Hogan’s father is a wheelwright and musician who also crafts flutes and fiddles, instruments Hogan himself plays. He and his family endure the hardships of the Great Famine (1845–1852), an experience he later reflects upon in his poetry. In his youth, he works at Russell’s Mill and Lock Quay, later joining Limerick Corporation. In 1858, he marries Ann Lynch, with whom he has no children.
Hogan’s first poems appears in Irish language newspapers such as The Anglo-Celt, The Irishman, The Nation, The Munster News, and the Limerick Leader. His debut collection, Lays and Legends of Thomond, is published in Limerick in 1861, with a larger Dublin edition in 1867. He also gains fame for a series of satirical poems lampooning prominent Limerick figures, which achieves enormous circulation and causes a sensation at the time. A new edition of his Lays and Legends is published in Dublin in 1880.
In September 1886, Hogan emigrates to New York, where, already hampered by failing eyesight, he fails to make a living for himself as a poet and soon finds himself in financial difficulties. Having received assistance from friends in Limerick, he returns to Ireland in 1889.
Hogan dies on April 19, 1899, at Limerick and is buried in Mount St. Lawrence Cemetery.
Hogan’s work remains a significant part of Irish literary history. In 2005, a life-size statue (pictured) of him is erected at King John’s Castle Plaza in Limerick to honor his memory.
Ó hEithir’s debut novel, Lig Sinn i gCathú (Lead Us Into Temptation, 1976), depicts university life in 1948 and becomes the first Irish language book to top Ireland’s bestseller list. Other notable works include:
The Begrudger’s Guide to Irish Politics (Poolbeg Press, 1986) — satirical commentary on Irish society
A Pocket History of Ireland (The O’Brien Press, 1989) — concise history from prehistory to the present
Sionnach ar mo Dhuán (1988) — his second novel
Ó hEithir also writes essays, lectures, and cultural commentary, often blending humour, satire, and irony.
Ó hEithir marries Catherine von Hildebrand in 1957. She is the daughter of Deirdre Mulcahy and Franz von Hildebrand, founders of Universidad de los Andes in Colombia. They have five children. He studies German and begins work on his first novel during a year in Germany with his family.
Ó hEithir dies of cancer in Dublin on October 26, 1990, at age 60 . He is awarded the Butler literary award in 1990 and receives a scholarship from the Irish American Cultural Institute in 1975 . His biography is written by Liam Mac Con Iomaire in 2000 . He is remembered as one of Ireland’s most accomplished bilingual writers and journalists of the twentieth century.
Brooke is the son of The Reverend William Brooke, the well-off Church of Ireland Rector of Killinkere and Mullagh within the Church of Ireland Diocese of Kilmore. He first begins his career as a poet. His now forgotten philosophical poem Universal Beauty is published in 1735, and Alexander Pope thinks its sentiments and poetry fine. He then turns dramatist by adapting extant plays, such as The Earl of Essex. He writes from the Tory point of view and becomes one of the most important figures in Augustan drama, although not for his successes.
Brooke’s Gustavus Vasa (1739) has the distinction of being the first play banned by the Licensing Act 1737. The play concerns the liberation of Sweden from Denmark in 1521 by Riksföreståndare (Protector of the Realm or Regent) Gustav Vasa (who later becomes King Gustav I of Sweden). Sir Robert Walpole believes that the villain of the play resembles him. Further, a facetious “attack” on it is the first public writing of Samuel Johnson, whose A Complete Vindication of the Licensers of the English Stage feigns support for Walpole while it drives the censor’s argument to reductio ad absurdum.
Brooke lives in Ireland most of his life, but he spends time in London when his plays are on the stage. In politics, he is somewhat radical in arguing publicly for loosening the laws persecuting Roman Catholics in the United Kingdom. His daughter, Charlotte Brooke, is herself an important figure in the history of Irish literature, publishing Reliques of Irish Poetry (1789) and working to increase the profile of Irish language poetry.
