Palmer’s music includes at least three operas, a number of choral pieces and many songs. His strong interest in opera comes during a politically difficult period in Irish history. Ireland is struggling for independence, and cultural politicians often regard opera (and classical music in general) as alien to Irish culture. Initially, however, he is successful, his earliest stage work being Finn Varra Maa (a transliteration from the Gaelic meaning “good Finbar”), subtitled The Irish Santa Claus. It survives as a libretto only, published in a drama series by Talbot Press, Dublin, in 1917. Contrary to what the (sub-)title may suggest, the work is a political satire that is much criticised for its nationalism. Sruth na Maoile (“The Sea of Moyle”) is first performed in July 1923 and restaged by the O’Mara Opera Company in the cultural by-programme of the Tailteann Games in August 1924. Its story is based on the legend of the Children of Lir, while the music relies on numerous references to Irish traditional music, including the song Silent O Moylefrom Thomas Moore‘s Irish Melodies. A third work, Grania Goes (1924), conceived as a light, comic opera, cannot be performed in the years following Irish independence. The manuscript scores of the Sruth na Maoile and Grania Goes are in the National Library of Ireland.
Between 1925 and 1930, Palmer embarks on a cycle of three full-scale operas on the Cuchullain cycle to words by William Mervyn Crofton. In one of them, Deirdre of the Sorrows (1925), Crofton acknowledges Palmer’s “beautiful music.” Despite this, Palmer’s illness prevents the completion of the score, which is later handed over to the composer Staf Gebruers (1902–70), but they are never performed. The manuscript scores of the operas Cuchullain and Deirdre of the Sorrows composed by Gebruers are held by his son Adrian. Unfortunately, despite extensive searching, the score of The Wooing of Emer has not been located, though it is referenced in Gebruers’ own inventories and mentioned as being of three hours duration. In addition, there is a copy of The King’s Song, also composed by Gebruers with lyrics by Crofton and described as from Act 1 of The Black Hag, but whether or not this has any connection with Palmer is unknown.
Palmer is mainly known as the composer of light songs and ballads, often in a folkloristic style, that find publishers in England and are frequently performed. “They show a skilled hand with a talent for vocal harmony but little originality.” His choral music is mainly on a similar miniature scale, an exception being the early cantataThe Abbot of Innisfallen (1909). There are some isolated examples of orchestral music performed by the orchestra of Radio Éireann, but the surviving references may not give a full picture of his output.
In the last decades of his life, Palmer was confined to a wheelchair and depends upon the care of his two sisters, who were running Hillcourt, a private girls’ boarding school in Glenageary, near their home in Sandycove (south Dublin). Palmer dies in Dublin on November 29, 1957.
Séamus Ennis (Irish: Séamas Mac Aonghusa), Irish musician, singer and Irish music collector, dies in Naul, County Dublin, on October 5, 1982. He is most noted for his uilleann pipe playing and is partly responsible for the revival of the instrument during the twentieth century, having co-founded Na Píobairí Uilleann, a nonprofit organisation dedicated to the promotion of the uilleann pipes and its music. He is recognised for preserving almost 2,000 Irish songs and dance-tunes as part of the work he does with the Irish Folklore Commission. He is widely regarded as one of the greatest uilleann pipers of all time.
Ennis’s father, James, works for the Irish civil service at Naul, County Dublin. In 1908, James Ennis is in a pawn shop in London and purchases a bag containing the pieces of a set of old uilleann pipes. They were made in the mid nineteenth century by Coyne Pipemakers of Thomas Street in Dublin. In 1912, he comes in first in the Oireachtas competition for warpipes and second in the uilleann pipes. He is also a prize-winning dancer. In 1916, he marries Mary Josephine McCabe, an accomplished fiddle player from County Monaghan. They have six children, Angela, Séamus, Barbara, and twins, Cormac and Ursula (Pixie) and Desmond. Séamus is born on May 5, 1919, in Jamestown in Finglas, Dublin. James Ennis is a member of the Fingal trio, which includes Frank O’Higgins on fiddle and John Cawley on flute, and performs regularly with them on the radio. At the age of thirteen, Séamus starts receiving lessons on the pipes from his father. He attends a Gaelscoil, Cholmcille, and a Gaelcholáiste, Coláiste Mhuire, which gives him a knowledge of the Irish language that serves him well in later life. He sits in an exam to become Employment Exchange clerk but is too far down the list to be offered a job. He is twenty and unemployed.
