Sunday, January 4, 2015

Poets Across the Miles

True friendship survives  all distances and time, so five thousand miles is not far to travel for lunch when it is to have  a few hours with a dear friend. While visiting Washington State I took the ferry from Bremerton to Seattle and met up with award-winning poet, Susan Rich, She took me  to the Frye Art Museum where we spent the next few hours barely stopping for breath as we caught up on our life stories.

We met  when I went to The Tyrone Guthrie Centre  in 2003.  It was my first residency and  was I preparing my second collection Toil the Dark Harvest  for publication. Susan and I developed a close relationship while there and performed a memorable 'call and response' reading where we found linking themes in our poems that echoed off one another. She has returned to Ireland a number of times to read at the Cúirt International Literature Festival in Galway and to give workshops at the Anam Cara Writing Retreat in Cork. We have always tried to find unusual places to read and they have included the top of a mountain in Connemara, the Shandon Bells in Cork and a washing pool in Limerick. We didn't get a chance to to that this time but a very special treat for me was to  see the painting The Courtyard by Max Liebermann that is in the Frye.

Susan introduced me to the painting through her own poem of the same name which she sent to me some years ago and I keep it in my office under my keyboard to surprise and delight me on days when things are grey. To be introduced to the work that inspired her poem was wonderful because I could see how she transformed the painting into something new and faithfully created her own work of art.

Here is the poem from her most recent collection Cloud Pharmacy:

Courtyard
After the painting Courtyard, c. 1882
            by Max Liebermann

She labors, but at what she cannot know
for sure. She is alone, but does she know

how she’s observed? The outer wall, the window
where girls of white and rose watch knowingly

(they think so) above a makeshift fence; they can’t
foresee the story of her winged back, know

nothing of the image-maker’s script, the color work –
her supporting bit as laundress, lover, know-

it-all in service to the day’s grey socks. Her face
remains defiantly obscured. What can she know

of art? She is arms – green bucket– angled foot –
headscarf – house dress – body of a woman. Knowledge

that she would most likely like to wash away – what good
will it do her? Blue motion of her life elevated to nowhere.

She’s judged simple, dirty, ugly – and maybe so.
But see this future person standing here, knowing

all she does of sorrow, bend to palm the frame
stung by something the world cannot express: the notion

of  a second soul.  She journeys in, traveling by window –
Worker, rich girl, artist in the street: go beyond the known.




Sunday, October 19, 2014

Reading at Baffle Festival Loughrea, Co. Galway

There is no trophy more prized than the Baffle Turnip Award,  pictured here. And there is no other livelier weekend festival to be part of than this in terms of poetry, poets, porter, and pleasure.

This  year's theme is: When the Whistle Blew. Now that should throw up some interesting interpretations.

I'm judging the poetry heats on Saturday night 25th October and reading at the Brunch on Sunday 26th at 12.00 in the Hungry Bookworm. 

Come along. You won't be disappointed. 

Thursday, October 9, 2014

#readwomen2014 at Tallaght Redline Festival

              #Readwomen

I am delighted to be returning to Tallaght and South County Dublin Redline Festival  where I will be reading with  EILEEN CASEY and MIA GALLAGHER and afterwards in conversation with SUE HASSETT, on Friday 17th October at  8.15pm Loose End Studio, Civic Theatre, Tallaght.

Are literary women writers undersold and undervalued by the current literary universe? In 2014 a small American literary journal vowed to cover women writers for a full year. Then, artist Joanna Walsh’s #readwomen 2014 project became a popular meme on social media.

So come join three Hennessy award-winning writers in this lively debate as we assess and attempt to redress male writers’ dominance in the literary world.

