MacNamara is the author of several novels, the most well-known of which is his first, The Valley of the Squinting Windows (1918). His acting career with the Abbey Theatre begins in September 1910 with a role in R. J. Ryan’s The Casting-out of Martin Whelan. He later works as the registrar of the National Gallery of Ireland.
MacNamara is still best known for his first novel The Valley of the Squinting Windows, which causes a furor in his native Westmeath on its publication. He continues to write for many years after this controversial first work. Among his plays are The Glorious Uncertainty (1923) and Look at the Heffernans! (1926). His work is part of the literature event in the art competition at the 1924 Summer Olympics.
MacNamara marries Helena Degidon, a schoolteacher, in 1920. He dies at his home on Gilford Drive in Sandymount, Dublin on February 4, 1963.
Forty-eight people die when a fire breaks out in a make-shift cinema on the upper floor of the village hall in Dromcollagher, County Limerick, on September 5, 1926.
The conversion of village halls into makeshift cinemas is a common practice in many rural villages in Ireland, right up to the 1940s. Prints are often borrowed from cinemas in larger towns or in Cork city and then bicycled over to smaller venues (sometimes surreptitiously).
During the Irish Free State period (1922-1937), the exhibition of films is still governed by legislation put in place by the British government in 1909. The Cinematograph Act 1909 stipulates that cinema owners must apply for a license to screen films, and that venues must observe strict safety standards. Such standards include encasing projectors in fireproof booths, ensuring that the highly unstable nitrate film, then the industry standard, be properly stored and handled, and fitting out venues with several fire exits. The regulations are generally observed by established cinemas, but they are often ignored by operators of ad hoc venues/makeshift conversions.
The consequences of such indifference to patron safety are tragically realized in the small town of Dromcollogher in West Limerick in 1926. Situated a few miles from the County Cork border, its population is around 500 at the time, hardly enough to sustain a full-time cinema. However, local hackney driver, William Forde, identifies a business opportunity that seems too good to pass up. Through a contact, Patrick Downey, who works as a projectionist in Cork city’s Assembly Rooms cinema, he arranges for a print of Cecil B. DeMille’s Biblical epic The Ten Commandments to be bicycled over for an unofficial one-off screening.
Forde rents the upstairs room of a venue on Church Street, later described by the Leinster Express as a wooden two-story structure and advertises his evening’s entertainment. He finds a readymade audience among the churchgoers that come out of the service in the adjacent Catholic Church and straight into the hall, many with their rosary beads still entwined in their hands. It is estimated that 150 people crowd into the room and ascend the ladder to the upstairs room. Though Forde has been informed by one local Garda that he cannot run a screening unless the venue is equipped with fire blankets and exits, he and Downey disregard the advice and, in a bid to reduce the weight for the cyclist bringing the reels from Cork, instruct that the fireproof metal cases be left behind in the city.
A generator hooked up to a lorry is used to power the borrowed projector, and candles to illuminate the makeshift box-office. It is one of those candles, placed in close proximity to an exposed film reel, which sparks off a series of small fires that quickly developed into an inferno. Some of those seated closest to the main exit manage to escape, but those nearer the screen find themselves trapped and iron bars that had been placed on the few windows in the hall windows seal their fate. Whole families are wiped out and the final death toll comes to 48. As newspapers of the time report, 1/10th of the town’s population is lost.
As for Forde and Downey, they are later charged with manslaughter, but the State chooses not to pursue the prosecutions. Forde apparently later immigrates to Australia and possibly accidentally poisons himself, and two others, while working as a cook in the Outback.
The “Dromcollogher Burning”, as it becomes known, holds the dubious honour of Ireland’s worst cinema fire. Sadly, it is not the last time safety regulations are disregarded in an entertainment venue: 75 years later the devastating Stardust Nightclub fire in Dublin also claims the lives of 48 patrons.
