Flynn publishes the novel Nothing To Say in 1983. It is subsequently translated into German, Italian, and Polish. He founds his arts company, Farcry Productions, in 2004, which produces visual art, performance and installation work around taboo issues such as child sexual abuse, violence, and addiction.
Flynn is first elected to Dublin City Council in the 2009 Irish local elections as an independent candidate representing the South-East Inner City electoral area. He is re-elected to the revised Pembroke-South Dock electoral area in the 2014 Irish local elections.
Flynn tables a motion to move the Temple Bar Cultural Trust, a State company set up in 1991 as a regeneration agency for Temple Bar, under the direct control of Dublin City Council. The trust is subsequently found to be in breach of corporate governance and accountability in a number of public reports. He also expresses critical views of the way public money is spent as part of a Grafton Street regeneration project in Dublin.
Flynn supports tougher regulation around the amplification of busking on public streets, which leads to his office being vandalised in February 2015. He is involved in a number of challenges to cycle lane provision, with a High Court challenge against the Strand Road cycle lane COVID-19 mobility trial and is a spokesperson for a group opposed to this cycle lane trial. Critics accuse him of consistently voting against policies that would provide more active travel infrastructure and in favour of policies which negatively impact pedestrians and cyclists. His legal challenges to cycling provision have the potential to revert a number of cycle lanes which have been created back to servicing predominantly cars.
In 2015, Flynn resigns from the Dublin City Council Arts SPC over what he perceives as a lack of cohesive overall policy, strategy, and vision.
In 2016, Flynn protests against the Artane Band, due to its association with the Artane Industrial School. The band responds saying it has had no association with the former industrial school. His peaceful protest, which includes him protesting on a window sill in his Dublin City Council office, is criticised by some as “attention seeking” and a “publicity stunt full stop.”
In 2019, Flynn is involved in a protest march against plans to open the state’s largest homeless shelter in his ward. Protesters march northbound on Aungier Street blocking traffic and shouting slogans against the Peter McVerry trust for providing the services in conjunction with Dublin City Council. In 2020, he takes further legal action against the council, who are working in conjunction with the Peter McVerry Trust, so that he can ensure the homeless facilities will not be built in the area.
O’Riordan is the youngest child among two sons and three daughters of Daniel O’Connell O’Riordan, a barrister and justice of the peace (JP), and Katharine O’Riordan (née O’Neil), who is her husband’s first cousin. At age of four he witnesses his mother’s death in a carriage accident. His formal education, firstly as a day student at Belvedere College, Dublin (1881–85), and secondly as a boarder at Clongowes Wood College, County Kildare (1887–88), is interrupted by ill health and periods of self-education at home, marked by omnivorous reading in his father’s library.
While engaged in military studies in Bonn, Germany (March–September 1890), preparatory to entering Royal Military Academy Sandhurst in Great Britain, he falls from a horse during riding lessons, suffering a back injury that results in permanent spinal damage, thus precluding a military career.
Left with limited means after his father’s death, O’Riordan moves to London in 1891, where, after attempting suicide, he finds work as a stage actor with the Independent Theatre Society of J. T. Grein and other companies, both in London and touring the provinces, and is noted for his interpretations of Henrik Ibsen. Active in the Irish Literary Society, where he meets W. B. Yeats, he writes fiction under the pseudonym “F. Norreys Connell,” which he also adopts for his stage work.
O’Riordan’s early publications include In the Green Park (1894), a collection of connected short stories, The House of the Strange Woman (1895), a provocative novel of sexual promiscuity in upper-class London bohemia, boycotted by some booksellers as being “morally tainted,” and several books reflecting his deep interest in all things military, most notably The pity of war (1906), a collection of Kiplingesque short stories. Largely abandoning fiction for some years to concentrate on writing for the stage, he returns to Dublin for the first time in fourteen years to direct his controversial one-act play The Piper, which opens at the Abbey Theatre on February 13, 1908. It is jeered as a slander on Irish patriots in disturbances mildly reminiscent of the “Playboy” riots thirteen months previously. The audience on the third night is placated by Yeats, who in a speech from the stage interprets the play – in which a party of rebels in the 1798 rising disdain to set sentries as they argue interminably and discursively, only to be surprised and slaughtered by yeomanry – as a satirical allegory on the fruitless debate that followed the Parnellite split. The work can more usefully be read as a meditation on the propensity of democracy to disintegrate at moments of crisis into ineffectual and dillusory demagoguery. The Piper weathers the controversy to become a frequently performed staple of the Abbey Theatre repertoire during the 1910s.
After the death of John Millington Synge, O’Riordan serves briefly as managing director of the Abbey Theatre from March 25 to July 2, 1909, during which time he produces and directs two of his own one-act plays – Time on April 1, in which he also acts, and An Imaginary Conversation on May 13 – as well as the first revival of Synge’s The Playboy of the Western World on May 27. Wearied by the repeated interferences in the theatre’s affairs by its financial backer, Annie Horniman, he resigns abruptly during her fit of pique when the actress Sara Allgood recites poetry at a private gathering of suffragettes.
O’Riordan scores a major triumph on the London stage with Captain Hannibal (1909), his adaptation of a novel by Stanley Weyman, on the proceeds of which he lives for many years. Settling permanently in London, in 1910 he purchases a house at 106 Meadvale Road, Ealing, his home for the rest of his life. Rejected by the British Army at the outset of World War I owing to his disability, after several failed attempts to secure war work he eventually goes to the front in 1918 in charge of YMCA rest huts at Étaples railway junction, where he befriends the doomed soldier poet Wilfred Owen.
