even decide to work both into your evening ramble!
I am reminded that numerous philosophers and novelists have also wandered and wondered. Kierkegaard did so in the countryside near Copenhagen, and suggested that it might be good for his niece, Jette, to do likewise. Prompting her in 1847, he came up with a notion I repeat on my own travels:
“Above all, do not lose your desire to walk. I walk myself into a state of wellbeing and walk away from every illness. I have walked myself into my best thoughts, and I know of no thought so burdensome that one cannot walk away from it” (A Letter to Henrietta Lund from Søren Kierkegaard, 1847, trans. Henrik Rosenmeier, 1978).
I haven’t read many of HG Wells’ novels, but there’s another mantra from one of the non-fiction works, Modern Utopia, that I’ll happily take to my deathbed: “There will be many footpaths in Utopia.”
And whether I’m rambling in the Ballyhouras or in the hills above Bormes Les Mimosas or in Puerto Rico my favourite nugget of wisdom is, of course, T.S. Eliot’s evocative words from The Waste Land (1922), surely one of the most beautiful poetic lines ever written,
“In the mountains, there you feel free.”
In conclusion, I am often reminded of the lovely Latin phrase, Solviturambulando – ‘it is solved by walking’ – sometimes attributed to St. Jerome or Diogenes, or St. Augustine, maybe even Thoreau or Chatwin, inter alia…..
Michael Hartnett’s son Niall givesthe keynote speech onthe first night of this year’s festival. “Poetry is my life and my life is poetry,” the words poet Michael Hartnett wrote in a letter to his son, Niall in 1998, the year before Michael died.
Niall read excerpts from that treasured letter on the opening night (Thursday 12 April 2018) of Éigse Michael Hartnett, the literary and arts festival which takes place each year in his father’s hometown of Newcastle West, Co. Limerick.
In a keynote speech which took its title from a line of Michael’s, The Possibilitywe have overlooked is the future, Niall Hartnett spoke movingly about his father and his work:
“He could weave a tapestry of a small town or an epic struggle at the highest level so seamlessly, you could not always tell which was which. Neither could he, I suspect, and did not see the point in separating the two: there is as much drama in Salad Sunday as there is in Sibelius! As much intrigue in Maiden Street as there was in Inchicore.”
“We need to honour this son of Newcastle West and the road less travelled he took to bridge many worlds early on. I feel we can best do this by encouraging ourselves and especially the young to choose unpredictable paths and unexpected destinies. Break the mould and proudly show others that you did. Invite the young, your family and friends to this festival and encourage them to nurture this legacy which will someday will be theirs. The future belongs to the young and they will carry all of this on we hope, but only if we engage them now! As the poet himself said: the Possibility we have Overlooked is the Future!” Niall added.
Officially opening the festival Mayor of the City and County of Limerick Cllr Stephen Keary said: “It is heart-warming to see that Michael is being celebrated in his hometown. Michael was loved by everyone in Newcastle West, who knew him through his words, as the poet, and I’m delighted that his son Niall is here this evening giving us an account of Michael as a father. There are many sides to people, such as Michael and it’s invaluable that we get an insight into these so that we can understand and appreciate the works of Michael Hartnett even more.”
The opening night of Eigse also saw the joint winners of this year’s Michael Hartnett Poetry Award honoured: Macdara Woods for Music from the Big Tent (Dedalus Press 2016) and Mary O’Malley for Playing the Octopus (Carcanet 2016).
“Music from the Tent is a superb orchestra of verbal melodies, a Big Top in which free verse, ballads and haiku sing and cavort,” the judges Jo Slade and James Harpur said in their citation.
In accepting his award Macdara Woods said: “It is delightful to share with Mary O’Malley an award given in memory of my old and dear friend, Michael Hartnett. We had many wild times, and some quiet times, and adventures together, from Dublin to London to Kilkee, but what remains most clearly, and has become even more apparent with the passing of time, is his genius for poetry and the translation of poetry. I intend to take this award as a personal nudge from Michael.”
His fellow award winner Mary O’Malley added: “I am delighted to receive the Michael Hartnett Award, I too knew Michael and he had kind things to say about my young poems, he has remained a touchstone for me.”
Mary O’Malley’s Playing the Octopus was described by the judges as “a beautiful collection of rare gems that sparkle and seduce.” This is a collection that balances beauty and harmony, the poems are restrained but deeply felt, the voice assured, meaning is revealed slowly like an uncovering of essence, something essential and elemental.”
Éigse Michael Hartnett also highlighted readings by authors John Boyne and Mike McCormack, who has just been shortlisted for the 2018 International Dublin Literary Award and young Limerick poet Edward O’Dwyer.
Professor Declan Kiberd delivered the Michael Hartnett Memorial Lecture on Saturday 14th, entitled, Honey I shrunk the kids, in which he raised the question of whether there is a children’s literature, or whether the classic works from Alice in Wonderland to Harry Potter are written by adults, published by adults, often to promote adult agendas.
“It will then raise an even deeper question–whether childhood, as we know it through literature, is an invention of recent centuries, perhaps even an image constructed in the age of print and now fast disappearing with the spread of electronic and digital media. These are troubling questions,” Professor Kiberd said.
Éigse takes place each year in Newcastle West, Co. Limerick, Hartnett’s home-town and is supported by the Arts Council and Limerick City and County Council. The continuing support received from Sheila Deegan and her team of Aoife Potter Cogan, Dr Pippa Little and ‘the real boss’ Lizanne Jackman was acknowledged at the opening ceremony. The local organising committee is Vicki Nash, Norma Prendeville, John Cussen Rachel Lenihan, Rossa McMahon and Vincent Hanley.
The Michael Hartnett Poetry Award is awarded in alternate years to books of poetry in the Irish and English language.
Mary O’Malley’s new collection, Playing the Octopus is a wonderful book of finely wrought, delicately woven poems that seduce and excite. The poet has created a world that sustains us, that we recognise and can inhabit. This is a collection that balances beauty and harmony, the poems are restrained but deeply felt, the voice assured, meaning is revealed slowing like an uncovering of essence, something essential and elemental. There is a playfulness and joy in language that at times produces a magical quality – light bounces and refracts – musical intonations interweave with the lyric voice – what is achieved is a virtuoso performance.
This poet is an assured guide through the geography of earth, of body, of soul and she takes us on a journey from her beloved west coast of Ireland to America’s east coast but always beneath an ever-changing sky and always awaiting the hoped-for revelation of light.
There are poems in memory of friends who have died: Firs, for Michael Hartnett where the poet references “Sibelius in Silence”, “From Michael’s book the green gold came: / The name I call them is not their name.” Both poets cherish their native language and music and it is the love of these unique sounds that informs their work.