Colm Ó Lochlainn is editor of Irish Street Ballads and a friend of the Ennis family. In 1938, Ennis confides in Colm that he intends to move to England to join the British Army. Colm immediately offers him a job at The Three Candles Press. There Ennis learns all aspects of the printing trade. This includes writing down slow airs for printed scores – a skill which later proves important. Colm is director of an Irish language choir, An Claisceadal, which Ennis joins. In 1942, during The Emergency, shortages and rationing mean that things become difficult in the printing trade. Professor Seamus Ó Duilearge of the Irish Folklore Commission hires the 23-year-old to collect songs. He is given “pen, paper and pushbike” and a salary of three pounds per week. Off he goes to Connemara.
From 1942 to 1947, working for the Irish Folklore Commission, Ennis collects songs in west Munster; counties Galway, Cavan, Mayo, Donegal, Kerry; the Aran Islands and the Scottish Hebrides. His knowledge of Scottish Gaelic enables him to transcribe much of the John Lorne Campbell collection of songs. Elizabeth Cronin of Ballyvourney, County Cork, is so keen to chat to Ennis on his visits that she writes down her own songs and hands them over as he arrives, and then gets down to conversation. He has a natural empathy with the musicians and singers he meets. In August 1947, he starts work as an outside broadcast officer with Raidió Éireann. He is a presenter and records Willie Clancy, Seán Reid and Micho Russell for the first time. There is an air of authority in his voice. In 1951, Alan Lomax and Jean Ritchie arrived from the United States to record Irish songs and tunes. The tables are turned as Ennis becomes the subject of someone else’s collection. There is a photograph from 1952/53 showing Ritchie huddled over the tape recorder while Ennis plays uilleann pipes.
Late in 1951, Ennis joins the BBC. He moves to London to work with producer Brian George. In 1952, he marries Margaret Glynn. They have two children, the organist Catherine Ennis and Christopher. His job is to record the traditional music of England, Scotland, Wales and Ireland and to present it on the BBC Home Service. The programme is called As I Roved Out and runs until 1958. Meeting up with Alan Lomax again, he is largely responsible for the album Folk and Primitive Music (volume on Ireland) on the Columbia Records label.
In 1958, after his contract with the BBC is not renewed, Ennis starts doing freelance work, first in England then back in Ireland, with the new TV station Teilifis Éireann. Soon he is relying totally on his musical ability to make a living. About this time, his marriage breaks down and he returns to Ireland. He suffers from tuberculosis and is ill for some time. In 1964, he performs at the Newport Folk Festival. His father gives him the pipes he had bought in 1908. Although most pipers can be classed as playing in a tight style or an open style, Ennis is in between. He is a master of the slow air, knowing how to decorate long notes with taste and discreet variation.
Two events will live in legend among pipers. The first is in Bettystown, County Meath, in 1968, when the society of Irish pipers, Na Píobairí Uilleann, is formed. Breandán Breathnach is playing a tape of his own piping. Ennis asks, “What year?” Breandán replies, “1948.” Ennis says, “So I thought.” For a couple of hours the younger players perform while Ennis sits in silence. Eventually he is asked to play. Slowly he takes off his coat and rolls up his sleeves. He spends 20 minutes tuning up his 130-year-old pipes. He then asks the gathering whether all the tape recorders are ready and proceeds to play for over an hour. To everyone’s astonishment he then offers his precious pipes to Willie Clancy to play a set. Clancy demurs but eventually gives in. Next, Liam O’Flynn is asked to play them, and so on, round the room. The second unforgettable session is in Dowlings’ Pub in Prosperous, County Kildare. Christy Moore is there, as well as most of the future members of Planxty.
Ennis never runs any school of piping but his enthusiasm infuses everyone he meets. In the early 1970s, he shares a house with Liam O’Flynn for almost three years. Finally, he purchases a piece of land in Naul and lives in a mobile home there. One of his last performances is at the Willie Clancy Summer School in 1982. He dies on October 5, 1982. His pipes are bequeathed to Liam O’Flynn. Radio producer Peter Browne produces a compilation of his performances, called The Return from Fingal, spanning 40 years.
