Tag Archives: literature

The Boys of Ballycroy by Kieran Ginty

Kieran Ginty Cover 'The Boys of Ballycroy'Final

A full-time public servant, Kieran Ginty qualified from the University of Limerick with a BA degree in Public Administration. Originally from Ballycroy in Co. Mayo, he is now settled in Limerick.  This week, I had a quick chat with Kieran about his newly printed novel, his first, The Boys of Ballycroy.

First off, I asked Kieran how it all started. “People who have read the book estimated that it must have taken me at least three years to write,” he said, “but I actually did it in less than 6 months – and that was working weekends, evenings and mornings only.  The book revolves around a group of seven friends, and follows how they and their families cope with the arrival of three conflicts – World War I, The Irish War of Independence, and The Irish Civil War.  It is set in my native parish, against the backdrop of poverty, oppression and emigration.”

What prompted your interested in writing this book? “There was a book written in the 1850s by a Scottish visitor that featured Ballcroy, and I have often wondered why no one wrote about the place in the interim.  I pay homage to this book in my publication.  Being a remote townland, the landscape remains largely untouched by modernization and it is the mountains, lakes, bogs, rivers, sand dunes and sea that provided the main inspiration.  Coupled with my deep interest in history, I hope all readers agree that they combine for a good read.”

“My grandparents used to tell me many stories about their days growing up there, and some of these have been integrated into the novel.”

I saw on the Facebook page photos and videos that feature in the book and asked Kieran if it the landscape that inspired the story or the story fitted to the landscape: “Definitely the landscape was the main inspiration.  There are so many old ruins also that prompt you to wonder what went on there in the past.  In some of those photos and videos, there is little sign of tarred roads, electricity wires or satellite dishes – you could actually convince yourself that they were recorded a century ago.  I have often said that it would be inexpensive for a movie set in the 1910s and 1920s to be filmed in Ballycroy, as very little would need to be done cosmetically.  And that is no slight on those who live there today – it is actually a compliment in that they have preserved their parish magnificently whilst still keeping in tandem with the modern world.”

I wonder if Kieran has always enjoyed writing. When did it begin? “From my schooldays I always enjoyed writing, especially creative writing.  However, I always hated reading out loud or speaking in public – even to this day I have ‘issues’ with these aspects of communication.   I used to really enjoy composing English essays in Secondary School – but then, to my horror – the teachers used to make me read my compositions out loud in front of my classmates.  I still have nightmares about that!  As a result, I ended up purposely writing bad essays, so that I would not have to recite them!  That is one of the reasons I held a low-key launch of my book – I avoided having to publicly read a passage.”

Surely such an avid reader has to have favourites. “I have always enjoyed the classics from the Brontes and Thomas Hardy as they vividly describe the surrounding landscape and local landmarks,” said Kieran, “From the initial feedback I have received from readers, the people of Mayo are enjoying reading about Croagh Patrick, The Nephin Mountains, Achill Island, The Inishkea Islands, The Mullet Peninsula – all of which feature in my novel.”

‘Wuthering Heights’ still remains unsurpassed as my favourite book of all time – even after the arrival of ‘The Boys of Ballycroy’!

What caught his interest in self-publishing? “To dip my toe in the water I contacted a number of publishing houses and to be honest, most of them had an ‘auto-reply’ type response saying they would take ‘at least three months to respond’ or ‘we are currently over-subscribed for Irish fiction.’  This ‘don’t call us – we’ll call you’ attitude was not for a good old typically ultra-efficient Public Servant like me (!) so it was such a relief to discover the self-publishing option.”

How did he find the self-publishing process? “Amazingly efficient.  The team in Cork were excellent.  They clearly set out what they do and also (just as important) what they do not do.  As a result, I had a large say in deadlines and in volumes printed, and all of the staff were so adaptable.   They were always ready with helpful tips or advice and were very supportive at all times.  It is a great comfort to know I can always contact them with a query.”

