Maiden Street is the longest and oldest street in Newcastle West. Sean Kelly, its resident historian, says that it was built piecemeal on the edge of an ancient glacial moraine. This moraine benefited the town and there were at least three working sand pits in production at one time along the street. Sean Kelly states that ‘It was a street renowned for its trades of all kinds; shoemaking and repair; tailoring and dressmaking; printing; baking; coopers; tinsmiths; blacksmiths; and harness-makers to name a few.’ Patrick J. O’Connor who has also written eloquently about the street confirms this. Speaking of the new proprietors who bought out their leases during the sale of the town in 1910 he says that ‘there was colour aplenty in Maiden Street’. These included Michael ‘Boss’ Culhane who traded in ‘hides, skins, feathers and eggs’! He also mentions George Latchford who had launched a family business circa 1874 which later developed into the well-known bakery and cinema. This family business thrived well into the twentieth century under the stewardship of his sons Jackie, Paddy and Willie.
Poverty was rife in Maiden Street – particularly Lower Maiden Street – and Michael Hartnett makes constant reference to this fact in both his prose and poetry:
We rented a mansion down in lower Maiden Street,
Legsa Murphy our landlord, three shillings a week,
the walls were mud and the roof it did leak
and our mice nearly died of starvation.
The etymology of the street name has always posed problems. Again Sean Kelly says that there is no mention of the street name among the earliest known street names going back to 1584-6, although it was in existence by then, ‘what is clear is the street’s graceful, curvilinear form adorning the earliest available town plan, the Moland Survey of 1709’. Patrick O’Connor suggests that the street name may be derived ‘from the medieval cult of Mariology (Sráid na Maighdine Mhuire)’ (O’Connor:56).
The lower part of the street was sometimes known as Dock Road, in accord with the low status attributed to it. The gardens of the houses on the south side abutted on to a track known locally as ‘the back of the Docks’. At intervals, there were ingresses with steps leading down to the River Arra, where the local women came to do their laundry.
Sean Kelly waxes lyrical about this place: ‘Lengthy, capacious and capricious, Maiden Street was – according to the punchline of a popular rhyme – a favoured place for lodgers’. And while the name of the street remains an enduring enigma, its lower appendage, the Coole (cúil, from the Irish meaning corner or nook) poses no interpretative problem whatever. Sean Kelly himself often claims to belong to Middle Maiden Street and from the records, there is evidence of these subtle divisions as far back as 1776. The street had a distinct Upper, Middle and Lower division and was, in effect, a microcosm of the nuanced social divisions also evident elsewhere in the town!
Hartnett, the street’s very own Poet Laureate pokes further fun at the perceived reputation of the street when he writes in the Maiden Street Ballad:
Tis said that in Church Street no church ever stood,
and to walk up through Bishop Street no bishop would,
and tis said about Maiden Street that maidenhood
was as rare as an asses pullover.
In his Preface to that famous ballad, Hartnett says that ‘Everyone has a Maiden Street. It is the street of strange characters, wits, odd old women and eccentrics: also a street of hot summers, of hop-scotch and marbles: in short the street of youth’. However, he also adds a disclaimer saying that ‘Maiden Street was no Tír na nÓg’ and we should not forget that the street was but a ‘memory distorted by time in the minds of all who lived there’. Generations to come will continue to show their gratitude to the poet for his wonderful evocation of the street of his childhood, the nearest Newcastle West will ever come to having its own Steinbeck or, indeed, its own Cannery Row! As he said himself: ‘Ballads about places however bad they may be, unite a community and give it a sense of identity’.
In his shorter poem, Maiden Street (1967), there is a reference to the ‘small voices on the golden road’ and later he says about the days of his childhood, ‘we were such golden children, never to be dust’. This may give us some clues as to the etymology of the name originally given to the street. Maiden Street runs west to east, so the morning sun shines up the street and so a young poet’s imagination turns it into his very own ‘yellow brick road’ and one wonders if the street was ever called Sraid na Maidine or Morning Street?
Many of those family names, synonymous with the street, who bought out their leases in 1910 still have links to the town to this day: Reidy’s, Houlihans, Gormans, Morrisons, Mullanes, Byrnes, Aherns, Nashs, Murphys, Fitzgeralds, Bakers, Hartnetts, Quins, Healys, Hartes, Massys, Moones…..
Hartnett says that the street finally ‘gave up the ghost’ in September 1951 when most of the inhabitants were rehoused in one of the 60 new houses in Assumpta Park. Hartnett describes the operation epically in the Maiden Street Ballad – likening it to the hazardous journey of the Israelites escaping from Egypt to the Promised Land!
The old street it finally gave up the ghost,
and most of the homes there they got the death-blow
when most of the people were tempted to go
and move to the Hill’s brand new houses.
The moving it started quite soon after dark
and the handcars and wheelbars pushed off to the Park
and some of the asscars were like Noah’s Ark
with livestock and children and spouses.
For we all took our furniture there when we moved,
our flowerbags and teachests and threelegged stools
and stowaway mice ahide in our boots –
and jamcrocks in good working order.
And our fleas followed after, our own local strain –
they said “We’ll stand by ye whatever the pain,
“for our fathers drew life from yere fathers’ veins”
“and blood it is thicker than water”!
For many, this transition was effortless and opened up a whole new vista while for others the change of location was a step too far and they found it very difficult to settle in their new environs. Again Hartnett puts this very colourfully:
In nineteen-fifty one people weren’t too smart:
in spite of the toilets they pissed out the back,
washed feet in the lavatory, put coal in the bath
and kept the odd pig in the garden.
They burnt the bannisters for to make fires
and pumped up the Primus for the kettle to boil,
turned on all the taps, left the lights on all night –
but these antics I’m sure you will pardon.
Following their move to the Park residents soon found that there was no ready access back down to Maiden Street other than across often wet fields and down through Musgroves and Gorman’s sandpits. Eventually, after much lobbying of local Councillors, the Mass Path and Mass Steps were constructed. As Patrick O’Connor says, their arrival ‘opened up a vital line of communication to town’. It is interesting that this vital piece of infrastructure was ostensibly procured under the pretext of providing ready access to the church, hence their name, but many would argue that these steps were more often used to visit other old haunts such as Latchfords and The Siver Dollar!
However, as a final footnote, or maybe to add fuel to fire, and totally in keeping with his mischievous nature, Michael Hartnett, in his ‘scholarly’ notes to the Maiden Street Ballad, has his own theory about the etymology of the street’s name. He theorises – and only he would get away with this scurrilous suggestion – that ‘the street was originally called Midden Street’!
Hartnett, Michael. The Maiden Street Ballad, The Observer Press, 1980.
O’Connor, Patrick J., Hometown: A Portrait of Newcastle West, Co. Limerick. Oireacht na Mumhan Books, 1998.
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).
‘Like many Irish children, I was reared on a diet of folktale, Republicanism and mediocre ballads’.
Éigse Michael Hartnett 2018 has a rich and varied schedule of events which will take place this year from the 12th to the 14th of April. Éigse is proud to welcome John Boyne, Mike McCormack, Declan Kiberd, Emma Langford, Robyn Rowland, and others to Newcastle West for the first time. This year is also special because Michael’s family, his wife Rosemary, son Niall and daughter Lara will be present for the celebrations.