There are deeply felt, reflective poems: January Aubade, a wonderful meditation on light and life.
“Uilleann”, that takes stories heard and transforms them into a metaphor for life: ‘He has heard the story / Of the octopus who was locked into a room / For a week to practice. / When they let him out the pipes had learned / To play the octopus.”
Women are strong, able, intelligent heroines and Mary celebrates them. There is no hesitation in this poet’s voice, her authority is enhanced by their presence. She has a wry eye that cuts through to the bone, the language is clear and unambiguous, as in: “The Bad Mother Or Bellini’s Pieta”, where the poet states: “She knew the joy he brought / Was mortgaged from the start.”
This is a beautiful collection of rare gems that sparkle and seduce.
Music from the Big Tent
Macdara Woods has honoured poetry throughout his life, consistently rendering the weals and woes of the human condition into poems that sometimes ring from the rooftops, and sometimes whisper with deft subtlety; poems that mix wise and rare insights with a generous heart and an open mind – qualities dear to Michael Hartnett.
Music from the Big Tent is a superb orchestra of verbal melodies, a Big Top in which free verse, ballads and haiku sing and cavort. There are poems that x-ray the body of homo sapiens and reveal the poor, bare, forked animal within; poems that laud the depth and variety of European culture and topography; poems that encapsulate the mysterious beauty of nature – ‘Long dark winter but / See the plum tree in the rain / A sudden whiteness’; poems that never forget the ten thousand things of the city, specifically Dublin, with its smell of ‘Georgian drains’ and where ‘Self serious pigeons / Posture and strut’. And poems that mourn the dead, lament the ailing body, but celebrate the beauty of the human form and the endurance of love.
As, in medieval legend, the minstrel Blondel went from castle to castle singing a song he hoped would be heard and responded to by the imprisoned Richard the Lionheart, so Macdara Woods continues to beat paths along the old green tracks of Europe, a hardy troubadour singing out his enchanting lyrics to the imprisoned imagination.
Note: The judges for the Michael Hartnett Poetry Prize in 2018 were Jo Slade and James Harpur (both former winners of this prestigious prize).
For the week that’s in it The Immortal Jukebox series A Parade of Posts for St Patrick celebrates Ireland’s glorious heritage in Song, Poetry and Painting.
It seems to me that the, ‘Secret Sign’ has been revealed to generations of Irishmen and Irishwomen and that in response they have blessed us with inspiring voices and visions that will always echo through stone and time.
A Song from Luke Kelly
A Poem by Flann O’ Brien performed by Eamon Morrissey
A Painting by Jack B Yeats
Staff in hand let’s set off with Luke Kelly’s magisterial performance of Poet Patrick Kavanagh’s great, ‘Raglan Road’.
Luke Kelly was born to Sing.
Born to Sing.
In his singing there is passion pledged.
In his singing there is grief and rue.
In his singing there is enchantment.
In his singing there is Love and the whisper of old ghosts.
The Iron Bridge referred to here is a commemorative footbridge spanning the Arra River. it has been used for generations to facilitate Mass goers making their way on foot to the parish church in Newcastle West from Maiden Street and in more recent times from Assumpta Park, via The Mass Steps. The bridge was erected by the Devon Estate in 1866 to commemorate Edward Curling JP who had been the local agent for the Estate in Newcastle West in the nineteenth century. It is often referred to locally as the Curling Bridge and following recent restoration, the iconic bridge has once again been restored to its former glory.
Crossing the Iron Bridge
By Michael Hartnett
‘My dear brethren, boys and girls, today is a glorious day! Here we have a hundred lambs of our flock, the cream of the town, about to receive the Body and Blood of Christ, about to become Children of God, and to enter into a miraculous Union with Jesus ….’
Into the cobweb-coloured light,
my arms in white rosettes,
I walked up Maiden Street
across the Iron Bridge
to seek my Christ.
‘It will be a wonderful moment when the very Body and Blood of Our Lord Jesus Christ is placed upon your tongues – what joy there will be in Heaven! So many valuable little souls safely into the Fold! Look behind the Altar! There will be angels there, ascending and descending, singing songs of joy…’
Into the incense-coloured light,
my arms in white rosettes,
I walked the marbled floor
apast parental eyes
to seek my Christ.
‘Christ will be standing there in all His Glory, His Virgin Mother will smile and there will be a great singing in Heaven…’
Under the gilded candlelight,
my arms in white rosettes,
my mouth enclosed my God,
I waited at the rail
to find my Christ.
‘There will be the glow of God in your veins, your souls will be at one with Heaven: if you were to die today, angels would open the Gates of Paradise, and with great rejoicing bear you in …’
Back to the human-hampered light,
my arms in white rosettes,
I walked: my faith was dead.
Instead of glory on my tongue
there was the taste of bread.
This is a memory poem and the poet – now an adult – remembers his First Holy Communion Day which probably took place in 1948 or so. From an early age, we can see that the young Hartnett is not overly impressed by the flowery hyperbole, the sense of ceremony and ritual in his local parish church in Newcastle West. He tells us that instead of feeling ‘the glow of God in (his) veins’, he says very simply, without any adornment that ‘my faith was dead’.
There are two contrasting voices in this poem – the eloquent words of the priest who speaks in grandiose, biblical phrases and the very sparse, repetitive voice of a young boy of seven. The poem traces the young poet’s journey from his home in Maiden Street, across the Iron Bridge, up the aisle of the church to the altar rails. The poet, like a painter or photographer, notices the differing lights as he progresses: ‘cobweb-coloured light’, ‘incense-coloured light’, ‘gilded candlelight’, and finally ‘human-hampered light’.
The priest’s homily is worthy of our attention. Firstly, we have to remember that for the young listeners and their parents, family and friends these are the only words that they would have understood on this special day because Latin would have been used by the priest for the remainder of the ceremony. Secondly, while the majority of the homily uses classical biblical symbolism the poet impishly has him mix his metaphors here: ‘Here we have a hundred lambs of our flock, the cream of the town’. It is highly unlikely that the priest would have used the phrase ‘the cream of the town’ in this context. However, the allusion to ‘a hundred lambs’ is taken directly from the New Testament parable of the Lost Sheep or The Good Shepherd. Ironically, in the context of the poem the priest is already down to ninety-nine. The poet at seven casts himself as The Lost Sheep of the parish. Little wonder then that later in his seminal poem, ‘A Farewell to English’ he would boldly declare:
Poets with progress
make no peace or pact.
The act of poetry
is a rebel act.
As the poem develops, the exaggerated, formulaic words of the priest are interspersed with the young poet’s reactions – in a word, he is not impressed. The exaggerated language, the sense of ceremony, the ‘white rosettes’ on the sleeves of his good clothes all fail to impress. For months now he had been led to believe that as this day unfolded he would not only ‘seek’ but ‘find’ his Christ. As the ceremony ends his sense of disappointment and anti-climax is palpable.
