Dermot Healy, Irish novelist, playwright, poet and short story writer, dies at his home in Ballyconnell, Sligo, County Sligo, on June 29, 2014. A member of Aosdána, he is also part of its governing body, the Toscaireacht. He is described variously as a “master,” a “Celtic Hemingway” and as “Ireland’s finest living novelist.”
Healy is born in Finnea, County Westmeath, on November 9, 1947, the son of a Guard. As a child the family moves to Cavan, County Cavan, where he attends the local secondary school. In his late teens he moves to London and works in a succession of jobs, including barman, security man and as a labourer. He later returns to Ireland, settling in Ballyconnell, County Sligo, a small settlement on the Atlantic coast.
Often overlooked due to his relatively low public profile, Healy’s work is admired by his Irish literary predecessors, peers and successors alike, many of whom idolise him. Among the writers to have spoken highly of him are Seamus Heaney, Eugene McCabe, Roddy Doyle, Patrick McCabe and Anne Enright.
Healy dies at his home in Ballyconnell on June 29, 2014, while awaiting an ambulance after suddenly being taken ill. He is laid to rest at Carrigans Cemetery following funeral mass by Fr. Michael Donnelly at St. Patrick’s Church in Maugherow, County Sligo.
Campbell is born in Belfast on July 15, 1879, into a Catholic and Irish nationalist family from County Down. He is educated at St. Malachy’s College, Belfast. After working for his father he teaches for a while. He travels to Dublin in 1902, meeting leading nationalist figures. His literary activities begin with songs, as a collector in Antrim, County Antrim and working with the composer Herbert Hughes. He is then a founder of the Ulster Literary Theatre in 1904. He contributes a play, The Little Cowherd of Slainge, and several articles to its journal Uladh edited by Bulmer Hobson. The Little Cowherd of Slainge is performed by the Ulster Literary Theatre at the Clarence Place Hall in Belfast on May 4, 1905, along with Lewis Purcell’s The Enthusiast.
Campbell moves to Dublin in 1905 and, failing to find work, moves to London the following year where he is involved in Irish literary activities while working as a teacher. He marries Nancy Maude in 1910, and they move shortly thereafter to Dublin, and then later to County Wicklow. His play Judgement is performed at the Abbey Theatre in April 1912.
Campbell takes part as a supporter in the Easter Rising of 1916, doing rescue work. The following year he publishes a translation from Irish of the short stories of Patrick Pearse, one of the leaders of the Rising.
Campbell becomes a Sinn FéinCouncillor in Wicklow in 1921. Later in the Irish Civil War he is on the Republican side, and is interned in 1922-23. His marriage breaks up, and he emigrates to the United States in 1925 where he settles in New York City. He lectures at Fordham University, and works in academic Irish studies, founding the University’s School of Irish Studies in 1928, which lasts four years. He is the editor of The Irish Review (1934), a short lived “magazine of Irish expression.” The business manager is George Lennon, former Officer Commanding of the County WaterfordFlying Column during the Irish War of Independence. The managing editor is Lennon’s brother-in-law, George H. Sherwood.
Campbell returns to Ireland in 1939, settling at Glencree, County Wicklow. He dies at Lacken Daragh, Enniskerry, County Wicklow on June 6, 1944.
Kickham’s father, John Kickham, is the proprietor of the principal drapery in the locality and is held in high esteem for his patriotic spirit. His mother, Anne O’Mahony, is related to the Fenian leader John O’Mahony. He grows up largely deaf and almost blind, the result of an explosion with a powder flask when he is thirteen. He is educated locally, where it is intended that he study for the medical profession. During his boyhood the campaign for a repeal of the Acts of Union 1800 between Great Britain and Ireland is at its height, and he soon becomes versed in its arguments and is inspired by its principles. He often hears the issues discussed in his father’s shop and at home amongst all his friends and acquaintances.
From a young age Kickham is imbued with these patriotic ideals. He becomes acquainted with the teaching of the Young Irelanders through their newspaper The Nation from its foundation in October 1842. His father read the paper aloud every week for the family. Like all the young people of the time, and a great many of the old ones, his sympathies are with the Young Irelanders on their secession from the Repeal Association.