Séamus Ennis Road in his native Finglas is named in his honour. The Séamus Ennis Arts Centre in Naul is opened in his honour, to commemorate his work and to promote the traditional arts. He is also the subject of Christy Moore’s song “The Easter Snow.” This is the title of a slow air Ennis used to play, and one after which he named his final home in Naul.
Born on March 13, 1831, in Lisburn, County Antrim, McCloy is the youngest of five children, born to Peter McCloy, a painter, and his wife Martha Phelan. He studies at the School of Design in Belfast from 1850 to 1851 while serving an apprenticeship in engraving, with J and T Smyth. He then spende a year at the Central School, Somerset House in London before being appointed Master at the Waterford School of Art around 1853, when he also becomes a visiting instructor to several other institutions. In the spring of 1865 he marries his student, the Waterford artist Ellen Lucy Harris, the fourth daughter of a banker named Richard Harris. The dismembered corpse of McCloy’s mother is recovered from the River Suir in September of the same year. She had been missing since the previous November.
McCloy shows just once at the Royal Academy of Arts with a work entitled The Haunt of Meditation in 1859. He exhibits infrequently at the Royal Hibernian Academy between 1862 and 1882, where he displays sixteen works in that time. He displays eleven works in the 1876 Industrial Exhibition at Belfast’s Ulster Hall. In 1880, he shows at Rodman and Company in London where the writer in the Belfast Telegraph indicates that McCloy is becoming a popular artist and is receiving extensive patronage.
After a year-long illness that prevents him from working, McCloy dies in Balham, South London, on October 4, 1904. He is survived by his wife, Ellen, and nine daughters. The Lisburn Museum in his hometown offers a belated retrospective of his work in 1981 to mark the one-hundred fiftieth anniversary of his birth. The exhibition is the first known solo display of McCloy’s work and consists of 58 works. The catalogue for this show is written by Eileen Black and funded by the Arts Council of Northern Ireland.
Horniman, the elder child of Frederick John Horniman and his first wife Rebekah (née Emslie). Her father is a tea merchant and the founder of the Horniman Museum. Her grandfather is John Horniman who founds the family tea business of Horniman and Company. She and her younger brother, Emslie, are educated privately at their home. Her father is opposed to the theatre, which he considers sinful, but their Germangoverness takes her and Emslie secretly to a performance of The Merchant of Venice at The Crystal Palace when she is fourteen years old.
Horniman’s father allows her to enter the Slade School of Fine Art in 1882. Here she discovers that her talent in art is limited but she develops other interests, particularly in the theatre and opera. She takes great pleasure in Richard Wagner‘s Der Ring des Nibelungen and in Henrik Ibsen‘s plays. She cycles in London and twice over the Alps, smokes in public and explores alternative religions. The “lonely rich girl” has become “an independent-minded woman.” In 1890 she joins the occult society, the Hermetic Order of the Golden Dawn, where she remains a member until disagreements with its leaders lead to her resignation in 1903. During this time she meets and becomes a friend of W. B. Yeats, acting as his amanuensis for some years. Their friendship endures. Frank O’Connor recalls that on the day Yeats hears of her death, he spends the entire evening speaking of his memories of her.
Horniman’s first venture into the theatre is in 1894 and is made possible by a legacy from her grandfather. She anonymously supports her friend Florence Farr in a season of new plays at the Royal Avenue Theatre, London. This includes a new play by Yeats, The Land of Heart’s Desire, and the première of George Bernard Shaw’s play Arms and the Man. In 1903, Yeats persuades her to go to Dublin to back productions by the Irish National Theatre Society. Here she discovers her skill as a theatre administrator. She purchases a property and develops it into the Abbey Theatre, which opens in December 1904. Although she moves back to live in England, she continues to support the theatre financially until 1910. Meanwhile, in Manchester she purchases and renovates the Gaiety Theatre in 1908 and develops it into the first regional repertory theatre in Britain.
At the Gaiety, Horniman appoints Ben Iden Payne as the director and employs actors on 40-week contracts, alternating their work between large and small parts. The plays produced include classics such as Euripides and Shakespeare, and she introduces works by contemporary playwrights such as Ibsen and Shaw. She also encourages local writers who form what becomes known as the Manchester School of dramatists, the leading members of which are Harold Brighouse, Stanley Houghton and Allan Monkhouse. The Gaiety company undertakes tours of the United States and Canada in 1912 and 1913. Horniman becomes a well-known public figure in Manchester, lecturing on subjects which include women’s suffrage and her views about the theatre. In 1910 she is awarded the honorary degree of MA by the University of Manchester. During World War I the Gaiety continues to stage plays but financial difficulties lead to the disbandment of the permanent company in 1917, following which productions in the theatre are by visiting companies. In 1921 she sells the theatre to a cinema company.