O’Riordan achieves his most accomplished writing within a cycle of twelve novels, published under his own name, chronicling the experiences of several inter-connected Irish and English families from the Napoleonic Wars to the 1920s. First of the series to appear was Adam of Dublin (1920), a combined Bildungsroman and roman-à-clef of the literary revival, with vignettes of Dublin slum life, Belvedere College, and the early years of the Abbey Theatre. He follows his protagonist, Adam Quinn, through the sexual turmoil of adolescence, an itinerant acting career, and an unhappy marriage in three sequels: Adam and Caroline (1921), In London (1922), and Married life (1924). These four novels chronologically conclude the narrative of the completed cycle. The narrative commences with the “Soldier” tetralogy – Soldier Born (1927), Soldier of Waterloo (1928), Soldier’s Wife (1935), and Soldier’s End (1938) – a picaresque treatment of the multifarious and farflung experiences of David Quinn, a forebear of Adam, from an Irish childhood and English education, to the Battle of Waterloo, where he suffers horrible facial mutilation, through the Irish famine and the American Civil War, to his death at the hands of Versaillais troops during the suppression of the Paris commune. Judith Quinn (1939) and Judith’s Love (1940), about the disappointments in love and marriage of a late-Victorian Dublin woman, link the narratives of the “Adam” and “Soldier” tetralogies, while The Age of Miracles(1925) and Young Lady Dazincourt (1926) are chronologically contemporaneous with the latter “Adam” novels. Inconsistent in intention, and uneven in execution, the cycle is strongest in its evocative descriptions of Dublin, London, and other cities, with their varied social strata, in different historical periods, in the sharp-edged, witty dialogue, and in the juxtaposition of dazzling comedy and an ironic sense of tragedy.
O’Riordan continues to write successful, if lightweight, stage plays. His 1928 production of Napoleon’s Josephine features a stellar cast including Edith Evans. Among his published plays are Shakespeare’s End, and Other Irish Plays (1912), Rope Enough (1914), His Majesty’s Pleasure (1925), The King’s Wooing (1929), and Captain Falstaff and Other Plays (1935). The historical commentary Napoleon Passes (1933) reflects his abiding interest in the French emperor. President of the Irish Literary Society from 1937 to 1939, he resigns after failing to persuade his colleagues to repudiate Ireland’s wartime neutrality. Despite age, disability, and increasing reclusivity, throughout World War II he serves as an air raid warden from 1940 to 1945. Elected a fellow of the Royal Society of Literature (1945–48), he represents the society on the council of the newly formed National Book League, and is the society’s Tredegar lecturer in 1946. Charming and convivial, a witty and erudite conversationalist, he cultivates numerous literary friendships, and is an inveterate womaniser, enjoying countless intimate relationships, both sexual and platonic.
O’Riordan marries firstly Florence Derby in 1903, a nurse eight years his senior, with whom he has one son. They are estranged by the time of her death in 1923. In 1924, he marries secondly Olga Buckley, his lover since 1920, and secretary to the wife of G. K. Chesterton. They have two sons (both born before the marriage) and one daughter. Despite considerable contemporary celebrity and critical acclaim, his work compared to that of Charles Dickens and Honoré de Balzac, he has been ignored by posterity. The best of his writing, especially the “Adam” and “Soldier” novels, merit rediscovery.
O’Riordan dies at his London home on June 18, 1948, the anniversary of the Battle of Waterloo. A special O’Riordan number of the Journal of Irish Literature (September 1985), edited by his daughter Judith, includes a portrait photograph, the text of The Piper, and a detailed chronology.
(From: “O’Riordan, Conal Holmes O’Connell (‘Norreys Connell’)” by Lawrence William White and Aideen Foley, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Boland is born in Dublin on September 24, 1944. Her father, Frederick Boland, is a career diplomat and her mother, Frances Kelly, was a noted painter.
When she is six, Boland’s father is appointed Irish Ambassador to the United Kingdom, and the family moves to London, where she has her first experiences of anti-Irish sentiment. Her dealing with this hostility strengthens her identification with her Irish heritage. She speaks of this time in her poem, “An Irish Childhood in England: 1951.”
In 1969, Boland marries the novelist Kevin Casey. They have two daughters together. Her experiences as a wife and mother influence her to write about the centrality of the ordinary, as well as providing a frame for more political and historical themes. According to her friend Gabrielle Calvocoressi, she “loved gossip like fish love water.”
In the late 1970s and 1980s, Boland teaches at the School of Irish Studies in Dublin. From 1996 she is a tenured Professor of English at Stanford University where she is the Bella Mabury and Eloise Mabury Knapp Professor in the Humanities and Melvin and Bill Lane Professor for Director of the Creative Writing program. She divides her time between Palo Alto and her home in Dublin.
Boland’s first book of poetry is New Territory published in 1967 with Dublin publisher Allen Figgis. This is followed by The War Horse (1975) and In Her Own Image (1980). Night Feed (1982) establishes her reputation as a writer on the ordinary lives of women and on the difficulties faced by women poets in a male-dominated literary world. While she is writer in residence at the National Maternity Hospital in Dublin in 1994, she composes “Night Feed” and “The Tree of Life,” and her work remains on a plaque in the hospital garden.
In March 2018, RTÉ broadcasts a documentary on Boland’s life as a poet called “Eavan Boland: Is it Still the Same?” In the same year, she is commissioned by the Government of Ireland and the Royal Irish Academy (RIA) to write the poem “Our future will become the past of other women” to be read at the United Nations (UN) and in Ireland during the centenary commemorations of women gaining the vote in Ireland in 1918.