As part of this year’s Éigse, the organisers have included an interesting food element in recognition of the burgeoning food industry in the town and also as a celebration of the town’s rich agricultural hinterland. The event, which will take place in Desmond Complex on Saturday the 14th of April at 12.30pm, and is titled ‘Pulled Pork and Poetry’. It features a cookery demonstration by Tom Flavin, Executive Chef, the Strand Hotel and Pigtown Festival committee member, accompanied by readings from Hartnett’s Collected Poems by Limerick poet and short fiction writer, Edward O’Dwyer. (See Éigse programme for full details). The organisers are indebted to Tom Flavin and Edward O’Dwyer for their enthusiastic support for this venture.
The following blog post seeks to explore the link between Michael Hartnett, food, cooking and the kitchens he survived and graced in Lower Maiden Street, Camas and further afield.
Michael Hartnett returned to his native Newcastle West in the mid-1970’s and bought a cottage in the townland of Glendarragh in the parish of Templeglantine. The ‘townie’ lamented that now he was forced to live ‘in exile out foreign in ‘Glantine’. In June 1974 he had made his famous proclamation from the stage of the Peacock Theatre in Dublin that henceforth he would write only in Irish. In the Autumn of 1977, he was commissioned to write a piece for the upcoming Christmas edition of Magill Magazine which was owned and edited at the time by Hartnett’s friend, Vincent Browne, a fellow West Limerick man making a name for himself in publishing circles in Dublin.
The piece was written and published and showed Hartnett to be a very incisive, insightful and acerbic social commentator. It was entitled ‘Christmas in Maiden Street’ and evoked memories of life in Lower Maiden Street in the years immediately after the ending of World War Two and is a chilling reminder of the austerity endured during those years. Poverty and hardship were rife and families struggled to make ends meet. In the article, he recalls that ‘candles and paraffin-lamps did not brighten the darkness in kitchens in Maiden Street’. There were no luxuries and the necessities of life were very scarce: ‘coal was bought by the half-stone, butter by the quarter pound, and tea by the half-ounce’. As Christmas drew near ‘the spectre of Santa Claus loomed malevolently over the slates and thatch’.
For the poor of Maiden Street, the great feast of Christmas was an extra strain. Members of local charitable institutions visited ‘the meagre kitchens’, ‘the nailed-together chairs, the worn oilcloth topped tables, the dead fires’ and were ‘as hated as the rent-man’. He tells us that the Victorian Christmas had not yet arrived in Newcastle West:
‘there was no turkey, no plum pudding, no mince-pies … the very poor managed roast meat, usually mutton. We often rose to two cocks. The goose was common. There was a fruit cake, jelly and custard; the dinner of the year.’
The article ends with the bitter hope that ‘There will never be Christmasses like those again, I hope to God’.
This vein of bittersweet nostalgia culminated in December 1980 with the publication of the Maiden Street Ballad, written as a Christmas present for his father Denis Harnett. This 47 verse poem also contains details of the hardships and austerity suffered by the people who lived in Lower Maiden Street and The Coole.
Nineteen forty-one was a terrible year,
the bread it was black and the butter was dear;
you couldn’t get fags and you couldn’t tea –
we smoked turf-dust and had to drink porter.
He goes on to tell his audience that ‘we were hungry and poor down in Lower Maiden Street / a fact I will swear on the Bible’. Elsewhere he states that his peers ‘were raggy and snot-nosed and needy’. The only relief for the Harnett family came in the form of their grandmother, Bridget Halpin, who lived on a small farm five miles away in Camas.
The day of the pension my Nan came to town
In a flurry of hairpins with her shawl wrapped around,
With a dozen of eggs and maybe a half-crown
And a bag of new spuds in her ass-car.
He goes on to recount his childhood diet and it is clear that most of the produce was grown on that small farm in Camas by his Uncle Dinny Halpin and transported to town in his grandmother’s ass and cart!
We had turnips for dinner, we had turnips for tea,
and half-stones of pandy piled up on our plates;
we feasted on cabbage, we fattened on kale
and a feed of boiled meat if we smelt it!
Later he was to immortalise Bridget Halpin in his beautiful poem ‘Death of an Irishwoman’ using, at times, very unflattering language. He tells us that ‘she ate monotonous food’ such as the rural staples of the time bacon and cabbage. In her final days, he tells us she was reduced to eating ‘thin diminishing porridge / in a stone-cold kitchen’. For the poet, Bridget Halpin represents an Irishness which is out of step with modernity and ambivalent to any aesthetic conceptions of the world, ‘Ignorant, in the sense / she ate monotonous food / and thought the world was flat’, and defined by an intuitive spirituality, ‘pagan, in the sense / she knew the things that moved / at night were neither cats nor dogs’. In an interview with Victoria White published in TheIrish Times, Hartnett embellished this idea, that his close antecedents existed in a pre-modern Ireland where the Irish language still predominated, ‘My grandfather couldn’t speak English, and if you couldn’t, you couldn’t get a good price for a pig. If the pig was worth two and six and you came back with one and six, you got lashed’ (White 14). That Hartnett links the pre-modern sensibility which Irish represents for him with economic loss and subsequent physical pain encapsulates the colonial dynamic which saw the abandonment of Irish as a spoken language more broadly within the country. In this context Hartnett’s assertion at the very point of his departure from writing in English takes on a further resonance:
… I will not see
great men go down
who walked in rags
from town to town
finding English a necessary sin
the perfect language to sell pigs in.
Bridget Halpin’s cold kitchen, which is described so well in his poem ‘A Small Farm’, describes the quintessential Irish rural kitchen of the 1950’s:
Here were rosary beads,
A bleeding face,
The glinting doors
That did encase
Their cutler needs,
Their plates, their knives,
The cracked calendars
Of their lives.
It stands in direct contrast to the warmth of Heaney’s Aunt Mary’s kitchen in Mossbawn and at the same time, Bridget Halpin’s kitchen bears great similarities to Moran’s kitchen in Great Meadow as depicted in John McGahern’s Amongst Women. In the 1940’s and 1950’s country farming society is built on manners, manners which are best seen at the dinner table. Hartnett’s later poetry and his attitude to food and cooking are heavily influenced by his formative years spent in Bridget Halpin’s kitchen in Camas. In his, as yet, limited experience kitchens are seen as scant, depressing places. Food is frugal and evokes a sense of lacking, not plenty.
Rural Camas in the early 1950’s still moved in a slow, seasonal rhythm. The annual ritual of killing the pig is described beautifully in the poem ‘Pigkilling’. Characteristically, Hartnett executes (pun intended!) the poetic tactic emphatically, the human actors in the ritual themselves becoming animalistic, drenched in the animal’s blood:
his smiling head
sees a delicate girl
up to her elbows
in a tub of blood (Collected Poems 125)
Hartnett, the central character in the poem, uses the pig’s bladder as a plaything: ‘I kicked his golden bladder / in the air’. Killing the pig was one of those joyful rituals in the rural community. During the killing of the pig, the blood was collected in a bucket for the making of puddings. The carcass would then be hung from a hook in the shed with a basin under its head to catch the drip, and a potato was often placed in the pig’s mouth to aid the dripping process. After a few days, the carcass would be dissected. The body was washed and then each piece that was to be preserved was carefully salted and placed neatly in a barrel and hermetically sealed. It was customary in parts of the midlands to add brown sugar to the barrel at this stage, while in other areas juniper berries were placed in the fire when hanging the hams and flitches (sides of bacon), wrapped in brown paper, in the chimney for smoking (Sharkey 166). While the killing was predominantly men’s work, it was the women who took most responsibility for the curing and smoking. Black Puddings have always been popular in Irish cuisine. The pig’s intestines were washed well and soaked in a stream, and a mixture of onions, lard, spices, oatmeal and flour were mixed with the blood and the mixture was stuffed into the casing and boiled for about an hour and then allowed to cool. It was customary that neighbours were then given some of this black pudding, fresh pork and sausages in the aftermath of every pigkilling putting into practice the old Irish proverb: Faoi scáth a chéile a mhaireann na ndaoine’ – (we all live in each other’s shadow).