As a result of her tea connection, Horniman is known as “Hornibags.” She holds court at the Midland Hotel, wearing exotic clothing and openly smoking cigarettes, which is considered scandalous at the time. She introduces Manchester to what is called at the time “the play of ideas.” The theatre critic James Agate notes that her high-minded theatrical ventures have “an air of gloomy strenuousness” about them.
Horniman dies, unmarried, on August 6, 1937, while visiting friends in Shere, Surrey. Her estate amounts to a little over £50,000. The Annie Horniman Papers are held in the John Rylands Research Institute and Library at the University of Manchester. Her portrait, painted by John Butler Yeats in 1904, hangs in the public area of the Abbey Theatre.
A portrait of Guinness is held at the National Portrait Gallery in London. She has modeled for various perfume and make-up campaigns, including Armani and Shu Uemura. She is the face of the Goffs Million horse races at the Curragh Racecourse in September 2007, an event that pays the highest winnings of any race meeting in Europe.
In 2009, Guinness is the face of the Arthur’s Day event celebrating her ancestor Arthur Guinness. In March and December 2011 she is again the subject of articles in Hello! magazine.
The year 2014 marks a revival of Guinness’s modeling career as she leads Jaeger‘s AW14 campaign alongside her mother Liz and fellow models Kirsty Hume and Jodie Kidd. Her range largely includes knitwear, including cardigans, skirts and sweater dresses.
Guinness is the great-granddaughter of Diana Mitford (later Lady Mosley), who is one of the Mitford sisters, and her first husband Bryan Guinness, later the 2nd Lord Moyne. Her paternal grandfather, Desmond Guinness, is a conservationist specialising in Georgian and classical architecture, while her paternal grandmother, Mariga Guinness, is born Marie-Gabrielle, Princess of Urach. Desmond and Mariga Guinness are co-founders of the Irish Georgian Society. Guinness’s maternal family is researched in the RTÉ programme Where Was Your Family During the Famine?
Kettle is one among six children of Thomas Kettle, a prosperous farmer, and his wife, Alice (née Kavanagh). His maternal grandmother, Mary O’Brien, had smuggled arms to United Irishmen in the district in 1798, while her future husband, Billy Kavanagh, had been a senior figure in the movement. He is educated at Ireland’s most prestigious Catholicboarding school, Clongowes Wood College. His education is cut short when he is called to help full-time on the farm. Though an autodidact and always a forceful writer, he is beset later by an exaggerated sense of his “defective education and want of talking powers.” Fascinated by politics, he enjoys the repeal excitement of 1841–44 and in his late teens speaks once or twice at Tenant Right League meetings in Swords. Through the 1850s and most of the 1860s he sets about expanding the family farm into a composite of fertile holdings in Swords, St. Margaret’s, Artane, and Malahide (c.150 acres). Getting on well with the Russell-Cruise family of Swords, his first landlords, he benefits from a favourable leasehold arrangement on their demesne in the early 1860s. The farm is mostly in tillage, though Kettle also raises some fat cattle and Clydesdale horses, which he eventually sells to Guinness’s.
Kettle first enters politics in 1867, when he disagrees with John Paul Byrne of Dublin Corporation in public and in print over the right of graziers to state aid during an outbreak of cattle distemper. In 1868, he joins an agricultural reform group initiated by Isaac Butt. He becomes friendly with Butt and later claims to have converted him to support tenant-right. His memoirs, which are somewhat egocentric, contain a number of such questionable claims. It is, however, the case that he habitually writes up, for his own use, cogent summaries of the direction of current political tendencies, which sometimes become useful confidential briefs for Butt and later Charles Stewart Parnell. He is among the published list of subscribers to the Home Rule League in July 1870.