Boland co-edits The Making of a Poem: A Norton Anthology of Poetic Forms (with Mark Strand; W. W. Norton & Co., 2000). She also publishes a volume of translations in 2004 called After Every War (Princeton University Press). With Edward Hirsch, she co-edits “The Making of a Sonnet: A Norton Anthology of the Sonnet” (W. W. Norton & Co., 2008).
In 1976, Boland wins a Jacob’s Award for her involvement in The Arts Programme broadcast on RTÉ Radio. Her other awards include a Lannan Foundation Award in Poetry and an American Ireland Fund Literary Award. Her collection In a Time of Violence (1994) receives a Lannan Award and is shortlisted for the T. S. Eliot Prize.
Boland receives the Bucknell Medal of Distinction 2000 from Bucknell University, the Corrington Medal for Literary Excellence by Centenary College of Louisiana in 2002, the Smartt Family prize from The Yale Review and the John Frederick Nims Award from Poetry magazine 2002. Her volume of poems Against Love Poetry is a New York Times Notable Book of the Year. Her volume Domestic Violence (2007) is shortlisted for the Forward Prize in the United Kingdom. Her poem “Violence Against Women” from the same volume is awarded the James Boatwright III Prize for Poetry for the best poem published in 2007 in Shenandoah magazine. In 2012, she wins a PEN Award for creative nonfiction with her collection of essays, A Journey With Two Maps: Becoming a Woman Poet, published in 2012.
On May 25, 2018, Boland is elected an honorary member of the Royal Irish Academy. She receives the Irish PEN Award for Literature in 2019. She is writer in residence at the National Maternity Hospital, Dublin, in 1994. During this time she composes “Night Feed” and “The Tree of Life,” and her work remains on a plaque in the hospital garden.
Boland dies in Dublin on April 27, 2020, at the age of 75. Later that year she is posthumously awarded the Costa Book Award for poetry for her final collection The Historians.
In 2024, Trinity College Dublin announces the renaming of the “denamed” former Berkeley Library as the Eavan Boland Library. This makes it the first building named after any woman on Trinity’s city centre campus. The name is made official in March 2025.
Archdall is educated by Dr. Keenane, and enters Trinity College Dublin (TCD) in 1739. He graduates with a Bachelor of Arts (BA) in 1744 and a Master of Arts (MA) in 1747, and is ordained in the Church of Ireland. He is curate of Howth from 1750 to 1753, and of Kilgobbin and Taney, also in Dublin, from 1753 to 1758, rector of Nathlash in the diocese of Cloyne from 1749 to 1758, and from 1756 domestic chaplain to Richard Pococke, Bishop of Ossory. In 1761 Pococke gives Archdall the livings of Agharney and Attanagh in Ossory which he holds until 1786, when he becomes rector of Slane in the Diocese of Meath. He is also prebendary of Cloneamary from 1762 to 1764 and of Mayne from 1764 to 1772, both in Ossory.
Archdall is interested, almost from his student days, in ancient history and antiquities, and for forty years he gathers material for a work similar to an earlier compilation, William Dugdale‘s Monasticon Anglicanum. He intends to publish two or more large folio volumes, but after Pococke’s death has no sponsor and has to pay for its publication himself causing him to cut back the scale of the project. Monasticon Hibernicum appears in 1786 as a quarto volume, though still of over 800 pages. Archdall attempts encyclopaedic coverage of the history of Ireland’s pre-reformation monasteries and abbeys. The work is ground-breaking and ambitious, though marred by mistakes and inadequacies. He receives help from friends, including scholars such as Pococke and Edward Ledwich, and with them and others is a founder member of the Royal Irish Academy (RIA) in 1786.
In 1789, Archdall publishes his second important work, a new edition of ThePeerageof Ireland by John Lodge. Lodge’s original work in four volumes is expanded by Archdall into seven octavos, adding a good deal of material from his own research to update the genealogies, as well as incorporating manuscript additions unpublished by the original author. These had been left in a cipher or in a private form of shorthand which could not be decoded by any contemporary expert in Dublin, and Archdall is just about to abandon the attempt to read them when his second wife works on it and discovers the key.
Archdall’s first wife, Sarah Colles or Collis, whom he marries in Dublin on July 30, 1747, is said to have been a relative of Thomas Prior, though she may also – or instead – have been connected in some way to Pococke. The bishop is known to have educated Christopher Colles (1739–1816), who becomes an important engineer and entrepreneur in the United States. They have two sons and a daughter, the elder son dying young. Sarah dies on May 28, 1782. Archdall marries his second wife, Abigail Young, on November 25, 1782.
Archdall’s works are still of interest to historians and genealogists, and surviving copies are valuable collectors’ items. In an apologia in his preface to the Peerage he notes, “I have left that inaccurate which could not be exact, and that imperfect which cannot be completed.” He dies suddenly on August 6, 1791, and is buried in Slane churchyard.
(From: “Archdall, Mervyn” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Walker is born in Dublin, son of Cooper Walker, merchant, and educated by Thomas Ball. He suffers from asthma, which prevents him from attending college. Instead he travels to Italy, where he possibly receives some private tuition in Latin, Greek, French, Italian, and Spanish. He takes a special interest in Italian literature and Irish antiquities, and on his return to Ireland (where he is employed in the Irish treasury as third clerk in the upper department) resides in an Italianate villa, St. Valerie, on the road from Bray to Enniskerry.