I asked Kieran if this is the end of something, or just the beginning. What’s next? “It is a great source of enjoyment to me to see the reaction to my story,” he replied, “I’ve seen so many smiles in the past few months, so I’m soaking all of that in for the moment.  I am very proud to see my book on display in bookshops that I have frequented for so many years. My only regret is that my grandparents are not around to see it – but I am truly fortunate that my parents are. Nothing definite has yet been decided, but I would like my next book to be about modern day Limerick, the city that has been very good to me.  And of course if I get enough encouragement from people whose opinion I value, I will do a follow-up to what I have just published – perhaps ‘The Girls of Ballycroy’!”

Advertisements

Leave a comment

Filed under About Us, Authors, Latest News, Testimonials

Mirrors Don’t Tell Lies

 

Mirrors Don't Tell Lies A5 Cover

Joe Clarke, golfer, traveller, fisher, has always had a healthy fascination with the written word. His first novel, Mirrors Don’t Tell Lies, has been reprinted this year by Selfpublishbooks.ie and we caught up with the author this week to chat about it.

 

Mirrors Don’t Tell Lies was my first novel,” Joe says, “It caught the bug from talking to another author friend in the States. I set about writing this book almost 5 years ago initially taking 5 months to complete. I have since rewritten it twice adding another 4 months on to this time-frame. With a love for detective movies, crime and the solving of same was always going to be the topic for my book. Pretty much with an open mind, no set agenda, I let my imagination run wild all the time developing the story and introducing characters as it went along. I have changed the original ending adding another chapter in the process.

 

“From my teenage years I had a love for writing although in those days I favoured lyric writing, hoping it would give me my big break but alas it didn’t happen. For a time I also contributed to the Drogheda United match day programme. In the subsequent years following on from my retirement I initially wrote poetry which I still very much love to do.

 

I asked Joe what his favourite part to write was. “Chapter 19,” he says, without a doubt, “when protagonist Tom Doyle who is a much accredited, well-respected retired Scotland Yard detective suddenly gives in to his softer side when he once again, after 5 years, meets up with his only daughter Susan and two grand children Elle and Toby who he knew nothing about.”

 

Sounds intriguing! Joe talked a little about what made him rewrite and reprint this book. “Since I finished the re-write of my first book my family have asked me to publish it but I always felt that the expense simply didn’t justify it. However, when I checked it out I was pleasantly surprised to discover that it wasn’t nearly as expensive as first thought. Having had no prior experience with publishing I adopted a very nervous and cautious approach. Daunting would probably describe the initial phase but with the help and assistance of Sharon, my fears were quickly allayed. As you can imagine it was a big learning curve for me but I must say that I found the whole process a pleasant experience.”

 

I asked Joe what the physical book was like: “The finished product was beyond my expectations and I am obviously most pleased with it.”

 

So what’s next for the mystery writer? “My next publication ‘My Watchmaker’s Time’ is already written and is currently being proofed. I expect to have the final file ready in three weeks and intend to then publish it through Selfpublishishbooks.ie. I then intend to write my third novel but haven’t yet decided on a plot. Watch this space!”

 

Leave a comment

Filed under Authors, Latest News

Literary Mixtape: What’s Happening This Week

#10

What do we make of Marcel (Proust)?

#9

More children are using libraries

#8

Self-Publishing 2013 with Catherine Ryan Howard

#7

The Book Thief film adaptation

#6

Sylvia Plath: Reflections on her legacy

#5

The National Emerging Writer Programme

#4

A new look into Jane Austen

#3

On Richard III being found in a Leicester car park.

#2

How much should you budget to self-publish your book?

#1

Get a free copy of Poetry Magazine!

Leave a comment

Filed under Latest News

Don’t judge The Bell Jar by its cover

Faber’s new cover for The Bell Jar may be garish, but if it finds a new audience for Sylvia Plath’s novel then who cares?


This post is reblogged in full from The Guardian website and is written by Sam Jordison.