Later, Brook’s Earl of Essex comes back to the boards in a revival. Again, Samuel Johnson offers his public support of Brooke, but when he hears the Earl saying at the end of Act II, “Who rules o’er free men must himself be free,” Johnson replies, “Who drives fat oxen must himself be fat.” Although Johnson is objecting to the misuse and overuse of “freedom” and is at that time in a vexatious debate over the American Revolutionary War (saying, “Why is it that we hear the loudest cries for liberty from the drivers of Negroes?”), Brooke is mortified by Johnson’s parody and changes the line for his Collected Works.
Brooke has a difficult life and makes a very poor living. The Licensing Act 1737 robs him of his primary avenue to making a living, for, after the Act, he is the first man banned by it. Whatever fame this lends him is made up for by his inability to get new plays performed. His greatest commercial successes come from the Earl of Essex and his two novels, The Fool of Quality (1760-1772) and Juliet Grenville (1774), which are two of the finest sentimental novels. John Wesley is so fond of The Fool of Quality, in which Brooke declares his belief in universal salvation, that he seeks to have a copy of it given out to all new Methodist churches.
Brooke has twenty-two children. Of these, only Charlotte survives adolescence. She shepherds his Works through the press after his death.
The death of Brooke’s wife after a long illness and the loss of so many of his children, leaves Brooke’s physical and mental health increasingly unstable. His decline is evident in the last volume of The Fool of Quality and his final three-volume novel Juliet Grenville. He dies in Dublin on October 10, 1783, and is buried in his father’s churchyard in Mullagh.
McCarthy’s early career was meteoric: his first book, An outline of Irish history from the earliest times, appears in 1883 and is a fast-moving, strongly worded, nationalist sketch of Irish history. This is followed by a heavy-handed dramatic poem, Serapion (1883), about the early Christian era. In June of the following year he is returned as the Home Rule LeagueMP for Athlone on the death of the sitting member, and also publishes, to excellent reviews, England under Gladstone, which runs to a second edition within a year. In November 1884, his first play, The Candidate, is an overnight success in the Criterion Theatre in London. Its plot is thin but the humour and political badinage ensures it a long run.
At the 1885 United Kingdom general election McCarthy is elected nationalist MP for Newry, and he holds this seat until 1892. In the two years after his election he writes a number of novels, translates works from Persian, and writes Ireland Since the Union (1887), which is well researched, nationalist and impassioned in tone, showing a flair for biographical sketches. During this period he is known for his good attendance in the House of Commons though he does not speak much – throughout his life he is more an observer than a participator – and he is said by William O’Brien to conceal “under the gentlest of exteriors the fire of the ‘Spirit of the Nation’ ballad” (New Ireland Review, 523). In London he is well known for his controversial drama reviews in The Gentleman’s Magazine and the Sunday Sun, and in Dublin for his numerous verse and prose contributions to United Ireland. Although he makes a name for himself as a brilliant young man, he never fulfills his early promise.
In later years McCarthy continues to publish prolifically but produces only ephemeral works, and his parliamentary attendance slackens off. His political commitment is soured possibly by the party’s split in 1890. He originally sides with Charles Stewart Parnell, emphasizing in a speech on December 1, 1890, that he believes in the old-fashioned theory of personal loyalty to a leader. However, five days later he causes a minor drama by rising at the last minute to follow his father and the forty-three other anti-Parnellites, claiming that he feels he must abide by the decision of the majority. Two years later he leaves politics for good without standing in the 1892 United Kingdom general election. A sympathetic profile of him in the New Ireland Review in 1894 remarks that “no man of equal talents made so slight an impression on the political world.”
