The necessity of ‘staying safe at home’ has changed things. Even I, one of the least social people outside of cave-dwelling hermits, have occasionally felt the sting of solitude. A couple of months ago I even made an uncharacteristic effort at sociability and set up a Zoom appointment with a friend from my school days, someone I hadn’t seen for about 25 years. Jenny is an Irish citizen who was in Melbourne when Covid-19 struck and she’s been forced to stay in situ for the year, keeping herself busy with online work. We ended up chatting for an hour and having a good laugh and catch up. It was interesting and inspiring to hear about some of her adventures—abseiling up windmills on the North Sea, living in tree houses in Oregon and setting up an organization promoting women in trades in Ireland.
One of the interests we have in common is reading and she warmly recommended, since I’m in Northern Ireland, the Dublin Book Festival. Dublin is only a quick train ride from Belfast but the predicted second wave came along and in-person events are once more out of the question. My interest was piqued, however, and I realized that the festival is going full-steam ahead in a virtual format. Last night I decided to check out a—completely free—talk between Séan Rocks and three authors: Roddy Doyle (The Commitments, Paddy Clarke Ha Ha Ha, Love), Christine Dwyer Hickey (Tatty, The Narrow Land) and Kevin Barry (Nightboat to Tangier, City of Bohane). The three authors were really good talkers and the conversation was thought-provoking and funny.
In fact, I enjoyed it so much that I decided to look and see if there were any other things going on this month. As it happens, there are! So if you’re interested in finding about new books and authors from around the world, go ahead and check out one of these events!
This one has nearly finished but it’s a good chance to check out what’s going on on the Malaysian literary scene and many of the talks are conducted in English. The theme is looking at the role of art and literature in a time of crisis. Highlights include a talk on the centenary of Paul Celan’s birth and a conversation with Filipino writerF. Sionil José. Have a squiz at the program here.
An event that brings together writers, artists, publishers and others to discuss the intersection between culture, struggle and politics.More than 70 international scholars, writers, artists and activists will take part, including, Kenyan poet and playwright Shailja Patel; prize-winning historian Robin D.G. Kelley; Oglala Lakota educator and poet Mark Tilsen; and indigenous scholar and Red Nation activist Nick Estes.
A celebration of literature from and influenced by the sub-continent. Featured authors include Dr. Madhu Bazaz Wangu (The Immigrant Wife), Megha Majumdar (A Burning) and essayist Sejal Shah (This is One Way to Dance).
This event, from independent publisher Jacaranda, showcases 20 Black British authors. Tickets are available here. Among the twenty are crime-writer Stella Oni (Deadly Sacrifice), novelist Berni Sorga-Milwood (Under Solomon Skies) and Somali poet Hibaq Osman.
Crater is a publisher that supports new writing with a particular focus on Southeast Nigeria. The theme of this year’s edition of the festival is “The Literary Agenda”. Topics of discussion include Publishing in a Digital Age, Igbo Literature and Book Clubs. The program includes chat sessions with authors Deji Yesufu, Abigail Anaba and Tayo Agunbiade, a virtual art exhibition by Ifedilichukwu Chibuike and a live stream of a short drama about the 1949 Iva Valley Massacre.
For Italian-speakers, the Salone Internazionale del Libro (International Book Festival) goes online this year. In response to the challenges that this year has brought, this event has a theme that encourages us to look at life anew, to realize that “reality is not a list of opponents, but of elements that we must learn to integrate with each other, to reconcile, to coordinate.” All events will be livestreamed free on Facebook here. I’m particularly interested in a talk by Romeo Castellucci on the 700th anniversary of the death of Dante. You can read more about it here.
Cookbooks, children’s stories, biographies and more–this festival has everything! Featured novelists include Eshkol Nevo (The Last Interview), David Hopen (This Orchard) and Myla Goldberg (feast your eyes) See the schedule here.
Brought to you by children’s book publisher Author In Me, this event celebrates work for and by young people. One of the speakers is thirteen-year-old Anoushka Sabnis (Once Upon a Verse–because poems tell stories), who published her first book at the age of ten. The Facebook link is here.
This event is a bit different, you might even say ‘unprecedented’, because it’s an ongoing online hub “born in the time of Covid-19” to provide writers and readers with literary entertainment and inspiration in the form of author interviews. It’s all free, though donations are welcome. One of their most recent interviews was with Xialu Guo (A Lover’s Discourse and Village of Stone) and you can access all their previous sessions on the website by clicking the link ‘All Authors.’
The House of Atreus is cursed.I have been making my way through Louis MacNeice’s 1939 translation of Aeschylus’ Agamemnon, which is sometimes tough going, but that much is clear.As a way to get a better grip on the web of treachery and stink of ancestral blood, I decided to find images of the myth in Greek vases. Sure enough, there were no shortage of them.