When he is 22 years old, Kickham contributes The Harvest Moon sung to the air of “The Young May Moon,” to The Nation on August 17, 1850. Other verses are to follow, but the finest of his poems according to A. M. O’Sullivan, appear in other journals. Rory of the Hill, The Irish Peasant Girl, and Home Longings, better known as Slievenamon, are published in the Celt. The First Felon appears in the Irishman. Patrick Sheehan, the story of an old soldier, is published in the Kilkenny Journal, and becomes very popular as an anti-recruiting song.
Kickham begins to write for a number of papers, including The Nation, but also the Celt, the Irishman, the Shamrock, and becomes one of the leading writers of The Irish People, the Fenian newspaper, in which many of his poems appear. His writings are signed using his initials, his full name, or the pseudonyms, “Slievenamon” and “Momonia.”
Kickham is the leading member of the Confederation Club in Mullinahone, which he is instrumental in founding. When the revolutionary spirit begins to grip the people in 1848, he turns out with a freshly made pike to join William Smith O’Brien and John Blake Dillon when they arrive in Mullinahone in July 1848. On hearing of the progress of O’Brien through the country, he sets to work manufacturing pikes and is in the forge when news reaches him that the leaders are looking for him. It is here that he meets James Stephens for the first time. At O’Brien’s request, he rings the chapel bell to summon the people and before midnight a Brigade has answered the summons. He later writes a detailed account about this period which brings his connection with the attempted Rising of 1848 to a close.
After the failed 1848 uprising at Ballingarry, Kickham has to hide for some time, as a result of the part he had played in rousing the people of his native village to action. When the excitement has subsided, he returns to his father’s house and resumes his interests in the sports of fishing and fowling and spends much of his time in literary pursuits. Some of the authors in which he is well versed are Alfred Tennyson and Charles Dickens and he greatly admires George Eliot, and after William Shakespeare, is Robert Burns.
In the autumn of 1857, a messenger arrives from New York with a message for James Stephens from members of the Emmet Monument Association, calling on him to get up an organization in Ireland. On December 23, Stephens dispatches Joseph Denieffe to the United States with his reply and outlines his conditions and his requirements from the organisation in America. Denieffe returnd on March 17, 1858, with the acceptance of Stephens’ terms and £80. That evening the Irish Republican Brotherhood commences. Those present in Langan’s, lathe-maker and timber merchant, 16 Lombard Street, for that first meeting are Stephens, Kickham, Thomas Clarke Luby, Peter Langan, Denieffe and Garrett O’Shaughnessy. Later it includes members of the Phoenix National and Literary Society, which is formed in 1856 by Jeremiah O’Donovan Rossa in Skibbereen, County Cork.
In mid-1863, Stephens informs his colleagues that he wishes to start a newspaper, with financial aid from O’Mahony and the Fenian Brotherhood in America. The offices are established at 12 Parliament Street, almost at the gates of Dublin Castle. The first issue of The Irish People appears on November 28, 1863. The staff of the paper along with Kickham are Luby and Denis Dowling Mulcahy as the editorial staff, O’Donovan Rossa and James O’Connor in charge of the business office, with John Haltigan being the printer. John O’Leary is brought from London to take charge in the role of Editor. Shortly after the establishment of the paper, Stephens departs on an America tour, and to attend to organizational matters. Before leaving, he entrusts to Luby a document containing secret resolutions on the Committee of Organization or Executive of the IRB. Though Luby intimates its existence to O’Leary, he does not inform Kickham as there seems no necessity. This document later forms the basis of the prosecution against the staff of The Irish People.
Kickham’s first contribution to The Irish People, entitled Leaves from a Journal, appears in the third issue and is based on a journal he kept on his way to America in 1863. This article leaves no doubt as to his literary capacity according to O’Leary. It falls to Kickham, as a good Catholic, to tackle the priests, though not exclusively with articles such as “Two Sets of Principles,” a rebuff to the doctrines laid down by Lord Carlisle, and “A Retrospect,” dealing with the tenant-right movement chiefly but also the events of the recent past and their bearing on the present. Kickham articulates the attitude held by the IRB in relation to priests, or more particularly in politics.