In 1872, disappointed by the Landlord and Tenant (Ireland) Act 1870, Kettle organises a Tenants’ Defence Association (TDA) in north County Dublin, soon sensing the need for a central body to coordinate the grievances of similar groups around the country. The Dublin TDA effectively acts as this central body, under his guidance as honorary secretary. At the 1874 United Kingdom general election in Ireland, the Dublin TDA decides to challenge the electoral control of certain corporation interests in County Dublin. Kettle secures the cautious approval of CardinalPaul Cullen for any candidate supporting the principle of denominational education. He is also one of a deputation to ask Parnell to fight the constituency, which the latter loses. He becomes closely acquainted with Parnell, who frequently attends Dublin TDA meetings after his election for Meath in April 1875.
Taking a sombre view of the threat of famine in the west of Ireland after evidence of crop failure appears in early summer 1879, Kettle calls a conference of TDA delegates at the European Hotel in Bolton Street, Dublin, in late May. After a heated debate in which a proposal for a rent strike is greatly modified, Parnell comes to seek Kettle’s advice on whether to become involved in the evolving land agitation in County Mayo. Kettle urges him to go to the Westport meeting set for June 8, 1879, and claims later to have stressed in passing that “if you keep in the open you can scarcely go too far or be too extreme on the land question.” If the incident is correctly recounted, this is a most important statement, which virtually defines Parnell’s oratorical strategy throughout the land war. In October 1879, Kettle agrees to merge the TDA with a new Irish National Land League, set up at a meeting in the Imperial Hotel, Dublin, chaired by Kettle. As honorary secretary of the Land League, Kettle frankly admits that he is able to attend meetings without “the necessity of working.” His attendance is, however, among the most regular of all League officers, with him taking part in 73 of 107 meetings scheduled between December 1879 and October 1881.
In March 1880, Kettle disputes Michael Davitt‘s reluctance to use League funds in the general election. He canvasses vigorously together with Parnell in Kildare, Carlow, and Wicklow and is later pressed by his party leader into standing for election in County Cork, though aware that the local tenant movement has already prepared their own candidates. His association with Parnell antagonises the catholic hierarchy in Munster, who issues a condemnation of his candidacy. The hurly-burly of this election creates the persistent impression that Kettle is anti-clerical in politics, and he is defeated by 151 votes.
On a train journey to Ballinasloe in early April 1880, Kettle confides to Parnell his idea that land purchase can be facilitated by the recovery of tax allegedly charged in excess on Ireland by the British government since the act of union. At League meetings in June and July 1880, he advances his “catastrophist” plan: to cease attempts to prevent the development of an irresistible crisis among the Irish smallholding population, by diverting the application of League funds from general relief solely to the aid of evicted tenants, who might be temporarily housed “encamped like gypsies and the land lying idle,” in the belief that the British government will thereby be compelled to introduce radical remedial legislation. Smallholders do not have enough faith in either League or parliamentary politicians to listen.
At a meeting of the League executive in London and in Paris, before and after Davitt’s arrest on February 3, 1881, Kettle presents his plan that the parliamentary party should, if faced with coercive legislation, withdraw from Westminster, “concentrate” in Ireland, and call a general rent strike. Republicans on the League executive continually find themselves embarrassed by Kettle’s radical calls to action motivated solely by the project of agrarian reform. Parnell is later supposed to have lamented party failure to execute the plan at this juncture.
Kettle is arrested in June 1881 for calling for a collective refusal of rent. After two weeks in Naas jail he is transferred to Kilmainham Gaol, where in October he is, with some misgivings, one of the signatories to the No Rent Manifesto. Discharged from Kilmainham in late December 1881 owing to poor health, he returns principally to work on the family farm for most of the 1880s, though he claims to have formulated a draft solution for the plight of the agricultural labourer and “pushed it through” in correspondence with Parnell. He reemerges in 1890 to defend Parnell after the divorce scandal breaks. Attempting to establish a new ”centre” party independent of extreme Catholic and Protestant interests, he stands for election as a Parnellite at the 1891 County Carlow by-election, where he is comprehensively beaten, having endured weeks of insinuating harangues by Tim Healy, and raucous mob insults to the din of tin kettles bashed by women and children at meetings around the county. He is intermittently involved in County Dublin politics in the 1890s and 1900s and maintains a brusque correspondence on matters of the day in the national press.