In 1785, Walker is elected one of the original members of the Royal Irish Academy (RIA) and on March 17, 1786, is requested to sit on its committee of antiquities. In this capacity he submits several essays to the Academy’s Transactions. However, his best-known work is Historical Memoirs of the Irish Bards (1786). His interest in poetry, and in eighteenth-century vernacular survivals of the ancient bardic tradition, suggests important new contemporary and literary dimensions for what had previously been antiquarian and scholarly pursuits. He also breaks new ground by considering modern as well as historical Irish culture, and introduces it to an Anglo-Irish audience by providing English translations of Gaelic songs and poems.
The authorities Walker cites covers the entire range of Irish and Anglo-Irish scholarship on Irish antiquities. He includes excerpts from his correspondence with Charles O’Conor, Charles Vallancey, and Sylvester O’Halloran and carries out an extensive correspondence with Thomas Percy after he becomes Bishop of Dromore in 1782. He focuses on both poetry and music, which according to the popular eighteenth-century view has been the two traditional pursuits of the Irish bards. He presents a historical outline of their progress from the earliest times to the eighteenth century and ends with nine appendices, which are almost as lengthy as the main text. In these, his appreciation of what he considers to be the contemporary survivals of the ancient Irish bardic tradition is apparent in his including an account of Cormac Common, a blind eighteenth-century poet from Mayo, as well as a lengthy biographical notice of Turlough O’Carolan, together with translations of several of his songs. The book brings together many of the literary, scholarly, popular, Celtic, antiquarian, political, and musical dimensions of eighteenth-century Irish culture and prefigures the synthesis of literary modes, cultural theories, and musical styles that would occur in the literary productions of the United Irishmen.
Despite his linguistic skills, Walker has little knowledge of the Irish language, yet he (a member of the Anglo-Irish elite) is consistent in his praise of Gaelic culture, portraying it as sophisticated and literate and, although he highly romanticises his work, he does help to challenge negative appraisals of the Irish character. By the standards of the time it is a work of great erudition. However, today the book is judged to be of limited academic merit as Walker is severely hampered by a shortage of primary documents and by his limited grasp of the Irish language. This is illustrated by his ambiguous use of James Macpherson‘s volumes of Ossianic poems, published in the 1760s, which he quotes as authentic in the text while hinting in the footnotes that they are unreliable.
Charlotte Brooke translates three poems, and in return Walker encourages her to produce her Reliques of Irish Poetry (1789). Her work reflects Walker’s influence and she thanks him in the preface for affording her “every assistance which zeal, judgment and extensive knowledge, could give” as well as for prevailing on people to subscribe to her work and for being a subscriber himself. He is part of a literary circle that includes Edward Ledwich, Charles O’Conor, Edward Berwick, John Philpot Curran, and Henry Grattan. He also writes Historical essay on the dress of the ancient and modern Irish (1788), dedicated to his friend James Caulfeild, 1st Earl of Charlemont, for which he interviews the older generation, consults manuscripts, and even visits tombs to examine the clothing of corpses, and admits he has received copious aid from Elizabeth Rawdon, Countess of Moira. The English Review receives it warmly but Richard Gough, the reviewer for TheGentleman’s Magazine, states he is “much disappointed in the perusal of this high priced history.” Other works by Walker include “an historical essay on the Irish stage,” RIA Trans., ii (1788), Historical Memoir on Italian Tragedy (1799) and contributions to Vallancey’s Collectanea de rebus Hibernicis (Dublin, 1770–1804). In the 1790s he subscribes to Anthologia Hibernica: a monthly collection of science, belles lettres and history and in December 1794 submits an “Historical essay on the Irish stage” which surveys Irish drama from bardic times through to contemporary folk plays.
Walker dies on April 12, 1810, in Enniskerry, County Wicklow, leaving a fine gallery of pictures, a library containing Irish manuscripts, and a collection of antiquities. He is buried on April 14 in St. Mary’s Churchyard, Dublin. His memoirs of Alessandro Tassoni are published posthumously in London in 1815 (with a lengthy preface by his brother Samuel), as is the second edition of Historical Memoirs of the Irish Bards (2 vols., Dublin, 1818).
(From: “Walker, Joseph Cooper” by Rosemary Ritchie, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
A railway engineer by training, Crofts introduces railway themes into many of his stories, which are notable for their intricate planning. Although Raymond Chandler, Agatha Christie, and authors of the so-called golden age of detective fiction are more famous, he is esteemed by those authors, and many of his books are still in print.
Crofts is born at 26 Waterloo Road, Dublin. His father, also named Freeman Wills Crofts, is a surgeon-lieutenant in the Army Medical Services but dies of fever in Honduras before the young Freeman Wills Crofts is born. In 1883, his mother, Celia Frances (née Wise), marries the Venerable Jonathan Harding, Vicar of Gilford, County Down, later Archdeacon of Dromore, and Crofts is raised in the vicarage at Gilford. He attends Methodist College and Campbell College in Belfast. In 1912, he marries Mary Bellas Canning, daughter of the manager of the Coleraine branch of the Provincial Bank. They have no children.
