Ahern and her books have won numerous awards, including the Irish Book Award for Popular Fiction for The Year I Met You (2014). She publishes several novels and contributes a number of short stories to various anthologies.
Before starting her writing and producing career, Ahern obtains a degree in journalism and media communications from Griffith College Dublin, but withdraws from a master’s degree course to pursue her writing career.
In 2002, when Ahern is twenty-one, she writes her first novel, PS, I Love You. Published in 2004, it is the number 1 bestseller in Ireland (for 19 weeks), the United Kingdom, United States, Germany and the Netherlands. It is sold in over forty countries. The book is adapted as a motion picture directed by Richard LaGravenese and starring Hilary Swank and Gerard Butler. It is released in the United States on December 21, 2007.
Ahern’s second book, Where Rainbows End (known as Love, Rosie in the United States), also reaches number 1 in Ireland and the United Kingdom and wins the German Corine Literature Prize in 2005. It is adapted as a motion picture titled Love, Rosie which is released in 2014, directed by Christian Ditter and starring Lily Collins and Sam Claflin.
Ahern has contributed to charity books with the royalties from short stories such as Irish Girls are Back in Town and Ladies’ Night.
Ahern’s book The Gift is published just before Christmas 2008 in the United Kingdom. Her following book, The Book of Tomorrow, is published on October 1, 2009. In 2016, she releases Flawed, her first book for young adults, and Lyrebird.
Ahern is nominated for Best Newcomer 2004/5 at the British Book Awards for her debut novel PS, I Love You. She wins the 2005 Irish Post Award for Literature and a 2005 Corine Literature Prize for her second book Where Rainbows End, which is voted for by German readers. In 2006, she is long listed for the International IMPAC Dublin Literary Award for PS, I Love You. Cosmopolitan US honours her with a Fun Fearless Fiction Award 2007 for If You Could See Me Now. Irish Tatler awards her Writer of the Year at the Woman of the Year awards in 2009. Her fifth novel, Thanks for the Memories, is nominated for Most Popular Book in the British Book Awards 2008. She is voted Author of Year in the UK Glamour Awards in 2008.
Ahern marries David Keoghan in 2010. They have three children, two daughters and a son. As of 2015, they reside in Malahide in County Dublin. She had COVID-19 in early 2022, describing it as “kind of mild. I was lucky.”
Dowling is born on June 3, 1846, in Clonmel, County Tipperary, the only son of David Jeremiah Dowling, schoolmaster, and Margaret Dowling. His father dies when he is nine years old. He is educated in Clonmel, Waterford, and St. Munchin’s College in Corbally, Limerick, before entering the shipping office of his uncle William Downey in Waterford at the age of eighteen. He distinguishes himself in the Waterford Literary and Debating Society and contributes to local newspapers, including the Waterford Citizen and The Waterford Chronicle. In 1870, he joins the staff of The Nation and moves to Dublin. On the outbreak of the Franco–Prussian War, he edits for Alexander Martin Sullivan a war-sheet, The Daily Summary, and subsequently becomes editor and contributor successively to the humorous but short-lived Zozimus and Ireland’s Eye.
Dowling settles in London in 1874, joining the staff of the Illustrated Sporting and Dramatic News, and founds Yorick in 1876, a comic paper with cartoons by Harry Furniss which lasts six months. In 1879, he publishes the first and most successful of his many novels, The Mystery of Killard, a strange tale of a deaf-mute fisherman in County Clare, which is hailed as one of the most striking romances of the year. Though his later novels are intensely realistic, exciting, and clever, they never achieve the same high standard. According to Furniss, who thought Dowling would be a great author, he “drifted into the quicksand of Bohemianism…He sank a wreck, with a rich cargo of genius that was never delivered to the world.” Other writers later mention his unfulfilled promise. Among his other novels of Irish interest are Sweet Inisfail (1882) and Old Corcoran’s Money (1892). A dramatisation of Below Bridge (1895) is staged on April 6, 1896, at the Novelty Theatre, London.
