Alice Taylor, best-selling Irish writer and novelist particularly known for her nostalgia works looking back at life in a small village, is born on February 28 , 1938, on a farm in Lisdangan, Newmarket in northern County Cork.
Taylor is educated at Drishane Convent. She works in Bandon before marrying Gabriel Murphy. They have four sons and one daughter. When she marries she moves to Innishannon in the southern part of the county in 1961. There she runs a guesthouse, the local post office, and a shop.
In 1984 she edits and publishes a local magazine, Candlelight, and in 1986 she publishes an illustrated collection of her poetry. However it is the launch of her book To School Through the Fields, published in May 1988, which brings her fame. She has numerous interviews on national shows including RTÉ Radio‘s Gay Byrne Show and The Late Late Show. The next books are equally successful and have been sold internationally. Since then she has moved on to novels which have also become best sellers.
Her husband dies in 2005. Taylor remains very connected to the village of Innishannon where she continues to live. Since her eldest son has taken over responsibility for the shop, she has been able to devote more time to her writing. One of the programs she has been involved in is the restoration of the old Innishannon Tower.
Jordan is educated at St. Paul’s College, Raheny. Later, Jordan attends University College Dublin, where he studies Irish history and English literature. He is raised a Catholic and is quite religious during the early stages of his life. Regarding his current beliefs, he states that “God is the greatest imaginary being of all time. Along with Einstein‘s General Theory of Relativity, the invention of God is probably the greatest creation of human thought.”
When John Boorman is filming Excalibur in Ireland, he recruits Jordan as a “creative associate.” A year later Boorman is executive producer on Jordan’s first feature, Angel, a tale of a musician caught up in the Troubles, starring Stephen Rea who subsequently appears in almost all of Jordan’s films to date. During the 1980s, he directs films that win him acclaim, including The Company of Wolves and Mona Lisa, both made in England. The Company of Wolves becomes a cult favorite.
As a writer/director, Jordan has a highly idiosyncratic body of work, ranging from mainstream hits like Interview with the Vampire to commercial failures like We’re No Angels to a variety of more personal, low-budget arthouse pictures. He is also the driving force behind the cable TV series The Borgias.
Unconventional sexual relationships are a recurring theme in Jordan’s work, and he often finds a sympathetic side to characters that audiences would traditionally consider deviant or downright horrifying. His film The Miracle, for instance, follows two characters who struggle to resist a strong, incestuous attraction, while The Crying Game makes complicated, likable characters out of an IRA volunteer and a transgender woman. Interview with the Vampire, like the Anne Rice book it is based on, focuses on the intense, intimate interpersonal relationship of two undead men who murder humans nightly, accompanied by an equally lusty vampire woman who is eternally trapped in the body of a little girl. While Lestat (Tom Cruise) is depicted in an attractive but villainous manner, his partner Louis (Brad Pitt) and the child vampire Claudia (Kirsten Dunst) are meant to capture the audience’s sympathy despite their predatory nature.
In addition to the unusual sexuality of Jordan’s films, he frequently returns to the Troubles of Northern Ireland. The Crying Game and Breakfast on Pluto both concern a transgender character, both concern the Troubles, and both feature frequent Jordan leading man Stephen Rea. The two films, however, are very different, with The Crying Game being a realistic thriller/romance and Breakfast on Pluto a much more episodic, stylized, darkly comic biography. Jordan also frequently tells stories about children or young people, such as The Miracle and The Butcher Boy. While his pictures are most often grounded in reality, he occasionally directs more fantastic or dreamlike films, such as The Company of Wolves, High Spirits, Interview with the Vampire, and In Dreams.
The critical success of Jordan’s early pictures leads him to Hollywood, where he directs High Spirits and We’re No Angels. Both are critical and financial disasters. He later returns home to make the more personal The Crying Game, which is nominated for six Academy Awards. Jordan wins the Academy Award for Best Original Screenplay for the film. Its unexpected success leads him back to American studio filmmaking, where he directs Interview with the Vampire. He also directs the crime drama The Brave One starring Jodie Foster.