Kettle dies on September 22, 1916, at his residence, St. Margaret’s, County Dublin, anguished by the death on September 9 of his brilliant son, Tom Kettle, near the village of Ginchy during the Battle of the Somme. He is buried at St. Colmcille’s cemetery, Swords.
Kettle marries Margaret McCourt, daughter of Laurence McCourt of Newtown, St. Margaret’s, County Dublin, farmer and agricultural commodity factor. They have five sons and six daughters.
In March 1917, Ryan passes his final medical examinations. That June he sets up medical practice in Wexford. In 1921, he moves to Dublin where he opens a doctor’s practice at Harcourt Street, specialising in skin diseases at the Skin and Cancer Hospital on Holles Street. He leaves medicine in 1925, after he purchases Kindlestown, a large farm near Delgany, County Wicklow. He lives there and it remains a working farm until his death.
In July 1919, Ryan marries Máirín Cregan, originally from County Kerry and a close friend of Sinéad de Valera throughout her life. Cregan, like her husband, also fought in the Easter Rising and is subsequently an author of children’s stories in Irish. They have three children together.
While studying at university in 1913, Ryan joins the Gaelic League at Clonmel. The company commander recruits the young Catholicnationalist, who becomes a founder-member of the Irish Volunteers and is sworn into the Irish Republican Brotherhood (IRB) the following year. In 1916, he goes first to Cork to deliver a message from Seán Mac Diarmada to Tomás Mac Curtain that the Easter Rising is due to happen on Easter Sunday, then to Cork again in a 12-hour journey in a car to deliver Eoin MacNeill‘s cancellation order, which attempts to stop the rising. When he arrives back on Tuesday, he serves as the medical officer in the General Post Office (GPO) and treats many wounds, including James Connolly‘s shattered ankle, a wound which gradually turns gangrenous. He is, along with Connolly, one of the last people to leave the GPO when the evacuation takes place. Following the surrender of the garrison, he is deported to HM Prison Stafford in England and subsequently Frongoch internment camp. He is released in August 1916.
Ryan rejoins the Volunteers immediately after his release from prison, and in June 1917, he is elected Commandant of the Wexford Battalion. His political career begins the following year when he is elected as a Sinn Féin candidate for the constituency of South Wexford in the 1918 United Kingdom general election in Ireland. Like his fellow Sinn Féin MPs, he refuses to attend the Westminster Parliament. Instead he attends the proceedings of the First Dáil on January 21, 1919. As the Irish War of Independence goes on, he becomes Brigade Commandant of South Wexford and is also elected to Wexford County Council, serving as chairman on one occasion. In September 1919, he is arrested by the British and interned on Spike Island and later Bere Island. In February 1921, he is imprisoned at Kilworth Internment Camp, County Cork. He is later moved on Ballykinlar Barracks in County Down and released in August 1921.
In 1926, Ryan is among the Sinn Féin TDs who follow leader Éamon de Valera out of the party to found Fianna Fáil. They enter the Dáil in 1927 and spend five years on the opposition benches.
In 1947, after spending fifteen years as Minister for Agriculture, Ryan is appointed to the newly created positions of Minister for Health and Minister for Social Welfare. Following Fianna Fáil’s return to power at the 1951 Irish general election, he returns as Minister for Health and Social Welfare. Following the 1954 Irish general election, Fianna Fáil loses power and he moves to the backbenches once again.
Following the 1957 Irish general election, Fianna Fáil are back in office and de Valera’s cabinet has a new look to it. In a clear message that there will be a change to economic policy, Ryan, a close ally of Seán Lemass, is appointed Minister for Finance, replacing the conservative Seán MacEntee. The first sign of a new economic approach comes in 1958, when Ryan brings the First Programme for Economic Development to the cabinet table. This plan, the brainchild of T. K. Whitaker, recognises that Ireland will have to move away from self-sufficiency toward free trade. It also proposes that foreign firms should be given grants and tax breaks to set up in Ireland.
When Lemass succeeds de Valera as Taoiseach in 1959, Ryan is re-appointed as Minister for Finance. Lemass wants to reward him for his loyalty by also naming him Tánaiste. However, the new leader feels obliged to appoint MacEntee, one of the party elders to the position. Ryan continues to implement the First Programme throughout the early 1960s, achieving a record growth rate of 4 percent by 1963. That year an even more ambitious Second Programme is introduced. However, it overreaches and has to be abandoned. In spite of this, the annual growth rate averages five percent, the highest achieved since independence.