Dowling contributes poetry, short stories, and essays to several magazines, including Belgravia, London Society, and Saturday Journal, and is a frequent contributor to Tinsley’s Magazine, writing its leading serials (1880–82), which are later published as the novels Under St. Paul’s (1881) and The Duke’s Sweetheart (1881). His collections of essays include On Babies and Ladders (1873), which some critics believe to be his best work, Ignorant Essays (1887), Indolent Essays (1889), full of wit and original thought, and descriptive essays London Town (1880). He also edits the Poems (1891) of John Francis O’Donnell. He writes both under his own name and under various pseudonyms, including Peter Mendaciorum, Marcus Fall and Emmanuel Kink. A selection of his letters is published as Some Old Letters (Oct. – Nov. 1919) and More Old Letters (Jan. – Feb. 1920).
According to his daughter, Dowling works erratically, often continuously for several days and nights. An invalid during his later years, he composes his works on a sofa, invariably wearing a cap and with a soup-plate full of pipes beside him, which he enjoys in turn. A mild, kind, and gentle personality, he is an effective raconteur and a witty conversationalist. His cousin, Edmund Downey, who publishes many of his works, is introduced to the publishing world by Dowling. He is an applicant to the British charity for authors, the Royal Literary Fund, and leaves his family ill provided for.
Dowling dies on July 28, 1898, at his home at 2 Foulser Road, Tooting, South London, and is buried in Mortlake Cemetery, London. He is married and has three children, although his wife’s name and the date of their marriage are not known.
(From: “Dowling, Richard” by Helen Andrews, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Mac Aonghusa is the son of Criostóir Mac Aonghusa, a writer and Irish language activist, and Mairéad Ní Lupain, a nurse and native Irish speaker. The eldest of four siblings, he grows up speaking Irish as his first language and allegedly does not learn English until the age of eleven. His parents are left-wing Irish republicans who support Fianna Fáil and associate with the like-minded Máirtín Ó Cadhain and Peadar O’Donnell. His parents split when he is ten years of age. His mother takes his siblings away to Dublin while he and his father remain in Rosmuc, a remote village and part of the Galway Gaeltacht. As a teenager he is educated at Coláiste Iognáid (also known as St. Ignatius College), a bilingual school in Galway.
Upon leaving school, Mac Aonghusa first works as an actor at the Abbey Theatre in Dublin, performing in Irish language productions. In 1952, he becomes involved in Radio Éireann, first as an actor but later as a reader of short stories before advancing to becoming a newsreader, presenter and interviewer. As he advances his career, he works for RTÉ, UTV and BBC television from the 1960s. In 1962, he begins presenting An Fear agus An Sceal (The Man & his Story) on RTÉ television, an Irish language show which sees him interviewing a different guest of note about their life each episode. That same year he wins a Jacob’s Award for An Fear agus an Sceal, which he continues to host until 1964.
As well as attracting awards, An Fear agus an Sceal also brings controversy. Two interviews, one with Máirtín Ó Cadhain, one with Con Lehane, both criticise the measures practised by the Fianna Fáil government during World War II to suppress and imprison Irish republicans. In response, the Fianna Fáil government intervenes with RTÉ, and those episodes are not aired. This is not to be Mac Aonghusa’s only run-in with the Fianna Fáil government. After he recorded a programme in which he questioned the effectiveness of Ireland’s civil defence measures in the face of nuclear war, then Minister for DefenceKevin Boland has the episode suppressed. He once again runs afoul of the Fianna Fáil government when, after criticising the party in his anonymous weekly political gossip column in the Sunday Independent, then Minister for AgricultureNeil Blaney sees to it that the column is dropped. He is not deterred and returns anonymously as “Gulliver” in The Sunday Press and a gossip column on the back page of The Hibernia Magazine.
The latter half of Mac Aonghusa’s 1960s/70s broadcasting career is primarily associated with the Irish language current events show Féach, which he both presents and edits. He resigns from Féach in 1972 following a bitter dispute with the broadcaster and commentator Eoghan Harris.
In 1959, Mac Aonghusa writes a series of six articles for The Irish Times in which he vehemently opposes the Fianna Fáil government’s proposal to abolish single transferable vote in Ireland in favour of first-past-the-post voting. He contends that first-past-the-post voting gives too much influence to party bosses, while proportional representation gives even small minorities representation, preventing them from feeling excluded by the state such as nationalists in Northern Ireland. In the referendum held on the matter on June 17, 1959, voters reject first past the vote by a margin of 2%. Fianna Fáil attempts to repeal proportional representation again in the late 60s, at which point Mac Aonghusa once again throws himself into the fight, leading a group called “Citizens for PR.” In the referendum of 1968, voters reject the first past the post system by over 20%. He later recalls that his defence of proportional representation his greatest achievement in politics.