Thereafter McCarthy has less involvement in Irish affairs and writes no more Irish history books, though his novels continue to have Irish themes. He lives in London in Putney Common, and continues to travel widely. In 1894, he marries in some haste a popular comic actress, Cecilia Loftus, and the event is widely reported in the English press. However, the marriage is dissolved in the United States five years later. In 1908, his second marriage is to Loullie, daughter of Henry Killick of Budapest. He continues to enjoy success as a dramatist and has five plays, four sketches, and three duologues performed in London in the 1890s. However, he concentrates increasingly on historical fiction, which he produces at breakneck speed. In the first decade of the twentieth century he writes over twelve novels based on periods in English, Italian, French, and Irish history. The Illustrious O’Hagan (1906), The O’Flynn (1910), and The King Over the Water (1911) pointedly contradict English stereotypes of the “stage Irishman.” The Fair Irish Maid (1911) is an allegory of the Irish Parliamentary Party‘s political marriage to the ordinary Irish people rather than to the Anglo-Irishascendancy.
McCarthy dies at home in Putney on March 20, 1936 aged 79, although his obituaries all put his age at 75.
(From: “McCarthy, Justin Huntly” by Bridget Hourican, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Born to George and Susan Goodfellow (née Nicholson), Goodfellow is raised in a Quaker family. Her father and uncle are builders who construct a row of houses on Morehampton Road, Donnybrook, where she lives for the rest of her life. She is educated at Alexandra College and graduates with an Arts degree from Trinity College Dublin (TCD).
Under the pseudonym Michael Scot, Goodfellow publishes Three Tales of the Times in 1921, a work about life in Ireland under the Black and Tans. She also writes poetry and translates French poetry, notably the works of 15th-century poet François Villon, publishing these translations in The Dublin Magazine between 1924 and 1928.
Goodfellow is independently wealthy, inheriting property in Ireland and England after her mother’s death in 1932. She is a generous patron of the arts, supporting The Dublin Magazine, a literary journal owned by her friend Seumas O’Sullivan, to which she contributes articles, poems, and reviews. She also supports children’s charities and serves on the Board of Governors of the Royal Hospital in Donnybrook.
Her philanthropy extends to securing funding for The Dublin Magazine (1926–1958) and gifting a bird sanctuary, The Grove, in Donnybrook to An Taisce. Despite her influence, she remains modest and private about her contributions, and her own photographic collection is destroyed after her death.
In 1939, Goodfellow falls while getting off a tram and breaks her leg badly, which leaves her with a limp. She dies at the aged of 89 on May 20, 1980, and is buried with her parents in Mount Jerome Cemetery in Dublin.
A plaque is erected in memory of Goodfellow’s donation at The Grove, a woodland area at the corner of Morehampton Road and Wellington Place, on October 19, 2022. A plaque commemorating Estella Solomons is placed on the opposite gatepost. Goodfellow’s diaries, poems and literary manuscripts are held in the Trinity College Dublin archives.
Goodfellow’s work and life reflect the intersection of Irish literary culture, nationalist history, and cultural patronage in early-to-mid 20th-century Ireland.
MacCormack (sometimes spelled McCormack) is born in 1892, the daughter of Constance MacCormack, and niece of Evelyn Gleeson. Following the death of her father in 1902, the family lives with Gleeson at her home, at Runnemede, Sandyford Road, Dublin, with her mother and siblings, Grace (1898–1982) and Edward (1889–1906). With her sister, she works in the Dun Emer Guild from a young age, particularly after the Yeats sisters, Lily and Elizabeth, leave Dun Emer to form Cuala Industries.
MacCormack also does some acting, theatre set design and is an author. She appears in Joseph Plunkett‘s 1912 play The Dance of Osiris at the Hardwicke Theatre, and designs the sets. She often acts under the name Catia or Caitia Nic Cormac. She also designs sets for the Irish National Theatre Society, Theatre Company of Ireland and the Dublin Drama League.[5]
Some of MacCormack’s most notable works are the tapestries for the Honan Chapel, Cork, in 1917, the vestments for St. Patrick’s Catholic Church, San Francisco in 1923, and a carpet presented to Pope Pius XI in 1931. The carpet is commissioned in an effort by Ireland’s ambassador to the Vatican, Charles Bewley, to secure Ireland as the host of the 31st International Eucharistic Congress. It is designed by MacCormack and takes workers in the Guild almost four months to hand weave at a cost of £450. As “The Pope’s Carpet” it is exhibited in Clerys department store on O’Connell Street in Dublin from January 19 to 30, 1931.