Instead of glory on my tongue
there was the taste of bread.
As he makes his way on foot with his family across the iron bridge in the early morning he is conscious of the ‘cobweb-coloured light’. This is soon replaced for the young, observant First Communicant by scenes of grandeur in the church with ceremonial incense wafting through sunlight beams and ‘gilded candlelight’. As he makes his return journey, deflated and unmoved by the experience in the church, he is aware of the troubling juxtaposition. Once more he leaves the church, crosses the road and the iron bridge again on his homeward journey to Lower Maiden Street, ‘Back to human-hampered light’.
The poem could be interpreted as Hartnett’s equivalent of Stephen Dedalus’s ‘Non Serviam’ in A Portrait of the Artist as a Young Man; his retrospective rejection of organised religion. Stephen had often trod the maze of Dublin streets seeking escape of one kind or another, and it is only when he crossed the bridge to Bull Island and stared out to sea that he finally glimpses the vision of true fulfilment. He cannot find this fulfilment without flight. So Stephen sets out, ‘to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.’ Hartnett also seeks to escape and in ‘A Farewell to English’ we read his own declaration of intent:
I have made my choice
and leave with little weeping:
I have come with meagre voice
to court the language of my people.
So Hartnett, too, rejects the nets which confine and constrict him and in an article written for The Irish Times in 1975 where he endeavoured to explain his reasons for changing to Gaelic, he declared that ‘I have no interest in Conradhs, Cumanns or churches’ – rejecting at one fell swoop well-meaning Irish language organisations, all political parties and the Catholic Church. Years later, in December 1986 in an interview with Dennis O’Driscoll he makes the rather bold, even outrageous, tongue-in-cheek assertion:
I was never a Catholic …… I was fortunate to be born in a house where my father was not a Catholic. He was a socialist with Taoist leanings – though to say this is to talk with hindsight; like all poets, I can foretell the past.
Indeed, his poetry and other writing often contain unflattering references to the Catholic clergy, long before this became de rigueur. In Section 7 of his great poem ‘A Farewell to English,’ he confides in us that his voice is ‘nothing new’. He is not alone in trying to hew out a place for culture ‘in the clergy-cluttered south’. However, for those familiar with his poetry it has to be said that he reserves an even greater opprobrium for bishops!
In St. Michael’s Church
a plush bishop in his frock
On his homeward journey after the First Communion ceremony the young Lost Sheep again crosses the Iron Bridge and for him, it is akin to crossing his first Rubicon. Even then at that tender age of seven, like Stephen Dedalus, he has already decided to fly the nets of organised religion and in crossing the iron bridge he symbolically turns his back on all that this entails.
 Michael Hartnett. Why Write in Irish? The Irish Times (26th August 1975).
 The interview first appeared in Poetry Ireland Review (Autumn 1987).
Memories of the Past – Episode 80 filmed by the late John Joe Harrold – First Communion Day in Newcastle West.
like black harpoons, fail against the whaleskin sky.
Wasps in this skyless summer have no place,
small quarrels swell to great and flooded rifts;
lime trees, prematurely old, decide to die.
The heavy steel-wool curtain never lifts.
Many cling to rafts of music but I,
I am not happy with the human race
aching for its sun-god – he kills as well –
I skip dripping in the shining rain
and feel the minute fingers tap my face
and breathing in St. Bartholomew’s bell
I look up to the sky and kiss the rain.
This sonnet appears in Hartnett’s 1988 collection Poems to Younger Women published three years after Inchicore Haiku which signalled Michael Hartnett’s return to Dublin from the fastnesses of West Limerick. It is a troubled and troubling collection of love poems which appeared after the breakup of his marriage to Rosemary Grantley. John McDonagh, co-editor with Stephen Newman of the commemorative collection of essays entitled Remembering Michael Hartnett, states that,
The collection displays all the emotional contradictions of Hartnett’s poetry, visceral images of separation, rejection and isolation juxtaposed with the indescribable delicateness and beauty of the natural world. 
On the back cover of the collection published by The Gallery Press, Hartnett tells us that ‘in the main, they were written out of love’.
Knowing what we know, it has to be said that it is very difficult to find signs of lost love, separation, regret and recrimination in any first reading of this poem. Maybe what we eventually find is a poet finally coming to terms with the new reality in his life and a poet becoming more at peace with himself. The sonnet begins with a beautiful evocation of September weather – a virtual tour de force by the ever observant poet. The chestnuts are falling to the ground ‘each a small green mace’; they fall on the soft brown cushion of ‘rusted chainmail leaves’. Already in the first septet we are given the image of a medieval armour-suited Knight of Desmond patrolling the autumnal chestnut trees in the Castle Demesne in the poet’s native Newcastle West. What imagery, what a metaphor!! Then the simile – ‘the swifts / like black harpoons’ – is unleashed. What follows is a superb description of the autumnal sky – ‘the whaleskin sky’. The juxtaposing of ‘harpoons’ and ‘whaleskin’ is masterful, a masterclass in three lines! This, indeed, is a perfect example of the ‘indescribable delicateness and beauty of the natural world’ to which McDonagh refers to.
The poet is surrounded by intimations of mortality and loss – the leaves are falling, the wasps are dying and the ‘skyless summer’ doesn’t help them have their final fling. There are other images of death and decay and the lime trees too ‘decide to die’. The poet is grieving the breakup of his closest relationship and all that it entails. The poet remembers how a throwaway word or phrase has mushroomed out of proportion and led to another great argument or marital row:
small quarrels swell to great and flooded rifts;
The grey autumnal weather is depressing the poet’s mood and in a return to the earlier imagery he concludes that ‘the heavy steel-wool curtain never lifts’.
The sonnet form is inverted here by the poet and instead of the usual octet followed by sestet we have a septet followed by another septet. The grey gloom of an Irish autumn is perfectly depicted in the opening septet and replaced by a qualified joy and exhilaration of sorts in the closing septet. Ironically, this may coincide with the poet’s return to the city because while there are clues that the earlier lines could well have been written in or about Newcastle West the final lines refer to ‘Bartholomew’s bell’, the historic bells of St Bartholomew’s Church in Ballsbridge, Dublin. So he finds himself at sea, alone, forlorn; his life now governed by the relentless, metronomic pealing of bells.