Milligan is brought up as a Methodist, the daughter of the writer Seaton Milligan, antiquarian and member of the Royal Irish Academy (RIA). She is one of eleven children, including music collector Charlotte Milligan Fox, and from 1877 to 1887 attends Methodist College Belfast (MCB), after which she completes a teacher-training course. Together with her father she writes a political travelogue of the north of Ireland in 1888, Glimpses of Erin. She writes her first novel, A Royal Democrat, in 1890.
After the death of Charles Stewart Parnell, Milligan becomes an ardent nationalist. In 1894 with Jenny Armour, she founds branches of the Irish Women’s Association in Belfast and other places and becomes its first president. With Ethna Carbery she founds two nationalist publications in the 1890s, The Northern Patriot, and later The Shan Van Vocht, a monthly literary magazine published in Belfast from 1896 to 1899.
Alice Milligan dies in Omagh in April 1953 and is buried in Blackford Municipal Cemetery, County Tyrone. On her headstone is inscribed “She loved no other place than Ireland.”
During 2010/2011 the Ulster History Circle mounts plaques for famous Ulster figures. Charlotte Milligan Fox and Alice Milligan have a plaque mounted on Omagh Library, 1 Spillar’s Place, Omagh, County Tyrone.
Eric Robin Bell, Northern Irish rock and blues musician, is born on September 3, 1947 in East Belfast, Northern Ireland. He is best known as a founder member and the original guitarist of the rock group Thin Lizzy. After his time in Thin Lizzy, he briefly fronts his own group before joining The Noel Redding Band in the mid-1970s. He has since released several solo albums and performs regularly with a blues-based trio, the Eric Bell Band.
Bell begins his career with local groups around the Belfast area, including the last incarnation of Them to feature Van Morrison, between September and October 1966. He also plays with a number of other bands including Shades of Blue, The Earth Dwellers and The Bluebeats, before joining an Irish showband named The Dreams. He leaves in 1969 having tired of the showband format and, at the end of that year, forms a band with local musicians Phil Lynott, Eric Wrixon and Brian Downey. Bell names the group Thin Lizzy, after Tin Lizzie, a robot character in The Dandy comic.
Organist Eric Wrixon leaves Thin Lizzy after a few months, and the remaining trio later secure a contract with Decca Records. As lead guitarist, Bell plays on Thin Lizzy’s first three albums, Thin Lizzy, Shades of a Blue Orphanage and Vagabonds of the Western World, as well as their hit single “Whiskey in the Jar.” He co-writes a number of songs with Lynott and Downey, including “The Rocker” which becomes a live favourite throughout the band’s career. He also composes one song on his own, “Ray Gun,” from their first album, Thin Lizzy.
Although Thin Lizzy gains in popularity during the early 1970s, the pressures of recording, touring and the excesses of the rock star lifestyle begin to take their toll. Bell leaves the band after a New Year’s Eve concert in 1973, after throwing his guitar into the air in the middle of the concert, pushing the amplifiers into the audience and storming off stage. He states later that he had no regrets about leaving: “I really had to leave because of ill-health. It was exhaustion, and the majority of things that were available to me… I couldn’t really handle it.” He is temporarily replaced by Gary Moore.
In 1974, after a brief period fronting his own Eric Bell Band, Bell is recruited by ex-Jimi Hendrix sideman Noel Redding, along with guitarist/singer Dave Clarke and drummer Les Sampson, to form The Noel Redding Band. He is initially unsure of the musical direction Redding is taking, but goes on to record two albums with the group before they split in 1976. A third album of unused tracks is released in 1995. He composes the song “Love and War” for the second album, Blowin’.
In 1980, Bell reunites with Thin Lizzy to record a tribute song to Jimi Hendrix, “Song for Jimmy,” which is released as an orange flexi disc and given away with Flexipop in August 1981. It is later included on Thin Lizzy’s Vagabonds Kings Warriors Angelsbox set in 2002, although much of Bell’s lead guitar work is missing from this version as the relevant master tapes cannot be found. He also appears as a guest on Thin Lizzy’s final tour in 1983, and the accompanying live album, Life.