On July 15, 1865, American-made plans for a rising in Ireland are discovered when the emissary loses them at Kingstown railway station. They find their way to Dublin Castle and to Superintendent Daniel Ryan, head of G Division. Ryan has an informer within the offices of The Irish People named Pierce Nagle. He supplies Ryan with an “action this year” message on its way to the IRB unit in Tipperary. With this information, Ryan raids the offices of The Irish People on September 15, followed by the arrests of O’Leary, Luby, and O’Donovan Rossa. Kickham is caught after a month on the run. Stephens is also caught but with the support of Fenian prison warders John J. Breslin and Daniel Byrne is less than a fortnight in Richmond Bridewell when he vanishes and escapes to France. The last issue of The Irish People is dated September 16, 1865.
On November 11, 1865, Kickham is convicted of treason. Judge William Keogh, with many expressions of sympathy for the prisoner, and many compliments in reference to his intellectual attainments, sentences him to fourteen years’ penal servitude. The prisoners’ refusal to disown their opposition to British rule in any way, even when facing charges of life-imprisonment, earn them the nickname of “the bold Fenian men.” Kickham spends time from 1866 until his release in the Woking Convict Invalid Prison.
Kickham is given a free pardon from Queen Victoria on February 24, 1869, because of ill-health, and upon his release he is made Chairman of the Supreme Council of the IRB and the unchallenged leader of the reorganized movement. He is an effective orator and chairman of meetings despite his physical handicaps. He wears an ear trumpet and can only read when he holds books or papers within a few inches of his eyes. For many years he carries on conversations by means of the deaf and dumb alphabet.
Kickham is the author of three well-known stories, dealing sympathetically with Irish life and manners and the simple faith, the joys and sorrows, the quaint customs and the insuppressible humour of the peasantry. Knocknagow is deemed one of the finest tales of peasant life ever written. Sally Cavanagh is a touching story illustrating the evils of landlordism and emigration. For the Old Land deals with the fortunes of a small farmer’s family.
Kickham dies on August 22, 1882, at the house of James O’Connor, a former member of the IRB and afterward MP for West Wicklow, 2 Montpelier Place, Blackrock, Dublin, where he had been living for many years, and had been cared for by the poet Rose Kavanagh. He is buried in Mullinahone, County Tipperary.
In a letter to his family written on April 30, 1916, Thomas MacDonagh recalls “I was astonished to receive by a messenger from P.H. Pearse, Commandant General of the Army of the Irish Republic, an order to surrender unconditionality to the British General. I did not obey the order as it came from a prisoner. I as then in supreme command of the Irish Army, consulted with my second in command and decided to confirm the order. I knew that it would involve my death and the deaths of other leaders. I hoped that it would save many true men among our followers, good lives for Ireland. God grant it has done so and God approve our deed. For my self I have no regret. The one bitterness that death has for me is the separation it brings from my beloved wife Muriel, and my beloved children, Donagh and Barbara. My country will then treat them as wards, I hope. I have devoted myself too much to National work and too little to the making of money to leave them a competence. God help them and support them, and give them a happy and prosperous life. Never was there a better, truer, purer woman than my wife Muriel, or more adorable children than Don and Barbara. It breaks my heart that I shall never see my children again, but I have not wept or murmured. I counted the cost of this and am ready to pay it. Muriel has been sent for here. I do not know if she can come. She may have no one to take the children while she is coming. If she does.”
MacDonagh and Pearse are contemporaries of one another: poets, progressive educators, Gaelic revivalists. They are men who gird for battle “with a revolver in one hand and a copy of Sophocles in the other.” Each man commands a unit of Irish Volunteers during the Easter Rising, which takes place the week of April 24-30,1916. MacDonagh occupies Jacob’s biscuit factory and Pearse the General Post Office (GPO), from which he issues the surrender at the end of the week.
McDonagh and Pearse are signatories of the Proclamation of the Irish Republic, a document issued by the Irish Volunteers and the Irish Citizen Army at the beginning of the Easter Rising, proclaiming Ireland’s independence from the United Kingdom. The reading of the proclamation by Pearse outside the General Post Office (GPO) on Sackville Street (now O’Connell Street), Dublin‘s main thoroughfare, marks the beginning of the Rising.