Ryan does not stand in the 1965 Irish general election, after which he is nominated by the Taoiseach to Seanad Éireann, where he joins his son, Eoin Ryan Snr. At the 1969 dissolution he retires to his farm at Kindlestown, County Wicklow, where he dies at age 77 on September 25, 1970. He is buried at Redford Cemetery, Greystones, County Wicklow. His grandson, Eoin Ryan Jnr, serves in the Oireachtas from 1989 to 2007 and later in the European Parliament from 2004 to 2009.
A serious interest in poetry and literature begins to manifest itself during his years at TCD. In 1900, he makes the acquaintance of W. B. Yeats and George Moore and begins to frequent Dublin literary circles. In 1904 and 1905 he publishes several short poems in the London publication The Venture and in John Eglinton‘s journal Dana. His name also appears in print as the renegade priest Fr. Oliver Gogarty in George Moore’s 1905 novel The Lake.
In 1905, Gogarty becomes one of the founding members of Arthur Griffith‘s Sinn Féin, a non-violent political movement with a plan for Irish autonomy modeled after the Austro-Hungarian dual monarchy.
In July 1907, his first son, Oliver Duane Odysseus Gogarty, is born, and in autumn of that year he leaves for Vienna to finish the practical phase of his medical training. Returning to Dublin in 1908, he secures a post at Richmond Hospital, and shortly afterward purchases a house in Ely Place opposite George Moore. Three years later, he joins the staff of the Meath Hospital and remains there for the remainder of his medical career.
Gogarty maintains close friendships with many of the Dublin literati and continues to write poetry in the midst of his political and professional duties. He also tries his hand at playwriting, producing a slum drama in 1917 under the pseudonym “Alpha and Omega,” and two comedies in 1919 under the pseudonym “Gideon Ouseley,” all three of which are performed at the Abbey Theatre. He devotes less energy to his medical practice and more to his writing during the twenties and thirties.
With the onset of World War II, Gogarty attempts to enlist in the Royal Air Force (RAF) and the Royal Army Medical Corps (RAMC) as a doctor. He is denied on grounds of age. He then departs in September 1939 for an extended lecture tour in the United States, leaving his wife to manage Renvyle House, which has since been rebuilt as a hotel. When his return to Ireland is delayed by the war, he applies for American citizenship and eventually decides to reside permanently in the United States. Though he regularly sends letters, funds, and care-packages to his family and returns home for occasional holiday visits, he never again lives in Ireland for any extended length of time.
Gogarty suffers from heart complaints during the last few years of his life, and in September 1957 he collapses in the street on his way to dinner. He dies on September 22, 1957. His body is flown home to Ireland and buried in Cartron Church, Moyard, near Renvyle, County Galway.
(Pictured: 1911 portrait of Oliver St. John Gogarty painted by Sir William Orpen, currently housed at the Royal College of Surgeons in Ireland)
O’Connor is the eldest of five children and brother of singer Sinéad O’Connor. He is from the Glenageary area of south Dublin. His parents are Sean O’Connor, a structural engineer who later turns barrister, and Marie O’Connor.
O’Connor’s novel Cowboys and Indians (1991) is on the shortlist for the Whitbread Book Award.
On February 10, 1985, O’Connor’s mother is killed in a car accident. The mother of his character Sweeney in The Salesman (1998) dies in the same manner.
In 2002, O’Connor writes the novel Star of the Sea, which The Economist lists as one of the top books of 2003. His 2010 novel Ghost Light is loosely based on the life of the actress Maire O’Neill, born Mary “Molly” Allgood, and her relationship with the Irish playwrightJohn Millington Synge. It is published by Harvill Secker of London in 2010.
In 2014, O’Connor is announced as the inaugural Frank McCourt Chair in Creative Writing at the University of Limerick, where he teaches on the MA in Creative Writing.
O’Connor is a regular contributor to Drivetime, an evening news and current affairs programme on RTÉ Radio 1.
O’Connor’s Shadowplay, published in 2019, is shortlisted for the2019 Costa Book Award in the Novel category.
O’Connor is married to television and film writer Anne-Marie Casey. They have two sons. He and his family have lived in London and Dublin, and occasionally reside in New York City.