Bell subsequently joins saxophonist Dick Heckstall-Smith‘s eight-piece blues rock ensemble Mainsqueeze. They tour Europe, record a live album in 1983, and later tour as Bo Diddley‘s backing group, recording the Hey… Bo Diddley: In Concert album in 1986.
Bell continues to perform and record with the Eric Bell Band throughout the 1990s and 2000s, releasing several albums. He also records with the Barrelhouse Brothers.
In 2005, Bell joins Gary Moore onstage to perform “Whiskey in the Jar” at the Phil Lynott tribute concert “The Boy Is Back in Town” in the Point Theatre, Dublin. This is released on a DVD called One Night in Dublin: A Tribute to Phil Lynott. In 2010, he moves from London where he had lived for many years to his new home in West Cork, Ireland.
The First Amendment of the Constitution Act 1939 amends the Constitution of Ireland to extend the constitutional definition of “time of war” to include a period during which a war occurs without the state itself being a direct participant. It is introduced and signed into law on September 2, 1939, the day after the Invasion of Poland by Germany and allows the government to exercise emergency powers during World War II, known in Ireland as The Emergency, although the state is neutral.
Article 28.3.3° of the Constitution grants the state sweeping powers during a state of emergency, but in the form in which the article is adopted in 1937, they can be invoked only during a “time of war or armed rebellion.” The First Amendment specifies that “time of war” can include an armed conflict in which the state is not actually taking part.
The amendment is introduced by the Fianna Fáil government of Éamon de Valera on September 2, 1939, and passes swiftly through both houses of the Oireachtas. Unlike later amendments, the First and Second Amendments are not submitted to a referendum because under the terms of Article 51, one of the Transitory Provisions of the Constitution, the Constitution can be amended by a vote of the Oireachtas alone from 1938 to 1941.
The First Amendment is passed only in English. This creates a constitutional difficulty, as the Irish text of the Constitution has legal precedence. The error is rectified by the Second Amendment, passed in 1941, which includes in its provisions, at Reference No. 21, the Irish text of the First Amendment.
The Emergency Powers Act 1939 is passed and signed on the same day as the First Amendment. Further Acts are passed over the course of World War II. The Emergency Powers Act 1976 is passed in response to The Troubles.
Article 28.3.3º is amended on two further occasions. The Second Amendment, passed in 1941, also under Article 51, clarifies that emergency provisions must be within the time of war or armed rebellion itself and add a clause at the end of the last sentence, which specifies that a “time of war” can extend beyond the termination of hostilities. The Twenty-first Amendment, passed in 2001, prohibits the use of the death penalty in a new subsection in Article 15.5.2º, and provides that the emergency provisions of the Constitution cannot be used to allow the death penalty.
On February 10, 1975, the Provisional IRA and British government enter into a truce and restart negotiations. The IRA agrees to halt attacks on the British security forces, and the security forces mostly end their raids and searches. There is a rise in sectarian killings during the truce. Loyalists, fearing they are about to be forsaken by the British government and forced into a united Ireland, increase their attacks on Irish Catholics/nationalists. They hope to force the IRA to retaliate and thus end the truce. Some IRA units concentrate on tackling the loyalists. The fall-off of regular operations causes unruliness within the IRA and some members, with or without permission from higher up, engage in tit-for-tat killings.
On August 22, loyalists kill three Catholic civilians in a gun and bomb attack on a pub in Armagh. Two days later, loyalists shoot dead two Catholic civilians after stopping their car at a fake British Army checkpoint in the Tullyvallen area. Both of these attacks are linked to the Glenanne gang. On August 30, loyalists kill two more Catholic civilians in a gun and bomb attack on a pub in Belfast.