MacCormack designs the poster for the 1927 “Grand Pageant of Dublin History.” She also develops a set of designs for judicial robes for W. T. Cosgrave in 1924, drawing on the Brehon style sketches of which are held in University College Dublin Archives. In 1911 and 1920, she exhibits at the Oireachtas Art Exhibitions, and with the Water Colour Society of Ireland throughout the 1920s. She is also an illustrator, beginning with Christmas card designs for Dun Emer in the 1910s. She illustrates John Hackett Pollock’s 1919 The wisdom of the world: A book of wonder-tales, published by Colm Ó Lochlainn‘s Candle Press under Pollock’s pseudonym An Philibín. She edits a volume for Ó Lochlainn in 1920, The Book of St Ultan; a collection of pictures and poems by Irish artists and writers, proceeds of which go to Saint Ultan’s Hospital. As well as editing, she contributes illustrations and two poems to the volume.
After her aunt’s death in 1944, MacCormack continues to run Dun Emer Guild until its store on Harcourt Street closes around 1964.
MacCormack dies on June 26, 1975. A large collection of theatre ephemera collected by MacCormack is sold in 2008. The Kitty MacCormack Archive is held by the Jackie Clarke Archive, and the National Library of Ireland also holds a collection of her theatre ephemera and letters. A dress designed by MacCormack for Clare Kennedy, the wife of Hugh Kennedy, is on display as part of The Way We Wore, an exhibition in National Museum of Ireland at Collins Barracks, Dublin.
Born into relative poverty, Naughton moves to Bolton, Lancashire, England, in 1914 as a child. There he attends Saint Peter and Paul’s School, and works as a weaver, coal-bagger and lorry driver before he starts writing with his wife, Erna.
Naughton’s stage play, Alfie, adapted for the 1966 film starring Michael Caine in the eponymous role, originates in a radio play, Alfie Elkins and His Little Life, first broadcast on the BBC Third Programme in 1962, which becomes a production at the Mermaid Theatre in 1963. It transfers to the West End theatre before a very brief run on Broadway. He is a prolific writer of plays, novels, short stories and children’s books. His preferred environment is working class society, which is reflected in much of his written work.
In addition to Alfie, two of Naughton’s other plays have been made into feature films, All in Good Time (1963), filmed as The Family Way (1966), starring John Mills, and Spring and Port Wine (1970), starring James Mason in the role of Rafe Crompton, an adaptation of a play first performed in 1959.
Naughton’s novel Alfie Darling, the sequel to his earlier novel and play, was also filmed, with Alan Price succeeding Michael Caine in the lead role. Both Alfie and Alfie Darling are drawn upon for the 2004 film with Jude Law in the eponymous role.
Naughton’s work also includes the novel One Small Boy (1957), and the collection of short stories The Goalkeeper’s Revenge And Other Stories (1961). His 1977 children’s novel My Pal Spadger is an account of his childhood in 1920s Bolton. His wife dies in 2014 ant the age of 85.
Many of Naughton’s plays are performed at the Octagon Theatre, Bolton. An 85-seat adaptable studio theatre within the Octagon is named after him.
During his lifetime, Naughton receives the following awards: Screenwriters Guide Award (1967 and 1968), Italia Prize for Radio Play (1974), Children’s Rights Workshop Other Award (1978), Portico Literary Prize (1987) and The Hon. Fellowship, Bolton Institute of Higher Education (1988).
Naughton dies on January 9, 1992, aged 81, in Ballasalla on the Isle of Man. A “Bill Naughton Short Story Competition,” administered by The Kenny/Naughton Autumn School, is named in his honour.