She is the fifth child and youngest daughter of pork butcher and grocer, John Kearney (1854–97), and his wife Kathleen Kearney (née McGuinness) (1860–1907). She has four brothers and two sisters. Her father is from Rosybrook, County Louth and her mother is from Rathmaiden, Slane, County Meath, both coming from prosperous farming families. Her father has a business on Lower Dorset Street, with a grocery, pub and a row of houses. Owing to his own poor management, by the time she is born he has a smaller business on Dolphin’s Barn Lane. Following his death in 1897, she and her sisters are placed in the Goldenbridge orphanage at Inchicore by their mother. She is there from 1898 to 1904 where she becomes an avid reader. When she leaves, she rejoins her family in a one-room tenement flat on Gloucester Street.
Her oldest sibling, Peadar Kearney, is an ardent republican who writes the lyrics to the song that becomes the Irish national anthem, ”Amhrán na bhFiann”(English: “The Soldier’s Song”). It is through him that she meets a printer’s compositor and member of the Irish Volunteers, Jack Furlong. They marry in 1916. She is an active member of Cumann na mBan, and serves as a courier to the General Post Office, Dublin and other outposts during the 1916 Easter Rising. At the same time, Furlong fights in the Jacob’s factory garrison. The couple has two sons: Roger Casement (Rory) Furlong (1917–87) and Sean Furlong (born March 1919). Sean is born six month’s after she is widowed when Furlong dies in the Spanish flu epidemic of 1918. She lives with her mother-in-law, who is also a republican and seamstress who makes Irish Volunteer uniforms. She is arrested for running an Irish Republican Army (IRA) safe house. She works for a short time for Maud Gonne as a housekeeper, where she meets W. B. Yeats and Sarah Purser. A study painted of her by Purser (above) is now in the National Gallery of Ireland entitled The Sad Girl. From 1918 to 1922 she works as a clerk in the Dublin Corporation, while also a caretaker in the Harcourt Street branch of the Irish White Cross republican aid association.
In 1922 she marries Stephen Behan, house painter, trade unionist and fellow republican. The couple has four sons and one daughter: Brendan (b. 1923), Seamus (b. 1925), Brian (b. 1926), Dominic (b. 1928), and Carmel (b. 1932). Brendan is born while his father is imprisoned during the Irish Civil War, and Behan claims that Michael Collins gives her money while she is pregnant. Stephen’s mother owns three slum tenements, so the Behans live rent-free in a one-room basement flat at 14 Russell Street. Owing to her disdain at gossiping on the house steps, she is nicknamed “Lady Behan” by her neighbours. When Stephen’s mother dies in 1936, the Behans moved to a newly built council house in Crumlin, living at 70 Kildare Road. The family finds the new house far from work and school, and the local area devoid of community.
The family experiences extreme poverty frequently, owing to Stephen’s unemployment and during the nine month long building strike of 1936. Behan attempts to claim a pension as her first husband had served in 1916, but her application is rejected. She had said the exposure to flour had effected Furlong’s lungs negatively. It is declined as she had remarried before the enactment of the Army Pensions Act 1923. Despite their circumstances, the house attracts conversation, music, books and politics. The Behan’s republican, socialist, labour activist and anti-clericalism have a strong effect on their sons, particularly Brendan and Dominic. Such is the volume of radical meetings that take place at the Behan home, it is dubbed “the Kremlin” by their neighbours, and a “madhouse” by Stephen. During The Emergency of 1939 to 1945 she fights against local shopkeepers who ignore price controls, and is labelled as “red” for her anti-Franco and pro-Stalin sympathies. Her reply to the branding of her as such is “I’m not red, I’m scarlet.”
From the 1950s onwards, Behan shares international fame with her sons Dominic and Brendan. She often travels to London to see their plays, eventually appearing on British and Irish television and cultivating her own following. She is badly injured when she is struck by a motorcycle, a day before Stephen’s death in 1967. Owing to the effect of these injuries, she moves in 1970 to the Sacred Heart Residence of the Little Sisters of the Poor, Sybil Hill, Raheny.
In 1981, she records an album When All the World Was Young. Taped conversations of her reminiscences are made into an autobiographic book, Mother of all the Behans, by her son Brian in 1984. A one-woman stage adaptation of the book by Peter Sheridan and starring Rosaleen Linehan is acclaimed in Ireland, Britain and North America.
seamus dubhghaill 