In the 1960s, both Mac Aonghusa and his wife, Catherine, join the Sean Connolly branch of the Labour Party in Dublin. The branch had established a reputation as a haven for intellectuals who want a branch to themselves away from the many other Labour branches dominated by trade unionists. The branch comes to advocate for expressly socialist policies combined with on-the-ground grass-roots campaigning. Through the Sean Connolly Branch, both he and his wife begin to develop significant influence over the leader of the Labour party Brendan Corish.
In the 1965 Irish general election, Mac Aonghusa stands on behalf of the Labour party in the Louth constituency but is not elected. In 1966, he publishes a book of speeches by Corish, the speeches themselves mostly having been ghostwritten by his wife Catherine. The introduction of the book proclaims that Corish had developed a “brand of democratic republican socialism … broadened by experience and built firmly on Irish‐Ireland roots” and had rid the party of “do‐nothing backwoodsmen”, thereby becoming the “first plausible and respected Labour leader in Ireland”. It is at this same time that he is elevated to vice-chairman of the party. As vice-chair, he tries to convince Corish to stand in the 1966 Irish presidential election. When he fails to do so, he supports Fine Gael‘s Tom O’Higgins in his bid for the presidency. O’Higgins comes within 0.5% of beating the incumbent, an ageing Éamon de Valera.
It was around this same time that Mac Aonghusa becomes active in the Wolfe Tone Societies, a republican organisation linked almost directly to Sinn Féin. He suggests that republicans with “progressive views” should join the Labour party. In 1966, alongside Máirtín Ó Cadhain and other Gaeilgeoirí, he counter-protests and disrupts the Language Freedom Movement, an organisation seeking the abolition of compulsory Irish in the education system. For this, he and his allies are criticised as acting illiberally, while he maintains that those who oppose the Irish language are “slaves” unworthy of tolerance.
Mac Aonghusa’s open disdain for the conservative and trade union wings of the Labour, as well as his open embrace of republican sensibilities and tendency to make pronouncements on Labour policy without first consulting the party’s structures, bring him many internal enemies. An attempt is made to censure him for backing breakaway trade unions, but he is able to survive this. In 1966, he encourages the formation of the Young Labour League, an unofficial youth wing of the party led by Brian Og O’Higgins, son of former Sinn Féin president Brian O’Higgins. Mirroring his own position, the Youth League are Corish loyalists that openly rebel against the views of Labour’s conservative deputy leader James Tully. When the youth league begins publishing their own weekly newsletter, Labour’s administrative council condemns it after discovering material which is “violently” critical of Tully and other Labour conservatives. An ensuing investigation into the newsletter leads to Mac Aonghusa admitting that he had financed it and written some of the content, but not the anti-Tully material. After he refuses to co-operate with further investigations into the matter, he is expelled on January 12, 1967 for “activities injurious” to the party. In the aftermath, he portrays himself a left-wing martyr purged by a right-wing “Star chamber,” a tactic that garners him sympathy. Nevertheless, his expulsion is confirmed at the October 1967 party conference, despite one last appeal. His wife leaves the party alongside him.
In the aftermath of his expulsion from Labour, Mac Aonghusa expresses an interest in the social democratic wing of Fine Gael, which had been developing under Declan Costello since the mid-1960s. However, he does not join the party and instead runs as an independent candidate in the 1969 Irish general election in Dún Laoghaire–Rathdown. When he is not elected, he begins to refocus on the revival of the Irish language and with nationalist politics rather than being elected himself.
Upon the onset of the Troubles, Mac Aonghusa is initially supportive of Official Sinn Féin, however by 1972 he comes to resent them and, through the Ned Stapleton Cumann, their secret influence over RTÉ. During the Arms Crisis in 1970, he supports Charles Haughey and Neil Blaney, who stand accused of arranging to supply weapons to the Provisional IRA, in the pages of the New Statesman and other left‐wing journals. In this time period, he warns editors not to reprint his material in the Republic of Ireland as there is a de facto ban on him, and indeed, official attempts are made to block the transmission of his telexed reports.