Pearse’s and MacDonagh’s signatures on the Proclamation are a fatal endorsement for them and for each of the other five men to lend it their signatures. After being court-martialed, both Pearse and MacDonagh, along with Thomas Clarke, are executed by firing squad at Kilmainham Gaol in Dublin on May 3, 1916, the first of the rebels to be executed.
(Pictured: Thomas McDonagh (left) and Patrick Pearse)
MacCarthy is born in Lower O’Connell Street, Dublin, on May 26, 1817, and educated there and at St. Patrick’s College, Maynooth. He acquires an intimate knowledge of Spanish from a learned priest, who had spent much time in Spain, which he is later to turn to good advantage. In April 1834, before turning seventeen, he contributes his first verses to the Dublin Satirist. He is one of a coterie of writers whose works appear in The Nation, which is started by Charles Gavan Duffy in 1842. Writing under the pseudonym “Desmond,” most of MacCarthy’s patriotic verse appears in this organ.
In 1846, MacCarthy is called to the Irish bar but never practises. In the same year he edits The Poets and Dramatists of Ireland, which he prefaces with an essay on the early history and religion of his countrymen. About this time, he also edits The Book of Irish Ballads (by various authors), with an introductory essay on ballad poetry in general. His Ballads, Poems, and Lyrics appears in 1850, original and translated. His attention is first directed to Pedro Calderón de la Barca by a passage in one of Percy Bysshe Shelley‘s essays, and from then on, the interpretation of the “Spanish Shakespeare” claims the greater part of his attention.
The first volume of MacCarthy’s translations, containing six plays, appears in 1853, and is followed by further instalments in 1861, 1867, 1870, and 1873. His version of Daybreak in Capacabana is completed only a few months before his death.
Until 1864, MacCarthy resides principally on Killiney Hill, overlooking Dublin Bay. The delicate health of some members of his family then renders a change of climate imperative, and he pays a prolonged visit to continental Europe. On his return, he settles in London in 1871, where he publishes – in addition to his translations – Shelley’s Early Life, which contains an account of that poet’s visit to Dublin in 1812.
MacCarthy’s poems are distinguished by a sense of harmony and sympathy with natural beauty. Such poems as “The Bridal of the Year,” “Summer Longings” (alias “Waiting for the May”), and his long narrative poem, “The Voyage of St. Brendan,” are among his most enduring works. The last-mentioned, which paraphrases the “Ave Maria Stella” as the evening song of the sailors, is also marked by the earnest religious feeling which mark its author throughout life. But it is by his version of Calderon that he is considered to have won a permanent place in English letters. His success is sufficiently testified by George Ticknor, who declares in his History of Spanish Literature that MacCarthy “has succeeded in giving a faithful idea of what is grandest and most effective in [Calderon’s] genius… to a degree which I had previously thought impossible. Nothing, I think, in the English language will give us so true an impression of what is most characteristic of the Spanish drama, and of Spanish poetry generally.”
The band is briefly named the Fast, but as there is already a group of that name, they change it to Stiff Little Fingers, taken from the song of the same name that had appeared on Pure Mania, the 1977 album by the Vibrators. Apart from a five-year gap from 1983 to 1987, Stiff Little Fingers has been active since 1977 to the present day and have released ten studio albums.
In 1981, Burns makes his acting debut in an episode of the BBC‘s Play for Today series entitled Iris in the Traffic, Ruby in the Rain, written by Belfast-born poet and playwrightStewart Parker, which also features the rest of Stiff Little Fingers effectively playing themselves as “The Band.”
After the breakup of Stiff Little Fingers in 1983, Burns forms Jake Burns and the Big Wheel. The band consists of Burns on vocals and guitar, Steve Grantley on drums, Sean Martin on bass guitar, and Pete Saunders on keyboards. Big Wheel records a total of three singles, “On Fortune Street,” “She Grew Up” and “Breathless.” A compilation album, also called On Fortune Street, is released in 2002 after the band’s demise.
In 1987, Burns disbands Big Wheel, and Stiff Little Fingers reforms, because they are “skint and wanted to make a bit of cash to get back to Ireland for Christmas.”