Booking at Civic Theatre Box Office:
Tel 01 462 7477; boxoffice@civictheatre.ie
Admission €8/€6

http://www.civictheatre.ie/whats-on/readwomen2014-with-eileen-casey-valerie-sirr-geraldine-mills-and-sue-hassett/

Tuesday, September 30, 2014

A Publisher who Cares about Books and Writing by Eileen Casey


 From Senior Times September/October 2014 www.seniortimes.ie




In a recent Irish Independent newspaper article about small publishing houses, Alan Hayes, summed up the spirit of his own independent press, Arlen House. Asked how he felt about authors who might be tempted to move on to bigger houses, he replied: “I’m not upset because I want to see writers thrive and I’m happy to help them along their path. I want to see them take flight.” As it happens, a writer who began her career with Arlen House, Nuala Ní Chonchuir, has just signed a book deal for her third novel Miss Emily, with
Penguin USA and Penguin Canada.

Alan Hayes has no hesitation in wishing Ní Chonchuir the best of luck and even more recognition. Such an attitude is the hallmark of a publisher whose books are consistently of high literary quality and which are undeniably visually gorgeous. Galway based and re-launched in 2000, Arlen House has found its niche in both national and international publishing arenas. Worldwide distribution is via Syracuse University
Press in a dynamic publishing partnership.

Arlen House has, historically, always been closely connected to women writers, although nowadays, not
exclusively so; Hayes has broadened out the scope of the press. But in its earlier formations, its aim was to champion and pioneer women’s writing in Ireland. Two Irelands, Literary Feminisms North and South by Rebecca Pelan (Syracuse University Press) is a good place to start exploring the story of women’s writing and publishing in Ireland. Arlen’s original founder was Catherine Rose and it came into being in Galway
during International Women’s Year, 1975. Early listings were heavily influenced by Eavan Boland. Arlen’s first publication was Rose’s The Female Experience: The Story of the Woman Movement in Ireland.
In 1978 the press moved its headquarters to Dublin and became Arlen House: The Women’s Press. Margaret Mac Curtain, Janet Martin and Terry Prone joined its ranks. The press undertook a rebuilding of ‘lost’ women writers such as Kate  O’Brien, Norah Hoult, Janet McNeill among others. In 1978
also, Arlen House and sponsor Maxwell House (coffee) began a literary competition for new women writers, producing three ground-breaking anthologies and starting many writers’ careers as a result. In tandem with these anthologies, some of the most important critical work appeared, work which included Irish Women: Image and Achievement, edited by Eileán Ni Chuilleanáin (1985). Terry Prone’s The Scattering of
Mrs Blake and Related Matters and Mary Rose Callaghan’s Mothers represent two of the finest
publications by Arlen House around this time.

Another direct result from Arlen was WEB (Women’s Education Bureau) founded in 1984 by Eavan Boland, who organised writing workshops for women and also designed courses on ‘Women into Writing,’ for FÁS.

Regarding how Arlen House operates today, Hayes accepts no unsolicited manuscripts. Instead he commissions the books (over 150 to date) looking out for emerging writers, going to readings, keeping abreast of literary journals. He then contacts the writer and asks if there is a manuscript available. The books themselves are acknowledged gems in terms of original artwork covers, many of them in hardback. Hayes himself was a judge of the 2009 EU Prize for Literature; founder of the Dublin Book Festival and its former Artistic Director; former President of Publishing Ireland during its most successful period and a co-founder of Dublin’s bid for UNESCO City of Literature (which Dublin received in 2010). His own books, published by Arlen House, include Hilda Tweedy and the Irish Housewives Association, (2012) and Madame Sidney Gifford’s The Years Flew By (2000).

He’s also published Women Emerging (NUIG 2005), Irish Women’s History (Irish Academic Press, 2004) and The Irish Women’s History Reader (Routledge, 2000) among others. The list of Arlen House authors is long and illustrious, including names such as Pauline Bewick, Maeve Binchy, Geraldine Mills,
Nuala Ní Chonchúir, James Liddy, Liam O’Flaherty, Joan Newmann, Kate Newmann, Vincent Woods, Celia de Fréine and Martin Dyar.