Years later, his friend and fellow poet Tony Curtis noted presciently about Hartnett that, ‘While I couldn’t say he loved eating, he did love cooking’ (Curtis 170). From various interviews and recorded anecdotes regarding his attitude to food (as opposed to drink!) I would guess that food and cooking for Hartnett was a sort of therapy. While cooking for family or friends the metronomic carrying out of simple physical tasks allowed him to turn off the cerebral for a while at least. Dennis O’Driscoll in an interview conducted with Michael Hartnett in the Poetry Ireland offices on 12th December 1986 comments on his eclectic culinary tastes and we get a further glimpse of Hartnett the culinary enthusiast.
Most of my personal encounters with Michael were as random as dreams: chance meetings on the streets around his shopping and drinking haunts in central Dublin… Michael might be carrying a rattlebag of fresh oysters or a newly-minted circle of Lombardian focaccia. His tastes in poetry, as in food, could range far beyond Munster.
Later in the interview, O’Driscoll asks Hartnett if he is content as a writer and if there was something else he would have liked to have been. Hartnett replies:
I am a chef manqué all right; I trained as a chef for a while. Again that involves creation and the poaching of other men’s recipes and ideas. But as I started to write poetry, or verse at least, when I was thirteen years old, any ambitions I had in any other direction were pre-empted by that immediately.
On a totally different level Dermot Bolger who delivered the Michael Hartnett Memorial Lecture during Éigse Michael Hartnett in April 2017 recounted an incident which took place at his local chipshop in Finglas:
It was after midnight when we reached Finglas but Macari’s chipshop remained open on Clune Road. Years later in Inchicore Haiku Michael wrote:
In local chippers
Queueing for carbohydrates
A dwarfed people.
We queued for our late-night carbohydrates. Critics can elaborate on Michael’s gift as a poet and contextualise his work. My interest here is putting down memories for his son and daughter and what struck me was how Michael enthralled the late-night queue and staff in that Finglas chipshop. He wasn’t attention seeking; they were simply drawn into his quiet magnetism. The staff had no idea who he was but afterwards always asked for news of my friend in the countryman’s cap.
In the sonnet ‘The Poet Dreams and Resolves’ he paints the very clichéd image of the artist at work, alone but not lonely. He requires few luxuries only ‘an adequate supply / of stout and spirits (or of stout only) / and some cigarettes, and writing paper, / and a little cheap food, ….’. This (self-perpetuated) image of Hartnett as a frugal monk, requiring only the very basics to live and create mirrors this ascetic existence dwelling ‘in the shade of Tom White’s green hill / in exile out foreign in ‘Glantine’ during the late ‘70’s and early 80’s.
It is clear that Michael Hartnett had a very varied relationship with Irish cuisine from the relatively vulgar turnips and pandy of earlier days in Newcastle West and Camas to the later more urbane ‘rattlebag of oysters’ in central Dublin. Section 3 of ‘A Farewell to English’ centres on Hartnett’s dissatisfaction with the cultural, political, and literary misappropriation and misuse of the Irish language. In it, he rather cheekily attacks W.B Yeats, the most pre-eminent Irish poet and Nobel Laureate of a previous generation, ‘Chef Yeats that master of the use of herbs’. Yeats’s use of Gaelic literary traditions and myth is criticized. However, the main reason I mention it here is because the language and imagery used by Hartnett is that of a master chef – ‘pinch of saga’, ‘soupcon of philosophy’, ‘carefully stirred’, ‘Anglo- Saxon stock’, ‘Cuchulainn’s marrow bones to marinate’, ‘simmered slow’ and Hey Presto, like the witches in Macbeth who dance about their cauldron, we concoct ‘the celebrated Anglo-Irish stew’.
As Éigse Michael Hartnett 2018 draws near we hope to likewise celebrate Hartnett’s genius with good poetry, good food (and some drink!) in the company of his family, friends and myriad followers.
Curtis, Tony. A Life in Poetry, p. 170.
Hartnett, Michael. Collected Poems, Oldcastle: The Gallery Press, 2001.
Hartnett, Michael. ‘Wrestling with Ó Bruadair’, in Mac Reamoinn, S., The Pleasures of Gaelic Poetry (London: Allen Lane, 1982).
Sharkey, Olive. Old Days Old Ways: An Illustrated Folk History of Ireland. Dublin: The O’Brien Press, 1985.
White, Victoria. “Heartbreak in Two Languages” The Irish Times, (15th December 1994).
Formative Influences on the young Michael Hartnett
Bridget Halpin, formerly Bridget Roche, was born in Cahirlane, Abbeyfeale in 1885 to parents John Roche and Marie Moloney. According to parish records in Abbeyfeale, she married Michael Halpin from Camas, near Newcastle West, in Abbeyfeale Church on February 28th,1911 in what was, by all accounts, ‘a made match’ between both families and she then came to live in Camas where the Halpins owned a small farm of ten acres three roods and 13 perches. Later on that year on April 2nd, 1911, the Census returns for Camas in the parish of Monagea, record Michael Halpin, aged 36, living with his new wife Bridget Halpin, then aged 26. Michael’s mother Johanna, aged 74, and her daughter, Michael’s sister, Johanna, aged 23, also lived in the house.
Michael Halpin, Bridget’s husband, was born on 2nd June 1876 in Camas. He was one of thirteen children born to Denis Halpin and Johanna Browne between 1866 and 1890. Denis Halpin, Michael’s father, was born c. 1834 in Cleanglass, in the parish of Killeedy, and he married Johanna Browne on the 18th February 1865 in the Catholic Church in Tournafulla. He was 31 years of age and Johanna Browne was 25. Living conditions were very harsh and infant mortality was very high and as many as seven of their thirteen children died in their infancy or childhood due, no doubt, to the severity and austerity of the times. Six of their thirteen children survived: Margaret, Kate, Michael, Denis, Cornelius, Johanna.
This woman, Bridget Halpin, would later wield great influence over her young grandson Michael Hartnett. Indeed, if we are to believe the poet, she was the one who first affirmed his poetic gift when one day he told her that a nest of young wrens had alighted on his head – her reply to him was, ‘Aha, You’re going to be a poet!’. Hartnett claimed that he spent much of his early childhood in Bridget Halpin’s cottage in the rural townland of Camas four miles from his home in nearby Newcastle West. He went on to immortalise this woman in many of his poems but especially in his beautiful poem, “Death of an Irishwoman”. This quiet townland of Camas is seen as central to his development as a poet and central to some of the decisions and seismic changes which he made in his poetic direction in the 1970’s. Maybe in time, this early association with Camas will be given its rightful importance and the little rural townland will vie with Maiden Street or Inchicore as one of Hartnett’s important formative places. This essay, therefore, is an effort to throw some light on this woman and gently probe her background and genealogy and it also seeks to untangle some of the myths, many self-generated, which have grown up around Michael Hartnett himself.