On the night of September 1, a group of Orangemen are holding a meeting in their isolated Orange hall in the rural area of Tullyvallen. At about 10:00 PM, two masked gunmen burst into the hall armed with assault rifles and spray it with bullets while others stand outside and fire through the windows. The Orangemen scramble for cover. One of them is an off-duty Royal Ulster Constabulary (RUC) officer. He returns fire with a pistol and believes he hit one of the attackers. Five of the Orangemen, all Protestant civilians, are killed while seven others are wounded. Before leaving, the attackers also plant a two-pound bomb outside the hall, but it fails to detonate.
The victims are John Johnston (80), James McKee (73) and his son William McKee (40), Nevin McConnell (48), and William Herron (68) who dies two days later. They all belong to Tullyvallen Guiding Star Temperance Orange Lodge. Three of the dead are former members of the Ulster Special Constabulary.
A caller to the BBC claims responsibility for the attack on behalf of the “South Armagh Republican Action Force” or “South Armagh Reaction Force,” saying it is retaliation for “the assassinations of fellow Catholics.” The Irish Times reports on September 10: “The Provisional IRA has told the British government that dissident members of its organisation were responsible” and “stressed that the shooting did not have the consent of the organisation’s leadership.”
In response to the attack, the Orange Order calls for the creation of a legal militia, or “Home Guard,” to deal with republican paramilitaries.
Some of the rifles used in the attack are later used in the Kingsmill massacre in January 1976, when ten Protestant workmen are killed. Like the Tullyvallen massacre, it is claimed by the “South Armagh Reaction Force” as retaliation for the killing of Catholics elsewhere.
In November 1977, 22-year-old Cullyhanna man John Anthony McCooey is convicted of driving the gunmen to and from the scene and of IRA membership. He is also convicted of involvement in the killings of Ulster Defence Regiment (UDR) soldier Joseph McCullough, chaplain of Tullyvallen Orange lodge, in February 1976, and UDR soldier Robert McConnell in April 1976.
O’Rourke makes his debut on the inter-county scene when he is picked for the Meath minor team. He later joins the under-21 side but enjoys little success in these grades. He makes his senior debut during the 1975-1976 league. Over the course of the next twenty years he is a regular member of the starting fifteen and wins back-to-back All-Ireland medals in 1987 and 1988. He also wins five Leinster Senior Football Championship medals, three National Football League titles and is named Texaco Footballer of the Year in 1991. He plays his last game for Meath in July 1995.
In retirement from playing O’Rourke combines his teaching career with a new position as a sports broadcaster. His media career begins with RTÉ where he has worked as a studio analyst with the flagship programme The Sunday Game for over twenty-five years. He also writes a weekly column for the Sunday Independent.
Feargus Edward O’Connor, Irish Chartist leader and advocate of the Land Plan, which seeks to provide smallholdings for the labouring classes, dies in Notting Hill, West London, England on August 30, 1855. He succeeds in making Chartism the first specifically working-class national movement in Great Britain. A highly charismatic figure, he is admired for his energy and oratory but was criticised for alleged egotism.
O’Connor is born on July 18, 1796, in Connorville house, near Castletown-Kinneigh in west County Cork, into a prominent Irish Protestant family. He is originally christened Edward Bowen O’Connor, but his father, the Irish nationalist politician Roger O’Connor, chooses to call him Feargus. He is educated mainly at Portarlington Grammar School and has some elementary schooling in England.
O’Connor, who claims royal descent from the ancient kings of Ireland, practices law but exchanges law for politics when he is elected to the British House of Commons as Member of Parliament for County Cork, as a Repeal candidate rather than a Whig. Unseated in 1835, he turns to radical agitation in England, although he continues to press Irish grievances and to seek Irish support. As a result of his humour, invective, and energy, he becomes the best-known Chartist leader and the movement’s most popular speaker. His journal, The Northern Star, founded in 1837, gains a wide circulation.