There is also an egocentric focus in the closing septet – ‘I’ is mentioned four times. There is no ‘we’ or ‘us’. The earlier depressing mood has been lifted somewhat but it is still raining! The poet suggests that to relieve the September blues many turn to music or head for the sun but he instead skips ‘dripping in the shining rain’. There is one last troubling thought about the passing of time as he breathes in the tolling of ‘St. Bartholomew’s bell’ which chimes every fifteen minutes to remind the hearers of their mortality. Indeed, there is a lovely association of thought in the final three lines between the ‘minute fingers’ of the rain and the pealing of those church bells. The poem ends with the poet, as in a Hollywood movie, singing in the rain or maybe crying in the rain. Despite this very clichéd ending the sonnet manages to capture the poet’s mood by focusing, like Austin Clarke, on the Irish weather. The season of Autumn is evoked by broad brush strokes and lightning strikes of epiphany – autumn leaves, grey skies, and rain are used to signify new beginnings, and Summer endings.
This whole underrated collection again shows off Hartnett’s technical mastery. Again, John McDonagh has high words of praise for the collection:
It certainly stands as one of the most overlooked of his collections but it equally holds its own in any interpretation of his life’s work, a testament to the honesty of his difficult and troubling emotional responses to life as well as a fearless determination to face down the innumerable demons that haunted him throughout that life. 
The poet is back in Dublin trying to come to terms with the two great recent upheavals in his life – the breakup of his marriage and separation from his two children and the abandoning of his great experiment announced back in June 1974 from the stage of the Peacock Theatre. These poems, including Water Baby, are therefore a form of therapy, a catharsis of sorts. The collection itself helps explain further the brilliant and gifted and complicated poet that was Michael Hartnett. We also have his reassurance that in spite of the evident turmoil and upheaval in his life ‘in the main they (the poems) were written out of love’.
Author’s Note: I have to say I’m at a loss as to the significance of the title, ‘Water Baby’. Firstly, I’m not sure if the title originated with the poet or was it added by the editors in The Gallery Press? Anyway, it is beyond a literary allusion which I’m missing – is there a connection to Charles Kingsley’s The Water Babies (1862)? Ironically, Brendan Kenneally wrote the rather pompous ‘The Man Made of Rain’ in 1998. All your suggestions and explanations gratefully received!
McDonagh, John., and Stephen Newman, (editors), Remembering Michael Hartnett (Dublin, Four Courts Press, 2006).
 McDonagh John. (2006) ‘No Longer Afraid’: Michael Hartnett’s Poems to Younger Women. (Book Chapter) PDF. p.43.
In one of her many interviews after the publication of ‘Foster’ in 2010, Claire Keegan challenged her would-be readers:
“It’s essentially about trusting in the reader’s intelligence rather than labouring a point. To work on the level of suggestion is what I aim for in all my writing.”
More than likely you will be studying this text as part of your Comparative Studies module for Leaving Cert English Higher Level. Your first task is to read the short story/novella (all 88 pages!) and begin to form your own opinion as to what is happening in the story. Trust your own judgement and use or discard the following notes as you judge them to be useful (or not) to you in your comparing and contrasting this text with at least two others from the suggested list given to you by your teacher.
All page references are from the beautifully produced Faber and Faber paperback edition
About Claire Keegan
Born in County Wicklow in 1968, she is the youngest of a large family. Keegan travelled to New Orleans, Louisiana when she was seventeen and studied English and Political Science at Loyola University. She returned to Ireland in 1992 and later lived for a year in Cardiff, Wales, where she undertook an MA in creative writing and taught undergraduates at the University of Wales.
Keegan’s first collection of short stories was Antarctica (1999). Her second collection of stories, Walk the Blue Fields, was published in 2007. September 2010 brought the publication of the ‘long, short story’ Foster. American writer Richard Ford, who selected Foster as winner of the Davy Byrnes Irish Writing Award 2009, wrote in the winning citation of Keegan’s ‘thrilling’ instinct for the right words and her ‘patient attention to life’s vast consequence and finality’.
Keegan has won the inaugural William Trevor Prize, the Rooney Prize for Irish Literature, the Olive Cook Award and the Davy Byrnes Irish Writing Award 2009. Other awards include The Hugh Leonard Bursary, The Macaulay Fellowship, The Martin Healy Prize, The Kilkenny Prize and The Tom Gallon Award. Keegan has twice been the recipient of the Francis MacManus Award. She was also a Wingate Scholar. She was a visiting professor at Villanova University in 2008. Keegan was the Ireland Fund Artist-in-Residence in the Celtic Studies Department of St. Michael’s College at the University of Toronto in March 2009.
The story is set in rural Wexford and is a perfect example of a Bildungsroman novel. Foster is narrated by a young girl who is fostered out to another family, the Kinsellas, ‘her mother’s people’, for the summer months. There is constant juxtaposition between her own family and her new foster family. Her expectations are influenced by what has already occurred in her own family. The Kinsellas are kind and caring, the epitome of all that is good in foster parents, giving the girl the space to develop and feel valued. It is a coming-of-age story and one that illuminates the contrasting lives of the families, one struggling and overcrowded, the other contented but childless, the rural community that they live in and, by extension, Ireland itself.
Blessedly, Keegan’s Ireland is not the familiar land of misery, abuse and constant drizzle, but a place of community, common decency and, most surprising of all, sunshine – we are treated to an idyllic summer in the Sunny South East. The narrator leaves her homeplace after Sunday Mass in Clonegal and is driven by her father towards the coast somewhere between Gorey and Courtown. Claire Keegan explains:
“For me, the fact that the story unfolds in summer was primarily a practical matter. For her to go away, it would have to be a summer. I made it hot because, given that it is so long since we’ve had [a hot summer] it was pleasurable to write about, but because it also deepened the happiness of the summer.”
Though it seems, in its depiction of the slow rhythms of rural life, to take place in a much older Ireland, Foster is set in 1981. The reader only finds this out when Kinsella tells his wife, in passing, of a news report about the death of an IRA hunger striker. It is an arresting moment, one that makes the story seem suddenly both more contemporary and more ominous.
“It’s an examination of home and an examination of neglect. I don’t trust that home is necessarily where one finds one’s happiness. Families can be awful places, just as they can be glorious and loving. Also, I’m very interested in what we can do without, what we can go without. To a child, for instance, the difference between being able to be well-fed when you are growing, and not, is enormous.”
The little girl, no more than seven or eight arrives at the Kinsellas farm and discovers that for once she is the centre of attention because the couple are childless. Also in sharp contrast to her own home in Clonegal here, ‘there is plenty of food and money to spare’. The girl is uneasy at first but soon grows to feel comfortable in a household where she finds love and affection, something she’s never encountered before.