From about 2001 to 2005, Burns is involved in a side project with Pauline Black of the Selecter, called 3 Men and Black. This involves Black touring with three male artists from the late 1970s and early 1980s doing acoustic versions of songs they are famous for and talking a little about how they came to write the songs. The lineup for the concerts is fairly fluid, and includes such people as Bruce Foxton, Jean-Jacques Burnel, Eric Faulkner and Nick Welsh.
On March 27, 2006, Burns releases a solo album titled Drinkin’ Again.
Burns lives in London for over ten years from 1978 after Stiff Little Fingers relocates there. His first wife lives in Newcastle upon Tyne, and after their marriage, he moves to Newcastle, where he lives for 16 years, becoming a supporter of Newcastle United F.C. He is also an avid supporter of the Northern Ireland national football team.
Burns’s second wife, Shirley, is American and they have lived in Chicago since 2004. Burns eventually becomes a U.S. citizen, partially so he can help vote out Donald Trump.
(Pictured: Jake Burns, performing with Stiff Little Fingers in 2019)
Hutchinson is born in Glasgow, Scotland, on February 16, 1927. His father, Harry Hutchinson, a Scottish printer whose own father had left Dublin to find work in Scotland, is Sinn Féin treasurer in Glasgow and is interned in Frongoch internment camp in 1919–21. His mother, Cathleen Sara, is born in Cowcaddens, Glasgow, of emigrant parents from County Donegal. She is a friend of Constance Markievicz. In response to a letter from Cathleen, Éamon de Valera finds work in Dublin for Harry as a clerk in the Labour Exchange, and later he holds a post in Stationery Office.
Hutchinson is five years old when the family moves to Dublin and is the last to be enrolled in St. Enda’s School before it closes. He then goes to school at Synge Street CBS where he learns Irish and Latin. One of his close friends there is the poet and literary critic John Jordan. In 1948 he attends University College Dublin (UCD) where he spends a year and a half, learning Spanish and Italian.
Having published some poems in The Bell in 1945, Hutchinson’s poetic development is greatly influenced by a 1950 holiday in Spain and Portugal. A short stop en route at Vigo brings him into contact for the first time with the culture of Galicia. Later, in Andalusia, he is entranced by the landscape and by the works of the Spanish poets Federico García Lorca, Emilio Prados and Luis Cernuda.
In 1951 Hutchinson leaves Ireland again, determined to live in Spain. Unable to get work in Madrid, as he had hoped, he travels instead to Geneva, where he gets a job as a translator with the International Labour Organization, which brings him into contact with Catalan exiles, speaking a language then largely suppressed in Spain. An invitation by a Dutch friend leads to a visit to the Netherlands, in preparation for which he teaches himself the Dutch language.
Hutchinson returns to Ireland in 1953 and becomes interested in the Irish language poetry of writers such as Piaras Feiritéar and Aonghus Fionn Ó Dálaigh and publishes a number of poems in Irish in the magazine Comhar in 1954. The same year he travels again to Spain, this time to Barcelona, where he learns the Catalan and Galician languages, and gets to know Catalan poets such as Salvador Espriu and Carles Riba. With the British poet P. J. Kavanagh, he organises a reading of Catalan poetry in the British Institute.
Hutchinson goes home to Ireland in 1957 but returns to Barcelona in 1961 and continues to support Catalan poets. An invitation by the publisher Joan Gili to translate some poems by Josep Carner leads to the publication of his first book, a collection of thirty of Carner’s poems in Catalan and English, in 1962. A project to publish his translation of Espriu’s La Pell de brau (The Bull-skin), falls through some years later. Some of the poems from this project are included in the collection Done into English.
In 1963, Hutchinson’s first collection of original poems in English, Tongue Without Hands, is published by Dolmen Press in Ireland. In 1967, having spent nearly ten years altogether in Spain, he returns to Ireland, making a living as a poet and journalist writing in both Irish and English. In 1968, a collection of poems in Irish, Faoistin Bhacach (A Lame Confession), is published. Expansions, a collection in English, follows in 1969. Friend Songs (1970) is a new collection of translations, this time of medieval poems originally written in Galician-Portuguese. In 1972 Watching the Morning Grow, a new collection of original poems in English, comes out, followed in 1975 by another, The Frost Is All Over.