In April 1911 when the Census was compiled, there were four inhabitants of the thatched cottage in Camas: Michael Halpin, his new wife Bridget (née Roche), his mother Johanna and his sister Johanna who was soon to emigrate to the United States in late May 1911. By June of that year, Michael and Bridget Halpin were setting out on their married life together and they also had the care of Michael’s mother, Johanna. Over the coming years, they had six children together, Josie, Mary, Peg, Denis, Bridget (later to be Michael Hartnett’s mother) and Ita. Unfortunately, Michael Halpin died in September 1920 at the age of 44 approx. having succumbed to pneumonia. His daughter Ita was born seven months later on 23rd March 1921. Bridget Halpin was now left with the care of her six young children and their ailing grandmother, Johanna. Johanna Halpin (née Browne) died in Camus on 18th June 1921 aged 80 years of age.
Bridget Halpin’s plight was now stark and the harshness of her existence is often alluded to in her grandson’s poems which feature her. The cottage which was little more than a three roomed thatched mud cabin built of stone and yellow mud collapsed around 1926. The whole family were taken in, in an extraordinary gesture of neighbourliness, by Con Kiely until a new cottage was built a short distance away by a Roger Creedon for the princely sum of £70. The family moved into their new home in 1931 and this is the structure that still stands today. According to Michael Hartnett himself this cottage, and especially the mud cabin which preceded it, was renowned as a ‘Rambling House’, a cottage steeped in history, music, song, dance, cardplaying and storytelling. Hartnett would have us believe that it was from the loft in this cottage that he began to pick up his first words of Irish from his grandmother and her cronies as they gathered to play cards or tell tall tales.
Bridget Halpin’s youngest daughter, Ita Halpin, later married John Joe Dore, who lived on a neighbouring farm. He was a well-known sportsman, hurling historian and founder member of Killeedy GAA Club. They had one son, Joe Dore, who today is a well known Traffic Warden in Newcastle West and Abbeyfeale. Today, he is the owner of what was formerly Bridget Halpin’s small farm in Camas, having inherited it from his uncle, Denis Halpin. John Joe Dore died in 2000 aged 85. Bridget Halpin, immortalised by her grandson, Michael Hartnett, in his poem ‘Death of an Irishwoman’ is buried with her daughter Ita Halpin (Dore) in the grounds of the old abbey in Castlemahon Cemetery. Her grave is as yet unmarked.
Ita Halpin’s sister, Bridget Mary, who was born on 1st May 1918 later married Denis Harnett (born 20th July 1914) from North Quay, Newcastle West on the 28th of June 1941 in Newcastle West and they had six children. Michael Hartnett was the eldest and he had one sister, Mary, and four brothers, William, Denis, Gerard, and John. (Two siblings, Patricia and Edmond, also died as infants). Times were difficult for the Harnett family; they did, however, receive some good fortune when they moved into a house, in the newly built local authority development, Assumpta Park, in the 1950s. Joe Dore, Michael’s first cousin, recalls that during the war years (1941-1945 in Michael’s case) Michael was often brought to Camas in a donkey and cart to be looked after by his grandmother and his Uncle Denis (Dinny Halpin), who was now working ‘the small farm’. Joe Dore recalls that ‘his other brothers came to stay as well, especially Bill, but Michael, being the eldest, was the favourite of his grandmother’ – no doubt because he was her daughter Bridget’s first-born and also that he had been called Michael after her late husband. Joe Dore remembers that ‘Michael was a big boy when I knew him as he was twelve years older than me, as I was the last of the grandchildren to be reared by my grandmother and Uncle Denis also’.
This essay seeks to clarify some of Michael Hartnett’s claims concerning his grandmother, Bridget Halpin. Interestingly, most of these erroneous claims stem quite remarkably from the poet himself! His Wikipedia page tells us that,
… his grandmother, was one of the last native speakers to live in Co. Limerick, though she was originally from North Kerry. He claims that, although she spoke to him mainly in English, he would listen to her conversing with her friends in Irish, and as such, he was quite unaware of the imbalances between English and Irish, since he experienced the free interchange of both languages.
Writing in the Irish Times in August 1975 Hartnett wrote:
My first contact with Gaelic – as a living language – was in 1945 when I went to stay with my grandmother. She was a “native” speaker and had been born in North Kerry in the early 1880s. She rarely used Gaelic for conversation purposes but a good fifty percent of her vocabulary was Gaelic – more especially those words for plants, birds, farm implements, etc. …….. I learnt some two thousand words and phrases from her. It was not until her death in 1967 that I realised I had known a woman who embodied a thousand years of Gaelic history (Hartnett, ‘Why Write in Irish?’, p.133).
We have already noted that Bridget Roche (neé Halpin) was born in Cahirlane, Abbeyfeale, County Limerick. While this area is steeped in Irish culture and music it was not particularly noted for its native Irish speakers in the late 1800’s. In the 1901 Census returns for Camas Upper and Camas Lower respondents were asked a question concerning their knowledge of the Irish language. In Camas Upper and Lower 36 people out of a total of 175 counted in the census stated that they were proficient in ‘Irish and English’, including Johanna Halpin, Bridget Halpin’s future mother-in-law. This works out at 20% of respondents. In the 1911 Census returns, the year Bridget Roche married Michael Halpin, respondents were asked the same question and 29 adults responded. In the 1911 Census, there is no division of the townland and the total number enumerated in the Census is lower at 141. The percentage of respondents who said they had proficiency in Irish and English remains at 20%, however. Interestingly, and this may, of course, suggest a certain carelessness in compiling the statistics of the census on behalf of the local enumerator, there is nothing in the returns for the Halpin family to suggest that they are proficient in Irish, although both Johanna and Bridget are marked present.
His often repeated claims about Bridget Halpin’s prowess in the Irish language are, therefore, exaggerated. She obviously had many phrases and sayings in Irish but it is very doubtful if she had the capacity to carry out a conversation in Irish. Therefore, the myth that Michael Hartnett picked up a new language by osmosis or by listening to Bridget, ‘the native Irish speaker’ or her cronies while he lay in the loft during acrimonious card games is largely that, a myth. The reality is that his love of the language was also developed by his study of and admiration for the poets of the Maigue and the Bardic past. It was also helped by his study of Irish in school, in Irish College in Ballingeary and by his association with many poets and dramatists writing in Irish and also by his relationships in the early nineteen-sixties, particularly his relationship and collaboration with Caithlín Maude and his later collaboration in the 1980’s with Nuala Ní Dhomhnaill, translating her first volume, Selected Poems: Rogha Dánta, into English.
Hartnett’s public comments and writings also cause some confusion concerning Bridget Halpin’s age. In the acclaimed documentary directed by Pat Collins in 1999, shortly before Hartnett’s untimely demise, entitled ‘A Necklace of Wrens’, Hartnett states that Bridget Halpin was born in 1870, when in fact we know from Census returns that she was born in 1885. He also states that she was 93 when she died in 1967 when in fact she was a mere 80 years of age when she died in 1965!
It is clear, therefore, that many of these claims regarding his grandmother are greatly exaggerated. For example, he has stated on numerous occasions that he was effectively reared by his grandmother from a young age on her small farm in Camas. However, from school attendance records we learn that Michael Hartnett attended the Courteney Boys National School in Newcastle West on a regular basis from September 1949 when he entered First Class (having attended the Convent School, now Scoil Iosaef, for Junior and Senior Infants) until June 1955 when he completed Sixth Class. His attendance during those years was exemplary, rarely missing a day, this, despite his claims in the documentary, ‘A Necklace of Wrens’, that he was ‘a sickly child, and still am’. He then transferred to St. Ita’s Boys Secondary School, then housed in the Carnegie Library in the town to pursue Secondary Education. His sojourns to Camas would, therefore, only have been at weekends and during school holidays as it was at least a four-mile walk. However, it is not contested that the small farm in Camas and Bridget Halpin, his grandmother, played a very important role in providing sustenance and much-needed nourishment for the young Harnett family in Maiden Street during the 1940’s and 1950’s.