The Cavan Orphanage fire occurs on the night of February 23, 1943, at St. Joseph’s Orphanage in Cavan, County Cavan. Thirty-five children and one adult employee die as a result. Much of the attention after the fire surrounds the role of the Poor Clares, the order of nuns who run the orphanage and the local fire service.
The Poor Clares, an enclosed contemplative order, found a convent in Cavan in 1861 in a large premises on Main Street. In 1868, they open an orphanage. At the time young petty criminals could be educated and learn a trade in a reformatory, however, orphaned and abandoned children are not accorded the same opportunity. The Industrial Schools Act 1868 seeks to address this by the establishment of the Industrial school system. In 1869, a school, attached to the convent, is established and becomes known as the St. Joseph’s Orphanage & Industrial School.
Fire breaks out in the early morning hours of February 23, 1943, in the basement laundry and is not noticed until about 2 AM. The subsequent investigation attributes the fire to a faulty flue. The sight of smoke coming out of the building alerts people on Main Street. They go to the front entrance and attempt to gain entry. Eventually they are let in by one of the girls but, not knowing the layout of the convent, they are unable to find the girls.
By this time all of the girls have been moved into one Dormitory. At this point it would have been possible to evacuate all of the children but instead the nuns persuade the local people to attempt to extinguish the fire. Two men, John Kennedy and John McNally, go down to the laundry to try to put the fire out. The flames are now too intense for this to be possible, and McNally only survives by being carried out by Kennedy.
By now it is no longer possible for the girls to get out through the main entrance or the fire escape. The local fire brigade arrives but their equipment is not sufficient for the fire. Wooden ladders are not long enough to reach the dormitory windows. In the absence of any other solution, girls are encouraged to jump. Three do so, though with injuries, however most are too frightened to attempt it. A local electricity worker, Mattie Hand, arrives with a long ladder and a local man, Louis Blessing, brings five girls down. One child leaves by way of the interior staircase while it is still accessible. One child makes it down the exterior fire escape. One child escapes by way of a small ladder held on the roof of the shed. The fire completely engulfs the dormitory and the remaining girls perish.
Over concerns about the causes of the fire and the standard of care, a Public Inquiry is set up. The report’s findings state that the loss of life occurs due to faulty directions being given, lack of fire-fighting training, and an inadequate rescue and fire-fighting service. It also notes inadequate training of staff in fire safety and evacuation, both at the orphanage and local fire service. This finding has been disputed by many. It is alleged that the nuns prevent firefighters from entering the building for fear that they might see the girls in a state of undress.
Due to the nature of the fire, the remains of the dead girls are placed in eight coffins and buried in Cullies cemetery in Cavan. A memorial plaque is erected in 2010 just inside the convent gates at Main Street, Cavan. The plaque is anonymously donated to the Friends of the Cavan Orphanage Victims group.
(Pictured lower right: The grave containing the remains of the 36 victims)
Stagg is educated to primary level at Newbrook Primary School and at CBS Ballinrobe to secondary level. After finishing his schooling, he works as an assistant gamekeeper with his uncle prior to emigrating to England in search of work.
Once in England he gains employment as a bus conductor in north London and later becomes a bus driver. Whilst in England he meets and marries fellow Mayo native, Bridie Armstrong from Carnacon. In 1972, he joins the Lutoncumann of Sinn Féin and soon after becomes a volunteer in the Provisional Irish Republican Army (IRA).
In April 1973, Stagg is arrested with six others alleged to comprise an IRA unit planning bombing attacks in Coventry. He is tried at BirminghamCrown Court. The jury finds three of the seven not guilty. The remaining four are all found guilty of criminal damage and conspiracy to commit arson. Stagg and English-born priest, Father Patrick Fell, are found to be the unit’s commanding officers. Stagg is given a ten-year sentence and Fell twelve years. Thomas Gerald Rush is given seven years and Anthony Roland Lynch, who is also found guilty of possessing articles with intent to destroy property, namely nitric acid, balloons, wax, and sodium chlorate, is given ten years.