The reason she is being temporarily fostered is that her mother is near the delivery of another in a long line of children. She is not told how long she will stay here. Over the course of what, in effect, was her summer holidays from school, this charming, precocious, needy child is exposed to a life far different from what she has had at home. Brilliantly, though, Keegan does not always clearly tell what is different; her subtle suggestions are, perhaps, even more potent. The Kinsella home is supposed to be one where “Petal” is assured that there are no secrets, but she does, in a most realistic manner, eventually learn that there is one. This secret is revealed by a neighbourhood gossip and it threatens to destroy her childhood idyll. By summer’s end, her mother’s letter arrives, and she is driven home.
Foster is a story of love and loss, of how familial grief can be transformed into tenderness, of how hope endures and, with it, kindness. It is, at times, almost unbearably poignant in its evocation of childhood innocence and adult stoicism. It also explores the age-old dilemma of what constitutes a secret and what should be told and what should remain forever untold.
THEMES AND ISSUES
There are a number of themes and issues raised in the novel and these can be compared and contrasted with the other texts on your Comparative Course. The main themes dealt with here are:
The Theme of Family
The Theme of Growing up/Childhood
This short story or novella has all the classic elements of a Bildungsroman novel. In its classic form, it entails a young, uneducated person being forced to face the harsh realities of life before they would normally be expected to do so. It is a coming of age novel where the young narrator is taken from her home and ‘fostered out’ to Aunt Edna Kinsella and her husband John for the duration of the school summer holidays in 1981.
It is a fast-moving cinematic type story and is narrated by a young seven or eight-year-old girl (her actual age is never mentioned). When we meet her first she is nameless, one of many children in her family. She is referred to at different stages throughout the novella as ‘Child’, ‘a Leanbh’, ‘Girleen’, ‘Long Legs’ and finally John Kinsella calls her ‘Petal’ three times towards the end of the story. We are not told whether this is her real name or his own pet name for her. Nobody else refers to her by the name Petal except John Kinsella. We are never given her family surname during the course of the story.
The novella is a journey of discovery for the girl who appears to the reader as very observant, charming, precocious, and needy. As she journeys from her parents’ home and comes to be comfortable in her temporary foster home she is exposed to a life far different from what she has been accustomed to.
As she journeys towards her new foster home for the summer she imagines opposing and contrasting scenarios in her head:
The man will be her size. He will take me to town in the tractor and buy me red lemonade and crisps. Or he’ll make me clean out sheds and pull ragweed and docks out of the fields (P. 4).
She is keenly observant and when she arrives at her new home she notices the way her Da, Dan, and John Kinsella interact. They indulge in a classic Irish form of verbal non-communication, talking about the weather and ‘the price of cattle, the EEC, (and) butter mountains’. She notes that ‘it is something I am used to, this way men have of not talking’ (p.6). She also notices early on that here in her new temporary home ‘there is no sign, anywhere, of a child’ (p.8).
She is also very aware of the lies her Da tells Aunt Edna about the hay saving. She tells us that ‘he is given to lying about things that would be nice if they were true’ (p.10). She notices the difference between her father and John Kinsella who helps his wife to lay the table in preparation for lunch. She tells us that her mother is always busy:
With my mother it is all work: us, the butter-making, the dinners, the washing up and getting up and getting ready for Mass and school, weaning calves, and hiring men to plough and harrow the fields, stretching the money and setting the alarm (p.13).
She quickly realises that her new temporary home ‘is a different type of house. Here there is room and time to think and grow. There may even be money to spare’ (p.13). All comparisons are made for us from her own limited experience of home. For example, she is glad to notice that John Kinsella and Aunt Edna ‘sleep together’ (p.17). Declan Kiberd comments on this keen vigilance of the child and says, ‘it suggests something not quite right, a fear that past traumas may be repeated in the present with the Kinsellas … the feeling of past and possible hurt hangs in the air’. This vigilance in her new home also suggests to us a child forever on guard.
One of the central themes and motifs running through the story is that of family secrets; what needs to be told and what should be left unsaid. Aunt Edna tells her that ‘there are no secrets in this house’ because ‘where’s there’s a secret … there’s shame, and shame is something we can do without’ (p.21). The young girl finds herself wishing ‘that this place without shame or secrets could be my home’ (p.24).
She wakes on her first morning ‘in this new place to the old feeling of being hot and cold, all at once’ (p.28). It turns out she has, not for the first time, wet her bed during the night and this introduces the notion of a troubled child. This is one of the strong, undeveloped undercurrents in the story. Aunt Edna notices straight away and handles the situation with admirable tact. Indeed these new foster parents quickly turn all stereotypes on their ear. They are both model parents and Claire Keegan even manages to dispel some of the notions we have about wicked foster parents – this is particularly true of John Kinsella. The narrator realises that they both want the best for her and that Aunt Edna, in particular, ‘wants me to get things right, to teach me’ (p.30).
Aunt Edna cleverly devises a scheme to cure the bed wetting. She tells the young girl that she has a secret recipe to help improve her complexion. The secret remedy consists of eating Weetabix which the young girl says ‘tastes a bit like the dry bark of a tree’. She eats five while watching the Nine O’Clock News on RTE. She wakes the following morning and ‘the old feeling is not there’ anymore. Aunt Edna tells her that her ‘complexion is better already’ and ‘all you need is minding’ (p.36).
The Kinsella household is a busy, busy place and is sharply juxtaposed with the narrator’s home place:
She showed me the big, white machine that plugs in, a freezer where what she calls ‘perishables’ can be stored for months without rotting. We make ice cubes, go over every inch of the floors with a hovering machine, dig new potatoes, make coleslaw and two loaves, and then she takes the clothes in off the line while they are still damp and sets up a board and starts ironing … (p.32).
It is obvious to us that her own home has few of these modern labour saving devices and she notices how both John Kinsella and his wife work hard all day as a united team. Her view of men has been coloured by her mother’s experience and she declares to Kinsella at one stage ‘Mammy says I shouldn’t take a present of a man’. He, however, reassures her and says ‘Still and all, there’s no two men the same’ (p.33).
The young girl settles into a routine at her new home and sunny day follows sunny day. She visits Gorey where she ‘is togged out’ in new clothes and she is given some pocket money for the first time ever. One evening she is taken to Michael Redmond’s wake in the local area and she observes the local customs, the close community and the support for the family by their near neighbours. She experiences many epiphany moments throughout the novella – it’s as if she has an expectation that she will soon awake from a dream or that these good times can’t continue. As she walks to the wake with John and Edna she has a premonition that there is, ‘something darker in the air, of something that might come and fall and change things’ (p.49).