Michael Hartnett’s first cousin, Joe Dore, has clear recollection that ‘the poet’ was a frequent visitor to Camas, ‘except when there was hay to be saved’. John Cussen, local historian and friend of the poet says that,
‘Michael Hartnett and I were in the same class in the Courteney School for several years until 1954 when I went to Boarding School (in Glenstal). We were good friends. He was certainly always living in town at that time. I do not recall him ever talking about his grandmother or his sojourns in Camas with her. We were too busy swopping comics which was all the rage at the time!’
Patrick Kavanagh says in his poem, ‘Come Dance with Kitty Stobling’, ‘Once upon a time / I had a myth that was a lie but it served’. Hartnett, too, had his myths and why not? In the ‘Maiden Street Ballad’ he states:
I have told ye no big lies and most of the truth –
not hidden the hardships of the days of our youth
when we wore lumber jackets and had voucher boots
and were raggy and snot-nosed and needy.
Indeed, prior an interview with the poet Dennis O’Driscoll which took place in the offices of Poetry Ireland on 12th December, 1986, Hartnett in a typically mischievous tone told his interviewer:
I always lie at interviews. I don’t lie as such, but I change my mind so often … I refuse to have what is known in the trade as a ‘coherent metaphysic’ (O’Driscoll, p.140).
So, therefore, we must approach with some caution the various and numerous claims made by the poet concerning his grandmother, Bridget Halpin. One credible explanation for many of these claims is that he wanted to portray his grandmother as the quintessential ‘nineteenth-century woman’ who never came to terms with the political, social and cultural changes which were brewing in Ireland in the late nineteenth century. He saw her as a symbol for all that was lost in the traumatic early years of the Twentieth Century in Ireland. In Hartnett’s view one of the many precious things which was lost, ignored, and abandoned was the Irish language itself and so his poem, “Death of an Irishwoman”, which he described as ‘an apology’ to his grandmother, can also be read as a post-colonial lament. Therefore, it would have been more convenient if she had been born in 1870 rather than 1885. Hartnett always considered Bridget Halpin to be a woman ‘out of her time’. She never came to terms with the New Ireland of the 1920’s, 1930’s, and though her life spanned two centuries she was, in his eyes, still living in the past, ‘Television, radio, electricity were beyond her ken entirely’ (Walsh 13). To her, ‘the world was flat / and pagan’, and in the end,
she clenched her brittle hands
around a world
she could not understand.
He has placed Bridget Halpin on a pedestal for his own good reasons. He saw in her a remnant of a generation in crisis, still struggling with the precepts of Christianity and still familiar with the ancient beliefs and piseogs of the countryside. This is a totally different place when compared to, for example, Kavanagh’s Inniskeen or Heaney’s Mossbawn. There is an underlying paganism here which is absent from Kavanagh’s work, whose poetry, in general, is suffused with orthodox 1950’s Catholic belief, dogma and theology. For Hartnett, his grandmother represents a generation who lived a life dominated by myth, half-truth, some learning, limited knowledge of the laws of physics, and therefore, as he points out in ‘Mrs Halpin and the Thunder’,
Her fear was not the simple fear of one
who does not know the source of thunder:
these were the ancient Irish gods
she had deserted for the sake of Christ.
However, Hartnett’s powers of observation and intuition were honed in Camas on Bridget Halpin’s small farm during his frequent visits. His poem, “A Small Farm”, has great significance for the poet and it is the first poem in his Collected Poems, edited by Peter Fallon and published by The Gallery Press in 2001. He tells us that he learnt much on that small farm during those lean years in the forties and early fifties,
All the perversions of the soul
I learnt on a small farm,
how to do the neighbours harm
by magic, how to hate.
The struggle to make a success and eke out a living was a constant struggle and burden. The begrudgery of neighbours, the ‘bitterness over boggy land’, the ‘casual stealing of crops’ went side by side with ‘venomous cardgames’, ‘a little music’ and ‘a little peace in decrepit stables’ (“A Small Farm”). The similarities with Kavanagh’s, “The Great Hunger”, are everywhere but interestingly Hartnett does not name this place, it is an Everyplace. The poem is simply titled, “A Small Farm” so there is no Inniskeen, Drummeril, or Black Shanco here but the harshness and brutality of existence, ‘the cracked calendars / of their lives’ (ibid) in the fifties in Ireland is given a universality even more disturbing than the picture we receive from Kavanagh. Yet, it is here that he first becomes aware of his calling as a poet and often to avoid the normal household squabbles of his grandmother and her son he ‘abandons’ them and begins to notice the birds and the weeds and the grasses,
I was abandoned to their tragedies
and began to count the birds,
to deduce secrets in the kitchen cold,
and to avoid among my nameless weeds
the civil war of that household.
Later in, “For My Grandmother, Bridget Halpin”, he again alludes to the wildness, the paganism, the piseógs that surrounded him during his childhood in Camas. His grandmother’s worldview is almost feral. She looks to the landscape and the birds for information about the weather or impending events,
A bird’s hover,
seabird, blackbird, or bird of prey,
was rain, or death, or lost cattle.
This poorly educated woman reads the landscape and the skies as one would read a book,
The day’s warning, like red plovers
so etched and small the clouded sky,
was book to you, and true bible.
We know that Michael was in Morocco when Bridget Halpin died in 1965 in St. Ita’s Hospital in Newcastle West where she was being cared for. In this poem there is also a reference to his Uncle Denis (Dinny Halpin) who helped rear him and who was eventually to inherit the small farm from his mother, Bridget when she died,
You died in utter loneliness,
your acres left to the childless.
Hartnett is taking a great risk here, that of alienating those closest to him with his disparaging comments on his relations. We know that this trait of outspokenness was to become a feature of his art; his poetry was often scathing and rebellious. However, in this regard, surely the biggest risk he takes is in the first lines of “Death of an Irishwoman”, when he describes his grandmother, Bridget Halpin, as ‘ignorant’ and ‘pagan’. This is nearly as risky and risqué as Heaney’s bold and brave comparing of his wife to a skunk in the poem of that name! Only a favourite, a truly loved one could get away with such braggadocio! The poem’s ending, however, with its exquisite cascade of metaphors surely makes amends for his earlier gaffe.
