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.
Greacen is the only child of Henry Greacen and his wife Elizabeth (née McCrea). His father comes from a Presbyterian farming background in County Monaghan and, at one time, holds a position as a creamery manager, but is a heavy drinker and fails in several businesses. Most of his childhood is spent with his maternal grandmother and aunts when his parents temporarily separate. He briefly attends two local primary schools in Belfast, but when his father receives insurance compensation after his Belfast business burned down, he takes his family to the Castleblayney area in County Monaghan and for a short time goes back to farming. He goes to a national school there, but after another fire destroys the farmhouse, the Greacens return to Belfast to run the Kenilworth, a tobacconist’s shop on the Newtownards Road. He attends Templemore primary school and then enters Methodist College Belfast in 1933.
Greacen mostly enjoys school, though he is too short-sighted to participate with success in any sport, and sometimes, because of his background, feels out of his depth among middle-class children. He is always ashamed of his father’s drunken outbursts and is terrified of the violent temper which accompanies them. Literature provides both a temporary escape and the promise of future success. His first poems are published in school magazines, and he decides at a young age to try to make a career as a writer. He fails examinations and interviews for positions in a bank and an insurance company and instead starts studying history and English at Queen’s University Belfast.
At Queen’s, as earlier at Methodist College, the interests which characterise Greacen’s later career are apparent. Largely thanks to meeting John Boyd, he develops sympathies with left-wing political ideas, as well as a deepened commitment to poetry. His youthful 1930s enthusiasm for Marxism disappears after the Molotov-Ribbentrop Pact of 1939 between the Soviet Union and Nazi Germany, but up to his later years he describes himself as a socialist. The formation of enduring friendships and mutually supportive coteries, a phenomenon particularly characteristic of the Ulster literary scene of the period, continues to be of great importance throughout his life. He makes friends with almost all the significant figures in Belfast, especially Roy McFadden, John Hewitt and Sam Hanna Bell. At Queen’s, he and a friend take over in 1940 the editing of a student magazine, The Northman. They try with short-lived, limited success to make it a literary journal for the whole region, so as to enable aspiring poets to get work into print. His own early poems appear in The Bell, and he writes some pieces for the left-wing Irish Democrat newspaper. His poem The Bird (1941) is well reviewed and later appears in anthologies. In 1942 he publishes Poems from Ulster, a small anthology including work by his friends.
For several months, Greacen worships from afar a fellow student named Irene. When he fails to form a relationship with her, he stops going to lectures so that he does not have to see her and does not finish his degree. His McCrea relatives pay for him to go to Trinity College Dublin in 1943 to take a diploma in social work. He is glad to get away from wartime Belfast and never lives there again. At first, he enjoys Dublin, and again makes many friends, among them Brendan and Beatrice Behan, Blanaid Salkeld, Cecil ffrench Salkeld, Joseph and Mary O’Neill, Douglas Gageby, Arland Ussher and Hubert Butler. He and Patrick Kavanagh live in the same boarding house on Raglan Road for several months in 1945, but Kavanagh takes offence at a review in Horizon by Greacen of his poem The Great Hunger and calls him a “Protestant bastard.” Greacen is upset, as he had thought the review favourable, and is disappointed but not surprised when Kavanagh refuses to allow any of his poems to appear in the prestigious Faber and Faber book Contemporary Irish Poetry, edited by Greacen and Valentin Iremonger in 1949.
The collaborative compilation of anthologies of poetry is Greacen’s characteristic way of working. In 1942, he and Alex Comfort edit Lyra: An Anthology of New Lyric. With Roy McFadden, he edits Ulster Voices in 1943. He is sole editor of Northern Harvest in 1944 and, in the same year, he, Bruce Williamson and Valentin Iremonger publish their own work in On the Barricades. His own first solo collection, One Recent Evening, is also a 1944 imprint. In 1946, with support from Maurice Fridberg, a Jewish Dublin and London bookseller, his publishing company, New Frontiers Press, produces Irish Harvest, which, though designed on more ambitious lines, still consists chiefly of poems by his friends. He feels much more affinity with the modernism and social protest that he finds in contemporary English poetry, especially in the “new apocalypse” movement associated with Herbert Read, and later the “new romantics,” than with what he regards as the outmoded Celtic nationalism of W. B. Yeats and his followers. Like others of his contemporaries, he comes to resent the unquestioned shibboleths of life in Ireland, and particularly objects to the censorship of literature and film.