Following the hunger strike that results in the death of Michael Gaughan, the Price sisters, Feeney, and Kelly are granted repatriation to Ireland. Stagg is denied repatriation and is transferred to Long Lartin Prison. During his time there he is subject to solitary confinement for refusing to do prison work and is also subjected, along with his wife and sisters during visits, to humiliating body searches. In protest against this he begins a second hunger strike that lasts for thirty-four days. This ends when the prison governor agrees to an end to the strip-searches on Stagg and his visitors. Stagg is bed-ridden for the rest of his incarceration in Long Lartin, due to a kidney complaint.
In 1975 Stagg is transferred to Wakefield Prison, where it is demanded that he again do prison work. He refuses and is placed in solitary confinement. On December 14, 1975, Stagg embarks on a hunger strike in Wakefield, along with a number of other republican prisoners, after being refused repatriation to Ireland during the IRA/British truce. Stagg’s demands are an end to solitary confinement, no prison work, and repatriation to prison in Ireland. The British government refuses to meet any of these demands. Stagg dies on February 12, 1976, after 62 days on hunger strike.
Frank Stagg’s burial causes considerable controversy in Ireland, with republicans and two of his brothers seeking to have Stagg buried in the republican plot in Ballina in accordance with his wishes, while his widow, his brother, Emmet Stagg, and the Irish government wish to have him buried in the family plot in the same cemetery and to avoid republican involvement in the funeral. As the republicans wait at Dublin Airport for the body, the Irish government orders the flight to be diverted to Shannon Airport.
His body is taken to Ballina and buried near the family plot. In order to prevent the body being disinterred and reburied by republicans, the grave is covered with concrete. In November 1976, a group of republicans tunnel under the concrete to recover the coffin under cover of darkness and rebury it in the republican plot.
Delia Murphy Kiernan, singer and collector of Irish ballads, dies of a massive heart attack on February 11, 1971, five days before her 69th birthday. She records several 78 RPM records in the 1930s, 1940s, and 1950s. In 1962 she records her only LP record, The Queen of Connemara, for Irish Prestige Records, New York, on the cover of which her name appears alongside the LP title. Her notable voice gives her the nickname the “Queen of Connemara.”
Murphy is born on February 16, 1902, in Ardroe, Roundfort, County Mayo, to a well-off family. Her father, John Murphy, from nearby Hollymount, makes his fortune in the Klondike Gold Rush. While in America, he marries Ann Fanning from Roscrea, County Tipperary. They return to Ireland in 1901 and purchase the large Mount Jennings Estate in Hollymount. Murphy’s father encourages her interest in singing ballads from a young age. He also allows Irish travellers to camp on the estate. According to her own account, she learns her first ballads at their campfires.
Murphy is educated at Presentation Convent in Tuam, Dominican College in Dublin, and University College Galway (UCG), where she graduates with a Bachelor of Commerce degree. While at UCG she meets Dr. Thomas J. Kiernan, and they marry in 1924, on her 22nd birthday. Kiernan then joins the Irish diplomatic service, where his first posting is to London. While there Murphy sings at many venues including many gatherings of Irish emigrants and becomes quite well-known. In 1939 she records The Blackbird, The Spinning Wheel, and Three Lovely Lassies for HMV.
In 1941, Kiernan is appointed Irish Minister Plenipotentiary to the Holy See in Rome. The Irish legation is the only English-speaking legation to remain open after the United States enters World War II. Murphy becomes one of those who assist Monsignor Hugh O’Flaherty in saving the lives of 6,500 Allied soldiers and Jews. In 1943, when Italy changes sides, many escaped POWs are helped by the legation to leave Italy.
Kiernan later serves as Irish High Commissioner and later first Ambassador in Australia, and later to West Germany, Canada, and the United States. In 1961, while living in Ottawa, Murphy makes the recording of The Queen of Connemara produced by Ken Goldstein. Murphy and Kiernan purchase a farmhouse in Jasper, Ontario, near the Rideau Canal where she spends most of her time, even after Kiernan is posted to Washington, D.C. Tom Kiernan dies in December 1967.