It may have first come out 50 years ago, but The Bell Jar still causes controversy. The anniversary has seen all the old arguments and enmities boiling over again, but this book strikes such a nerve that even a new cover can start a row.

Writing on the LRB blog, Fatema Ahmed pours scorn on Faber’s “silly” 50th anniversary edition, calling it a woefully inappropriate attempt to rebrand the book as chick lit. She quotes the always reliable Twitter feed from Melville House asking: “How is this cover anything but a ‘fuck you’ to women everywhere?” and Andy Pressman, a graphic designer, who derided the new cover as “awesomelycomicallyhistorically inapprop” and said: “And by ‘historically’ I mean ‘incorrect on a scale of which we have few historical precedents’, not ‘That typeface didn’t exist in that era’.”

There is a strong argument against the new design. Ahmed says:

 

“The anniversary edition fits into the depressing trend for treating fiction by women as a genre, which no man could be expected to read and which women will only know is meant for them if they can see a woman on the cover.”

 

I can see where she’s coming from. That is indeed a depressing trend. And the cover does indeed look a bit like those other garish covers that supposedly only appeal to women. While I’m notching up the negatives, there’s also the simple fact that the original cover by Shirley Tucker is a thing of great beauty: a timeless classic that is to the new cover as a single-malt is to tar water.

But, here’s the thing. This latest edition has sold truckloads. The official figures aren’t out yet, but Faber have assured me it’s doing the business. There’s no evidence that this cover has ostracised a potential part of its audience, but there is already some that it has helped the book reach a new generation of readers.

Okay, this is an inexact science, and perhaps those sales should be attributed as much to the 50th anniversary publicity and renewed interest in the author as they are to that garish red cover. But the fact remains that the book is selling – and quite possibly reaching a new audience, as Faber claim is their exact intention. Hannah Griffiths, publisher of paperbacks at Faber, says they were aiming for a more “welcoming package” in the belief that “there is a reader for this novel who could enjoy its brilliance without knowing anything about the poetry, or the broader context of Plath’s work”.

Of course, as soon as anyone picks it up, breaks the spine and reads that first sentence they’ll know they’re in for something different. “It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.” Hardly Sophie Kinsella, is it? I even quite like the idea of someone mistaking the book for a sexy summer beach read and falling headlong into Esther Greenwood’s cruel world.

What’s more, those actually reading the novel – rather than judging the cover – may even see something in that blood red, in the queasy glamour of the 50s model checking her makeup, in the serious face in the mirror. It certainly conjures up a time and place, a sense of nausea and introspection. The novel’s Esther Greenwood would probably mock the new design mercilessly, but that too seems appropriate. Perhaps it’s right that she is at odds with the world in which she finds herself and the way she is presented? Perhaps this new cover isn’t quite so silly after all?

Leave a comment

Filed under Authors, Latest News

Interview: Olwyn Hughes, Sylvia Plath’s literary executor

Ted Hughes’s sister tells Sam Jordison how misrepresented she feels the story of her sister-in-law’s death has been


The following post is reblogged entirely from the Guardian online.

I spoke to a number of Plath biographers and friends after speaking to Elizabeth Sigmund (including Al Alvarez, Carl Rollyson and Ronald Hyme). They confirmed the substance of what she said – in particular, that Plath had not wanted The Bell Jar to go out under her own name while her mother was still alive. Elizabeth also produced a scan of the letter from Charles Monteith explaining that Faber was unaware that those were Sylvia’s wishes.

However, since it was almost 50 years after the event, and Faber were consequently unable to supply any further information, it became clear that the only person who really knew about the omission of the dedication to Elizabeth and her husband from the 1966 edition was Olwyn Hughes. Fortunately, she agreed to speak to me and set down her side of the story.