O’Connor’s methods and views alienate other Chartist leaders, particularly William Lovett, but in 1841, after spending a year in prison for seditious libel, he acquires undisputed leadership of the Chartists. Failing to lead the movement to victory and vacillating in his attitude toward the middle class and toward the People’s Charter, a six-point bill drafted and published in May 1838, he begins to lose power, although he is remarkably elected to Parliament for Nottingham in 1847, defeating Thomas Benjamin Hobhouse.
The failure of the People’s Charter in 1848 marks the beginning of the end for O’Connor, whose egocentricity is already bordering on madness. In the spring of 1852, he visits the United States, where his behaviour leaves no doubt that he is not a well man. It is possible that he is in the early stages of general paralysis of the insane, brought on by syphilis.
In the House of Commons in 1852 O’Connor strikes three fellow MPs, one of them Sir Benjamin Hall, a vocal critic of the Land Plan. Arrested by the Deputy Sergeant-at-Arms, he is sent by his sister to Dr. Thomas Harrington Tuke‘s private Manor House Asylum in Chiswick, where he remains until 1854, when he is removed to his sister’s house. He dies on August 30, 1855, at 18 Albert Terrace, Notting Hill Gate. He is buried in Kensal Green Cemetery on September 10. No fewer than 40,000 people witness the funeral procession. Most Chartists prefer to remember his strengths rather than his shortcomings.
(Pictured: Stipple engraving portrait of the Chartist leader Feargus Edward O’Connor by an unknown artist, mid 19th century, published in the Northern Star in December 1837)
Yeats’s early style is that of an illustrator. He only begins to work regularly in oils in 1906. His early pictures are simple lyrical depictions of landscapes and figures, predominantly from the west of Ireland, especially of his boyhood home of Sligo, County Sligo. His work contains elements of Romanticism.
Yeats is the youngest son of Irish portraitist John Butler Yeats and the brother of William Butler Yeats, the 1923 Nobel Prize in Literature recipient. He grows up in Sligo with his maternal grandparents, before returning to his parents’ home in London in 1887. Early in his career he works as an illustrator for magazines like The Boy’s Own Paper and Judy, draws comic strips, including the Sherlock Holmes parody “Chubb-Lock Homes” for Comic Cuts, and writes articles for Punch under the pseudonym “W. Bird.” In 1894 he marries Mary Cottenham, also a native of England and two years his senior and resides in Wicklow according to the 1911 Census of Ireland.
From around 1920, Yeats develops into an intensely Expressionist artist, moving from illustration to Symbolism. He is sympathetic to the Irish Republican cause, but not politically active. However, he believes that “a painter must be part of the land and of the life he paints,” and his own artistic development, as a Modernist and Expressionist, helps articulate a modern Dublin of the 20th century, partly by depicting specifically Irish subjects, but also by doing so in the light of universal themes such as the loneliness of the individual, and the universality of the plight of man. Samuel Beckett writes that “Yeats is with the great of our time… because he brings light, as only the great dare to bring light, to the issueless predicament of existence.” The Marxist art critic and author John Berger also pays tribute to Yeats from a very different perspective, praising the artist as a “great painter” with a “sense of the future, an awareness of the possibility of a world other than the one we know.”
Yeats’s favourite subjects included the Irish landscape, horses, circus and travelling players. His early paintings and drawings are distinguished by an energetic simplicity of line and colour, his later paintings by an extremely vigorous and experimental treatment of often thickly applied paint. He frequently abandons the brush altogether, applying paint in a variety of different ways, and is deeply interested in the expressive power of colour. Despite his position as the most important Irish artist of the 20th century (and the first to sell for over £1m), he takes no pupils and allows no one to watch him work, so he remains a unique figure. The artist closest to him in style is his friend, the Austrian painter, Oskar Kokoschka.