By 1969 Murphy’s health is in decline. In November of that year, she sells her farmhouse in Canada and returns to Ireland. She lives in a cottage in Strawberry Beds, Chapelizod, County Dublin, until her death. During her lifetime she records upwards of 100 songs.
Behan is widely regarded as one of the greatest Irish writers and poets of all time. He is also an Irish republican and a volunteer in the Irish Republican Army (IRA). Born in Dublin into a staunchly republican family, he becomes a member of the IRA’s youth organisation Fianna Éireann at the age of fourteen. However, there is also a strong emphasis on Irish history and culture in the home, which means he is steeped in literature and patriotic ballads from an early age. Behan eventually joins the IRA at sixteen, which leads to his serving time in a borstal youth prison in the United Kingdom. He is also imprisoned in Ireland. During this time, he takes it upon himself to study and he becomes a fluent speaker of the Irish language. Subsequently released from prison as part of a general amnesty given by the Fianna Fáil government in 1946, Behan moves between homes in Dublin, Kerry, and Connemara, and also resides in Paris for a time.
In 1954, Behan’s first play, The Quare Fellow, is produced in Dublin. It is well received, however, it is the 1956 production at Joan Littlewood‘s Theatre Workshop in Stratford, London, that gains Behan a wider reputation. This is helped by a famous drunken interview on BBC television. In 1958, Behan’s play in the Irish language, An Giall, has its debut at Dublin’s Damer Theatre. Later, The Hostage, Behan’s English-language adaptation of An Giall, meets with great success internationally. Behan’s autobiographical novel, Borstal Boy, is published the same year and becomes a worldwide best-seller.
He marries Beatrice Ffrench-Salkeld in 1955. By early March 1964, after developing diabetes, the end is in sight. Collapsing at the Harbour Lights bar, he is transferred to the Meath Hospital in central Dublin, where he dies at the age 41 on March 20, 1964. He is given an IRA guard of honour, which escorts his coffin. It is described by several newspapers as the biggest funeral since those of Michael Collins and Charles Stewart Parnell.
The Central Bank of Ireland is Ireland’s central bank, and as such part of the European System of Central Banks (ESCB). It is also the country’s financial services regulator for most categories of financial firms. It is the issuer of Irish pound banknotes and coinage until the introduction of the euro currency and now provides this service for the European Central Bank.
The Central Bank, however, does not initially acquire many of the characteristics of a central bank:
It is not given custody of the cash reserves of the commercial banks
It has no statutory power to restrict credit, though it can promote it
The conditions for influencing credit through open-market operations does not yet exist
Ireland’s external monetary reserves are largely held as external assets of the commercial banks
The mid-1960s see the Bank take over the normal day-to-day operations of exchange control from the Department of Finance. The Central Bank broadens its activities over the decades, but it remains in effect a currency board until the 1970s.
Since January 1, 1972, the Central Bank has been the banker of the Government of Ireland in accordance with the Central Bank Act 1971, which can be seen in legislative terms as completing the long transition from a currency board to a fully functional central bank.
Its head office is located on Dame Street, Dublin, where the public may exchange non-current Irish coinage and currency, both pre- and post-decimalization, for euros. It also operates from premises in Spencer Dock, Iveagh Court, and College Green. The Currency Centre at Sandyford is the currency manufacture, warehouse, and distribution site of the bank.
By March 2017 its city centre staff moves to a new building at North Wall Quay.
Princess Victoria is built in 1947 by William Denny and Brothers, Dumbarton. She is the first purpose-built ferry of her kind to operate in British coastal waters and could hold 1,500 passengers plus cargo and had sleeping accommodations for 54.
Captained by James Ferguson, the vessel leaves Stranraer‘s railway loading pier at 7:45 AM on January 31, 1953 with 44 tons of cargo, 128 passengers, and 51 crew. Captain Ferguson has served as master on various ferries on the same route for seventeen years. A gale warning is in force but he makes the decision to put to sea. Loch Ryan is a sheltered inlet and the immediate force of the wind and sea is not apparent, but it is noted that spray is breaking over the stern doors. A “guillotine door” has been fitted, because of a previously identified problem with spray and waves hitting the stern doors, but it is rarely used, because it takes too long to raise and lower. This would provide extra protection for the sliding stern doors but on this occasion it is not lowered.