The following conversation comes verbatim, from my notes. I would just like to add that in spite of the force of many of her words, that Olwyn seemed good-humoured and peculiarly charming. It might help if you imagine the following spoken in a warm Yorkshire accent:

I want to ask about the name change on The Bell Jar?
She [Plath] was very worried about it because she thought it was going to upset her mother. It was a nightmare for her, actually. She got quite paranoid about it towards the end. And then she was disappointed when it came out and it didn’t have a very good press.

Sorry, I meant the decision to actually use her name?
The decision to use her name was taken after her death, when everybody really seemed to know it was by her. Her friends all knew. There seemed no point in not publishing under her own name.

I’ve been speaking to Elizabeth Sigmund …
Oh God, have you? I mean gabble, gabble, gabble, gabble … Has she some new stories for you?

She was telling me about the dedication.
She [Plath] dedicated it to Elizabeth and her husband, because she didn’t want the London lot to know – you know, her real friends. She didn’t know Elizabeth very well, you know. Although according to Elizabeth … Anyway, we’ve had enough of Elizabeth … [Goes on to suggest that Elizabeth Sigmund’s accounts of events were not always reliable.] What has she told you?

She was saying she was left off the 1966 edition …
Oh yes, that was a Faber error. She thought that was a terrible plot of Ted’s. I don’t know what that was about. It was just Faber left it off. These things happen in publishing.

She also said that she was sure that Sylvia Plath never wanted it published under her own name.
Well, yes. She didn’t want to upset her mother. What it tells, The Bell Jar, is a watered down version of her own breakdown. And that was also very painful to her – quite apart from the fact that there’s a passage in the book that’s rather unpleasant for her mother to read, about the mother’s snoring or something. Sylvia got very het up about the book because I think it was so self-revelatory. In a way she liked that – and in a way she didn’t.

That’s certainly what I think happened with Ariel – her whole trauma, her father’s death upsurged. I think writing The Bell Jar provoked that … And all that traumatic material that came up in Ariel. I think it caused her a lot of aggro. She was a very agonised lady. She had to battle to live every day – as you might glean from The Bell Jar. When I read it after she died, I just wept.

But people don’t realise. They didn’t then, even. She didn’t always show how troubled she was – but she had no inner calm at all. The Bell Jar deals with the beginnings of the trouble. Then she spent the rest of her life dreading its return.

Oh God.

The nonsense that has continued to be written about the story is shocking to me. Sylvia wasn’t the innocent victim, or half so helpless as she’s been made out to be. You just have to look at some of her poetry. She was just nasty in the last poem about her husband and father [“Daddy”]. She was vicious and I think a bit crazy. I watched her going through her torment and it was agony. But Ted was so taken with her. I don’t know why. I don’t know how she did it … Especially because I don’t think that she could control the negativity in herself. You’ve got to remember the venom that Sylvia dished out.

I don’t think anyone has taken into account how injurious the rubbish that’s been written about her has been. What the feminists don’t take into account was how much psychological trouble she was in. She was a very difficult woman with a very difficult personality. She was horribly unjust both to her mother and to Ted. And I’m sick of reading that he left her for Assia – that’s all you get whenever his name is mentioned. Assia. But Ted didn’t walk out.

It was actually a friend of Assia’s who told Sylvia. She rang her up and thought maybe she was helping her, or wanted to warn her, or something, I don’t know. But this person had no idea how on edge Sylvia was. That she wouldn’t be able to cope with this information. And so when Ted next went down [to their house in Devon] she was in a rage and threw him out.

I wish the newspapers would get it right. He didn’t even know that Sylvia would find out about Assia. He’d done everything he could to be very discreet. It was just one of those things … And of course Sylvia, when she did hear about it, it reminded her of all her terrors about abandonment and everything else. She wouldn’t listen to anything but separation and divorce. But he didn’t leave her for Assia. That’s just not true. He was actually staying on friends’ floors in London until he got a little place by himself. He certainly wasn’t living with Assia.

Oh and she took all the money out of their bank account. She was a monster actually.