In 1896, at the age of seventeen, Crofts is apprenticed to his maternal uncle, Berkeley Deane Wise, who is chief engineer of the Belfast and Northern Counties Railway. In 1899, he is appointed Junior Assistant on the construction of the Londonderry and Strabane Extension of the Donegal Railway. In 1900, he becomes District Engineer at Coleraine for the London, Midland and Scottish Railway (LMS) Northern Counties Committee at a salary of £100pa, living at 11 Lodge Road in the town. In 1922, he is promoted to Chief Assistant Engineer of the railway, based in Belfast. He lives at “Grianon” in Jordanstown, a quiet village some six miles north of Belfast, where it is convenient for him to travel by train each day to the railway’s offices at York Road. One of the projects he works on is the design of the “Bleach Green Viaduct” in Whiteabbey, close to his Jordanstown home. This is a significant ten arch reinforced concrete viaduct approved in 1927 and completed in 1934. It carries a new loop line which eliminates the need for trains between Belfast and the northwest to reverse at Greenisland. He continues his engineering career until 1929. In his last task as an engineer, he is commissioned by the Government of Northern Ireland to chair an inquiry into the Bann and Lough Neagh Drainage Scheme.
In 1919, during an absence from work due to a long illness, Crofts writes his first novel, The Cask (1920), which establishes him as a new master of detective fiction. He continues to write steadily, producing a book almost every year for thirty years, in addition to a number of short stories and plays.
Crofts is remembered best for his fictional detective, Inspector Joseph French, who is introduced in his fifth book, Inspector French’s Greatest Case (1924). Inspector French always solves each of the mysteries presented him in a workmanlike, precise manner – this method sets him apart from most other fictional sleuths.
In 1929, Crofts abandones his railway engineering career and becomes a full-time writer. He settles in the village of Blackheath, near Guildford, in Surrey, and a number of his books are set in the Guildford area, including The Hog’s Back Mystery (1933) and Crime at Guildford (1935). Many of his stories have a railway theme, and his particular interest in the apparently unfalsifiable alibi often emphasizes the intricacies of railway timetables. Near the end of his life, he and his wife relocate to Worthing, West Sussex, in 1953, where they live until his death in 1957, the year in which his last book is published.
Crofts also writes one religious book, The Four Gospels in One Story, several short stories, and short plays for the BBC.
Crofts is not only a railway engineer and writer, but also an accomplished musician. He is organist and choirmaster in Killowen Parish Church, Coleraine, St. Patrick’s Church, Jordanstown, and the parish church of St. Martin’s in Blackheath.
Crofts is esteemed, not only by his regular readers, but also by his fellow writers of the so-called Golden Age of Detective Fiction. Agatha Christie includes parodies of Inspector French alongside Sherlock Holmes and her own Hercule Poirot in Partners in Crime (1929).
Raymond Chandler describes Crofts as “the soundest builder of them all when he doesn’t get too fancy” (in The Simple Art of Murder). His attention to detail and his concentration on the mechanics of detection makes him the forerunner of the “police procedural” school of crime fiction. However, it has also given rise to a suggestion of a certain lack of flair – Julian Symons describing him as of “the humdrum school.” This may explain why his name has not remained as familiar as other more imaginative Golden Age writers, although he has fifteen books included in the Penguin Books “green” series of the best detective novels and 36 of his books are in print in paperback in 2000.
Ó Direáin is born on November 26, 1910, in Inis Mór, Aran Islands, County Galway, the eldest of the three sons and one daughter of Seán Ó Direáin, a small farmer, and Mairéad Ní Dhireáin (widow of Labhrás Mac Confhaola), both of Inis Mór. His father dies in 1917, aged forty-three, leaving his mother to rear a family of four on less than 20 acres of land. Educated at the local national school, he leaves Aran to join the post office in Galway in January 1928.
Ó Direáin is involved with the Irish language movement during the late 1920s and 1930s, during which time he is secretary of the Galway branch of the Gaelic League and writes for and acts on the stage of the Taibhdhearc Theatre. In July 1937 he moves to Dublin to work as a clerical officer in the Department of Posts and Telegraphs and later in the Department of Education. Inspired by a lecture given by the poet and Gaelic scholar Tadhg Ó Donnchadha, he begins writing poetry in Irish in the winter of 1938. Unlike Ó Donnchadha, however, who advocates and practises a poetry based on traditional Gaelic metres, he favours a rhythmically measured form of free verse. He publishes his first collection, Coinnle geala, in 1942, quickly followed by Dánta aniar (1943), both at his own expense. In 1949, a volume of selected poems, Rogha dánta, is one of the first books published by the newly founded Irish language publisher Sáirséal agus Dill.
These books herald not just a new voice, but a new generation of modern poets in Irish, distinct in outlook and ambition from most of the revivalist poets who precede them. The leading figures of this generation, Ó Direáin, Seán Ó Ríordáin and Máire Mhac an tSaoi, all publish poems in various Irish language journals during the 1940s, though the latter two poets do not produce their first collections until the 1950s. Ó Direáin’s poetry is less thematically and linguistically adventurous than that of Ó Ríordáin (whom he nevertheless defends in print against the dogmatic criticism of Ó Ríordáin’s traditionalist detractors), and less consciously indebted to tradition than that of Mhac an tSaoi.