Consequently, when Greacen’s second small volume of poems, The Undying Day (1948), sells badly, and other avenues seem unpromising, he and his wife give up on Dublin and move to London. He finds a job with the United Nations Association, which suits his outlook and ideals. However, when he is made redundant, he has to take various jobs in adult education, in creative-writing courses, and in teaching English as a foreign language, in the City of London College, the City Literary Institute, and West London College. He retires in 1986. His involvement with the London literary world continues throughout his career, as he gets to know many of the leading figures, including Stephen Spender and T. S. Eliot, and he organises poetry readings and other projects, though he himself writes no poetry for more than twenty years. At one time he considers taking up journalism and continues to produce book reviews and articles in journals, as well as many letters to newspapers. He writes several, well-received short works of criticism, in particular, The Art of Noël Coward (1953) and The World of C. P. Snow (1962). After returning to Dublin in 1986, he writes an interesting memoir about his many friends and acquaintances, Brief Encounters: Literary Dublin and Belfast in the 1940s (1991) and Rooted in Ulster: Nine Northern Writers (2000).
Greacen marries Patricia Hutchins in Fisherwick Presbyterian Church in Belfast on April 10, 1946. She is from a Protestant family who has a small estate at Ardnagashel, near Bantry, County Cork, and is related to the botanist Ellen Hutchins. They have one daughter, Arethusa, but, after four years of separation, the marriage ends in divorce in 1966. He resents his wife’s conversion to vegetarianism and seems also to disapprove of her desire to achieve her own career goals. Probably also the depression he experiences throughout the 1950s contributes to the breakdown of the marriage, but he feels that twelve experiences in the early 1960s with the hallucinogenic drug LSD, under the guidance of a psychiatrist, had cured him. After the LSD treatments he feels that he is ready to begin working on an autobiography, Even Without Irene, published several years later in 1969. This comes out again in an enlarged version in 1995, and, still further augmented, as The Sash My Father Wore (1997).
Greacen begins to publish poetry again in his fifties, in A Garland for Captain Fox (1975). Poems about the career and friends of an imaginary, sophisticated adventurer do not always strike the exactly right note but are popular and mark a new beginning for him, who increasingly writes elegiacally about personalities, real and fictional, in more restrained diction and with careful irony. In interviews, he denies that Captain Fox is his own alter ego, but the interplay between the character of Fox and elements of his creator’s own life suggests a metaphor for the poet’s creative process, as well as reminding the reader of the poet friends whose support means much to his writing in real life. At the very least, Captain Fox becomes what could be called a character of virtual reality for his creator.
Greacen’s later poetry collections include Young Mr. Gibbon (1979), A Bright Mask (1985), Carnival at the River (1990), Collected Poems 1944–1994 (1995; awarded The Irish Times Literature Prize for Poetry in that year), Protestant Without a Horse (1997), Captain Fox: A Life (2000), Lunch at the Ivy (2002), Shelley Plain (2002), and Selected and New Poems (2006).
On his return to Dublin in 1986, Greacen for a time shares a flat on Anglesea Road with Beatrice Behan, until he finds her dead in her bed in 1993. In later years he lives in a flat in Sandymount. He is elected to membership of Aosdána in 1986, and during his later years in Dublin enjoys the status of a senior figure in the world of literature. He gives readings in the United States, appears often on RTÉ radio programmes, and has poems republished in anthologies. There was even one poem displayed on the Dublin Dart suburban rail network, St. Andrew’s Day: An Elegy for Patricia Hutchins, perhaps his best work. Perhaps only a few of his poems have been lodged in the public memory, but it is appropriate, given the themes of his career, that his work will be read with most attention by poets and by scholars, and that his reputation in the future may largely be based on his friendships with other poets.
O’Brien is born on December 15, 1930, the youngest child of farmer Michael O’Brien and Lena Cleary at Tuamgraney, County Clare, a place she would later describe as “fervid” and “enclosed.” Her father inherits a “thousand acres or more” and “a fortune from rich uncles,” but is a “profligate” hard drinker who gambles away his inheritance, the land sold off or bartered to pay debts. From 1941 to 1946 she is educated by the Sisters of Mercy at the Convent of Mercy boarding school at Loughrea, County Galway – a circumstance that contributes to a “suffocating” childhood. In 1950, having studied at night at pharmaceutical college and worked in a Dublin pharmacy during the day, she is awarded a licence as a pharmacist. She reads such writers as Leo Tolstoy, William Makepeace Thackeray, and F. Scott Fitzgerald.