In October 1971, Hutchinson takes up the Gregory Fellowship in Poetry at the University of Leeds, on the recommendation of Professor A. Norman Jeffares. There is some controversy around the appointment following accusations, later retracted, that Jeffares had been guilty of bias in the selection because of their joint Irish heritage. He holds tenure at the University for three years, and during that time contributes to the University’s influential poetry magazine Poetry & Audience.
From 1977 to 1978 Hutchinsonn compiles and presents Oró Domhnaigh, a weekly radio programme of Irish poetry, music and folklore for Ireland’s national network, RTÉ. He also contributes a weekly column on the Irish language to the station’s magazine RTÉ Guide for over ten years. A collaboration with Melita Cataldi of Old Irish lyrics into Italian is published in 1981. Another collection in English, Climbing the Light (1985), which also includes translations from Irish, Italian and Galician, is followed in 1989 by his last Irish collection, Le Cead na Gréine (By Leave of the Sun). The Soul that Kissed the Body (1990) is a selection of his Irish poems translated into English. His most recent English collection is Barnsley Main Seam (1995). His Collected Poems is published in 2002 to mark his 75th birthday. This is followed in 2003 by Done into English, a selection of many of the translated works he produced over the years.
A co-editor and founder of the literary journal Cyphers, Hutchinson receives the Butler Award for Irish writing in 1969. He is a member of Aosdána, the state-supported association of artists, from which he receives a cnuas (stipend) to allow him to continue writing. He describes this as “a miracle and a godsend” as he is fifty-four when invited to become a member and is at the end of his tether. A two-day symposium of events is held at Trinity College Dublin, to celebrate his 80th birthday in 2007, with readings from his works by writers including Macdara Woods, Eiléan Ní Chuilleanáin, Paul Durcan and Sujata Bhatt. His most recent collection, At Least for a While (2008), is shortlisted for the Poetry Now Award.
Hutchinson lives in Rathgar, Dublin, and dies of pneumonia in Dublin on January 14, 2012. His extensive archive is in the library of Maynooth University. Its opening on May 24, 2015, is accompanied by the inauguration of an annual Pearse Hutchinson seminar and the launch of a collection of unpublished Hutchinson poems, Listening to Bach.
Some critics argue that Hutchinson’s concern with simplicity and Ireland’s place in the comparative history of human oppression too often deteriorates into banality, didacticism, and regurgitation of sentimental revivalist tropes. Even these, however, acknowledge his occasional greatness, while his champions argue that his achievement has not yet been fully recognised and absorbed.
McGurk first joins RTÉ in 1972, as a news reporter, moving on to present Last House and First House on television. In 1972 he wins a Jacob’s Award for his RTÉ Radio documentaries on Ireland’s islands. For 20 years he is the presenter of RTÉ Sport‘s rugby coverage, most notable of the Six Nations Championship and Internationals with the panel of George Hook and Brent Pope. He also spends time in the 1980s and 1990s in the UK, working for BBC Radio 4‘s Start of the Week as a presenter on the regional ITV station for the North West of England, Granada Television. On his return to Ireland, he presents the Sunday Show on RTE Radio 1. He also guest presents Tonight with Vincent Browne, on TV3. He presents a drive-time radio show on 4FM when it launches in 2009.
Until 2019, McGurk is a columnist with The Sunday Business Post. He then writes for The Currency until 2020.
McGurk writes the script for the TV film Dear Sarah based on the letters from Sarah Conlon, campaigning for the release of her husband (Giuseppe Conlon), son (Gerry Conlon) and sister Anne Maguire, caught up in the Guildford Four miscarriage of justice.
Among his poems is “Big Ned” about a farmer from Brockagh, County Tyrone.
While working for 4FM, the Director of the National Women’s Council of Ireland, Susan McKay, speaks out against an “uncouth and objectionable” interview McGurk conducts with her. The National Women’s Council has since refrained from giving interviews to 4FM.
From 1983 to 1996 McGurk is married to the broadcaster Miriam O’Callaghan, with whom he has four daughters. In 2003 he marries PR consultant Caroline Kennedy.
On December 5, 2017, the Irish Revenue Commissioners list of tax defaulters reveal that McGurk had made a settlement of €76,000 with the Revenue for the underpayment of income tax.