According to some stories, the rot goes all the way back to Tantalus, who tried to serve up his son Pelops to the Olympian gods for dinner. The gods caught the trick in time and banished Tantalus to the Underworld to be eternally ‘tantalized’. They reconstructed Pelops (replacing his shoulder with an ivory prosthesis because Demeter had absent-mindedly swallowed his original one).
Some time later, Pelops (who was now as good as new) fell in love with Hippodamia. Her father was Oenomaus, a King who had heard a prophecy that he’d be killed by his son in law. He had therefore decided to challenge each of her other suitors to a chariot race and then kill him when he inevitably lost. Pelops was afraid of losing like the 18 suitors before him, so he enlisted the help of his former lover Poseidon, who gave him four winged horses. Just to make completely sure of the outcome, though, Pelops also struck up a dirty deal with Oenomaus’ charioteer Myrtilus: If he took out the bronze linchpins connecting the axle to the chariot wheels, replacing them with wax linchpins, the charioteer would have the right to sleep with Hippodamia on the first night of her wedding to Pelops. Myrtilus kept up his end of the bargain and the King was killed, dragged by his own horses. Pelops was not grateful to Myrtilus but threw him off a cliff. As the charioteer was falling to his death, he cursed his killer (incidentally, the site of Myrtilus’ burial place in Olympia was known as a taraxippus, literally a ‘horse disturber’, a place haunted by ghosts or dangers).
Pelops and Hippodamia had two sons: Thyestes and Atreus. The brothers fought for ascendancy and Atreus won. Atreus married Aerope but she became lovers with Thyestes. When Atreus learned of this adultery, he prepared a delicious feast for Thyestes, without telling him that the meat was Thyestes’ own children. Horrified by his consumption of human flesh, Thyestes cursed Atreus:
When he knew what all unhallowed thing
He thus had wrought, with horror’s bitter cry
Back-starting, spewing forth the fragments foul,
On Pelops’ house a deadly curse he spake:
As darkly as I spurn this damned food,
So perish all the race of Pleisthenes!
Note: Pleisthenes is one of the sons in the stew.
As time winds on, the malediction ripens. Paris abducts Menelaus’ wife Helen and takes ‘the fair mischief’ to Troy. Paris was staying as a guest in Menelaus’ house when he kidnapped Helen, which means his act was not only adulterous but also violated rules related to hospitality sacred to Zeus. None of this is good news for Troy:
What curse on palace and on people sped
With her, the Fury sent on Priam’s pride,
By angered Zeus! What tears of many a widowed bride!
Agamemnon and Menelaus prepare an army to go to Troy. While they are wondering if it’s still the right thing to do, they see a pair of eagles:
And one was black, one bore a white tail barred.
High o’er the palace were they seen to soar,
Then lit in sight of all, and rent and tare,
Far from the fields that she should range no more,
Big with her unborn brood, a mother-hare.
A soothsayer gleans from this that Troy will fall but that it will anger Artemis, who hates to see young animals killed. In return she will demand “a curst unhallowed sacrifice/’Twixt wedded souls”.
Knowing that the trip will be basically successful,Agamemnon gathers forces to go help Menelaus get Helen back, but Artemis stalls the ships at Aulis. A priest advises Agamemnon to sacrifice his daughter Iphigeneia so the ships will be able to go on to Troy. He does so, and so earns the ever-lasting hatred of his wife Clytemnestra:
And ill, to smite my child, my household’s love and pride!
To stain with virgin Hood a father’s hands, and slay
My daughter, by the altar’s side!
Meanwhile, in Troy, another curse is in progress. The god Apollo falls in love with Cassandra, a beautiful Trojan princess. Afraid of him, she promises she will marry him and he gives her the gift of prophecy. She then breaks her promise and he changes the gift to a curse—no one will ever believe her prophecies. Instead, they’ll scorn her and call her a “witch and cheat”. Cassandra predicts the Fall of Troy but she is powerless to prevent it. On the night it falls, Ajax the Lesser tears her away from the sanctuary of Athena, rapes her then gives her to Agamemnon as a slave.
When Cassandra arrives in Argos as Agamemnon’s captive, she immediately senses the family curse. She sees ghostly children—Tyndareus’ sons—on the roof and hears the Curse as Furies who physically occupy Agamemnon’s palace and gloat about all the misery therein, stemming from the ‘incestuous’ affair between Thyestes and Aerope:
Within this house a choir abidingly
Chants in harsh unison the chant of ill;
Yea, and they drink, for more enhardened joy,
Man’s blood for wine, and revel in the halls,
Departing never, Furies of the home.