Shortly after clearing the mouth of Loch Ryan, the ship turns west towards Larne, County Antrim, Northern Ireland and exposes her stern to the worst of the high seas. Huge waves damage the low stern doors, allowing water to enter the car deck. The crew struggles to close the doors again but they prove to be too badly damaged and water continues to flood in from the waves. The scuppers do not appear to be allowing the water to drain away. The ship takes a list to starboard and at this point Captain Ferguson decides to retreat to the safety of Loch Ryan by going astern and using the bow rudder. This proves to be impossible, because the extreme conditions prevent the deckhands from releasing the securing pin on the bow rudder. Ferguson then makes a decision to try to reach Northern Ireland by adopting a course which keeps the stern of the craft sheltered from the worst of the elements. At 9:46 AM, two hours after leaving Stranraer, a message is transmitted in Morse code (the Princess Victoria does not have a radio telephone) by radio operator David Broadfoot to the Portpatrick Radio Station: “Hove-to off mouth of Loch Ryan. Vessel not under command. Urgent assistance of tugs required.”
With a list to starboard exacerbated by shifting cargo, water continues to enter the ship. At 10:32 AM an SOS transmission is made, and the order to abandon is given at 2:00 PM. Possibly the first warship in the area is HMS Launceston Castle, commanded by Lt. Cdr J M Cowling, a frigate which is en route to Derry. Searches are carried out but Launceston Castle is forced to leave when her condensers are contaminated by salt. Upon the upgrade of the assistance message to an SOS, the Portpatrick Lifeboat the Jeannie Spiers is dispatched, as is the destroyer HMS Contest. Contest, commanded by Lt. Commander HP Fleming, leaves Rothesay at 11:09 AM but, although she comes close to her position at 1:30 PM, poor visibility prevents the crew from seeing the sinking ship. The destroyer has been trying to maintain a speed of 31 knots to reach the listing ferry but, after sustaining damage from the seas, Captain Fleming is forced to reduce speed to 16 knots.
The Princess Victoria is still reporting her position as 5 miles northwest of Corsewall Point but her engines are still turning and even at the speed of 5 knots are gradually drawing the vessel closer to Northern Ireland and away from her reported position. At 1:08 PM, the ship broadcasts that her engines have stopped. The final morse code message at 1:58 PM reports the ship “on her beam end” five miles east of the Copeland Islands.
The Court of Enquiry into the sinking, held in March 1953 at Crumlin Road Courthouse in Belfast, finds that the Princess Victoria was lost due to a combination of factors. In a 30,000 page report the enquiry finds that firstly, the stern doors are not sufficiently robust. Secondly, arrangements for clearing water from the car deck are inadequate. The report concludes “If the Princess Victoria had been as staunch as those who manned her, then all would have been well and the disaster averted.” The court also notes the failure of the duty destroyer HMS Tenacious from the 3rd Training Squadron based at HMS Sea Eagle at Londonderry Port to be able to put to sea as too many men had been released on shore leave. As a consequence of the enquiry the duty destroyer from the 3rd Squadron is subsequently based “on station” at the mouth of Lough Foyle on one hour readiness to put to sea.
The wreck lay undiscovered until 1992 when a team from Cromarty Firth Diving, led by John MacKenzie and funded by the BBC, working from data provided by a Royal Navy seabed survey carried out in 1973, are able to locate it five miles north northeast of the Copeland Islands in 90 metres of water. Video footage and stills from this expedition are transmitted on a BBC programme called Home Truths (Things Don’t Happen to Boats Like This) on the 40th anniversary of the sinking in 1993.
Eleanor McEvoy, one of Ireland’s most accomplished contemporary singer/songwriters, is born in Dublin on January 22, 1967. McEvoy composes the song “Only A Woman’s Heart,” the title track of A Woman’s Heart, the best-selling Irish album in Irish history.