Despite his earlier famed stark criticism of Fianna Fáil, Mac Aonghusa’s defence of Haughey leads to a friendship between the two men which results in him becoming one of Haughey’s loudest defenders throughout the rest of his career. His columns in The Sunday Press and Irish language paper Anois are accused of descending into self-parody in their stringent defences of Haughey.
During the 1970s, Mac Aonghusa writes a number of books covering significant figures in Irish republicanism. In order, he releases books on James Connolly, Patrick Pearse, Wolfe Tone and Éamon de Valera. In his work on De Valera, he emphasises what he perceives as the more radical aspects of the Fianna Fáil founder. During 1974 and 1975, he works as a United Nations Special Representative to the Southern Africa region with Seán MacBride, where they involve themselves in the South African Border War, and during which time Mac Aonghusa becomes involved in setting up a radio station in Namibia, linked to the South West Africa People’s Organisation (SWAPO) nationalist party.
In the 1980s, Haughey twice appoints Mac Aonghusa to the Arts Council as well as naming him president of Bord na Gaeilge (1989-93). This is an issue as Mac Aonghusa is already president of Conradh na Gaeilge. Being head of the main Irish language lobbying body as well as the state body responsible for the Irish language has an obvious conflict of interest. In 1991, following the announcement by Haughey that the government is to fund the creation of an Irish-language television station (launched in 1996 as Teilifís na Gaeilge), an elated Mac Aonghusa suggests that Haughey would be “remembered among the families of the Gael as long as the Gaelic nation shall survive.”
In 1992 there are calls for Mac Aonghusa to step down from Bord na Gaeilge after he pronounces that “every respectable nationalist” in West Belfast should vote for Sinn Féin’s Gerry Adams over the Social Democratic and Labour Party (SDLP) candidate Joe Hendron in the 1992 United Kingdom general election as he considers a defeat for Adams “a victory for British imperialism.” Nevertheless, he simultaneously advises voters in South Down to vote for the SDLP’s Eddie McGrady over Sinn Féin. He rails against his detractors at the Conradh na Gaeilge ardfheis that year, declaring that “The mind of the slave, of the slíomadóir, of the hireling and the vagabond is still fairly dominant in Ireland.”
As of 1995, Mac Aonghusa continues to label himself a socialist. In the foreword to the book, he writes about James Connolly that is released that year, he declares that “the abolition of capitalism is essential if the great mass of the people in all parts of the globe are to be emancipated.”
However, with the recent collapse of the Soviet Union in mind, Mac Aonghusa declares that the Stalinist regimes of Eastern Europe have not been socialist and argues that the social democracies of Scandinavia are what James Connolly had envisioned as the desired socialist society. In the same text, he accuses the Irish education system as well as Ireland’s media of obfuscating Connolly’s views on socialism and nationalism.
Mac Aonghusa battles through ill health in his final years but remains able to continue writing a number of books. His last publication, Súil Tharam (2001), comes just two years before his death in Dublin on September 28, 2003.
In 1955, Mac Aonghusa marries Catherine Ellis, a member of the Church of Ireland from Belfast. For her married name, she chooses to use “McGuinness,” the English language equivalent of Mac Aonghusa. Catherine McGuinness goes on to become a Senator and a Judge of the Circuit Court, High Court and Supreme Court over the course of her legal career. Together they have three children together.
O’Faolain does not begin school until she is eight years old as her mother, Irish writer and teacher Eileen Gould, has little time for nuns. Following her schooling, she completes an arts degree at University College Dublin (UCD) and then further studies at the Sapienza University of Rome and the Sorbonne in Paris. A formidable student and strikingly beautiful, she makes a strong impression on those who meet her.
In search of love, literature and freedom from 1950s Ireland, the young O’Faolain remains abroad working variously as a translator, language teacher, editor and writer in London. She makes lifelong friends who speak highly of her generosity, loyalty and kindness. As well as maintaining a strong interest in politics throughout her life, she attains a black belt in karate and attends karate classes until her early 70s.