Ó Direáin’s early lyrics celebrate the traditional virtues of island life and mourn its passing because of increasing modernisation and population shifts toward the major cities. One of the best known of these poems, “Stoite“ (“Uprooted”), sets up a gloomy contrast between a traditional life in tune with nature’s rhythms, destined to endure in communal memory, and the fruitless urban existence of the contemporary office worker. This theme of uprootedness haunts his work throughout the 1950s and early 1960s. During this period he publishes his two most significant collections, Ó Mórna agus dánta eile (1957) and Ár ré dhearóil (1962), both of which take their titles from ambitious, and uncharacteristically long, poems. Ó Mórna, a poem of which there are two published versions, charts the colourful life of a proud, amoral tyrant, a figure based loosely on traditional accounts of a hard-living nineteenth-century landlord’s agent from Aran. Ó Mórna represents, in the poet’s view, the timeless Übermensch whose will to power is boundless and awesome. Ár ré dhearóil (“Our wretched era”) is an excoriation of the loveless hedonism of a middle-class Dublin populated by lonely bachelors, bitter spinsters, and immoral, though free-spirited and well-educated, women. The poem, which ends with an ominous if oblique warning against the threat of nuclear annihilation, bears some comparison with T. S. Eliot‘s “The waste land.” Eliot, Ezra Pound and W. B. Yeats are key influences alongside the canonical figures of seventeenth- and eighteenth-century Gaelic poetry. His strong social conscience is registered early on in poems such as “An Stailc“ (“The strike“). His life-long adherence to traditional nationalist values and his scornful attitude to what he perceives as the mercenary embrace of American-style capitalism in the changing economic climate of Ireland in the 1960s is most trenchantly voiced in poems such as “Éire ina bhfuil romhainn” (“Ireland in times ahead”) and “Mar chaitheamar an choinneal” (“As we spent the candle”).
Ó Direáin is an active member of the Irish language literary groups Cumann na Scríbhneoirí and Cumann na hÉigse, and publishes essays on a variety of topics throughout the 1940s and 1950s in magazines such as Ar Aghaidh, An Glór, Comhar and Feasta. A selection of mostly autobiographical essays, Feamainn Bhealtaine (1961), casts valuable light on the Aran of his youth and early adulthood. He is registrar for the National College of Art (1948–55), where he gets to know such prominent artists as Seán Keating, Maurice MacGonigal and Nano Reid, whose artwork adorns Rogha Dánta. From 1955 until his retirement from the civil service in 1975, he is a staff officer in the Department of Education. Cloch choirnéil appears in 1966, followed by Crainn is cairde (1970) and Ceacht an éin (1979).
The most comprehensive selection of Ó Direáin‘s poetry, Máirtín Ó Direáin: dánta 1939–1979 (1980), edited by Eoghan Ó hAnluain, covers all but two final volumes, Béasa an túir (1984) and Craobhóg dán (1986), neither of which add much of major significance to his oeuvre. A bilingual selection, Selected poems: Tacar dánta (1984), includes translations by Tomás Mac Síomóin and Douglas Sealy. In 1969, Ó Direáin delivers a series of lectures on his own work at University College Dublin (UCD), later edited by Eoghan Ó hAnluain as Ón ulán ramhar siar (2002), which provides useful background information on many individual poems. He receives the Irish American Cultural Institute (IACI) award in 1967 and is made a member of the Irish Academy of Letters in 1970. In 1977, he receives an honoraryDoctor of Letters degree from the National University of Ireland and the Ossian-Preis of the Freiherr von Stein Foundation in Hamburg. He is a full-time visiting lecturer in the department of Irish at University College Galway for the academic year 1978–79. He was also a member of Aosdána.
Ó Direáin marries Áine Colivet, a Dubliner of French extraction, in 1945. Their only child, Niamh, is born in 1947. He dies in Dublin on March 19, 1988.
A selection of Ó Direáin’s essays, An chuid eile díom féin, edited by Síobhra Aiken, and a bilingual volume of poems Máirtin Ó Direáin: Selected poems/ Rogha dánta, translated by Frank Sewell, are both published in 2018.
(From: “Ó Direáin, Máirtín” by Caoimhín Mac Giolla Léith, Dictionary of Irish Biography, www dib.ie, October 2009, last revised March 2021)
O’Hanrahan is the son of Richard Hanrahan, a cork cutter, and Mary Williams. His father appears to have been involved in the 1867 Fenian rising. The family moves to Carlow, County Carlow, where he is educated at Carlow Christian Brothers School and Carlow College Academy. On leaving school he works various jobs including a period alongside his father in the cork-cutting business. In 1898, he joins the Gaelic League and in 1899 founds the League’s first Carlow branch and becomes its secretary. Also in 1899 he helps found a working men’s club in Carlow. By 1903 he is in Dublin, where he is working as a proofreader for the Gaelic League printer An Cló Cumann. He publishes journalism under the by-lines “Art” and “Irish Reader” in several nationalist newspapers, including Sinn Féin and the Irish Volunteer. He is the author of two novels, A Swordsman of the Brigade (1914) and When the Norman Came (published posthumously in 1918).
In 1903, O’Hanrahan becomes involved in Maud Gonne’s and Arthur Griffith‘s campaign against the visit of King Edward VII to Ireland. The encounter with Griffith leads O’Hanrahan to join the newly formed Sinn Féin. He also becomes a member of the Irish Republican Brotherhood (IRB). In November 1913, he joins the Irish Volunteers. He is later employed as an administrator on the Volunteers headquarters staff. He is made quartermaster general of the 2nd Battalion. He and the commandant of the 2nd Battalion, Thomas MacDonagh, become close friends.
During the Easter Rising O’Hanrahan is second in command of Dublin’s 2nd Battalion under MacDonagh. He fights at Jacob’s Biscuit Factory, though the battalion sees little action other than intense sniping throughout Easter week, as the British Army largely stays clear of the impregnable factory dominating the road from Portobello Barracks on one side and Dublin Castle on the other. When the situation becomes desperate O’Hanrahan tells MacDonagh they “were inviting destruction of the factory by incendiary shells, and also of the surrounding thickly populated area.” MacDonagh orders a break-out amidst the chaos and confusion. O’Hanrahan leads “with some difficulty” the garrison out of the factory through New Bride Street gate.