McEvoy’s life as a musician begins at the age of four when she begins playing piano. At the age of eight she takes up violin and, as a teen, she joins the Junior Irish Youth Orchestra. Upon finishing school, she attends Trinity College, Dublin where she studies music by day and works in pit orchestras and music clubs by night.
McEvoy graduates from Trinity with an Honors Degree in music and spends four months busking in New York City. In 1988, she is accepted into the RTÉ National Symphony Orchestra where she spends four years before leaving to concentrate on songwriting.
During a solo date in July 1992, she performs a little-known, self-penned song, “Only a Woman’s Heart.” Mary Black, of whose band McEvoy is a member, is in the audience and invites her to add the track to an album of Irish female artists. The album is subsequently titled A Woman’s Heart and the track is released as the lead single. The album goes on to sell over three-quarters of a million copies in Ireland alone and remains the biggest selling Irish album of all time. The record’s success makes McEvoy a superstar virtually overnight.
Eleanor McEvoy, the self-titled debut offering, recorded in Windmill Lane Studios, is released in February 1993, and tours in the United States, Asia, and Europe follow. Back on Irish soil, McEvoy is awarded Best New Artist, Best New Performer, and Best Songwriter Awards by the Irish entertainment and music industries.
McEvoy signs a contract with Columbia Records and begins working on a new, edgier second album, which is eventually entitled What’s Following Me? The album is released in 1996 and the sound is louder and grungier than her debut.
McEvoy releases her third album Snapshots in 1999. Her primary goal is to make Snapshots her most song-oriented album to date. Toward that goal, she hooks up with legendary producer Rupert Hine, who has worked with Stevie Nicks, Tina Turner, Suzanne Vega, and Duncan Sheik, and records the album at Rupert’s “Chateau de la Tour de Moulin” and then in Metropolis Studios in London.
As the century closes, McEvoy has had enough of major-label involvement, making the decision to take the fourth album and head down the independent road. Yola was a turning point in McEvoy’s musical direction. Released in 2001, it reflects the acoustic, jazz-influenced style she had developed on stage with Brian Connor.
March 2004 sees the release of Early Hours, produced by McEvoy and Brian Connor. The style differs from McEvoy’s previous work, taking on a jazz/blues feel for many of the songs. She continues to tour with Brian Connor until April 2005. She then begins performing solo, accompanying herself on bass guitar, electric guitar, mandolin, and violin.
Naked Music (2016) is McEvoy’s twelfth studio album. It is recorded at the Grange Studio in Norfolk, UK. McEvoy records the tracks by “studio-performing,” in other words, playing the songs as she would in a live performance. The album features exclusive artwork by famed painter Chris Gollon.
Sir John Lavery, Irish painter best known for his portraits and wartime depictions, dies of natural causes at the age of 84 in Kilmoganny, County Kilkenny, on January 10, 1941.
Like William Orpen, Lavery is appointed an official artist in World War I. Ill-health, however, prevents him from travelling to the Western Front. A serious car crash during a Zeppelin bombing raid also keeps him from fulfilling this role as war artist. He remains in Britain and mostly paints boats, aeroplanes, and airships. During the war years he is a close friend of H.H. Asquith‘s family and spends time with them at their Sutton Courtenay Thames-side residence, painting their portraits and idyllic pictures like Summer on the River (Hugh Lane Gallery).
After the war Lavery is knighted and in 1921 he is elected to the Royal Academy of Arts.
During this time, he and his wife, Hazel, are tangentially involved in the Irish War of Independence and the Irish Civil War. They give the use of their London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty. After Michael Collins is assassinated, Lavery paints Michael Collins, Love of Ireland, now in the Hugh Lane Gallery. In 1929, Lavery makes substantial donations of his work to both the Ulster Museum and the Hugh Lane Gallery and in the 1930s he returns to Ireland. He receives honorary degrees from the University of Dublin and Queen’s University Belfast. He is also made a free man of both Dublin and Belfast. A long-standing member of Glasgow Art Club, Lavery exhibits at the club’s annual exhibitions, including its exhibition in 1939 in which his The Lake at Ranelagh is included.