Therefore, the townland of Camas and Bridget Halpin’s small farm holds a very special place and influence on Michael Hartnett’s psyche. His first published work appeared in the Limerick Weekly Echo on the 18th of June 1955 while he was still in Sixth Class in the Courteney Boys School. He was thirteen. Entitled “Camas Road”, it describes in particular detail an evening rural vista of the townland of Camas, a place which would feature on numerous other occasions in his poetry, becoming central to his development as a poet. It is similar to Heaney’s “Sunlight” poems representing an idyllic childhood upbringing. Its two eight-line stanzas of alternating rhyme and regular metre contain a litany of natural images, at times idiosyncratically rendered; the ‘timid hare sits in the ditch’, ‘the soft lush hay that grows in fields’. It is a peculiar mix of a poem, seemingly authentic words and images from the poet’s experience placed together with those gleaned from the literary prop-box crafted by Manley Hopkins or Wordsworth, testament, no doubt, to the young poet’s voracious appetite for reading and possibly due to the influence of his teacher, Frank Finucane. It is doubly imitative, drawing upon the romantic tradition of nature poetry, as well as the more local genre, poems written by local poets, people, ‘like Ahern and Barry before me’ – poems written exclusively for local consumption. Thirteen-year-old Hartnett depicts an idyllic setting,
A bridge, a stream, a long low hedge,
A cottage thatched with golden straw,
The harshness of later poems is not evident and the poem serves as a record of his childhood in Camas surrounded by nature and its abundant riches. However, at poem’s end there is a growing awareness that this idyllic phase of his life is coming to an end and he declares rather poignantly,
The sun goes down on Camas Road.
The townland of Camas is also central to an episode which the poet recounts for us in his seminal poem, “A Farewell to English”. This encounter hovers somewhere between reality and dream, aisling (the Irish word for a vision) or epiphany. The incident takes place at Doody’s Cross as the poet walks out one summer’s Sunday evening from Newcastle West to the cottage in Camas. He is on his way to meet up with his uncle, Dinny Halpin. He sits down ‘on a gentle bench of grass’ to rest his weary feet after his exertions when he sees approaching him three spectral figures from the Bardic Gaelic past – Andrias Mac Craith, Aodhagán Ó Rathaille, and Daíbhí Ó Bruadair. These ‘old men’ walked on ‘the summer road’ with
Sugán belts and long black coats
with big ashplants and half-sacks
of rags and bacon on their backs.
They pose as a rather pathetic group, ‘hungry, snot-nosed, half-drunk’ and they give him a withering glance before they take their separate ways to Croom, Meentogues and Cahirmoyle, the locations of their patronage, ‘a thousand years of history / in their pockets’. Here Hartnett is situating himself as their direct descendent and the inheritor of their craft and the enormity of this epiphany occurs at Doody’s Cross in Camas: the enormity of the task that lies ahead also terrifies and haunts Hartnett.
As another part of the myth that he had created, Hartnett always laid great emphasis on the fact that he had been born in Croom. He was immensely proud of this fact. In an interview with Dennis O’Driscoll for Poetry Ireland he stated:
I am the only ‘recognised’ living poet who was born in Croom, County Limerick, which was the seat of one of the last courts of poetry in Munster: Sean Ó Tuama and Andrias MacCraith. When I was quite young, I became very conscious of these poets and, so, read them very closely indeed (Dennis O’Driscoll Interview for Poetry Ireland, p, 143).
Andrias Mac Craith (c. 1709 – c. 1794), in particular, was an important influence on Hartnett. MacCraith had, for a time, very close associations with the town of Croom in County Limerick (although, it is believed, he had been born in Fanstown near Kilmallock). As already mentioned, Hartnett had long dined out on the fortuitous coincidence that he too had strong associations with Croom having been born there. However, he neglects to inform us that most of the babies born in Limerick in 1941 were also born in St. Nessan’s Maternity Hospital in Croom! He would have been in Croom for less than a week before he returned to Lower Maiden Street to the accommodation which his family rented from the eponymous Legsa Murphy who also owned a bakery near Forde’s Corner in Upper Maiden Street. However, in the mid to late 1700’s Andrias MacCraith, who was also known as An Mangaire Sugach or The Merry Pedlar (he was not a pedlar, but a roving schoolmaster), and his fellow poet and innkeeper, Sean Ó Tuama an Ghrinn (Sean O’Tuama The Merrymaker), had transformed Croom into a centre for poetry and the seat of one of the last ‘courts’ of Gaelic poetry. The town became somewhat notorious and became known widely as Cromadh an tSughachais, roughly translated as Croom of the Jubilations – (today it would obviously be known as Croom of the Craic)! Hartnett would have loved this vibrant, anarchic milieu and this is why Mac Craith had such an influence over him. Hartnett saw himself as a natural descendent of these poets and the motivation behind his ‘rebel act’ in 1974 was largely an effort to revive the interest in Irish, and poetry in Irish, which had earlier been generated by these poets who were known collectively as the Maigue Poets, in honour of the River Maigue which runs through Croom. His lovely poem, “A Visit to Croom, 1745” is his effort to recreate the tragic changes that were imminent, he tells us he had walked fourteen miles ‘in straw-roped overcoat’,
…… to hear a Gaelic court
Talk broken English of an English king.
As with almost everything that surrounds Hartnett, therefore, our task is to try to discern fact from fiction, myth from reality. We know that Hartnett was a frequent visitor to Camas until he was twelve or thirteen and that his grandmother, Bridget Halpin, considered him to be her favourite grandson. We also know that there were fragile remnants of a dying language and culture and customs still evident in the area. His later momentous disavowal of his earlier work in English and his abandonment of his standing as an emerging poet in 1974 is not hugely surprising when we consider the influences brought to bear on him during those extremely important formative years in Camas. Surely those beautiful, descriptive, soothing Irish adjectives repeated as a mantra in “A Farewell to English”, ‘mánla, séimh, dubhfholtach, álainn, caoin’, which are used to describe the raven haired buxom barmaid in Moore’s Bar or Windle’s Bar in Carrickerry, could also be used to describe his grandmother, Bridget Halpin herself? The encounter depicted in the second section of the poem, “A Farewell to English”, and referred to earlier, can also be read as an example of Hartnett realising what he suggests artists do in his beautiful poem, “Struts”. He is,
……. climbing upwards into time
And climbing backwards into tradition.
So, Bridget Halpin’s small farm in Camas may have been small and full of rushes and wild iris’s but it helped produce one of Ireland’s leading poets of any century. The influences absorbed in this rural setting, his powers of observation, his knowledge of wildlife and flowers, his ecocentric bias, are impressive and all-pervasive in his poetry. Without prejudice, it also has to be said that he demonstrates a deeper knowledge of all local flora and fauna than could be reasonably expected of a ‘townie’! In his own words, he has told us ‘no big lies’ and, though questionable, there was, we believe, ‘method in his madness’. When we examine closely his impressive body of work we notice that apart from Camas very few other rural places are mentioned or named in his poetry. He later left and went to Dublin, London, Madrid, Morocco but when he had work to finish he came back to rural West Limerick and to another beautiful neighbouring townland, Glendarragh, to embark on the work for which he will, if there is any justice, be best remembered.
He was an ice-cream chimes ringing in an Inchicore estate.
He was the commotion stirred up at a country wake.
He was a game of hopscotch played in Maiden Street.
He was a plaintive flamenco note picked out by a gypsy.
He was the palpitation of hooves at a small-town horse fair.
He was a book-barrow dictionary, teeming with disused words.
He was a neglected cottage where a songbird nests.
He was the full-moon shedding light on Newcastle West.
– Dennis O’Driscoll
‘A Necklace of Wrens’ (Film). Harvest Films. 1999
Hartnett, Michael. Why Write in Irish? in Metre, Issue 11, Winter 2001 – 2002, p.133
Hartnett, Michael. Collected Poems, Oldcastle: The Gallery Press, 2001.
Ní Dhomhnaill, Nuala. Selected Poems: Rogha Dánta. Translated by Michael Hartnett, Dublin: Raven Arts Press, 1986.
O’Driscoll, Dennis. Michael Hartnett Interview in Metre, Issue 11, Winter 2001 – 2002.