In her 2013 memoir, O’Faolain recounts a number of her adult loves before she meets and marries Lauro Martines in Florence in 1957. The couple lives in Florence for a year while Martines completes a travelling fellowship from Harvard University. They then move to Portland, Oregon, where their son Lucien is born in 1959. While in the United States, she teaches French at Reed College in Portland. The family returns to live in Florence from 1962-66 while her husband carries out research. When he is offered a professorship at the University of California, Los Angeles in 1966, they move back to the United States. However, not keen to live full-time in the United States, they purchase a house in Hampstead in 1970 and later in central London where she spends a good deal of time. From the 1990s onwards, she and Lauro spend more and more time in London, and they visit Ireland more during these years. Lucian, a painter and picture repairer, lives in London.
O’Faolain’s novels include No Country for Young Men, which is nominated for the Booker Prize in 1980, Women in the Wall (1975), The Obedient Wife (1982) and The Judas Cloth (1992) which is set in 19th-century Italy. Her first collection of short stories, We Might See Sights and Other Stories, is published in 1968, followed by Man in the Cellar (1974), Melancholy Baby (1978) and Daughters of Passion (1982). And with her husband, she edits Not in God’s Image: Women in History from the Greeks to the Victorians (1973).
O’Faolain’s writings are suffused with themes of clerical intrigue, women’s role in society, power, faith and sexuality. She says once that she is more detached from her characters than her father was. “He was fond of his characters whereas I was more impatient of mine… The fact that he often forgave their foolishness showed that he was fond of Ireland itself, where he lived for the most of his life. I instead left it and found I was happier elsewhere.”
As a writer, O’Faolain is not particularly well-known in Ireland. Following the publication of her memoir in 2013, she is asked by The Irish Times journalist Arminta Wallace if it bothers her that her name does not often figure in lists of famous Irish writers, perhaps because she did not live here. She replies, “Not only do I not live here but when my last book came out someone wrote an article naming me as a ‘forgotten writer’… which was not a cheerful read. It wasn’t in any way offensive, but it wasn’t very comforting…I suppose I didn’t write enough. You mustn’t let too many years go by between books – and I did that.”
O’Faolain dies at the age of 88 in London on October 27, 2020, following a long illness. Her papers, which include manuscripts of her writing and a significant correspondence between her and her father, are donated to UCD in 2018. At the time, archivists expect them to be available to researchers by 2022.
Diarmaid Ó Súilleabháin, Irish language writer whose chosen theme is contemporary urban life, dies on June 5, 1985. He is acknowledged as an important Irish language modernist. He is also active in the Irish republican movement and a member of Sinn Féin.
Ó Súilleabháin is born on the Beara Peninsula in County Cork on July 29, 1932. His mother, Máire Áine Ní Dhrisceoil, is a primary school teacher and his father, John O’Sullivan, is a small farmer. He marries Úna Ní Chléirigh on October 28, 1954, and they have two sons and three daughters.
Best known now for his literary work, Ó Súilleabháin writes ten novels, two of them for teenagers. Maeldún (1972) is a pioneering Irish novel that explores sexuality. He writes seven unpublished plays but most of them are shown in Damer Hall and the Peacock Theatre. Three plays that he writes include Bior, Ontos and Macalla and he writes a collection of short stories, Muintir (1970). A story from Muintir called ‘D’ is translated into English and adapted for the stage by Vivian McAlister and is performed by the Dublin University Players in May 1977.
Like Eoghan Ó Tuairisc, Ó Súilleabháin “challenged the critical orthodoxy by openly proclaiming that their standards could not be those of the Gaeltacht and by demanding a creative freedom that would acknowledge hybridity and reject the strictures of the linguistic purists.” He and Máirtín Ó Cadhain are considered the two most innovative Irish language authors to emerge in the 1960s. He often writes in a stream of consciousness, and his style influences younger writers. His writing “explores the problem of recovering idealism and cultural wholeness in an increasingly shallow and materialistic Irish society.” He is elected as a member of the Irish Academy of Letters and wins more literary prizes than any other living Irish author.
Ó Súilleabháin writes a collection of poetry, Cosa Gréine, which is published and launched in Dublin in 2013, twenty-eight years after his death.
Ó Súilleabháin is an active Irish republican, particularly in publicizing the republican struggle, and is a member of Sinn Féin’s ruling body beginning in 1971. He spends short periods in prison because of activities related to his political beliefs.