They sit within, they chant the primal curse,
Each spitting hatred on that crime of old,
The brother’s couch, the love incestuous
That brought forth hatred to the ravisher.
When Clytemnestra boasts about murdering Agamemnon, the Chorus see her as a tuneless raven in an image that recalls the ‘harsh unison’ of the ‘chant of ill’ sung by the Furies of the house:
Thy very form I see,
Like some grim raven, perched upon the slain,
Exulting o’er the crime, aloud, in tuneless strain!
Clytemnestra herself agrees, suggesting that she is to some extent possessed by a daimon:
Right was that word—thou namest well
The brooding race-fiend, triply fell!
From him it is that murder’s thirst,
Blood-lapping, inwardly is nursed—
Ere time the ancient scar can sain,
New blood comes welling forth again.
Where will it all end? The problem is that the murder is wrong in at least three different, polluting ways: a wife has murdered her husband, a nephew (Aigisthos) has murdered his uncle, and a guest (Aigisthos) has murdered his host. This all means that new blood will have to be spilled into infinity. Or does it? Aeschylus hashes out the resolution in the next two plays: The Libation Bearers and the Eumenides.
Until recently, I knew three things about Louis MacNeice (1907-1963): that he was from Ireland, that he was friends with Auden and that he wrote “The Sunlight on the Garden” . Then last year our friend Gabriel gave us a copy of Autumn Journal(1940), a long poem written in the months leading up to the outbreak of World War Two. It’s a book that sketches History as it is experienced personally, in real time, in a dance of daily impressions, emotions, opinions, memories, hopes and doubts. Although it’s written in quatrains, it easily conveys the sense of genuine internal dialogue. He questions the use of being an “impresario of the ancient Greeks” at a college; he decides it’s right to vote in a by-election; he fondly remembers a holiday in Spain; he regrets the loss of his wife. The book provides intimate access to Louis MacNeice’s mental reality.
Now that I’ve lived in Belfast for a few months and have read his Selected Poems (edited by Belfast poet Michael Longley), another aspect of MacNeice has crystallized for me, and that the importance of his Irishness in his poetry. It’s a topic that has irritated critics on both sides of the Irish Sea, partly because he evades categorization and is maddeningly ambivalent about his loyalties. Once when asked where he lived, he replied jokingly that he had “a foot in both graves”. Historically, English critics have almost accepted him as an honorary Englishman, being Auden’s pal, while Irish critics view his membership as a fellow national as problematic. The fact is, though, that Louis MacNeice is an Irishman: he was born to parents originally from western Ireland and he spent the first nine years of his life in the North East, in Carrickfergus and Belfast:
I was born in Belfast between the mountain and the gantries
To the hooting of lost sirens and the clang of trams:
Thence to Smoky Carrick in County Antrim
Where the bottle-neck harbour collects the mud which jams
The little boats beneath the Norman castle,
The pier shining with lumps of crystal salt;
The Scotch Quarter was a line of residential houses
But the Irish Quarter was a slum for the blind and halt.
At nine, he left the country and spent the rest of his life in England (minus a brief teaching stint in the USA) but he never stopped writing about his childhood in Ireland. While it is tempting to read his childhood poems (“Autobiography” and “Carrickfergus”) simply as lyrics to his youth, or therapeutic examinations of formative trauma, they are also subtle but serious reflections on the turbulent history and politics of the country of his birth. Just as the overlay of internal experience on shared historical reality is a feature of Autumn Journal, his Irish poems are enriched by their historical context; they are snapshots of a figure in a particular time and place. MacNeice’s ideal poet, remember, is “a reader of the newspapers”, “informed in economics” and “actively interested in politics” (Modern Poetry ).
What’s more, the uncomfortable ambivalence that characterizes all of MacNeice’s poetry, his insistence on the essential and dynamic variety, a world where things are “incorrigibly plural” may partly be the effect of growing up in a country that constantly pulls in two opposite directions:
And if the world were black or white entirely
And all of the charts were plain
Instead of a mad weir of tigerish waters,
A prism of delight and pain,
We might be surer where we wished to go
Or again we might be merely
Bored but in brute reality there is no
Road that is right entirely.
What is most immediately striking about MacNeice’s attitude to his childhood home is a sense of disconnection. It seems, in spite of the vividness of his memories, that the north never felt like home to him, even when he was in it. In “Carrick Revisited” (1945) he describes it as an accidental ‘interlude’.
Torn before birth from where my father’s dwelt,
Schooled from the age of ten in a foreign voice,
Yet neither western Ireland nor southern England
Cancels this interlude; what chance misspelt
May never now be righted by any choice.