Later, one of the neighbours, Mildred, volunteers to look after the young girl and take her to play with her children rather than having her stay on at the wake. She senses straight away that Mildred is ‘eaten alive with curiosity’ and has to suffer a barrage of questions about the Kinsellas. It is only then that she discovers the big unspoken secret at the heart of the story: the Kinsellas had a young son who drowned tragically in the slurry pit and she has been wearing his clothes since she arrived at their house. Mildred adds a melodramatic flourish to the end of her story: their hair turned white overnight which is a Gothic touch worthy of David Lynch’s ‘Twin Peaks’! The narrator is left aghast:
I wonder at the clothes and how I’d worn them and the boy in the wallpaper and how I never put it all together (p.57).
When the Kinsellas come to collect her they soon realise that she has discovered their secret. Innocently she informs them what Mildred has revealed to her:
‘She told me you had a little boy who followed the dog into the slurry tank and died, and that I wore his clothes to Mass last Sunday’ (p.60)
Eventually, the summer draws to an end and the shops begin to display Back to School items. The weather turns and the letter arrives from her mother to say that there has been a new arrival at home and that she is to return home to prepare for school. She makes a final trip to the well down the fields and as she bends down to fill her bucket, in another Gothic moment, ‘another hand just like mine seems to come out of the water and pull me in’ (p.76). Luckily, she makes her way back to the farmhouse but develops a chill after her near-disastrous escapade. Her return home is postponed for a day or two while she recovers:
I doze and have strange dreams: of the lost heifer panicking on the night strand, of bony, brown cows having no milk in their teats, of my mother climbing up and getting stuck in an apple tree. Then I wake and take the broth and whatever else I’m given (p.78).
She arrived at the Kinsellas on a Sunday and fittingly she returns home on a Sunday also. They retrace their journey from the coast to Gorey, through Carnew and Shillelagh to home. Immediately she notices the differences: she has grown, matured and changed – as in nature anything which has been neglected thrives with attention and loving care. Again we notice the sharp contrasts: the house ‘feels damp and cold’, her mother notices that she speaks differently. Her sisters look at her ‘as though I’m an English cousin’ while she notices that they ‘seem different, thinner and have nothing to say’ (p.81).
She sneezes then and her mother realises she has a cold. She has decided that she will not recount her misadventure at the well, that her parents don’t need to know, and she tells her mother ‘Nothing happened’ – she didn’t catch a cold. She knows, however, that her mother will not be satisfied with this explanation and as a mark of how much she has matured and grown she tells us:
This is my mother I am speaking to but I have learnt enough, grown enough, to know that what happened is not something I need ever mention (p.86).
Then, echoing the earlier conversation with John Kinsella on the beach she tells us:
It is my perfect opportunity to say nothing (p.86).
The uneasy moment passes and the Kinsellas prepare to leave for home. She races after them, thoughts flooding through her mind and she lists the things that will remain locked within her forever:
Several thoughts flash through my mind: the boy in the wallpaper, the gooseberries, that moment when the bucket pulled me under, the lost heifer, the mattress weeping, the third light…. (p.86).
The ending is dramatic, cinematic, and climactic. She races into Kinsellas embrace and feelings of sadness, of loss, of gratitude flood over her. She sees her father, Da, walking down the lane towards them and yet she holds on to Kinsella ‘as though I’ll drown if I let go’. She looks over at Aunt Edna ‘the woman that has minded me so well’ and silently promises that ‘I will never, ever tell’. Looking over Kinsella’s shoulder she calls out to her father, calling him by his new name:
‘Daddy,’ I keep calling him, keep warning him. ‘Daddy’ (p.88).
This is, in effect, the climax of the story. Our young narrator has benefitted from her experiences over the summer and she has been given the space to blossom – hence her name, Petal. However, she now finds herself in a dilemma: she would love to have Kinsella as her father because she knows her own father doesn’t really care for her or his family. She has come to admire and be fond of Kinsella and his wife. So, when she sees her father coming down the lane towards them, it’s very natural for her to say ‘Daddy’ but because she’s in Kinsella’s arms she’s actually saying it to him. So even though she’s warning Kinsella that her father is coming to get her, what she’s doing in that moment is she’s calling Kinsella ‘Daddy’ which is something she’s wanted to do and couldn’t do until this moment. She didn’t plan it, and the moment enabled her to say something that she wanted to say even though she didn’t intend it. She has never before called her father ‘Daddy’ during the course of the novella, so this is also putting him on alert that all is now changed, changed utterly. She has now experienced what it feels like to be truly valued and there can be no going back to the way things were before.
The Theme of Family
Foster introduces us to two very contrasting families. The young narrator of the story has been raised in a poor, rural family. She has numerous brothers and sisters and is effectively anonymous, without a name, when we first meet her. The reason she is being fostered is that her mother is expecting again and she will be looked after by her Aunt Edna and her husband John Kinsella until the new baby arrives.
The young girl’s father is a feckless alcoholic. He is shady, lazy and rude. Declan Kiberd in reviewing the novel describes him as ‘poor, improvident, coarse to the point of being abusive’. He is untrustworthy and he regularly lies as the story unfolds. We learn that his name is Dan but like his daughter, we never learn the family surname. We presume that his wife Mary is Aunt Edna’s sister. Early on we learn that he is a gambler and that he ‘lost our red Shorthorn in a game of forty-five’ (p.3). He also appears to be very sexist and old-fashioned as he waits for Aunt Edna to pick up the stalks of rhubarb he has let fall from his arms as he prepares to drive home after delivering his daughter to the Kinsellas for the summer months (p.14). The child continually refers to him as Da until the very final moments when she calls him Daddy.
Her mother, Mary, is harried and at her wits end. Her husband, Dan, is no help and she has to find money to pay people to plough the land and mow the hay and do the other jobs that her husband should be doing. The young narrator’s view of men has been coloured by her mother’s experience and she declares to Kinsella at one stage ‘Mammy says I shouldn’t take a present of a man’. He, however, reassures her and says ‘Still and all, there’s no two men the same’ (p.33).
In sharp juxtaposition, the Kinsella household is completely different. The young girl quickly realises that her new temporary home ‘is a different type of house. Here there is room and time to think and grow. There may even be money to spare’ (p.13). All comparisons are made for us from her own limited experience of home. The Kinsella household is a busy, busy place and is sharply juxtaposed with the narrator’s home place:
We pull rhubarb, make tarts, paint the skirting boards, take all the bedclothes out of the hot press and hoover out the spider webs, and put all the clean clothes back in again, make scones, polish the furniture, boil onions for onion sauce and put in containers in the freezer, pull the weeds out of the flower beds and then, when the sun goes down, water things (p.37-38).
Her new foster parents quickly turn all stereotypes on their ear. They are both model parents and Claire Keegan even manages to dispel some of the notions we have about wicked foster parents – this is particularly true of John Kinsella. She notices that he and his wife, Edna, work hard all day as a united team and she realises that they both want the best for her and that Aunt Edna, in particular, ‘wants me to get things right, to teach me’ (p.30).