So what about changing the byline. How was that decision taken?
What people want after they’re dead. That just goes. And nobody was going to be able to keep the secret about who wrote the book for decades. Besides it was a very good little novel.

She was disappointed when she was alive – she was worried about the Jennifer Dawson’s novel The Ha-Ha – which was similar and got a lot more attention at the time. She hadn’t the calm in her necessary to cope with it.

There was all that martyr talk, even after Ted’s death … in America there were a couple of biographies that were terribly bad. They didn’t take account of the fact that Ted had nursed the bloody woman for seven years. The patience that he had with her!

Of course, I didn’t quite understand or realise that she was quite sick. We didn’t know as much about psychology in those days. But let me tell you about one thing. Ted was meeting an old teacher once – and she just ran off. He had to run out onto the moors after her. She did that in front of his old teacher. Can you imagine? And he lived with it.

And when you read her journals – there were some very dark things in there … And there was a furore when they first came out that they were cut. And a few things were taken out – mainly at the request of her mother, but otherwise he did nothing. But there was this great furore and suggestion that there was an attempt to hide things. But what were the secrets?

Of course, nobody actually read the journals! They were too busy focusing on what they thought wasn’t there. And if they did read it properly they’d have found a very damaged girl. A very mixed-up girl. You just had to look at the dreams she described. Her dreams were bad enough to spoil your own.

I understood then how powerful a grouping the feminists can be. And how it still goes on. This crap. No matter what goes on, you can’t counter it. They just lie, and if they find themselves in the wrong, they just ignore it.

I’m collecting all the press I’ve got and giving it to Pembroke College. There was one thing, by someone from the Guardian that I found really upsetting … Katherine … I can’t remember her name. All that martyr stuff. It was just a few days after Ted died that it came out and I thought aren’t The Guardian ashamed of themselves? [We’re unable to pin down the piece to which she’s referring. There’s an article by Katharine Viner on the Plath diaries from 2000, but this was 18 months after Hughes’ death.]

I don’t have any time for them, really the press. I don’t normally talk to journalists.

I must be very fortunate …
Hmm. Well. I wish you’d print what I actually say. You know I would love to talk to some journalist and they could take me seriously – and actually put down what I say. That would be the first time.

Leave a comment

Filed under Authors, Latest News

Lost Robert Burns Manuscripts Discovered


Robert Burns statue in Leith. Photograph: Jason Baxter/Alamy

The following article is reblogged in full from The Guardian website

 

Three long-lost manuscripts by Robert Burns – as well as correspondence between the beloved Scottish author and his friends – have been discovered by a researcher in what is being described as one of the most important Burns discoveries in years.

One of the texts is a letter from “Clarinda”, the pen name taken by the woman Burns loved, Agnes McLehose, following the poet’s death. Clarinda, who in life Burns had addressed variously in his poems as the“mistress of my soul” and “Queen of Poetesses”, was writing to Burns’s friend and doctor William Maxwell, three months after his death in 1796. Maxwell had been at Burns’s side when he died, and after asking for the return of the intimate letters she had written to Burns – whom she knew as “Sylvander” – she also wrote in a postscript that “an account of our late friend’s final scene, if it is not too bold to ask for, would be considered a singular favour”.

“It’s right at the end of a very businesslike letter, as though she couldn’t help herself,” said Chris Rollie, the researcher who discovered the manuscripts. Rollie was contacted by an old friend about the material, but originally dismissed her belief that she had stumbled across something important inside an Extra Illustrated W Scott Douglas edition of The Works of Robert Burns, dating from 1877-79, which belonged to Burns’s publisher, William Paterson.

“I get quite a few calls like this, and I tried to let her down gently,” he said. “But she said she still thought I should have a look. Within 15 minutes of looking at them I could see there was some very important and original material.”