Maude is born on May 22, 1941, in Casla, County Galway, and reared in the Irish language. Her mother, Máire Nic an Iomaire, is a school teacher, and she receives her primary education from her on a small island off the coast of Rosmuc. Her father, John Maude, is from Cill Bhriocáin township near Rosmuc. She attends secondary school at Coláiste Chroí Mhuire, Spiddal, an all-Irish language school in County Galway. She later credits one of her Irish language teachers there, Sister Ailbhe, as an early influence in cultivating her writing confidence.
Maude begins writing modern literature in Irish in secondary school and develops a rhythm of poetry closely attuned to the rhythms of the Conamara Theas dialect of Connacht Irish, spoken in her native district. Though not conventionally religious, she admits in an interview that she has a deep interest in spirituality and that this has left its mark on her poetry. She is noted as a highly effective reciter of her own verse. Géibheann is the best-known of her poems, and is studied at Leaving Certificate Higher Level Irish in the Republic of Ireland. A posthumous collected edition, Caitlín Maude, Dánta, is published in 1984, Caitlín Maude: file in 1985 in Ireland and Italy, and Coiscéim in 1985.
Maude is widely known as an actress. She acts at the university, at An Taibhdhearc in Galway and the Damer Theatre in Dublin, and is particularly successful in a production of An Triail by Máiréad Ní Ghráda at the Damer Theatre in 1964. She plays the protagonist, Máire Ní Chathasaigh, an unmarried mother who experiences family rejection, a stay in a Magdalene laundry, and ultimately murders her infant child followed by suicide. In 2017, Former Irish Minister For JusticeMáire Geoghegan-Quinn cites this performance as “pathbreaking”: “Caitlín Maude played the role, when nobody talked about the issue and when, as we know, women were still devalued, still caricatured, still incarcerated and disenfranchised if they became mothers out of wedlock.” Maude herself is a playwright and co-authors An Lasair Choille with poet Michael Hartnett.
Maude is very active in the Celtic Revival. She founds An Bonnán Buí, an Irish-speaking social club in the 1970s in Dublin. As a member of the Dublin Metropolitan Gaelgeoir community, she is active in many direct action campaigns by the language revival organization Gluaiseacht Chearta Sibhialta na Gaeltachta, including the campaign that forces the Irish State to establish a Gaelscoil (Irish-medium primary school) Scoil Santain in the suburb of Tallaght, County Dublin. A second Irish language school, Scoil Chaitlin Maude, opens in Tallaght in 1985 shortly after her death. It begins as a two-room school with 35 children and has grown to a 16 room new building serving 345 children as of 2023.
Maude is also a distinguished sean-nós singer. She makes one album in this genre, Caitlín, released in 1975 on Gael Linn Records and now available as a CD. It contains both traditional songs and a selection of readings of her poetry.
Maude marries Cathal Ó Luain in 1969. They have one child Caomhán, their son.
Maude dies of complications from cancer on June 6, 1982, at the age of 41. She is buried in Bohernabreena graveyard, which overlooks the city from the Wicklow Mountains.
In 2001, a new writers’ centre in Galway is named after her: Ionad Scríbhneoirí Chaitlín Maude, Gaillimh.
Since Maude’s death, critics in several languages have continued to study her literary works. Irish writer and The Irish Times columnist Michael Harding cites her as one of a few examples of groundbreaking women to “spin the hurt and wound of their oppression, and weave new loves songs and laments.” Irish Studies professor Sarah McKibben notes that Maude’s innovation in the poem represents an instance of recent Irish writers transgressing “literary, nationalistic, sociolinguistic and gender norms to craft new ways of writing in Irish.”