Seán Proinsias Ó Faoláin, short story writer of international repute and one of the most influential figures in 20th-century Irish culture, dies in Dublin on April 20, 1991. He is also a leading commentator and critic.
Ó Faoláin writes his first stories in the 1920s, eventually completing ninety stories over a period of sixty years. From 1929 to 1933 he lectures at the Catholic college, St. Mary’s College, at Strawberry Hill, London, during which period he writes his first two books. His first book, Midsummer Night Madness, is published in 1932. It is a collection of stories partly based on his Civil War experiences. He afterward returns to Ireland. He publishes four novels, seven additional volumes of short stories, six biographies, three travel books, a play, a memoir, a history book, translations and literary criticism, including one of the rare full-length studies of the short story, The Short Story (1948). He also writes a cultural history, The Irish, in 1947. His last short story volume, Foreign Affairs, is published in 1976. His Collected Stories is published in 1983.
Ó Faoláin produces critical studies of the novel and the short-story form, introduces texts of historical and literary merit, and contributes scores of articles, reviews, and uncollected stories to periodicals in Ireland, Britain, and the United States.
Ó Faoláin is a founder member and editor of the Irish literary periodical The Bell from 1940 to 1946. Under his editorship, The Bell participates in many key debates of the day. It also provides a crucial outlet for established and emerging writers during the lean war years. The list of contributors to The Bell include many of Ireland’s foremost writers, among them Patrick Kavanagh, Patrick Swift, Flann O’Brien, Frank O’Connor and Brendan Behan.
A recurring thread in Ó Faoláin’s work is the idea that national identities are historically produced and culturally hybrid; an additional thesis is that Irish history should be conceived in international terms, and that it should be read, in particular, in the context of social and intellectual developments across Europe.
Ó Faoláin marries Eileen Gould, a children’s book writer who publishes several books of Irish folk tales, in 1929. They have two children: Julia (1932–2020), who becomes a Booker-nominated novelist and short story writer, and Stephen (b. 1938).
Ó Faoláin dies in Dublin at the age of 91 on April 20, 1991.
Ó Faoláin is a controversial figure in his own lifetime and two of his books are banned for “indecency” in Ireland — his debut collection of short stories and his second novel, Bird Alone (1936). His legacy has proven divisive. If some consider him a social liberal cosmopolitan who challenges “proscriptive” definitions of Irish culture, others see him as a chauvinistic snob who paradoxically restricts the development of Irish writing. Proto-revisionist or nascent postcolonial, O’Faoláin has been considered both, sometimes within the same critical survey. Either way, his work is central to the evolution of a post–Literary Revival aesthetic, and his voice is one of the most prominent, and eloquent, in the fight against censorship in Ireland.
(Pictured: Portrait of Seán Ó Faoláin by Howard Coster, 1930s, National Portrait Gallery)
Donal Donnelly, Irish theatre and film actor, dies in Chicago, Illinois, on January 4, 2010. Perhaps best known for his work in the plays of Brian Friel, he has a long and varied career in film, on television and in the theatre. He lives in Ireland, the United Kingdom and the United States at various times, and his travels lead him to describe himself as “an itinerant Irish actor.”
Donnelly gets his start in an amateur group calling itself the Globe Theatre Players. It is organised and run by Jim Fitzgerald and Monica Brophy. He then later tours with Anew McMaster‘s Irish repertory company before moving to England where he stars with Rita Tushingham in the film The Knack …and How to Get It.
For many years, Donnelly tours a one-man performance of the writings of George Bernard Shaw, adapted and directed by Michael Voysey and entitled My Astonishing Self.
On television, Donnelly plays the lead role of Matthew Browne in the 1970s ITV sitcom Yes, Honestly, opposite Liza Goddard. But from the late 1950s onwards, he often appears in such British TV programs as The Avengers, Z-Cars and The Wednesday Play.
In 1968, Donnelly records an album of Irish songs, Take the Name of Donnelly, which is arranged, produced and conducted by Tony Meehan formerly of the Shadows.