Also unearthed were a handwritten manuscript by Burns himself of the song “Phillis the fair”, with minor textual variations, a pencil manuscript by Burns of an early draft of “Ode to a Woodlark”, lost since 1877-1879, and a handwritten letter from Burns “to Robert Muir, Kilmarnock”. The treasure trove also contained a letter from Clarinda to Burns, dated 2 August 1791 and containing for the first time her complete poetic response to Burns’s poem “On Sensibility”.

“‘The finding of the Clarinda letter in full is very timely as we move towards a new edition of Burns’s correspondence, and the other new manuscript findings of letters will also similarly help,” said Professor Gerry Carruthers, co-director of the University of Glasgow’s Centre for Robert Burns Studies, which is hosting a Burns conference on 12 January where the findings will be presented in full. “It is very exciting that such lost manuscript material continues to emerge in the 21st century.”

The manuscripts have now been sold to a collector.

Leave a comment

Filed under Authors, Latest News

Wayword Tuesdays with the Tuesday Knights

Wayword Tuesdays COVER

Over the last three years, novice and experienced poets have been meeting in creative writing classes in Galway under the guidance of poet Kevin Higgins either on Tuesdays, Wednesdays or Fridays. Over the years, though classes have had different people come and go, there have been a few who regularly would be there on the Tuesday night, and got to know each other pretty well.

I caught up with Stephen Byrne, one of the contributors to Wayword Tuesdays, who told me that it was one of the aforementioned few regulars who came up with the concept of creating an anthology for the group, and so the Tuesday Knights were founded and consisted of 7 poets.

The Tuesday Knights printed their anthology with Selfpublishbooks.ie earlier this year. I asked Stephen how it all began. “We started it last June,” he says, “We would meet in the House Hotel (which became a regular occurrence) to decide on how we would do it, since none of us had ever had books published before. A lot of work and decisions have to go in to this project such as, to try get published or self–publish? Do we need/want an ISBN number? How many poems each? What would the design be like? Who will design it? What about the cover, art or graphic? We needed to meet regularly and come to agreement on everything, time consuming but fun.”

I asked Stephen what he enjoyed the most about the compliation. “We all contributed 7 poems each. Plus we had a professional photographer take portraits and added these into the book along with a short bio of each writer, was a lovely touch.”

Seven writers, one book had to be a challenge. I asked Stephen what the main obstacles were in putting together Wayword Tuesdays: “As with 7 different poets, the main challenge was to have variety. And luckily enough, since we are 7 completely different writers with different styles and voices, the book is awash with different types of poetry, catering for all tastes.”

This is the Tuesday Knights’ first publication. Why self-publish? Stephen is happy to tell me: “Having full control, of design, cost, timescale. Plus, we had the ability to come together, grow together as a group, each with an influence in its creation and the excitement of having and viewing the final draft before we give the go ahead to print, is daunting yet crazily exhilarating, the power of self-publishing.”

The process of self-publishing itself is sometimes daunting at first glance, but Stephen told me it was quite the opposite for him and the group. “Actually found it quite easy. Working with Frank and his team was gratifying, easy, enjoyable and extremely efficient. The hard and tiring part was getting everything together, working with 7 people, meeting together, agreeing, disagreeing, but the publishing part was a doddle, quick with outstanding results.”

What about the finished product? “It was way better than we imagined, stunning,” Stephen said, “We had outsourced the artwork for our cover with a local artist, so we did not know what way the cover would look until we had the books in our hands. We also chose a creamery paper rather than the white. When the books arrived, I was blown away by how professional they looked. The cover was outstanding and because of the paper we chose, the font looked amazing.”

I asked Stephen if there was an author/group of authors the group took as their inspiration. “Too many to name,” replied, “I myself would be highly influenced by Lorca and Neruda and more recently Nathalie Handal.”

What’s next for the Tuesday Knights?

“I think we will now do a bit of literature festival traveling to promote the book, sell a few copies and have fun with it. Whether we bring out another anthology down the line remains to be seen, but who knows, we now know what were doing and have had a taste of the simplicity of self-publishing.”

Leave a comment

Filed under About Us, Authors, Latest News, Testimonials