According to Louis de Paor, “Although no collection of her work was published during her lifetime, Caitlín Maude had a considerable influence on Irish language poetry and poets, including Máirtín Ó Direáin, Micheál Ó hAirtnéide, Tomás Mac Síomóin, and Nuala Ní Dhomhnaill. That influence is a measure of the dramatic force of her personality, her exemplary ingenuity and commitment to the language, and her ability as a singer to embody the emotional disturbance at the heart of a song. Her collected poems are relatively slight, including incomplete drafts and fragments, but reveal a poetic voice confident of its own authority, drawing on the spoken language of the Connemara Gaeltacht but rarely on its conventions of oral composition or, indeed, on precedents in Irish poetry in either language. The best of her work is closer to the American poetry of the 1960s in its use of looser forms that follow the rhythms of the spoken word and the sense of the poem as direct utterance without artifice, a technique requiring a high degree of linguistic precision and formal control.”
Maude’s work has also been translated into English and Spanish. Spanish language critic Pura Coloma notes that Maude’s work played a role in preserving Connemaran culture, as she “utilizes her own style to replicate the deep rhythms and tonalities of the regional voice.”
Robb is the daughter of the managing director of J. Robb & Co., Charles Robb and his wife Agnes (née Arnold), daughter of Dr. Wilberforce Arnold. She attends Richmond Lodge, and then Somerville College, Oxford to study modern languages in 1924. She receives a Bachelor of Arts (BA) in 1927, a Master of Arts (MA) in 1931 and then a Doctor of Philosophy (DPhil) in 1932. She publishes her research as Neoplatonism of the Italian renaissance in 1935. She is a member of the Northern Ireland committee of the National Trust, to which she presents the family home, Lisnabreeny House, Castlereagh, in 1937. She engages in social and voluntary work for a time, before moving to London in 1938 to take up a position at the London Institute of Italian Studies.
Robb publishes her first volume with Wiley-Blackwell in 1939 as Poems. She is the registrar and advisory officer to the Women’s Employment Federation between 1940 and 1944, during which time she writes a partial account of her experiences in An Ulsterwoman in England in 1942. She returns to Northern Ireland in 1944, working for a number of public bodies including International PEN and the National Trust, and writing. She serves as a member of the Committee for the Encouragement of Music and the Arts in 1951. In the same year she edits The Arts in Ulster with John Hewitt and Sam Hanna Bell, which argues that any mention of politics should be excluded from collections.
In 1962 and 1966 Robb produces a large two-volume history of William of Orange. In 1963, she becomes a member of the Maatschappij der Nederlandse Letterkunde. She produces a final volume of poetry in 1970, Ards eclogues, and is elected a Fellow of the Royal Society of Literature. Over her lifetime she writes seven volumes of poetry, history and art criticism.
O’Faolain is born in Dublin on March 1, 1940, the second of nine children of Tomás O’Faolain and Kathleen O’Sullivan. Originally a schoolteacher and Army lieutenant, under the pen name Terry O’Sullivan, her father becomes a prominent social diarist for the Evening Press in Dublin. He is distant from his children and engages in extra-marital affairs which produce at least two half-siblings. Despite earning as much money as the newspaper’s editor, Douglas Gageby, he does not share his income with his family. The family lives in poor conditions, frequently going hungry. Her mother becomes an alcoholic, going to the pub every day at 4 p.m. and not returning home until midnight.
O’Faolain attends convent school in Dublin but is expelled at the age of fourteen after going home from dances with a married man. She then goes to a boarding school in County Monaghan, whose austere environment and strict educational standards benefit her. From there, she studies English literature at University College Dublin (UCD), where she runs in a social circle that includes Mary Lavin, John McGahern, Patrick Kavanagh, and Louis MacNeice. Although she drops out of her studies temporarily and spends time working menial jobs in England, with financial assistance from Lavin and others, she graduates in 1961. On scholarships, she studies medieval English at the University of Hull before completing a postgraduate degree in 19th-century English literature at the University of Oxford. She then returns to Dublin to work at UCD as an academic in the English literature department, which brings her into contact with the bohemian Dublin literary scene of the late 1960s and early 1970s.