Liam Redmond, Irish character actor known for his stage, film and television roles, dies in Dublin on October 28, 1989, following a lengthy illness.
Redmond is born in Limerick, County Limerick, on July 27, 1913, one of four children born to cabinet-maker Thomas and Eileen Redmond. Educated at the Christian Brothers schools in Dublin, he later attends University College Dublin (UCD) and initially reads medicine before moving into drama.
While Director of the Dramatic Society, Redmond meets and marries the society’s secretary, Barbara MacDonagh, sister of Donagh MacDonagh and daughter of 1916 Easter Rising leader Thomas MacDonagh and Muriel Gifford. They have four children.
Redmond is invited to join the Abbey Theatre in 1935 as a producer by William Butler Yeats, the Irish poet. Yeats writes his play Death of Cú Chulainn for Redmond to star as Cú Chulainn, hero of one of Ireland’s foundational myths.
Redmond makes his acting debut at the Abbey Theatre in 1935 in Seán O’Casey‘s The Silver Tassie. His first stage appearance is in 1939 in New York City in The White Steed. After returning to Britain at the outbreak of World War II he is a regular on the London stage. He is one of the founders of the Writers’, Artists’, Actors’ and Musicians’ Association (WAAMA), a precursor of the Irish Actors’ Equity Association. His insistence that “part-time professionals” – usually civil servants who act on the side – should be paid a higher rate than professional actors for both rehearsal time and performance, effectively wiping out this class, raising the wages and fees of working actors.
Hyde-Lees is the daughter of militia captain (William) Gilbert Hyde-Lees (1865–1909), of the Manchester Regiment, and Edith “Nelly” Ellen (1868–1942), daughter of barrister and manufacturer Montagu Woodmass, JP. Her father is regarded by her mother’s family as “a most undesirable character, but ‘rolling in money,'” having taken up the life of a “gentleman alcoholic” on resigning his commission after receiving an inheritance from his wealthy uncle Harold Lees, of Pickhill Hall, near Wrexham, then part of Denbighshire. He is “attractive, reckless, witty, and… musical,” and fond of pranks. She has an elder brother, Harold (1890–1963), who becomes a clergyman, with “rigid moral standards” and “a less than joyous existence,” his only indulgence being “a fine collection of drawings and etchings.” When she is only a few years old, her parents’ marriage fails due to her father’s alcoholism. Her father has enough income to support his family, allowing Georgie and her mother to spend “a good deal of their time” travelling in Europe, but his wife is in the awkward social position of being a “married woman without a husband.” The family lives a vaguely bohemian and nomadic lifestyle, travelling frequently to country homes and spending long periods visiting relatives.
Hyde-Lees attends a number of schools in Knightsbridge, London art schools, studies languages and classics, and piano. She becomes a close friend of Dorothy Shakespear, who is fond of Georgie and shares many of her interests despite being six years her senior. After the death of her father in 1909 at the age of 44, her mother marries Dorothy’s uncle, Henry Tucker, Olivia Shakespear‘s brother, and they move to Kensington.
Hyde-Lee’s mother often brings young musicians and artists she has recently met to Olivia Shakespear’s salon, many of whom become well-known modernists, including Ezra Pound, Walter Rummel, and Frederic Manning. She continues to make the rounds of country estates with her mother and Olivia and Dorothy Shakespear. It is in their company in 1910 or 1911, as a seventeen-year-old, that one morning she meets W. B. Yeats at the British Museum and again that afternoon during tea at the Shakespears.
Seven years later, when Hyde-Lees is 25 and Yeats is 52, he asks her to marry him. Only a few weeks earlier, Iseult Gonne, the daughter of Maud Gonne whom Yeats had loved for many years, had rejected his marriage proposal. She and Yeats marry just three weeks later, on October 20, 1917, in a public register office, witnessed by her mother and Ezra Pound. During the honeymoon, while Yeats is still brooding about Iseult’s rejection, she begins the automatic writing which fascinates him. Yeats writes about her psychography days later in what is to be A Vision (1925), and it holds the marriage together for many years. Within a year of marriage, Yeats declares her name of Georgie to be insufferable, and henceforth calls her George.
seamus dubhghaill 