At first Aunt Edna doesn’t give the child a name. We sense that she doesn’t want to become too attached to the new arrival. After all, she has suffered a great, tragic loss with the drowning of her young son. She is also keenly aware that this is a very temporary arrangement and that she will have to return this young girl to her parents at summer’s end. It is clear that both Kinsellas have dealt with the loss of their son and have coped with the loss in their own separate ways. She sets out to teach the young girl as much as she can about running a home and introduces her to a range of chores. She also eventually buys the young girl new clothes rather than have her wear her dead son’s clothes which haven’t been touched since his tragic death. Mrs Kinsella is quite realistic about the girl: she knew that she would go back to her family at summer’s end and this explains why Mrs Kinsella didn’t let herself get as fond of this child as her husband did.
John Kinsella emerges as the unsung hero of this novella – he is according to Declan Kiberd, ‘the sort of loving father the girl never had’. He grows in stature as the story develops. Despite the awful tragedy which has befallen the household both himself and his wife are coping as well as can be expected. There is a sharp juxtaposition between John Kinsella and Dan, the young girl’s father. He is hard working and his fields are well laid out. We can see again the young girl comparing her home place to this new well run farm:
Kinsella’s fields are broad and level, divided in strips with electric fences she says I must not touch unless I want a shock. When the winds blows, sections of the longer grass bend over turning silver. On one strip of land, tall Friesian cows stand all around us, grazing…. (p.21).
He is a good neighbour and people come for his help to dig a grave for a neighbour or help if a cow is having difficulty calving. He, in turn, is protected by the neighbours and they are sensitive to the couple’s loss of their only son and they admire their stoicism in dealing with their terrible tragedy.
He treats the young girl as if she was his own daughter and on a visit to Gorey he buys her books and then later helps her with her reading. When he delivers Petal back home he tells her he wants to see gold stars in her copybooks when he next comes to visit. During their night walk on the strand he gives her valuable fatherly advice:
‘You don’t ever have to say anything,’ he says. ‘Always remember that as a thing you need never do. Many’s the man lost much just because he missed a perfect opportunity to say nothing’ (p.64).
This is probably the most important sentence in the whole novel. Declan Kiberd says ‘it reverberates, forwards and backwards, through the tale’. It contradicts his wife’s earlier assertion that there can be no room for secrets since secrets imply shame. The events of the novel help us to realise the distinction: a secret is something one hides while the unspoken is something that doesn’t need to be told.
Another emotional moment for me was a scene at the beach where the girl was taken by her foster father. On the way back he is trying to retrace his steps but he can’t find his own footprints, only the girl’s. It is obvious that he finds support in the young girl’s company so he says:
“You must have carried me there” (p.66).
As the story develops we become more and more aware of John Kinsella’s good qualities: he is caring, loving, generous, affectionate and kind. He is, in effect, the epitome of what it means to foster a young damaged and neglected young girl.
The final emotional scene between Kinsella and the young girl is a very powerful and dramatic finale to the novel. She has come to admire and be fond of Kinsella and his wife. So, when she sees her father coming down the lane towards them, it’s very natural for her to say ‘Daddy’ but because she’s in Kinsella’s arms she’s actually saying it to him. So even though she’s warning Kinsella that her father is coming to get her, what she’s doing in that moment is she’s calling Kinsella ‘Daddy’ which is something she’s wanted to do and couldn’t do until this moment. She didn’t plan it, and the moment enabled her to say something that she wanted to say even though she didn’t intend it.
Meanwhile, Aunt Edna is sobbing uncontrollably in the car. The young girl looks over at Aunt Edna ‘the woman that has minded me so well’ and silently promises that ‘I will never, ever tell’. Aunt Edna is crying with sadness and with relief. After all, this young girl nearly drowned at the well and it is only now after she has left the young girl back with her parents that she fully realises the near tragedy that could have occurred. We often cry out of relief. For me, that is what she was suffering from or experiencing at that moment. Remember, she could have been driving up that lane to tell those people that their daughter had drowned. I think that she was living with that and also, of course, the incident had brought back the loss of her only son to drowning also.
The young narrator, Petal, has blossomed over the summer months with her temporary family, the Kinsellas. She actually came of age while under their care because she was minded. Nothing flourishes so much as that which is neglected, and is then minded. The one thing you can say about the ending is that is inevitable. Good stories always end inevitably: after they finish you feel there’s only one thing that could have happened, and that is the thing that happened. And I think it’s inevitable that the young girl would return home, and that the Kinsellas would go back to their home with no child.
It is a fitting ending to the novel and hopefully the beginning of a relationship which will develop in the coming years. She has learnt much in the Kinsellas home, including the gift of reading:
It was like learning to ride the bike; I felt myself taking off, the freedom of going places I couldn’t have gone before, and it was easy (p.74).
We hope she’ll find her way back to the Kinsellas again for many more idyllic sunny summers in the sunny South East!
The story is based on events which take place in Ireland during the Summer of 1981. The setting is rural County Wexford. There are very few cultural markers provided in the short novella and one could be excused for thinking that the events took place at an earlier time. The slow rhythms of life are based on rural and agricultural activity of what seems an earlier generation. The young girl, the narrator of the story, is fostered out to a home which has a freezer, ‘a hovering machine’, and other mod cons yet, incongruously, they have to go to the well down the fields to fetch water for the tea. There are also shopping visits to the local town and the child is taken to a local wake during the course of the novel.
The notion of fostering has a long history in Ireland. The old Gaelic chiefs used fostering to create alliances and maintain peace accords with local rival chieftains – they were less likely to attack a neighbouring chieftain if they realised that their young son or daughter was being raised there. In essence, the child was seen as a kind of hostage but as Declan Kiberd points out in his book After Ireland, ‘the more positive motive was the hope that the second family might educate the child more fully than might the first, in the ways of the world’. In more recent times parents of large families often fostered one or more of their children to relatives or grandparents to help rear them. Michael Hartnett, the poet, tells the story that he was fostered out to his grandmother, Bridget Halpin, in the mid nineteen forties because ‘times were hard in Lower Maiden Street’ in Newcastle West and food and sustenance were more plentiful in nearby rural Camas.
The story is set in the Summer of 1981, the summer when week after week the news broke of yet another death from hunger strike in Long Kesh prison in Northern Ireland. In all, ten IRA hunger strikers including Bobby Sands lost their lives during those turbulent times.
The novel was published in 2010 shortly after the publication of The Murphy Report and the Ryan Report. The Murphy Report was the brief name of the report of a Commission of investigation conducted by the Irish Government into the sexual abuse scandal in the Catholic Archdiocese of Dublin. The Report was released in 2009 by Judge Yvonne Murphy, only a few months after the publication of the report of the Commission to Inquire into Child Abuse (the Ryan Report) chaired by Seán Ryan, a similar inquiry which dealt with abuses in industrial schools controlled by Roman Catholic religious institutes.