Important books on gender issues continue to be published, internationally-acclaimed books such as Ariadne’s Thread: Writing Women into Irish History by Margaret Mac Curtain (2008) and Mary Cullen’s
Telling it Our Way, Essays in Gender History (2013). My own debut collection of short fiction Snow Shoes, appeared in 2012 from Arlen House (with original artwork from Offaly artist Emma Barone ). Galway based writers Colette Nic Aodha and James Marytn Joyce were launched with me. Joyce also compiled Noir by Noir West, an anthology of dark tales from thirty writers, again testimony to Alan Hayes’s commitment to getting writers published. This sentiment is echoed by fellow Galway writer Alan McMonagle when he says “In these difficult publishing times, Arlen House provides a rare opportunity for writers of short fiction.” McMonagle’s Psychotic Episodes is a collection of short stories described by Patrick McCabe as being “precise, tender and glitteringly compelling.” The title story in this collection was nominated for a Pushcart prize.



On a personal level, my second collection with Arlen House, A Fascination with Fabric, prose and memoir, is everything and more I could wish for. When I reflect on the list of Arlen House writers, I realise its historical significance in terms of women writers in particular and I feel fortunate to be counted among a long line of gifted writers, some of whom are profiled here. Writers, for example, like Martin Dyar (Patrick Kavanagh Award Winner, 2009). His debut poetry collection Maiden Names was shortlisted for the Pigott Poetry Prize and the Shine Strong Poetry Award, 2014. Poet Bernard O’Donoghue described Dyar’s work as being “A thrilling new development in Irish poetry.” 

Awards are no strangers to Arlen House writers. Tom Duddy who passed away in 2012, was the only Irish poet to make the shortlist for the Seamus Heaney Centre Prize for Poetry and the Aldeburgh Poetry
Prize with his debut collection, The Hiding Place.



Of Arlen House books, Dyar says that they “resonate with the personality of the press itself. The feminist origins abide in the trademark sense of the individual book as a means for the preservation and renewal of
experience, a sense of voices tended and understood. This quality continues, it seems to me, by virtue of a special editorial talent and commitment, and a special sense of Ireland itself, along with a love of the book as a physical object. My own understanding of the significance and potential of poetry has been deepened through being exposed to the Arlen House ethos. It has granted me a new ideal of writing.”

Seven Ages (2005) is a sumptuous celebration of Pauline Bewick’s life and work. The book is arranged in chronological order, charting the artist’s journey from the age of two to seventy. Bewick is much loved and admired as an artist and is Ireland’s most successful woman artist. In 2006 she donated 600 artworks from her collection to the Irish State, and Arlen House catalogued this in Pauline Bewick’s Seven Ages (2006).
Bewick has the highest respect for how Alan Hayes works as a publisher, citing his always “sympathetic response.” To mark her 80th  birthday in 2015, Arlen House will publish a memoir from Bewick, an event to be looked forward to.


Galway writer Geraldine Mills (Winner of the Hennessy New Writer of the Year Award, 2000) has published five books with Arlen House, two collections of poetry and three of short stories, the most recent being Hellkite. Geraldine’s reputation has grown steadily over the years, garnering substantial literary successes and solid affirmation from her peers. Her dedicated approach to the writing process itself has also been richly rewarded in works that will undoubtedly stand the test
of time.
“A writer puts his/her life into each story or poem, perfecting every phrase, every sentence. Arlen House does the same with its publications, ensuring that every aspect of the finished product is beautiful: the font, the typeface, the quality of the paper, the cover image. Anyone who picks up an Arlen book admires it immediately for its solid individuality, something that e-publishing can never compete with.” Artwork on her
books is courtesy of artists such as Pauline Bewick, Joan Hogan, Charlotte Kelly and Gerald Davis.
On the question of the economics of publishing, she says: “In an age where the Amazons of the industry are constantly trying to strip booksellers and publishers of any chance of a livelihood, small Indie publishers such as Arlen House defy all of that by continuing to believe in the power and beauty of the book. I have no doubt but my writing life would be very different if I hadn't had the opportunity to be published by Alan Hayes. Having international distribution with Syracuse University Press has opened up the world for me with my work being taught in many universities in the US including Connecticut, Boston and Seattle. Hellkite has even found its way to Turkey and this autumn some of my stories will be taught to college students there. Gratitude to him is a small word here.”