Donnelly, who is a heavy smoker all his life, dies from cancer at the age of 78 in Chicago, Illinois, on January 4, 2010. He is survived by his wife, Patricia ‘Patsy’ Porter, a former dancer he met working on Finian’s Rainbow, and two sons, Jonathan and Damian. Their only daughter, Maryanne, predeceases him after being killed in a riding accident. A brother, Michael Donnelly, is a Fianna Fáil senator and councillor, and Lord Mayor of Dublin (1990–91).
O’Brien is the youngest child of “a strict, religious family.” From 1941 to 1946 she is educated by the Sisters of Mercy, a circumstance that contributes to a “suffocating” childhood. “I rebelled against the coercive and stifling religion into which I was born and bred. It was very frightening and all pervasive. I’m glad it has gone.” She is fond of a nun as she deeply misses her mum and tries to identify the nun with her mother.
In 1950, O’Brien is awarded a licence as a pharmacist. In Ireland, she reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald. In 1954, she marries, against her parents’ wishes, the Irish writer Ernest Gébler and the couple moves to London. They have two sons, but the marriage is dissolved in 1964. Gébler dies in 1998.
In London, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot. When she learns that James Joyce‘s A Portrait of the Artist as a Young Man is autobiographical, it makes her realise where she might turn, should she decide to write herself. In London she starts work as a reader for Hutchinson, where on the basis of her reports she is commissioned, for £50, to write a novel. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II.
This novel is the first part of a trilogy of novels which includes The Lonely Girl (1962) and Girls in Their Married Bliss (1964). Shortly after their publication, these books are banned and, in some cases burned, in her native country due to their frank portrayals of the sex lives of their characters. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents are vehemently against all things related to literature and her mother strongly disapproves of her daughter’s career as a writer.
O’Brien is a panel member for the first edition of the BBC‘s Question Time in 1979. In 2017, she becomes the sole surviving member.
Other works include a biography of James Joyce, published in 1999, and one of the poet Lord Byron, Byron in Love (2009). House of Splendid Isolation (1994), her novel about a terrorist who goes on the run, marks a new phase in her writing career. Down by the River (1996) concerns an under-age rape victim who seeks an abortion in England, the “Miss X case.” In the Forest (2002) deals with the real-life case of Brendan O’Donnell, who abducts and murders a woman, her three-year-old son, and a priest, in rural Ireland.
McCarthy’s debut novel, The Orchard Keeper, is published in 1965. Awarded literary grants, he is able to travel to southern Europe, where he writes his second novel, Outer Dark (1968). Suttree (1979), like his other early novels, receives generally positive reviews, but is not a commercial success. A MacArthur Fellowship enables him to travel to the American Southwest, where he researches and writes his fifth novel, Blood Meridian (1985). Although it initially garners a lukewarm critical and commercial reception, it has since been regarded as his magnum opus, with some labeling it the Great American Novel.
McCarthy dies of natural causes at his home in Santa Fe, New Mexico, on June 13, 2023, aged 89. Stephen King says McCarthy is “maybe the greatest American novelist of my time … He was full of years and created a fine body of work, but I still mourn his passing.”
Born to Irish emigrants in Scotland, McCabe moves with his family to Ireland in the early 1940s. He lives on a farm near Lackey Bridge, just outside Clones, County Monaghan. He is educated at Castleknock College.
McCabe’s play King of the Castle causes a minor scandal when first staged in 1964, and is protested by the League of Decency. He writes his award-winning trilogy of television plays, consisting of Cancer, Heritage and Siege, because he feels he has to make a statement about the Troubles. His 1992 novel Death and Nightingales is hailed by Irish writer Colm Tóibín as “one of the great Irish masterpieces of the century” and a “classic of our times” by Kirkus Reviews.
McCabe defends fellow novelist Dermot Healy, who had been negatively reviewed by Eileen Battersby in The Irish Times in 2011, using the Joycean invective “shite and onions”, provoking controversy in the Irish literary community.
Fintan O’Toole notes how living in Monaghan, just across the border from County Fermanagh, informed McCabe’s writing, and described him as “the great laureate of…indeterminacy, charting its inevitably tragic outcomes while holding somehow to the notion that it might someday become a blessing.”
McCabe dies at the age of 90 on August 27, 2020, in Cavan, County Cavan. He is survived by his wife Margot, his four children, Ruth, Marcus, Patrick and Stephen, and thirteen grandchildren.
seamus dubhghaill 