Ironically, one of the earliest reports into clerical sex abuse claims was one conducted in the Diocese of Ferns which includes most of County Wexford. The Ferns Report was presented to the Irish government on 25 October 2005 and released the following day. It identified more than 100 allegations of child sexual abuse made between 1962 and 2002 against twenty-one priests operating under the aegis of the Diocese of Ferns.
The novel was published in 2010 and by that time also Ireland was experiencing one of the biggest recessions in modern times brought about by the collapse of its banking system after a decade of affluence and Celtic Tiger excess. The novel Foster tells the story of a character’s brief sojourn in a wealthy household and that character’s predicted return (wiser and more mature) to a more austere life. Maybe, as Declan Kiberd states, ‘Claire Keegan (in Foster) was writing the secret history of her country’.
Be that as it may, these historical incidents are barely mentioned in the novella. We are introduced to a quiet, secluded part of County Wexford during the summer of 1981. We witness the daily lives and dramas of an ordinary farming community as they go about their seasonal occupations. It is a rural backwater, a favourite setting for novelists, it is 1981 but it could be any year. The major changes affecting the outside world are barely noticed here in this idyllic setting.
This is a novel of social realism, which is written in the continuous present tense by a first-person omniscient narrative voice. It can, therefore, be classed as a social document that is set in Ireland in the turbulent period of the Northern Ireland troubles. These troubles even visited rural County Wexford on the 13th October 1980 when Garda Seamus Quaid (a native of Feoghanagh, County Limerick) was killed in the line of duty by the IRA.
It has also been described as a ‘long short story’ and Claire Keegan is one of the great modern writers who use the short story to great effect. She is very much influenced by the writing of Frank O’Connor. In effect, this is a short story with chapters added. The fast-moving story leads to a dramatic climax at the very end.
As well as Frank O’Connor she is also influenced greatly by another O’Connor, Mary Flannery O’Connor whose gothic short stories were read by her during her stay in New Orleans and her studies at Loyola University. During the course of the novel the young narrator is taught by Kinsella to read books: Heidi, What Katy did Next, The Snow Queen. She tells us that reading is like riding a bike; it allows her to go to new places and to make up endings different from those in the books. This notion is also very similar to Seamus Deane’s young narrator in Reading in the Dark. She also makes the analogy that learning to read is like learning to read her new family.
All past events are narrated by the girl in a continuous present tense. This suggests that whatever unrevealed trauma was experienced in the past is still being dealt with in the present. Early on in the novel, we are aware that the young narrator feels ‘caught’ between two different families. She wants her father to leave because ‘this is a new place and new words are needed’ (p.18).
The short story or novella has all the classic elements of a Bildungsroman novel. This genre of novel is best described as a novel of maturation. In its classic form, it entails a young, uneducated person being forced to face the harsh realities of life before they would normally be expected to do so. Here the young narrator is taken from her home and ‘fostered out’ to Aunt Edna Kinsella and her husband John for the duration of the school summer holidays in 1981.
The title of the novella, Foster, causes some problems for me. Normally the title may give some clue as to the content, what the potential reader can expect to find, but not here. For me, the title and the photograph used on the front jacket bore little relation to what had been revealed inside. Fostered or The Fostered Girl or Foster Child might have been better options – to me, Foster suggests a person’s name and the title is, therefore, somewhat misleading.
The story contains many gothic elements and there is also an ominous undercurrent created because of what is unsaid and also because of what is not fully understood by the child narrator. This is akin to Scout in To Kill a Mockingbird. We are left with the feeling that there may be other secrets that the young girl has decided not to reveal along with the incident at the well.
GENERAL VISION AND VIEWPOINT
This is a realistic novel, which explores the dynamics of two Irish rural families over the course of the school summer holidays in 1981. The narrator is a young girl and we are privy to her observations and account of her childhood – or two months from that eventful childhood. Like Heaney in his poem, ‘The Harvest Bow’, we are often left ‘gleaning the unsaid off the palpable’ i.e. often what’s unsaid is as important as the spoken word.
We are introduced to a world where people are trying their best to cope with the difficulties that life has thrown at them. One family is trying to cope with poverty and neglect, largely as a result of a feckless, alcoholic father while the other family is trying to come to terms with the loss of their only son to drowning in a tragic farm accident. This is filtered to us through the lens of a very young, neglected girl who tries to make sense of it all. Despite this bleak subject matter the backdrop to the story is rural County Wexford which, unusually for Ireland, is bathed in continuous summer sunshine.
Foster is a story of love and loss, of how familial grief can be transformed into tenderness, of how hope endures and, with it, kindness. It is, at times, almost unbearably poignant in its evocation of childhood innocence and adult stoicism. The locals have noticed the way the Kinsellas have dealt with their family tragedy and admire the way they have accepted disaster and tried their best to cope with it. The night of the card playing when two men came selling lines the proceeds of which, they said, would go towards putting a new roof on the school is a good example of the neighbours being sensitive. However, Kinsella will have none of it:
‘Of course,’ Kinsella said.
‘We didn’t really think – ‘
‘Come on in,’ Kinsella said. ‘Just ‘cos I’ve none of my own doesn’t mean I’d see the rain falling in on anyone else’s’ (p.39).
The ending is dramatic and allows for many interpretations as to what happens next. It is not the traditional happy ending – this ending is neither happy nor sad. Overall, the novel provokes a myriad of mixed emotions and truly upsetting feelings in the reader. There is sympathy felt throughout for the young narrator. As readers, we are not satisfied with how the novel ends but perhaps this realistic ending was the author’s way of showing us that life does not always have a happy ending. However, we also sense that something has happened in those final dramatic moments. There is slight hope that things will change for the young girl. This is dependent, of course, on others changing also, especially her father’s behaviour.
The one thing you can say about the ending is that is inevitable. Good stories always end inevitably: after they finish you feel there’s only one thing that could have happened, and that is the thing that happened. And I think it’s inevitable that the young girl would return to her own home, and that the Kinsellas would go back to their home empty-handed. Declan Kiberd sums it up succinctly when he says:
.. the tale is told about people who are shy of exposing themselves to the passing moment and shyer still to narrate themselves. Their stories are mysterious enough to resist a further telling or an absolute silence.
Keegan, Claire. Foster. London: Faber and Faber, 2010.
Kiberd, Declan. Chapter 27 Claire Keegan: Foster in After Ireland: Writing the nation from Beckett to the present. London: Head of Zeus Ltd, 2017.