O’Hanrahan is executed by firing squad on May 4, 1916 at Kilmainham Gaol. His brother, Henry O’Hanrahan, is sentenced to penal servitude for life for his role in the Easter Rising. After his execution, his mother and three sisters open a shop near Mountjoy Prison where they develop a secret line of communications between prisoners and their visitors.
Patterson is born in Belfast on April 18, 1802, the eldest son among three sons and a daughter of Robert Patterson, ironmonger, who supplies equipment for linen mills, and his wife Catherine Patterson (neé Clarke), who is from Dublin. He attends Belfast Royal Academy, and from 1814 is one of the first pupils of the Belfast Academical Institution. He is apprenticed in 1818 to his father, and takes over the business on his father’s death in 1831. Even as a boy, he devotes his leisure time to the study of natural history, and during summer holidays investigates the flora and fauna of the countryside and seaside resorts near Belfast. One of his brothers, William (1805–37), has similar interests.
At the age of 18, Patterson is a founder along with seven others, including James Lawson Drummond, James MacAdam and George Crawford Hyndman, of the Belfast Natural History Society in 1821 (from 1842 “and Philosophical” is added to the society’s name). He is the society’s president for many years, taking a leading role in setting up its museum in 1830–31, and over the years giving many lectures, mostly published in its proceedings. Like many contemporaries, he is an enthusiast for the study of phrenology, and lectures on the subject in Belfast in 1836.
In 1871, Patterson is presented with an illuminated address by the BNHPS for his work to promote the study of natural history, especially as a subject in education. He is the only recipient of the Society’s Templeton medal. Though still engaged in business, he makes a reputation as Belfast’s most distinguished amateur naturalist, publishing monographs such as Letters on the Insects Mentioned by Shakespeare (1838). During dredging excursions in Belfast Lough he discovers several forms of marine life new to Great Britain and Ireland. He is one of the earliest members of the British Association for the Advancement of Science, and secretary of its natural history section from 1839 to 1844. When the Association meets in Belfast in 1852, he acts as local treasurer. He corresponds with prominent naturalists, including Charles Darwin.
In 1843, Patterson publishes in The Zoologist magazine The Reptiles Mentioned by Shakespeare. His Zoology for Schools (2 volumes, 1846, 1848) is followed by First Steps in Zoology (2 volumes, 1849, 1851). A large volume, Zoological Diagrams, with colour illustrations, is published in 1853. All his books have a wide circulation, particularly in the national schools, and stimulates the study of zoology. In accordance with the will of his friend William Thompson, Patterson and James Ramsey Garrett begin to prepare the final volume of Thompson’s Natural History of Ireland for publication. Garrett dies in 1855 and Patterson completes the volume in 1856. He is elected Member of the Royal Irish Academy (MRIA) in 1856, and Fellow of the Royal Society (FRS) in 1859.
Patterson is in the vanguard of a generation of Ulster naturalists who through their work encourage the study of Irish flora and fauna and the establishment of field clubs and natural history societies. He also takes an active part in the public life of Belfast, and in philanthropy. He is a member of the unitarian congregation. He is one of the founders of the Ulster Society for the Prevention of Cruelty to Animals and is particularly interested in the Belfast Society for Promoting Knowledge (the Linen Hall Library), in the Botanic Gardens, and in his old school, Royal Belfast Academical Institution. As a Belfast harbour commissioner (1858–70), he brings commercial and environmental insights to decisions concerning port development.
Patterson marries Mary Elizabeth Ferrar in 1833. She is the daughter of a Belfast magistrate, William H. Ferrar, and writes poetry. Patterson also writes poetry, as well as hymns. Many of their poems are collected in Verses by Robert and Mary Patterson (1886), and they are represented in Selections from the British Poets, published for the use of national schools in 1849. They have five sons and six daughters. His second son, Robert Lloyd Patterson, is also a naturalist. Another son was William H. Patterson. His grandson Robert Patterson, editor of the Irish Naturalist, is secretary of the Belfast Natural History and Philosophical Society, secretary and president of the Belfast Naturalists’ Field Club and secretary of the Ulster Fisheries and Biology Association, which he founds. Robert M. Patterson, a grandson, is a prominent businessman and highly regarded amateur artist. Rosamond Praeger is a granddaughter, and Robert Lloyd Praeger a grandson. The latter writes of his grandfather: “After seventy-five years I can still see him – a man of middle height, and rather formal manner, pursuing his country rambles on Saturday afternoons in black frock-coat and top hat, and pointing out to us delighted children lady-birds and tree-creepers.”
Patterson retires from business in 1865, and dies on February 14, 1872, at his residence in College Square North, Belfast. He is buried in Belfast City Cemetery, where there is a monument to his memory.
(From: “Patterson, Robert” by Andrew O’Brien, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Robert Patterson” by Thomas Herbert Maguire, printed by M & N Hanhart lithograph, 1849, National Portrait Gallery)
Williams is born on May 4, 1838, in Coleraine, County Londonderry. He claims to be descended on his father’s side from Worcestershireyeomen living in the parishes of Tenbury and Mamble. On his mother’s side he descends from Scottish settlers who planted Ulster in 1610. He is educated at Belfast Academy in Belfast under Dr. Reuben John Bryce and at a Greenwich private school under Dr. Goodwin. Later on, he goes to the southern United States for his health and takes part in a filibustering expedition to Nicaragua, where he sees some hard fighting and reportedly wins the reputation of a blockade runner. He is separated from his party and is lost in the forest for six days. Fevered, he discovers a small boat and manages to return to the nearest British settlement. He serves in the London Irish Rifles and has the rank of sergeant.