Celia de Fréine is another such highly regarded writer, equally at home writing in English or Irish. She lives in Dublin but is originally from Newtownards, County Down and still maintains her links to Northern Ireland. A Patrick Kavanagh Poetry Award winner, she is a poet, playwright, screenwriter and librettist. She has published seven books with Arlen House, including a ground-breaking bilingual 3 volume set of plays inspired by Brian Merriman’s The Midnight Court, and most recently cuir amach seo dom: riddle me this (2014).
Donegal award winning poet Mary Turley-McGrath is the 2014 recipient of Trocaire’s Poetry Prize, in conjunction with Poetry Ireland. Her second book of poems, Forget the Lake, is published by Arlen House. For Turley-McGrath, “Being an Arlen House writer means belonging to a publishing house that is
dynamic, independent, inclusive and professional, a publisher who brings Irish writing to the forefront of the Irish and international scene.”



American writer Lisa C. Taylor’s most recent poetry collection, Necessary Silence was published by Arlen House in 2013. “I wouldn’t be a writer without readers,” she says, not remembering a time when she didn’t use writing “to make sense of the world.” Taylor has much praise for Arlen House, “Alan Hayes’s dedication to literature and authors is steadfast. Not only is he a great editor, his support of literature and Arlen House writers enables us to get our work out into the larger world. My tours in both Ireland and the United States have given me opportunities I would not have otherwise had. The collaborative collection (The Other Side
of Longing, 2011) with Geraldine Mills allowed both of us to read widely in the United States as well as in Ireland. ” Órfhlaith Foyle has been an Arlen author since 2005; Revenge (fiction and poetry), Red Riding Hood’s Dilemma (poetry), Somewhere in Minnesota (short fiction). “Arlen House is an independent publishing house and while that is a challenge these days, Alan Hayes is utterly committed to publishing literature, poetry and art. Clemency Browne Dreams of Gin is my fourth book with Arlen House and I am
proud of it and how it looks. After a writer writes what is their gut, all a writer wants is to be published, and Arlen House does that with great respect for the work, the book and the writer.” 
This solid appreciation for a level of care and attention to detail resulting consistently in beautiful books; is
shared by many. Writers and readers alike. For information regarding any of its books or authors, Arlen
House can be contacted at arlenhouse@gmail.com
  



   

Thursday, September 18, 2014

Clifden Arts Festival reading




      www.clifdenartsweek.ie

   Delighted to be reading with 
Michael Gorman on Friday, 19th at 4pm 
in Clifden library.

Looking forward to seeing loads of you there.


Sunday, September 7, 2014

Noir by Noir West Reading at Clifden Arts Festival

      2pm Thursday 18 Sept  ALCOCK & BROWN

Published by Arlen House and edited by James Martyn Joyce, Noir by Noir West  is new short fiction by 30 of Ireland's best established and emerging writers; stories filled with menace and intrigue.  Local author Pat Mullan says “I am very pleased to be one of the writers chosen for this superb new work.” 

We invite you into this dark, dark world to hear  Hugo Kelly, Aideen Henry, Pat Mullen and myself read from the collection. Your life will never be the same again.


Noir By Noir West - disquieting Galway stories


   

The Missing Link


Here is a new poem that has just been published in Human Journal.Thank you to Susan and Mustafa for inviting me to submit. The link below will let you see the amazing work of all the other contributors. 

The Missing Link

The head-hunters came to the wildness of Mayo,
eighteen nineties, with callipers and camera,
to prove our nigrescence, our blackness.

They lined up full face and side view:
measured to a fraction of an inch −
forehead to crown, temple to temple
the jut of the bone from ear to ear:

Seán ‘the common noun’ Daly,
The schoolmaster at Ballycroy,
The King of North Iniskea

or my great-grandmother milling grain in the quern
the purse of her full bottom lip, 
the protruding lower jaw.

If it wasn’t for the white of her skin
she’d be the living proof.

Note: Mayo is a county in the north west of Ireland

(http://humanjournal.org/index.php/issues/current-issue)