Besides painting, Yeats has a significant interest in theatre and in literature. He is a close friend of Samuel Beckett. He designs sets for the Abbey Theatre, and three of his own plays are also produced there. He writes novels in a stream of consciousness style that James Joyce acknowledges, and also many essays. His literary works include The Careless Flower, The Amaranthers, Ah Well, A Romance in Perpetuity, And to You Also, and The Charmed Life. Yeats’s paintings usually bear poetic and evocative titles. Indeed, his father recognizes that Jack is a far better painter than he, and also believes that “someday I will be remembered as the father of a great poet, and the poet is Jack.” He is elected a member of the Royal Hibernian Academy in 1916. He dies in Dublin on March 28, 1957, and is buried in Mount Jerome Cemetery.
Yeats holds the distinction of being Ireland’s first medalist at the Olympic Games in the wake of creation of the Irish Free State. At the 1924 Summer Olympics in Paris, his painting The Liffey Swim wins a silver medal in the arts and culture segment of the Games. In the competition records the painting is simply entitled Swimming.
(Pictured: Photo of Jack Butler Yeats by Alice Boughton)
Le Fanu is born at 45 Lower Dominick Street in Dublin to Thomas Philip Le Fanu and Emma Lucretia Dobbin, a literary family of Huguenot, Irish, and English descent. Within a year of his birth the family moves to the Royal Hibernian Military School in Phoenix Park where his father, a Church of Ireland clergyman, is appointed to the chaplaincy of the establishment.
In 1826, the family moves to Abington, County Limerick, where Le Fanu’s father takes up his second rectorship. Le Fanu uses his father’s library to educate himself and by the age of fifteen he was writing poetry.
The disorders of the Tithe War (1831–1836) affect the region in 1832 and the following year the family temporarily moves back to Dublin, where Le Fanu works on a government commission. Although Thomas Le Fanu tries to live as though he is well-off, the family is in constant financial difficulty. At his death, Thomas has almost nothing to leave to his sons and the family has to sell his library to pay off some of his debts.
Le Fanu studies law at Trinity College, Dublin, where he is elected Auditor of the College Historical Society. He is called to the bar in 1839 but never practices and soon abandons law for journalism. In 1838 he begins contributing stories to the Dublin University Magazine, including his first ghost story, The Ghost and the Bone-Setter (1838). He becomes owner of several newspapers from 1840, including the Dublin Evening Mail and the Warder.
In 1856 the family moves from Warrington Place to the house of his wife Susanna’s parents at 18 Merrion Square. His personal life becomes difficult at this time, as his wife suffers from increasing neurotic symptoms. She suffers from anxiety after the deaths of several close relatives, including her father two years previous. In April 1858, Susanna suffers a “hysterical attack” and dies the following day. She is buried in the Bennett family vault in Mount Jerome Cemetery beside her father and brothers. He does not write any fiction from this point until the death of his mother in 1861.
He becomes the editor and proprietor of the Dublin University Magazine in 1861 and begins to take advantage of double publication, first serializing in the Dublin University Magazine, then revising for the English market. He publishes both The House by the Churchyard and Wylder’s Hand in this manner. After lukewarm reviews of The House by the Churchyard, which is set in the Phoenix Park area of Dublin, Le Fanu signs a contract with Richard Bentley, his London publisher, which specifies that future novels be stories “of an English subject and of modern times,” a step Bentley thinks necessary for Le Fanu to satisfy the English audience. Le Fanu succeeds in this aim in 1864, with the publication of Uncle Silas, which is set in Derbyshire. In his very last short stories, however, Le Fanu returns to Irish folklore as an inspiration and encourages his friend Patrick Kennedy to contribute folklore to the Dublin University Magazine.
Le Fanu dies in his native Dublin on February 7, 1873, at the age of 58. Today there is a road and a park in Ballyfermot, near his childhood home in south-west Dublin, named after him.
John Weldon, Irish writer and playwright also known as Oliver Blyth, A. E. Weldon and his pen name and stage name Brinsley MacNamara, is born on September 6, 1890 in Hiskinstown, Delvin, County Westmeath.
seamus dubhghaill 