Williams returns to England in 1859, where he becomes a volunteer, and a leader writer for the London Evening Herald. In October 1859, he begins a connection with The Standard which lasts until 1884. From 1860 until 1863, he works as a first editor for the London Evening Standard and from 1882 until 1884, as editor of The Evening News.
Williams is best known for being a war correspondent. He is described as an admirable war correspondent, a daring rider as well as writer. For The Standard, he is at the headquarters of the Armée de la Loire, a French army, during the Franco-Prussian War in 1870. He is also one of the first correspondents in Strasbourg, where the French forces are defeated. In the summer and autumn of 1877, he is a correspondent to Ahmed Muhtar Pasha who commands the Turkish forces in Armenia during the Russo-Turkish War of 1877 and 1878. He remains constantly at the Turkish front, and his letters are the only continuous series that reaches England. In 1878, he publishes this series in a revised and extended form as The Armenian Campaign: A Diary of the Campaign on 1877, in Armenia and Koordistan, which is a large accurate record of the war, even though it is pro-Turkish. From Armenia, he follows Muhtar Pasha to European Turkey and describes his defence of the lines of Constantinople against the Imperial Russian Army. He is with General Mikhail Skobelev at the headquarters of the Imperial Russian Army when the Treaty of San Stefano is signed in March 1878. He reports this at the Berlin Congress.
At the end of 1878, Williams is in Afghanistan reporting the war, and in 1879 publishes the Notes on the Operations in Lower Afghanistan, 1878–9, with Special Reference to Transport.
In 1887, Williams meets with then General of the United States Army, Philip Sheridan, in Washington, D.C. to update the general on European affairs and the prospects of upcoming conflicts.
Williams is said to possess a voice of thunder and expresses with terrific energy. He conducts a lecture tour of the United States where he describes the six campaigns, illustrated by limelight photographs. His audience in Brooklyn, New York, is described by The New York Times as highly delighted by his lecture about the hardships and adventures. His presentation is “a feast for the eyes and ears and was highly appreciated by the large audience assembled.” He later tours England, Scotland, and Ireland speaking about his then seven campaigns.
Williams also writes fiction, including his book John Thaddeus Mackay, a tale about religious tolerance and understanding. With the sanction of Commander in Chief, Field MarshalGarnet Wolseley, he edits a book Songs for Soldiers for the March The Camp and the Barracks to improve morale and relieve boredom. Included in the book are a number of songs that he composed. He also writes about ecclesiastical questions, and contributes articles and stories to different periodicals.
Williams is a strong adherent to Wolseley’s military views and policy, and has considerable military knowledge. He also publishes military subjects in several publications such as the United Service Magazine, the National Review, and other periodicals. In 1892, he publishes Life of Sir H. Evelyn Wood, which is controversial as he defends the actions of Wood after the Battle of Majuba Hill in 1881. In 1902, he publishes a pamphlet, entitled Hush Up, in which he protests against the proposed limited official inquiry into the South African War and calls for an investigation.
Early in his career, Williams shares an office with friend and colleague Robert Gascoyne-Cecil, who later becomes Prime Minister of the United Kingdom. They have a standing tradition of always sending out for two beers with payment alternating between each man. Many years later, Williams is in the lobby of the House of Lords and Gascoyne-Cecil approaches him with an outstretched hand and asks, “By the way, Mr. Williams, whose turn is it to stand the beer?”
In 1884, the steamer carrying Williams and colleague Frederic Villiers of The Graphic overturns in the Nile River. Their rescue leads Williams to later commission a unique ivory and gold mitre for the Bishop of London as a thank-offering to God for his safe return from Khartoum.
Williams receives a personal invitation from King Edward VII to attend the funeral of his mother, Queen Victoria.
Both of Williams‘a sons became journalists. Frederick is a noted parliamentary reporter, writer, and historian in Canada. Francis Austin Ward Williams practices journalism in Sydney, Australia.
In the Nile Campaign of 1884-85, application is made to the War Office with the support of the Commander in Chief Lord Wolseley for medals for Willams and correspondent Bennet Burleigh. Williams has been twice requested to take command of some of the men by senior officers on the spot. The Secretary of War is unable to grant the recognition under the rules of the day but writes a letter saying that he regrets that this must be his decision.
Williams is a recipient of the Queen’s Sudan Medal, an award given to British and Egyptian forces which took part in the Sudan campaign between 1896 and 1898.
Field Marshall Garnet Wolseley recognizes the contributions of Williams on the battlefield. He says in a speech that from “Charles Williams, he had at various times received the greatest possible help in the field.”
Williams dies in Brixton, London, on February 9, 1904. He is buried in Nunhead Cemetery in London. His son, journalist Fred Williams, first learns of his father’s death on the wire service he is monitoring at his newspaper in Toronto, Ontario, Canada.
Williams’s funeral is well attended by the press as well as members of the military including Field Marshal Sir Evelyn Wood. Colleague Henry Nevison writes a long reflection on Williams. It includes, “On the field he possessed a kind of instinctive sense of what was going to happen. When I went to big field-days with him he was already an elderly man, and much broken down with the hardships of a war correspondent’s life; but he invariably appeared at the critical place exactly at the right moment, and I once heard the Duke of Connaught, who was commanding, say, ‘When I see Charlie Williams shut up his telescope, I know it’s all over.’ And now he is gone, with his rage, his generosity, his innocent pride, his faithful championship of every friend, and his memories of so many a strange event. His greatest joy was to encourage youth to follow in his steps, and the world is sadder and duller for his going.”