In 1970, O’Faolain moves to London to work for the BBC. She is a producer at the Community Programme Unit, which seeks to allow members of the public to create programmes for national broadcast on human interest topics like transgender people, anti-pornography protests, and community organising in the Bogside. She also makes programmes with the arts faculty of the Open University, and teaches evening classes at Morley College. During this period, she shows little interest in Ireland, regarding the country as backward and unsophisticated, but a visit to the Merriman Summer School in County Clare in 1974 sparks new enthusiasm. In 1977, she moves back to Dublin to work for the public broadcaster, RTÉ, where she becomes a colleague of female journalists like Doireann Ní Bhriain, Marian Finucane, and Nell McCafferty – later her partner – who are making programmes about Irish society with a feminist bent. She Is the producer of Women Today, a pioneering radio programme, from 1983 to 1986. One series she works on, Plain Tales, a televised interview programme in which women speak directly to camera about their life experiences, wins a Jacob’s Award in 1985.
O’Faolain has an interest in books from an early age, and credits voracious reading for helping her through a difficult childhood. She works as a book reviewer for The Times. Between 1990 and 1993, she co-presents Booklines, a television programme about books for RTÉ, a programme she says “nobody ever watched because it was on terribly late at night.”
In 1986, Conor Brady, the editor of The Irish Times, offers O’Faolain a newspaper column after hearing her being interviewed by Gay Byrne on the radio. Brady is struck by her ability to “infuse ordinary people’s everyday activities with value and interest.” The column becomes a major success and she is awarded journalist of the year in 1986.
O’Faolain acts as a roving commentator for The Irish Times, covering the 1994 Cregg Wood murders in County Clare, and visiting Northern Ireland at the time of the Good Friday Agreement in 1998. Following periods of leave while she works on her books, she leaves the paper in 2002, and writes a column in the Sunday Tribune from 2005 until her death.
O’Faolain never marries and has no children. Although she writes about her relationships with men and women, she does not identify as bisexual, though others have described her as such. She suffers from alcoholism. After Are You Somebody?, she divides her time between Ireland and New York City. During the final years of her life, she is in a relationship with a Brooklyn-based lawyer, John Low-Beer, whom she meets on Match.com.
O’Faolain is diagnosed with metastatic cancer while living in New York City in early 2008. She experiences a strange feeling in the right side of her body and presents at the emergency department of a hospital, where she is told that she has primary tumours in her lungs which has spread to her brain and liver, and that her cancer is incurable. She refuses chemotherapy.
O’Faolain returns to Ireland and is interviewed by her friend, Marian Finucane, on her radio show about her terminal illness on April 12, 2008. Both O’Faolain and Finucane are in tears during the interview, which is recorded in Galway, where she is undergoing radiotherapy. She tells Finucane: “I don’t want more time. As soon as I heard I was going to die, the goodness went from life”. Her frank discussion of her illness leads to the interview being preceded by a warning that her comments may be upsetting to others with life-threatening conditions. She says that she does not believe in God or an afterlife, but as in the song “Thíos i Lár an Ghleanna,” she is asking for help she knows will not come from a god she does not believe in. The interview has a major public impact in Ireland. After Finucane’s death in 2020, the Irish Independent describes it as “one of the most extraordinary [interviews] in the history of Irish broadcasting.”
In the final weeks of her life, O’Faolain travels Europe with close friends and family, staying in the Ritz Hotel in Paris and visiting the Berlin State Opera and the Prado Museum in Madrid for the first time. She dies in a hospice in Blackrock, Dublin, late on May 9, 2008. Her funeral takes place in the Church of Our Lady of the Visitation in Fairview in north Dublin on May 13. Her ashes are buried in Kilbarrack Cemetery in north Dublin with her maternal grandparents, Terence and Marion O’Sullivan, and her brother, Dermot Phelan.