In Dublin, O’Brien purchases Introducing James Joyce, with an introduction written by T. S. Eliot, and says that when she learned that James Joyce‘s A Portrait of the Artist as a Young Man was autobiographical, it made her realise where she might turn, should she want to write herself. “Unhappy houses are a very good incubation for stories”, she says. In London she starts work as a reader for Hutchinson, a publishing firm, where on the basis of her reports she is commissioned, for £50, to write a novel. She publishes her first book, The Country Girls, in 1960. This is the first part of a trilogy of novels (later collected as The Country Girls Trilogy), 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. She is accused of “corrupting the minds of young women.” She later says, “I felt no fame. I was married. I had young children. All I could hear out of Ireland from my mother and anonymous letters was bile and odium and outrage.”
In the 1960s, O’Brien is a patient of R. D. Laing. “I thought he might be able to help me. He couldn’t do that – he was too mad himself – but he opened doors,” she later says. Her novel A Pagan Place (1970) is about her repressive childhood. Her parents were vehemently against all things related to literature. Her mother strongly disapproved of her daughter’s career as a writer. Once when her mother found a Seán O’Casey book in her daughter’s possession, she tried to burn it.
O’Brien is a panel member for the first edition of BBC One‘s Question Time in 1979. In 2017 she becomes the sole surviving member.
In addition to the Irish PEN Award, O’Brien’s awards include The Yorkshire Post Book Award in 1970 for A Pagan Place, and the Los Angeles Times Book Prize in 1990 for Lantern Slides. In 2006, she is appointed adjunct professor of English Literature at University College Dublin.
In 2019, O’Brien is awarded the David Cohen Prize for Literature at a ceremony in London. The £40,000 prize, awarded every two years in recognition of a living writer’s lifetime achievement in literature, has been described as the “UK and Ireland Nobel in literature.” Judge David Park says, “In winning the David Cohen Prize, Edna O’Brien adds her name to a literary roll call of honour.”
(Pictured: Edna O’Brien speaking at the 2016 Hay Festival, photo by Andrew Lih and licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license)
In 2009, Shaw collaborates with Deborah Warner again, taking the lead role in Tony Kushner‘s translation of Bertolt Brecht‘s Mother Courage and Her Children. In a 2002 article for The Daily Telegraph, Rupert Christiansen describes their professional relationship as “surely one of the most richly creative partnerships in theatrical history.” Other collaborations between the two women include productions of Brecht’s The Good Woman of Szechuan and Henrik Ibsen‘s Hedda Gabler, the latter adapted for television.
Shaw appears in season four of American TV show True Blood. Her character, Marnie Stonebrook, has been described as an underachieving palm reader who is spiritually possessed by an actual witch. Her character leads a coven of necromancer witches who threaten the status quo in Bon Temps, erasing most of Eric Northman‘s memories and leaving him almost helpless when he tries to kill her and break up their coven.
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.
Brian Coffey, Irish poet and publisher, is born in Dún Laoghaire, County Dublin on June 8, 1905. His work is informed by his Catholicism and by his background in science and philosophy, and his connection to surrealism. For these reasons, he is seen as being closer to an intellectual European Catholic tradition than to mainstream Irish Catholic culture.
In the early 1930s, Coffey moves to Paris where he studies Physical Chemistry under Jean Baptiste Perrin, who won the Nobel Prize for Physics in 1926. He completes these studies in 1933, and his Three Poems is printed in Paris by Jeanette Monnier that same year. In 1934 he enters the Institut Catholique de Paris to work with the noted French philosopher Jacques Maritain, taking his licentiate examination in 1936. He then moves to London for a time and contributes reviews and a poem to T.S. Eliot‘s The Criterion magazine. He returns to Paris in 1937 as an exchange student to work on his doctoral thesis on the idea of order in the work of Thomas Aquinas. In 1938, Coffey’s second volume of poetry, Third Person, is published by George Reavey‘s Europa Press.
During the war, Coffey teaches in schools in London and Yorkshire, leaving his young family in Dublin. After the war, he returns to Paris and completes his doctoral thesis. The family then moves so that Coffey can take up a teaching post at the JesuitSaint Louis University.
By the early 1950s, Coffey becomes uncomfortable for a number of reasons, including the nature of his work, his distance from Ireland and the pressures that inevitably come to bear on an academic who has previously associated with well-known left-wing writers in Paris. For these reasons, he resigns in 1952.
In 1952, Coffey returns to live in London and, from 1973, Southampton. He begins again to publish his poetry and translations, mainly of French poetry. The first work in English to appear after this period of silence is Missouri Sequence, apparently begun in St. Louis but first appearing in the University Review, later known as the Irish University Review, in 1962.
Over the next decade or so, he publishes regularly in the University Review. He also sets up his own publishing enterprise, Advent Press, which publishes work by himself and by younger writers he wants to support.
Brian Coffey dies at the age of 89 on April 14, 1995, and is buried in Southampton, England.
seamus dubhghaill 