Walsh, Pat. A Rebel Act: Michael Hartnett’s Farewell to English, Cork: Mercier Press, 2012.
Sources: My gratitude is extended to Joe Dore and John Cussen for their invaluable assistance in compiling this piece of research.
 Michael Hartnett’s family name was Harnett, but for some reason, he was registered in error as Hartnett on his birth certificate. In later life, he declined to change this as it was closer to the Irish Ó hAirtnéide.
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.
Some day I hope to write a fitting analysis of this beautiful sonnet – a commentary that will do it justice. In the meantime, I have to agree with my son Don who has suggested that this is Michael Hartnett’s best sonnet and a poem for which Hartnett deserves acclaim and greater recognition. Leaving Cert English Poetry course developers please note!
Finally got round to doing an analysis of ‘Water Baby’! You can read it here.
John McAuliffe, joint winner with Doireann Ní Ghriofa of the 2016 Michael Hartnett Poetry Prize says in The Clare Herald, “In his poem ‘Struts’, Michael Hartnett describes creatures who abide alone, each on their own ‘ledge, / seldom seeing each other — / hearing an occasional shout / above or below / and sometimes and most welcome / seeing fires like silver spirals / jump along the crevices‘. The poem could be describing poets (or academics?), who work alone (on their own ledges) and, every so often, hear good news and celebrate it at events like Éigse in Newcastle West every April.”
“This award is like one of those spiral-like fires. It’s both a confirmation and a great encouragement to receive the award, especially since I’ve been reading and thinking and talking about Michael Hartnett’s poems — the lyrics, the narratives, the ballads — for as long as I’ve been writing,” John said.
This year’s Éigse takes place in Newcastle West with the Official Opening and prize presentation on Thursday 14th April with the keynote address by poet, Rita Ann Higgins, one of this year’s judges along with Gerard Smyth.
Éigse continues throughout the town, in the schools, Library, Red Door Gallery, hospital and pubs until Saturday April 16th – culminating with Colum McCann (in the company of Colm Mac Con Iomaire who will provide musical accompaniment) reading from his work on Saturday evening at 8pm.
The breadth and diversity of the programme creates an ambience of warmth and conviviality that lends itself to lively gatherings, easy conversation and spirited debate. In other words……..
This piece of incisive and insightful social commentary, written by the poet himself, describing life in Newcastle West in the 1950’s, first appeared in Magill magazine in December 1977 and later in the Journal of the Newcastle West Historical Society, The Annual Observer, in July 1979. Hartnett, the poet, was back in town and the dam burst of memory and nostalgia was beginning, culminating with the bitter sweet Maiden Street Ballad, written as a Christmas present for his father, Denis Hartnett, in December 1980.
Christmas in Maiden Street By Michael Hartnett
A shouting farmer with a shotgun, a few patch-trousered urchins, soaked, snotty and unrepentant, running across wet fields, arms full of holly. The long walk on the railway tracks, the sleepers treacherous and slimy, the dark station, the lamp posts with their glittering circular rainbows. We stopped at the shops’ red windows to admire toys we could never have. A few drunks waltzed by, happy and moronic. An open lorry went by to jeers and obscenities; the pluckers, shawled and snuff-nosed, on their way to a flea-filled poultry store to pluck turkeys at nine pence a head.
Candles and paraffin-lamps did not brighten the darkness in kitchens in Maiden Street – they only made the gloom amber. The purloined holly hung on holy pictures. There were no balloons, no paper chains, no Christmas trees. Coal was bought by the half-stone, butter by the quarter-pound, and tea by the half-ounce. The country people trotted by on donkey and cart or pony and trap with ‘The Christmas’ stones of sugar, pounds of tea. Women in shawls and second-hand coats from America stood at half-doors, their credit exhausted, while the spectre of Santa Claus loomed malevolently over the slates and thatch.
Members of Charitable Institutions distributed turf and boots, God Blessing the meagre kitchens, as hated as the rent-man. They stood well-dressed on the stone floors, were sirred and doffed at. They paid their workers slave wages. They looked without pity at the nailed together chairs, the worn oilcloth-topped tables, the dead fires.
Outside, the rain fell and blew along the street. The tinkers fought. Bonfires died out in the drizzle. We were washed and put to bed, happy and under-nourished. The oldest went to Midnight Mass. The Latin was magic, the organ, the big choir. It always seemed like a romantic time to die.
It was a Christmas of tin soldiers, tin aeroplanes and cardboard gimcracks. We were Cisco, Batman, Johnny McBrown all that day. Our presents – ‘purties’ we called them – seldom lasted longer than that day. It never snowed. There was no turkey, no plum-pudding, no mince-pies. The Victorian Christmas was not yet compulsory. The very poor managed roast meat, usually mutton. We often rose to two cocks. The goose was common. There was a fruit-cake, jelly and custard; the dinner of the year. I never remember drink being in the house. There were never visitors, nor were we encouraged to visit anyone. If the day had been anyway fine, we were to be found on the footpath or in the puddles, knuckles blue.
The Wren’s Day always brought frost. Small warm heads came from under rough blankets to the sound of flutes and banjos and bodhrans far up the street. We donned boot polish and lipstick and old dresses and went out to follow the Wren, tuneless chancers. We sang and giggled our way to a few bob and a glass of lemonade. The back kitchens of the pubs filled up with musicians, the musicians filled up with porter and their wives filled up with apprehension. In a few hours, winter took over again.
There will never be Christmasses like those again, I hope to God.
Dermot Bolger movingly remembers his friend the poet Michael Hartnett who died 16 years ago this month. This is an edited version of a commemorative piece which appeared in The Irish Times on Wednesday, October 12th 2005.
In Ireland there is nothing better for making new friends than an early death and, because in death Michael Hartnett has acquired so many friends, I should firstly say that I didn’t know him well enough to claim any special friendship. I was far younger than him and even though I edited and published three of his books I never lost my awestruck sense of being privileged to be in his company. I was a sensation I felt as a young man on the first night we met and a sensation I still experienced on the last morning he phoned me some weeks before his death on October 13th 1999.
The first book of poems I bought, while still a schoolboy, was the small New Writers Press 1970 edition of Michael’s Selected Poems. On the cover he looks little more than a schoolboy himself. That book had a huge effect on me and remains among my most precious possessions. I first met Michael around 1980 when I ran literature events in the ramshackle building housing Dublin’s Grapevine Art Centre. John F Deane had bravely established a new organisation called Poetry Ireland, and Michael travelled from Limerick to give a benefit reading for it. his opening words to me were to inquire if I knew of a bed for the night, and my opening words to somebody whom I viewed as a hero was to offer him one in Finglas.
It was after midnight when we reached Finglas but Macari’s chipshop remained open on Clune Road. Years later in Inchicore Haiku Michael wrote:
In local chippers
Queueing for carbohydrates
A dwarfed people.
We queued for our late-night carbohydrates. Critics can elaborate on Michael’s gift as a poet and contextualise his work. My interest here is putting down memories for his son and daughter and what struck me was how Michael enthralled the late-night queue and staff in that Finglas chipshop. He wasn’t attention seeking; they were simply drawn into his quiet magnetism. The staff had no idea who he was but afterwards always asked for news of my friend in the countryman’s cap.
