|In Nenagh Art Centre Theatre|
I have made many visits to Ireland and was the first International Writer Fellow at Trinity College in Dublin for three months, of which I am very proud - and, needless to say, I had a very good time, as indeed I have with all my other literary trips here, from Clifden, Sligo and Galway through to Listowel, Limerick and Tralee, not to mention Dun Laoghaire and Gort. It was as if I had a relative in the country, and maybe, in someways, I have.
I wouldn't say it was a relative I knew well, nor do I now, but Ireland has always been a hospitable and warm-hearted welcoming relative. I sometimes think being Hungarian by birth has helped: two small countries with some similarity in their histories. So here I am again for the Dromineer Literary Festival where I am to read with Pascale Petit and Billy Ramsell, be interviewed by Thomas McCarthy tonight, run a masterclass tomorrow, and introduce a poetry launch of publications by Victoria Kennefick, Breda Wall Ryan, and Maeve O'Sullivan tomorrow.
Arriving last night we were met by Eleanor and Bernie at the airport and driven to Nenagh, which is the noise our children made, and now our grandchildren make, when playing at police and ambulance cars. In that sense it is doubly familiar. The wide streets, the small shops with the dark rich colours and Celtic style signs, the stone, the dark green of the grass, the morning mist, the shops that go back and back, as I remembered from previous visits when, in a different place, in another inn, about four rooms back from the main bar Ciaran Carson was singing and playing.
Brian's B and B where we are staying is very comfortable and the food is angelic, Brian's daughter being home from Florida where she is a top pastry cook. Brian himself makes bread. We are the only guests here at the moment but others will arrive this afternoon.
Last night we were offered the option of seeing Peter Sheridan perform his one man play, '44 Seville Place', which is based on his memories of living in a poor part of Dublin and runs the chronology from the early fifties to 1970, preceded by prologue involving a missed movie production that would have starred Sean Penn, and involved a drive across the US with him.
The theatre is a very simple affair with far too high a stage so Sheridan performed, unamplified, from floor level. He doesn't need much, just a cardboard guitar and a real one. He is a very assured performer and raconteur, seamlessly weaving together anecdotes of early and late childhood, the amusing and the tragic, full of cultural resonance for an audience who were mostly of the right vintage and well prepared for a performance as intimate yet as bold as this. The local references mostly lost me, all I remember is that Dublin looked one way to me in the 1980s and quite different by the late 90s. Dublin had become an international city quite different from the relatively monocultural place it had been some dozen years before.
Intimacy and monoculturalism are twins: we trust what we know, we know what we trust. It tends sometimes to have a slightly excluding-while-welcoming sense to me if only because I know - as I do in England too, though in a different way - that being in a place is never quite the same as being of it.
So Sheridan's virtuosic trawl through Dublin life, and by that token Irish life too, was familiar to me in the sense that I already had the general picture and have had it for some years. The characters step out of a landscape I have visited before. They rise and perform. There's the church cracking down, the school with its harsh ways, the dodges, the whispers, the bawling, the early death, the first love, the family (always the family) and the singing (always the singing) though in this case the songs are by Lennon and McCartney. And, while Sheridan sings snatches of songs in a fine baritone voice, we end with community singing, everyone joining in with When I'm Sixty-Four.
It is what the tribe has been through and survived. It is what has held it together and kept it going. In the film of the tribe this is the scene from It's a Wonderful Life when the suffering gives way to the close warmth of true friends.
Life is myth: but what else is there?