Whatever then my inherited or acquired
Affinities, such remains my childhood’s frame
Like a belated rock in the red Antrim clay
That cannot at this era change its pitch or name—
And the pre-natal mountain is far away.
This disconnection is built into the history of Ulster itself. Originally Irish, like MacNeice, it is has not been fully Irish nor quite English for a long time. The events that created this state (the Plantations, the Battle of the Boyne, Partition, as you like) “may never now be righted by any choice” even in 2020.
Louis’ father John Frederick MacNeice (1866-1942) was a rector for the anglican Church of Ireland, and he would later become a bishop. John MacNeice was a man of conscience who sought interfaith cooperation and peace. In 1912, for example, he supported Home Rule and refused to sign the Ulster Covenant, a brave (though hopeless) stance, considering the Ulster Volunteer Force was founded that very year and marched the streets in their thousands against ‘Rome Rule’. In 1936, when officiating at the funeral of Sir Edward Carson (the architect of Irish Partition), John MacNeice refused to allow the Union Jack to hang over Carson’s tomb. (Interesting side note: Carson was also the prosecutor whose cross-examination of Oscar Wilde put the latter in gaol for homosexuality).
While John MacNeice was personally on the side of interfaith cooperation, he must have been aware that the Church of Ireland owed its existence to the repression of the country’s Catholic majority. It was the church of English colonists, for centuries the only church acceptable to the Crown (in spite of its dearth of adherents). In 1704, for example, the Test Act restricted public office to members of the Church of Ireland, a law that remained in place until 1829. And from the 16th to the 19th centuries, all Irish regardless of their true faith, were compelled to pay a tithe to the Church of Ireland, a practice that only ended after the Tithe War (1830-1836) .
“Carrickfergus”, an apparently simple poem about MacNeice’s childhood, implies this history, the jarring juxtapositions and sad complexities of a society shaped by colonial interests:
I was the rector’s son, born to the anglican order,
Banned for ever from the candles of the Irish poor;
The Chichesters knelt in marble at the end of a transept
With ruffs about their necks, their portion sure.
Patrons of St. Nicholas’ Parish Church where Louis’ father preached, the Chichesters had a huge amount to do with the poverty of the Catholic population. Sir Arthur Chichester (1563-1625) arrived in Ireland to assist Elizabeth I in the Nine Years War, a conflict that started when Irish Gaelic earls Hugh O’Neill and Hugh Roe O’Donnell rebelled against English rule. In 1600, Chichester was appointed head of the English garrison at Carrickfergus and he immediately resorted to scorched-earth tactics in the area not only to deprive O’Neill’s army of food but also to starve and murder local civilians. In his own description of the campaign, he boasted, “I burned along the lough within four miles of Dungannon and killed one hundred people, sparing none, of what quality, age or sex so ever, besides many burned to death; we kill man, woman and child, horse, beast and whatsoever we find…” It sounds as if he was pleased with himself and indeed he was handsomely rewarded for his service; under James I, Chichester was appointed Lord Deputy of Ireland. He served in this role from 1605 to 1616, during which time he oversaw widespread persecution of Catholics and engineered the Plantation of Ulster, uprooting Catholics and awarding their land to wealthy Scottish and English landowners. Biographer David Lloyd (1635-1692) praised him for being “effectually assistant, first to plough and break up that barbarous nation by conquest, and then to sow it with seeds of civilty.”
When he arrived in Ireland, Chichester had been on the verge of bankruptcy; by the time he was removed from Irish affairs, he held title to 100,000 acres of land. MacNeice’s ironic “their portion sure” conceivably refers to Chichester’s “cut” rather than to any special nook in Heaven.
Louis MacNeice’s parents are seen dimly. His father is always shown in his official capacity, an anglican churchman, and his mother Elizabeth (Lily) a soft ghost. The poem “Autobiography” describes her with painful vagueness, “My mother wore a yellow dress, / Gently, gently, gentleness.”. Sadly, Lily contracted uterine cancer when Louis was still very young. After a hysterectomy she fell into a bout of depression and left their home for a psychiatric facility in Dublin. A year later, she contracted tuberculosis and died. MacNeice writes simply, “When I was five the black dreams came; / Nothing after was quite the same.” (“Autobiography”).
It is perhaps stretching a point to say that “Autobiography” is a political poem, but it is still a notable coincidence that two things of historic significance happened in 1914 so that “Nothing after was quite the same”. The first was the “black dream” of World War One, a bloody debacle that caused a whole generation to lose its taste for war. The second was an amendment to the Home Rule Act that would exclude Ulster counties from impending Home Rule, effectively cutting the country in two. The amendment was powerfully argued for by Sir Edward Carson, the Irish Unionist and first signatory to the Ulster Covenant of 1912, which had vowed to resist Home Rule using “all means necessary.” Before this Home Rule Act was put into law, the Great War started but Partition was now practically certain: Northern Ireland would be separated, traumatically, from its motherland.
MacNeice dramatizes the building conflict between Unionists and Catholics mainly through details caught by a child’s eye, snatches of conversation gleaned from the domestic circle. “The Gardener” from Novelettes is the portrait of a gardener “With a finch in a cage and a framed/ certificate of admission/Into the Orange order” who becomes increasingly senile and decrepit until he can no longer even attend the Twelfth of July parades:
At ten o’clock or later
You could hear him mowing the lawn,
The mower moving forward,
And backward, forward and backward
For he moved while standing still;
He was not quite up to the job.
In “Belfast” he glimpses wretched Catholic women briefly and feels a mixture of pity and shame:
In the porch of the chapel before the garish Virgin
A shawled factory-woman as if shipwrecked there
Lies a bunch of limbs glimpsed in the cave of gloom
By us who walk in the street so buoyantly and glib.
And in Autumn Journal (Canto xvi) he recalls an atmosphere of fear heightened by rumour and ignorance:
And I remember, when I was little, the fear
Bandied among the servants
That Casement would land at the pier
With a sword and a horde of rebels;
And how we used to expect, at a later date,
When the wind blew from the west, the noise of shooting
Starting in the evening at eight
In Belfast in the York Street district
(Autumn Journal canto xvi)
This vignette evokes two incidents related to the future Irish Civil War: the gun running of Roger Casement and the bloody Belfast riots of 1920-22.
In the lead up to the Easter Rising, Irish Nationalist Sir Roger Casement arranged for shipment of guns from the German government, for delivery in April 1916. The weapons were carried in a Norwegian vessel Aud-Norge, while Casement and his comrades travelled to Ireland in a German U-boat. The British managed to scuttle Aud before it landed but the U-boat put Casement ashore at Banna Strand, 21 April 1916 (three days before the Easter Rising). He was discovered there and arrested on charges of high treason, sabotage and espionage against the Crown. His was a cause célèbre due to his fame as a humanitarian activist in the Congo and Peru, for which he had been knighted in 1911. The British Government used (possibly forged) diaries detailing his homosexual liaisons to dissuade supporters from advocating clemency. Despite high-profile intercessors and a United States Senate appeal against the death sentence, he was hanged on 3 August 1916.
Gun-running at that time was something of a national sport. In April 1914, in the Larne gun-running, Major Frederick H. Crawford and Captain Wilfrid Spender had managed to smuggle almost 25,000 rifles and between 3 and 5 million rounds of ammunition from the German Empire for the use of the Ulster Volunteer Force. Shipments landed in Larne, Donaghadee and Bangor with no police intervention. The Howth gun-running incident occurred that same year, in July, when 1,500 Mauser rifles were delivered to Irish Volunteers from a private yacht in broad daylight. Scottish troops intervened ineffectually and, when baited by the crowd, attacked the protesters with rifle fire and bayonets, killing four civilians and wounding 30 more.
As for the “shooting in the York Street district”, even if MacNeice cannot have personally witnessed it since he was at school in England, it suggests the “carnival of terrorism” that rocked the city between 1920 and 1922 and claimed the lives of at least 455 people, 58% of them Catholic–in a city where Catholics were only 25% of the population. The Irish Government estimated that 50,000 Catholics left the north permanently in response to violence and intimidation in this period . Neither the British Government nor the local Unionist leadership made any effort to reinstate these displaced people:
When my silent terror cried;
Nobody, nobody replied.
Inevitably, there are echoes and tributes in MacNeice, to Yeats and Joyce. In Ulysses, Stephen Daedalus utters that famous statement of despair, “History is a nightmare from which I am trying to awake.” Canto XVI of MacNeice’s Autumn Journal follows directly from that thought:
Nightmare leaves fatigue:
We envy men of action
Who sleep and wake, murder and intrigue
Without being doubtful, without being haunted.
This canto, as well as “Valediction” (1934), is one of MacNeice’s most direct comments on his attitude to Ireland. Both poems express a reluctant connection and an agonizing frustration with its problems. In “Valediction” he burns his bridges with the Old Country in a somewhat priggishly elegiac tone:
…being ordinary too I must in course discuss
What we mean to Ireland or Ireland to us;
I have to observe milestone and curio
The beaten buried gold of an old king’s bravado,
Falsetto antiquities, I have to gesture,
Take part in, or renounce, each imposture;
Therefore I resign, goodbye, the chequered and the quiet hills
The gaudily-striped Atlantic, the linen-mills
That swallow the shawled file, the black moor where half
A turf-stake stands like a ruined cenotaph;
Canto xvi of Autumn Journal is comparatively unhinged, an exhilarating philippic that lashes out against all of it:
I hate your grandiose airs,
Your sob-stuff, your laugh and your swagger,
Your assumption that everyone cares
Who is the king of your castle.
Castles are out of date,
The tide flows round the children’s sandy fancy;
Put up what flag you like, it is too late
To save your soul with bunting.
Odi atque amo:
Shall we cut this name on trees with a rusty dagger?
The quote from from Catullus 85 (“I hate and I love. How can I do that you might ask./I don’t know, but I feel it and I am tortured.”) exposes this is as a love poem: Catullus’ extensive cursing of Lesbia was only a sign of his wounded love, and MacNeice’s rage is belied by exhausted admissions and entreaties:
Such was my country and I thought I was well
Out of it, educated and domiciled in England,
Though yet her name keeps ringing like a bell
In an underwater belfry.
“Why should I want to go back/ To you, Ireland, my Ireland?” he asks, and the question answers itself but ultimately solves nothing.
Writing a mystery novel is a complicated proposition. There is much to consider. The sleuth should be human but not too human; the death(s) should not upset the reader unduly; the suspects all need to be neatly numbered and accounted for. You have to calibrate the pace, ramp up the nervous tension and supply a satisfying solution. And, this is crucial, the plot must be startling but not ludicrous.
Perfection is for the gods, of course, and there are plenty of successful ‘imperfect’ murder mysteries. If a story is entertaining enough and roughly adheres to the accepted template, readers in search of diversion will overlook the usual pitfalls of Golden Age Detective Stories (overwriting, small plot holes, jingoism, raging misogyny and offensive stereotypes). As long as there is (a) a crime and (b) a solution to the crime, many of us feel we got what we came for.
But a line needs to be drawn somewhere and there are authors who take liberties. They treat their readers like saps. They spin a tale that wouldn’t stand up to the slightest puff of wind and are proud of themselves. There is one book in particular whose plot is so cuckoo that it left me gasping for air and wondering how any self-respecting publisher would go along with it.
I speak of Seven Dead, by Joseph Jefferson Farjeon. One of Mystery’s old pros, J.J. Farjeon (1883-1955) wrote more than 100 novels, most of them crime stories. Some of them are good. Thirteen Guests (1936), for example, is a diverting tale along the lines of Dorothy Sayers or Agatha Christie. His play Number Seventeen was made into a successful film by Alfred Hitchcock. It’s clear that Farjeon could do a decent job when he wanted to. But when he sat down to write Seven Dead, something diabolical happened to his brain. “What,” I imagine he said, “if I wrote something so outlandish it made Alice in Wonderland look like investigative journalism?”
The reason this book upsets me so much is that it starts out so well—a standard whodunnit, nicely written, good characters, snappy dialogue, a romance angle. One feels that one is in good hands, not gripped in the paws of a fiction-mangling maniac. If there had been any sign of authorial misconduct before chapter 25 then I would have gently laid the book aside tut-tutting. As it was, I read 80% of the thing before realizing it was pure hogwash. That makes me mad.
In case you think I’m exaggerating, I will now describe the plot to you. If you plan to read the book (the more fool you) and want to do so without prejudice, then don’t read any more of this.
The book opens with a cockney spoon-thief breaking into a country house and discovering seven grimy corpses in a drawing room. The shutters have been nailed down and cloth stuffed up the chimney. In the center of the mantelpiece is a vase supporting an ancient cricket ball. A rolled up piece of paper in the hand of one of the victims has writing on it. On one side, written in ink:
THE SUICIDE CLUB
On the other side, in red pencil:
Particulars at address 59.16s 6.6e.G
The side written in pencil was probably written in the victim’s last moments because in his other hand he holds the stub of a red pencil.
Detective Inspector Kendall and journalist Hazeldean get on the case. They figure out that the Fenners have gone across the English Channel to Boulogne. Hazeldean (having fallen in love with a portrait of Dora), decides to sail over there on his yacht. Meanwhile, Kendall figures out that the seven victims had arrived by sailing up the river in a decrepit boat, that someone had let them into the house, locked them in the room and gassed them using a rubber tube fitted into the keyhole. The murderer had then cycled to a big flat field where an aeroplane had picked him up and taken him to France.
We go to Boulogne. Hazeldean finds Dora and arranges to join Dora and her uncle at the pension where they’re staying. Fenner is having an affair with Paula the woman who owns the pension. Paula’s creepy husband Dr. Jones has been coming on to Dora and her uncle has not been discouraging him. Dora is unhappy. She does not know about the seven dead people in her house back in England.
While Hazeldean is about to tell Dora the bad news, Fenner arrives to tell everyone that Dr. Jones died in a plane crash. Hazeldean tells him, in turn, about the seven dead people in his house. Fenner says he’s off to contact the police—right away!
By the time Kendall gets to Boulogne, Fenner has stolen Hazeldean’s yacht. It’s clear that he murdered the seven people with a new form of gas. He also killed Dr. Jones (who did not die in a crash, though Fenner tried to make it look as if he had).
But why did he murder them?
The code on the piece of paper (59.16s 6.6e) is a geographical coordinate for a tiny island in the Tristan da Cunha group. Detective Inspector Kendall, Hazeldean, Dora and Hazeldean’s hired sailors head off in a new yacht for a tiny island in the South Atlantic. When they get there, they discover an abandoned campsite, a homemade cricket bat and a notebook in a cave wall. This notebook conveniently gives us all the back story we need.
Ten years earlier in South Africa a man named Cauldwell was wanted for murder but escaped the country on board a boat called Good Friday. He helped arrange a mutiny, wanting to ensure the boat wouldn’t reach its original destination as that would result in his arrest. Unfortunately, the ship was so badly damaged in the mutiny that when a storm came along, it sank. Eight people managed to scramble into a lifeboat and they all ended up on a tiny island in the Tristan da Cunha group in the South Atlantic.
For months the eight of them stayed there building a boat from driftwood, eating penguins and playing cricket to pass the time. In all that time, in spite of having a newspaper containing a photograph that identified Cauldwell as a fugitive murderer, no one noticed.
The group slept in caves and Cauldwell shared his cave with a man named John Fenner who was going to England to take care of his niece. While sleep-talking, Fenner divulged that he had figured out half of the formula of a new kind of poison gas that was sure to prove very lucrative. Cauldwell asked him all about it and suddenly became very friendly with him.
On the day that the boat was finally finished, everyone decided to have one final game of cricket, for old time’s sake. Cauldwell (who had already stolen John Fenner’s secret-gas formula and papers), pretended to chase the cricket ball and before anyone knew what was happening, he waded into the water, stole the boat and set off out for freedom.
He drifted along for some time and was finally rescued, claiming to be John Fenner, the sole survivor of the Good Friday. As the ship’s surgeon (Dr. Jones) helped nurse him back to health, he learned some of the true story. Realizing that his patient would probably get rich from the new gas, Dr. Jones made a deal with him that amounted to blackmail. If Cauldwell helped him with money, Dr. Jones would stay quiet about his true identity.
Cauldwell subsequently goes to Dora’s place to impersonate her uncle, with occasional trips to Boulogne where Dr. Jones lives with his French floozy. Somehow, in spite of having gone in for murder more than chemistry back in South Africa, Cauldwell successfully manages to figure out the rest of Fenner’s formula and to produce the new kind of lethal gas.
Meanwhile, back on the cold rock in the South Atlantic, the others were just as mad as seven wet hens. They carve out the Latin words FIAT JUSTICIA RUAT CAELUM (let vengeance fall from the sky) on a homemade sign, probably deciding it was no use saving wood to make another boat. Everyone lays hands on it and vows vengeance.
Then after a while an empty boat comes along.
It’s a shame that Farjeon decided to omit the most amazing and interesting part of this, i.e. the fact that seven shipwreck survivors manage to sail, in a wreck, from the Tristan da Cunha group all the way up to Benwick. And they make the trip without attracting so much as a raised eyebrow. This is a journey of about 6,000 miles as the crow flies through some of the most treacherous waters on earth. The crew (surprisingly strong considering their subsistence diet of penguin and sea elephant) manage to avoid freak waves, hard winds, men overboard, lightning strikes and collisions with other boats (or sleeping whales or floating containers). That trip, we are to suppose, was a doddle.
And after years of privation, they don’t stop to shower or eat or phone their nearest and dearest or anything. Instead, they go straight to Cauldwell’s place for a showdown. They all politely file into a room that’s completely shut up and make no kind of effort to break the door down. They just sit there and wait to be gassed, not forgetting to first write down the coordinates of a godforsaken island in the South Atlantic.If it were me, I might have written something a bit more to the point, e.g. ‘get Fenner’ or ‘Fenner is Cauldwell, we were shipwrecked.’Anything, really, to help the case along.
But it works. Kendall has a hunch that Cauldwell will pop along back to the island so he, Hazeldean and friends go there and hang around for a week. Sure enough, Cauldwell does show up. At this point even the villain has started to doubt the author’s competence:
“Why—am I—here?” he wondered.
He must know his reason! He’d had a reason! He would remember it in a moment. It was only that last storm that had disturbed his mind, making him forget things. That tumble down the hatchway, you know. Naturally, a bump like that…
“Ah! The diary!”
That was it! The diary! Of course.
Of course. The diary. Hidden in a tiny crack in a cave on one of the world’s remotest islands. Makes perfect sense.
Inspector Kendall and Hazeldean leave a revolver beside the vengenace sign and hide to see what Cauldwell does. Cauldwell, who has never shown a milligram of conscience in his life, is suddenly beset by ghosts playing cricket. When he sees the sign and the revolver, he decides he’s had enough of life and shoots himself. Kendall and Hazeldean bury him there and everything is wrapped up nicely.
Conflict is a sine non qua of fiction and war has been a central concern of story tellers for millennia. From Gilgamesh to “Nefarious War” by Li Po to Catch-22 by Joseph Heller, we humans are fascinated by tales of struggle, trauma, death and survival.It is no surprise, therefore, that the Northern Irish conflict known as The Troubles should yield its share of stories.
This is experimental novel set in Belfast in the 1970s won the Man-Booker Prize in 2018. The narrator is an unnamed 18-year-old girl who is stalked by an older paramilitary figure, ‘Milkman’. Anna Burns was born in Belfast. Her first novel No Bones (2001) is an account of a girl’s life growing up in a dysfunctional family during The Troubles in the 1980s.
This novel tells the story of a reunion of three Northern Irish sisters shortly before the ceasefire of 1994. It explores their shared memories of childhood and growing up during the Troubles, providing a compelling picture of Northern Irish history in the latter part of the twentieth century.
Deirdre Madden was born in County Antrim and many of her novels focus on the turmoil of the north. Her 1996 novel One by One in the Darkness (1996).
Former paramilitary killer Gerry Fegan is haunted by his victims and vows to assuage his guilt by targeting those he ultimately blames for their deaths: politicians, security forces, street thugs and bystanders. His vendetta threatens to derail the peace process and everyone wants him gone. David Campbell, a double agent, accepts the hitman job, for his own reasons. The Twelve (published in the USA as The Ghosts of Belfast) was Neville’s debut novel. He has since published six more critically acclaimed books, mostly set in Belfast.
Adrian McKinty is probably best known for The Chain, a kidnapping thriller set in Masachusetts. But he also has a famous series of crime novels set in Belfast during the Troubles, starring Royal Ulster Constabulary Sergeant Sean Duffy. The first of these books was The Cold, Cold Ground (2012). He said of the novel, “It didn’t sell very well, but it ended up getting the best reviews of my career. I got shortlisted for an Edgar, won a couple of awards, and so then that set me on that path for the next six years of reluctantly, kind of being dragged into writing about Northern Ireland in the 1980s.”
Miles Flint is a surveillance officer for MI5. He is sent to Belfast to witness what he believes is going to be the arrest of some PIRA members. However, he discovers that he is really going to participate in the assassination of the Irishmen and that his own life is at risk.
Scotsman Ian Rankin is one of the big names of crime fiction, of course, but he is better known for his Detective Inspector Rebus novels, which are set in and around Edinburgh.
Alex Connolly is either schizophrenic or really does have a 9,000-year-old demon for a best friend. It’s up to child psychiatrist Anya to find out. The novel touches on the legacy of trauma in terms of mental health. Author CJ Cooke grew up on a council estate in Belfast and published her first novel, the best-selling The Guardian Angel’s Journey in 2009.
In 1969, as Northern Ireland moves to the brink of civil war, a man and his wife struggle to keep their romantic secrets buried in the past. Michèle Forbes was born in Belfast but has been based in Dublin since her university days. Apart from being a writer, she has a distinguished acting career. Ghost Moth was her debut novel and she has also published some award-winning short stories and another novel, Edith & Oliver (2017).
A retired couple originally from Northern Ireland but now living in Scotland decide to go for a little holiday. In Amsterdam, between sight-seeing, they take stock of their lives, with the result that fissures form, frustrations bubble up and memories and scars from the Troubles start to ache again. Bernard MacLaverty was born in Belfast but has lived in Scotland since the seventies. He has published five novels and five collections of short stories.
Saoirse is the daughter of a member of the RUC and her mother is a Catholic from Donegal who struggles to cope with the sectarian pressures of life in Belfast in the 1980s and turns to drink. It is only when she is a teenager that she discovers what tore her family apart. Lucy Caldwell grew up in Belfast and has written three novels and several plays.
Young British Army Officer Charles Thoroughgood is deployed on his first tour of duty in Armagh and Belfast at the height of The Troubles. The experience leaves him disenchanted with army life, to say the least.
Alan Judd is the pseudonym of Alan Edwin Petty, a former diplomat and soldier who now works as a security analyst and writer. A Breed of Heroes was made into a BBC television film in 1996 and a sequel, Legacy, was published in 2001.