In 1984 I wound up sitting in a pub between Michael and Michael Smith, who had published that earlier Selected Poems. Both Michaels became emphatic that not only should I re-issue the long out-of-print Selected Poems, but that the new volume should include every English language poem he had written up to and including his Farewell to English. Michael Hartnett assured me not to worry about copyright issues, he would take care of that. I was young and naïve, but even in my innocence I should have been slightly worried when he explained how he cleared copyright permission for his wonderful translations of Lorca’s Gypsy Ballads. He phoned Lorca’s brother in New York, explained that he was once deported from Franco’s Spain and after he had read aloud one translation the voice at the other end said, “Spread the word”!
Within a few months I was sitting down in his small cottage in Glendarragh, Templeglantine, near Newcastle West in Limerick going through old suitcases of poems with Michael and discovering material either never published or published once in magazines and then forgotten. I spent two of the most memorable days of my life there working on Volume 1 of his Collected Poems and still like to recall Michael as he was then.
After the executions of the Easter Rising leaders in 1916, a British Army officer declared that while they all died like men, Thomas McDonagh died like a prince. Wandering with Michael through Newcastle West or sitting down to eat with his family, I felt a similar sense of being in the presence of a man who, while an integral part of the small community which he loved and understood, was also marked apart as special.
But soon the world that I had glimpsed in Newcastle West was to implode. Alone in Ireland while his family visited Australia, Michael seemed to drift irredeemably into the engulfing tide of alcohol that had always been a problem. Aware that he had the proofs for me of some translations, I tracked his progress across Ireland and finally located him and the proofs in Dublin. He handed me the proofs carried for weeks in his inside pocket and, ever the optimist, asked if by any chance I could loan him €5,000.
At that time the entire assets of Raven Arts Press consisted of a leaking gas heater and a cat, so I brought him for lunch instead and then to a double-bill of afternoon films. The first – Ruben Ruben – was a comedy about a poet with a drink problem on a reading tour in America. Michael chuckled through it. The second – Francis Ford Coppola’s Rumblefish – was shot entirely in moody black and white. The only object filmed in colour was a solitary fighting fish in a glass tank. Leaving the cinema and knowing that I could keep him from the pub no longer, I commented to Michael on this cinematic trick. Michael gripped my arm and, with the relief of a man who had known the delusional tricks of delirium tremens, whispered, “Oh thank God, you saw the fish too.”
Soon he was living in a bedsit in Inchicore with his marriage over. His face, which had never aged, was suddenly old. His chief defence against fate remained his sense of humour. I brought him over some small sum of money for something. There were virtually no possessions in that room where he had started writing the Haiku sequence that broke his silence in English. But his sense of hospitality would not let me leave empty-handed. He asked if I possessed a copy of the tiny 1969 edition of his poem The Hag of Beare and insisted on giving me the only copy he still possessed – Number 1 of that precious numbered edition.
He brought the manuscript of Inchicore Haiku to my small office in Phibsborough, driven over by two new Inchicore friends with impenetrable Dublin accents. We launched it in the Richmond House in Inchicore, a whirlwind night. But if that was a celebratory night in a crowded pub, which cloaked his personal pain displayed in the book, I saw far less happy occasions for him in Dublin pubs in the following years. I know of nothing romantic about drink and the damage it does. I do know that his new partner, Angela Liston, prolonged his life and brought some stability to a man now gripped by addiction.
His publishing affairs became complicated and so I drew up a contract between us, giving him back all rights to his work on condition that I acquired non-exclusive rights to his cheese-grater joke: “A man gives his blind friend a cheese-grater for Christmas, meets him in January and asks if he liked his present. ‘No’, the friend replied, “I tried to read it but it was just too violent.’”
Occasionally after that, he would phone for a chat. On the last morning he phoned, he told me how he had recently visited one of the men who drove him to my office years before. The man was dying of cancer, his mouth covered by an oxygen mask, and he grew upset because the words he kept trying to say were indistinguishable.
Michael leaned over and said: “I know you’re upset because you’re dying and I can’t understand what you are saying, but I must tell you that with your accent, even when you were well I could never understand a word you said anyway.”
The man gave up trying to speak and laughed instead. It takes courage to make a dying man laugh, but Michael Hartnett had courage in spades. Courage, stubbornness and demons. I had no idea he was soon to die, but something made me tell him that one of the proudest moments of my life – something I could unreservedly look back on as truly worthwhile – was editing his Collected Poems.
He accepted the compliment, told me his latest joke and then recited an extraordinary raw and heart-felt poem he had written for Angela Liston. It was the last time I heard his voice and I can hear it still, with his laugh at the end which contained all that pain, humanity and unbroken dignity:
I have been kicked around the place
Been mocked and been pissed on
But I find my way home to you, Angela Liston
And my wrinkled, anxious forehead
Amazingly has been kissed on
And I am blessed by you Angela Liston.
He died on October 13th, 1999. His Complete Poems and Translations have since been superbly edited and published by Peter Fallon and The Gallery Press. When I last passed through Newcastle West I stopped at dawn in Maiden Street where he was reared. It was deserted but every shop window had a poster for Éigse Michael Hartnett, with his haunting quizzical eyes staring out. Those eyes and that voice haunt me still.
There is a very telling little poem by Michael Hartnett tucked away in A Book of Strays called ‘Aere Perrenius’. In it the poet recounts early encounters with Patrick Kavanagh after Hartnett had made his way to Dublin, ‘fresh from Newcastle West / at twenty, with a sheaf of verse / tucked into my belt’. It is really a very gentle admonition by the very prescient Hartnett who was already garnering academic interest. He is saying to those who are required, as part of their academic studies, to rummage through the entrails of a poet’s work to be gentle in their excavations.
The Latin phrase aere perrenius comes to us from Horace. In the final poem in his third book of Odes, Horace boasts that his poetry will outlive any man-made monument: “Exegi monumentum aere perennius.” (“I have made a monument more lasting than bronze.”). Hartnett would probably have been first introduced to the beauty and wisdom of Horace by Dave Hayes, erudite classics scholar and teacher of Latin at St. Ita’s Secondary School, Newcastle West where Hartnett studied for his Leaving Cert in 1950’s.
Hartnett’s poem ‘Aere Perrenius’, is therefore, really a poetic warning to young aspiring academics not to ‘tamper with the facts’ of his verse – or indeed Kavanagh’s verse either! He mentions these, ‘dull strangers with degrees / who prune, to fit conceptions’. These aspiring scholars build their theories on fragile ground, ‘give you ancestors and heirs’ and try to ‘bring you into line / with academic aims, / number all your bones / and make false claims.’
Would-be academics who undertake such necessary work should be aware, however, of the poet’s sensitivities. Hartnett is adamant that he can live with being forgotten but not with being misunderstood or misinterpreted:
It is easy to forgive
a world that forgets
but not a world that changes
with subtle sentences
a life that was and is.
Both Hartnett and Kavanagh have had their fair share of being misunderstood – and for those who are familiar with the ‘history’ of their friendship, many will find Hartnett’s appeal on behalf of his ‘mentor’ very commendable! He claims to understand Kavanagh, for all his rough edges, ‘the smokescreen of your talk / about fillies, about stallions’. His intimate knowledge of the man from Inniskeen is encapsulated in that uniquely Irish form of the ultimate trusting relationship: ‘I sometimes placed your bets.’
He declares that the bronze statue by the Grand Canal in Dublin’s Baggott Street is best described by Kavanagh’s own word ‘banal’! He, unsuccessfully as it happens, hopes that he will never suffer a similar fate. He issues an appeal to all young, and not so young, aspiring academics to thread softly when they come to investigating and exploring the work of any poet: