Nicholas “Nicky” Rackard, Irish hurler whose league and championship career with the Wexford senior team spans seventeen years from 1940 to 1957, dies from cancer at St. Vincent’s Hospital in Dublin on April 10, 1976. He establishes many championship scoring records, including being the top championship goal-scorer of all time with 59 goals. He is widely regarded as one of the greatest hurlers in the history of the game.
Rackard is born on April 28, 1922, in Killanne, County Wexford, the eldest son of five boys and four girls born to Robert (Bob) Rackard and Anastasia Doran, who had been married in 1918. He is introduced to sport by his father who had hoped he would become a cricketer. His uncle, John Doran, won an All-Ireland medal as a Gaelic footballer with Wexford in 1918 and it is hurling and Gaelic football that Rackard develops a talent for.
Rackard plays his club hurling with his local Rathnure club and enjoys much success. He wins his first senior county title in 1948. It was Rathnure’s first ever championship triumph. Two years later in 1950 he captures a second county title, a victory which allows him to take over the captaincy of the county senior team for the following year. He wins his third and final county medal in 1955.
Rackard makes his debut on the inter-county scene when he is selected for the Wexford minor panel. He is just out of the minor grade when he is selected for the Wexford senior team in 1940. Over the course of the next seventeen years, he wins two All-Ireland medals as part of the Wexford hurling breakthrough in 1955 and 1956. He also wins four Leinster Senior Hurling Championship medals, one National Hurling League medal and one Leinster Senior Football Championship medal as a Gaelic footballer. He plays his last game for Wexford in August 1957.
By the late 1940s, Rackard is a regular in the full-forward line on the Leinster inter-provincial team. Success comes in the twilight of his career and he claims his sole Railway Cup medal in 1956.
Rackard’s brothers, Billy and Bobby, also experience All-Ireland success with Wexford.
In retirement from playing Rackard becomes involved in team management and coaching. It is with the Wexford senior team that he enjoys his greatest successes as a selector when he helps the team secure the 1968 All-Ireland Senior Hurling Championship title.
Rackard is most famous for his scoring prowess and is the all-time top championship scorer at the time of his retirement from hurling. His private life is marred by periods of excessive drinking, which had started during his university studies, and eventually develops into alcoholism. After quitting drinking completely in 1970, he travels the country as a counsellor with Alcoholics Anonymous. In an interview in The Irish Press in 1975, he details his life as a recovering alcoholic and becomes one of the first sportspeople to break the taboo of alcoholism in Ireland.
Rackard death from cancer at St. Vincent’s Hospital in Dublin on April 10, 1976, sees a huge outpouring of grief among the hurling community. He is posthumously honoured by being named on the Hurling Team of the Century in 1984, however, he is sensationally omitted from the Hurling Team of the Millennium in favour of Ray Cummins. His scoring prowess has also earned him a place on the top ten list of all-time scoring greats. In 2005 the GAA further honours him by naming the Nicky Rackard Cup, the hurling competition for Division 3 teams, in his honour.
In 2006, a Wexford author, Tom Williams, writes a long-overdue biography of Rackard entitled Cuchulainn’s Son – The Story of Nickey Rackard. The same author also pens a now well-known song about Rackard many years earlier. It too is called Cuchulainn’s Son and has been recorded by various artists over the last 20 years and is a lament for the great sportsman.
In Wexford town, there is a statue to commemorate Rackard, erected in 2012.
Ordained in 1924, the theology in which McQuaid is trained is conservative — strongly neo-scholastic and hostile to modernism and liberalism. His hatred of the French Revolution is expressed in several pastorals and speeches throughout his career. He also regards Protestantism as a fundamental error from which Irish Catholics should be quarantined as much as possible.
Appointed Dean of Studies at Blackrock College, McQuaid becomes a prominent figure in Catholic education and chairs the Catholic Headmasters’ Association for several years. In 1931 he is appointed president of Blackrock College, in which capacity he becomes acquainted with Éamon de Valera, the future Irish Taoiseach whose sons attend the school. In 1936, while drafting a new Irish constitution, de Valera consults McQuaid, although he rejects McQuaid’s draft “One, True Church” clause which states, among other things, that the Catholic Church is the one true church in Ireland.
When McQuaid is appointed Archbishop of Dublin in 1940, the appointment of a priest from the regular clergy causes considerable surprise. Irish government archives reveal that de Valera, as is suspected at the time, presses McQuaid’s claims at the Vatican. However, it is doubtful whether the Vatican needs much persuasion. There is a dearth of potential episcopal talent and McQuaid has an outstanding reputation as a Catholic educationalist.
Once appointed, McQuaid proves to be one of the ablest administrators in the history of the Irish Church. In the first two years of his episcopate, he sets up the Catholic Social Service Conference to alleviate the poverty and distress in Dublin which is aggravated by the war, and the Catholic Social Welfare Bureau to help the thousands of Irish emigrants going to Britain for war work. These two organizations fill a much-needed gap and continue to exist after the war. The expansion of Dublin city and its suburbs during his episcopate requires the building of new churches, schools, and hospitals. Meeting these demands also necessitates a considerable increase in the number of clergies, secular and regular, whose numbers more than double in the period from 1941 to 1972.
Given his previous career, the importance McQuaid assigns to education is not surprising. He is critical of the low priority accorded to education by successive governments and is particularly critical of the poor and pay conditions of teachers. His intervention in the primary teachers’ strike in 1946 is poorly received by the government and marks the souring of his relationship with de Valera. During his episcopate the number of primary schools increases by a third while the number of secondary schools more than double but, as with social welfare, the government increasingly assumes a dominant role in education from the 1960s onwards. Almost immediately after his appointment in 1940, he takes a hardline stand against the attendance of Catholic students at Trinity College Dublin (TCD). The ban lasts until 1970, when the increase in student numbers renders it untenable and he accedes reluctantly.
McQuaid has a formidable list of achievements in health care, especially maternity and pediatric services, physical and mental handicap services, and the treatment of alcoholism. It is ironic, therefore, that the most controversial episode of his career occurs in this area — the Irish hierarchy’s rejection in 1951 of a free mother-and-child health service. This leads to the resignation of the Minister for Health, Dr. Noël Browne, and is a watershed in Church-State relations in Ireland. With Irish tuberculosis and infant mortality statistics ranking among the highest in the world, the hierarchy, and particularly McQuaid, lose considerable support by lining up with the conservative medical establishment to resist efforts at socialized medicine.
From various pastorals that McQuaid issues at the time, it is clear that he does not see the need for the Second Vatican Council. As its deliberations proceed, his unease grows, and he becomes increasingly preoccupied with the issue of episcopal power and independence that he believes are being threatened by the Council. In the areas of liturgical reform, greater lay participation, and ecumenism, he is slow in implementing the Vatican II reforms. His views on ecumenism had always been lukewarm and had led to allegations that he was anti-Protestant. His personality and policies are criticized by a more assertive Dublin laity, but being a shy, reserved man who increasingly feels the isolation of office, he never responds to such comments. In 1968 the reaction to Humanae vitae causes open rebellion in the Dublin diocese, the force of which catches him unaware. His last pastoral as archbishop in 1971 betrays his anger and bemusement at the response to Humanae vitae in Dublin.
At the age of 75, McQuaid submits his resignation to the Vatican, and it is accepted. His resignation is announced in January 1972, when he is replaced by Dermot Ryan. McQuaid dies in Loughlinstown, County Dublin, the following year on April 7, 1973. He is buried in St. Mary’s Pro-Cathedral in Dublin, the seat of the Roman Catholic Archdiocese of Dublin.
McQuaid’s substantial archives are released by the Dublin Diocesan Archives in the late 1990s. In 1999 journalist John Cooney publishes a hostile biography of McQuaid, which makes controversial allegations of sexual abuse against McQuaid. The allegations are based on tenuous evidence gathered by McQuaid’s nemesis from the 1951 Mother and Child controversy, Dr. Noël Browne, who had died in 1997. No corroborating evidence is produced or has since emerged.
Holohan is chairman of the Association of Irish Composers from 1987 to 1989 and is later appointed chairman of the Droichead Arts Centre in Drogheda, County Louth, where he has lived since 1983.
Holohan is elected to Aosdána in 1999 and later serves as a member and chair of its Toscaireacht, its ten-member steering body.
Holohan’s music has been performed and broadcast in Ireland and internationally. Career highlights in Drogheda include performances of Cromwell (1994), The Mass of Fire (1995) and No Sanctuary (1997).
Holohan’s work has been reviewed in Irish music journalism. Writing in The Journal of Music following a National Concert Hall composers’ showcase, Benedict Schlepper-Connolly describes The Dream of Aengus as demonstrating Holohan’s “orchestrational control,” and characterises Portrait of the Artist as “captivating,” while noting the influence of Irish traditional music within his choral writing.
Regional press coverage has also documented performances and recordings of his work, including reports on the release of the piano album Fields of Blue and Whiteand concerts of his music in Drogheda.
Ó Direáin is born on November 26, 1910, in Inis Mór, Aran Islands, County Galway, the eldest of the three sons and one daughter of Seán Ó Direáin, a small farmer, and Mairéad Ní Dhireáin (widow of Labhrás Mac Confhaola), both of Inis Mór. His father dies in 1917, aged forty-three, leaving his mother to rear a family of four on less than 20 acres of land. Educated at the local national school, he leaves Aran to join the post office in Galway in January 1928.
Ó Direáin is involved with the Irish language movement during the late 1920s and 1930s, during which time he is secretary of the Galway branch of the Gaelic League and writes for and acts on the stage of the Taibhdhearc Theatre. In July 1937 he moves to Dublin to work as a clerical officer in the Department of Posts and Telegraphs and later in the Department of Education. Inspired by a lecture given by the poet and Gaelic scholar Tadhg Ó Donnchadha, he begins writing poetry in Irish in the winter of 1938. Unlike Ó Donnchadha, however, who advocates and practises a poetry based on traditional Gaelic metres, he favours a rhythmically measured form of free verse. He publishes his first collection, Coinnle geala, in 1942, quickly followed by Dánta aniar (1943), both at his own expense. In 1949, a volume of selected poems, Rogha dánta, is one of the first books published by the newly founded Irish language publisher Sáirséal agus Dill.
These books herald not just a new voice, but a new generation of modern poets in Irish, distinct in outlook and ambition from most of the revivalist poets who precede them. The leading figures of this generation, Ó Direáin, Seán Ó Ríordáin and Máire Mhac an tSaoi, all publish poems in various Irish language journals during the 1940s, though the latter two poets do not produce their first collections until the 1950s. Ó Direáin’s poetry is less thematically and linguistically adventurous than that of Ó Ríordáin (whom he nevertheless defends in print against the dogmatic criticism of Ó Ríordáin’s traditionalist detractors), and less consciously indebted to tradition than that of Mhac an tSaoi.
Ó Direáin’s early lyrics celebrate the traditional virtues of island life and mourn its passing because of increasing modernisation and population shifts toward the major cities. One of the best known of these poems, “Stoite“ (“Uprooted”), sets up a gloomy contrast between a traditional life in tune with nature’s rhythms, destined to endure in communal memory, and the fruitless urban existence of the contemporary office worker. This theme of uprootedness haunts his work throughout the 1950s and early 1960s. During this period he publishes his two most significant collections, Ó Mórna agus dánta eile (1957) and Ár ré dhearóil (1962), both of which take their titles from ambitious, and uncharacteristically long, poems. Ó Mórna, a poem of which there are two published versions, charts the colourful life of a proud, amoral tyrant, a figure based loosely on traditional accounts of a hard-living nineteenth-century landlord’s agent from Aran. Ó Mórna represents, in the poet’s view, the timeless Übermensch whose will to power is boundless and awesome. Ár ré dhearóil (“Our wretched era”) is an excoriation of the loveless hedonism of a middle-class Dublin populated by lonely bachelors, bitter spinsters, and immoral, though free-spirited and well-educated, women. The poem, which ends with an ominous if oblique warning against the threat of nuclear annihilation, bears some comparison with T. S. Eliot‘s “The waste land.” Eliot, Ezra Pound and W. B. Yeats are key influences alongside the canonical figures of seventeenth- and eighteenth-century Gaelic poetry. His strong social conscience is registered early on in poems such as “An Stailc“ (“The strike“). His life-long adherence to traditional nationalist values and his scornful attitude to what he perceives as the mercenary embrace of American-style capitalism in the changing economic climate of Ireland in the 1960s is most trenchantly voiced in poems such as “Éire ina bhfuil romhainn” (“Ireland in times ahead”) and “Mar chaitheamar an choinneal” (“As we spent the candle”).
Ó Direáin is an active member of the Irish language literary groups Cumann na Scríbhneoirí and Cumann na hÉigse, and publishes essays on a variety of topics throughout the 1940s and 1950s in magazines such as Ar Aghaidh, An Glór, Comhar and Feasta. A selection of mostly autobiographical essays, Feamainn Bhealtaine (1961), casts valuable light on the Aran of his youth and early adulthood. He is registrar for the National College of Art (1948–55), where he gets to know such prominent artists as Seán Keating, Maurice MacGonigal and Nano Reid, whose artwork adorns Rogha Dánta. From 1955 until his retirement from the civil service in 1975, he is a staff officer in the Department of Education. Cloch choirnéil appears in 1966, followed by Crainn is cairde (1970) and Ceacht an éin (1979).
The most comprehensive selection of Ó Direáin‘s poetry, Máirtín Ó Direáin: dánta 1939–1979 (1980), edited by Eoghan Ó hAnluain, covers all but two final volumes, Béasa an túir (1984) and Craobhóg dán (1986), neither of which add much of major significance to his oeuvre. A bilingual selection, Selected poems: Tacar dánta (1984), includes translations by Tomás Mac Síomóin and Douglas Sealy. In 1969, Ó Direáin delivers a series of lectures on his own work at University College Dublin (UCD), later edited by Eoghan Ó hAnluain as Ón ulán ramhar siar (2002), which provides useful background information on many individual poems. He receives the Irish American Cultural Institute (IACI) award in 1967 and is made a member of the Irish Academy of Letters in 1970. In 1977, he receives an honoraryDoctor of Letters degree from the National University of Ireland and the Ossian-Preis of the Freiherr von Stein Foundation in Hamburg. He is a full-time visiting lecturer in the department of Irish at University College Galway for the academic year 1978–79. He was also a member of Aosdána.
Ó Direáin marries Áine Colivet, a Dubliner of French extraction, in 1945. Their only child, Niamh, is born in 1947. He dies in Dublin on March 19, 1988.
A selection of Ó Direáin’s essays, An chuid eile díom féin, edited by Síobhra Aiken, and a bilingual volume of poems Máirtin Ó Direáin: Selected poems/ Rogha dánta, translated by Frank Sewell, are both published in 2018.
(From: “Ó Direáin, Máirtín” by Caoimhín Mac Giolla Léith, Dictionary of Irish Biography, www dib.ie, October 2009, last revised March 2021)
O’Malley is born on January 18, 1921, in Limerick, one of eight surviving children of Joseph O’Malley, civil engineer, and his wife, Mary “Cis” (née Tooher). Born into a wealthy middle-class family, he is educated by the Jesuits at Crescent College and later at Clongowes Wood College, County Kildare. He later studies at University College Galway (UCG), where he is conferred with a degree in civil engineering in 1943. He later returns to Limerick, where he works as an engineer before becoming involved in politics.
O’Malley plays rugby at provincial level for Munster, Leinster and Connacht and at club level for Bohemians and Shannon RFC. His chances at an international career are ruined by the suspension of international fixtures during World War II. It is at a rugby match in Tralee that he first meets Dr. Hilda Moriarty, who he goes on to marry in August 1947.
Although O’Malley runs as a Fianna Fáil candidate, he is born into a politically active family who supports Cumann na nGaedheal until a falling-out with the party in the early 1930s. He first becomes involved in local politics as a member of Limerick Corporation. He becomes Mayor of Limerick in 1961, the third O’Malley brother to hold the office (Desmond from 1941-43 and Michael from 1948-49). He is a strong electoral performer, topping the poll in every general election he runs in.
O’Malley is first elected to Dáil Éireann as a Fianna Fáil TD for Limerick East at the 1954 Irish general election. Fianna Fáil is not returned to government on that occasion. He spends the rest of the decade on the backbenches. However, his party is returned to power in 1957. Two years later, the modernising process begins when Seán Lemass takes over from Éamon de Valera as Taoiseach. Lemass introduces younger cabinet ministers, as the old guard who has served the party since its foundation in 1926 begin to retire.
In 1961, O’Malley joins the government as Parliamentary Secretary to the Minister for Finance. He is part of a new, brasher style of politician that emerges in the 1960s, sometimes nicknamed “the men in the mohair suits.” It is expected that this generation of politician, born after the Irish Civil War, will be a modernising force in post-de Valera Ireland.
Although his sporting background is in rugby and swimming, it is association football which O’Malley gets involved in at a leadership level, becoming President of the Football Association of Ireland despite never having played the sport.
Following Fianna Fáil’s retention of power in the 1965 Irish general election, O’Malley joins the cabinet as Minister for Health. He spends just over a year in this position before he is appointed Minister for Education, a position in which he displays renowned dynamism. Having succeeded Patrick Hillery, another dynamic young minister, he resolves to act swiftly to introduce the recommendations of an official report on education.
As Minister for Education, O’Malley extends the school transport scheme and commissions the building of new non-denominational comprehensive and community schools in areas where they are needed. He introduces Regional Technical Colleges (RTCs), now called Institutes of Technology, in areas where there is no third level college. The best example of this policy is the University of Limerick, originally an Institute of Higher Education, where O’Malley is credited with taking the steps to ensure that it becomes a university. His plan to merge Trinity College Dublin and University College Dublin arouses huge controversy, and is not successful, despite being supported by his cabinet colleague Brian Lenihan. Access to third-level education is also extended, the old scholarship system being replaced by a system of means-tested grants that give easier access to students without well-off parents.
Mid-twentieth century Ireland experiences significant emigration, especially to the neighbouring United Kingdom where, in addition to employment opportunities, there is a better state provision of education and healthcare. Social change in Ireland and policies intending to correct this deficit are often met with strong resistance, such as Noël Browne‘s proposed Mother and Child Scheme. As a former Health Minister, O’Malley has first-hand experience of running the department which had attempted to introduce this scheme and understood the processes that caused it to fail, such as resistance from Department of Finance and John Charles McQuaid. This influences his strategy in presenting the free-education proposal.
Shortly after O’Malley is appointed, he announces that from 1969 all education up to Intermediate Certificate level will be without cost, and free buses will bring students in rural areas to their nearest school, seemingly making this decision without consulting other ministers. However, he does discuss it with Lemass. Jack Lynch, who, as Minister for Finance, has to find the money to pay for the programme, is not consulted and is dismayed at the announcement.
By announcing the decision first to journalists and on a Saturday (during a month when the Dáil is in recess), the positive public reaction tempers resistance to the idea before the next cabinet meeting. O’Malley’s proposals are hugely popular with the public, and it is impossible for the government to go back on his word.
Some Irish commentators consider that O’Malley’s extension of education, changing Ireland from a land where the majority are schooled only to the age of 14 to a country with universal secondary-school education, indirectly leads to the Celtic Tiger boom of the 1990s-2000s when it is followed for some years by an extension of free education to primary degree level in university, a scheme that is launched in 1996 by the Labour Party and axed in 2009 by Fianna Fáil’s Batt O’Keeffe.
In 1967, O’Malley appoints Justice Eileen Kennedy to chair a committee to carry out a survey and report on the reformatory and industrial school systems. The report, which is published in 1970, is considered ground-breaking in many areas and comes to be known as the Kennedy Report. The Report makes recommendations about a number of matters, including the Magdalene laundries, in relation to which they are not acted upon. The report recommends the closure of a number of reformatories, including the latterly infamous reformatory at Daingean, County Offaly.
O’Malley’s reforms make him one of the most popular members of the government. He is affectionately known as “the School Man” for his work in education. His sudden death in Limerick on March 10, 1968, before his vision for the education system is completed, comes as a shock to the public. He is buried with a full Irish state funeral.
Following O’Malley’s death, his widow, Hilda O’Malley, does not run in the subsequent by-election for the seat he has left vacant. It is won narrowly by their nephew Desmond O’Malley. Hilda seeks the Fianna Fáil nomination for the 1969 Irish general election, but Fianna Fáil gives the party nomination to Desmond, as the sitting TD. Hilda runs as an Independent candidate in that election. After what proves a bitter campaign against her nephew, she fails to get the fourth seat in Limerick East by just 200 votes.
Best is born in Dublin on July 11, 1865, the youngest of fourteen children of Dublin merchant, Eldred Oldham, and Annie (née Alker). Two of her siblings are Alice Oldham, the first of nine women to graduate from university with a degree in either Great Britain or Ireland, and Charles Hubert Oldham, first professor of national economics at University College Dublin (UCD). She attends the Royal Irish Academy of Music (RIAM), studying under Margaret O’Hea and Robert Prescott Stewart. She wins the Lord O’Hagan’s prize in 1883. She is one of the first three candidates to win a scholarship to the Royal College of Music, London, in 1883, becoming an associate of the College by competitive examination in 1887. She is a close friend and confidante of the College’s director, Sir George Grove, to which his 514 letters to her from 1883 to 1899, now housed in the Royal College of Music library, testify.
Best returns to the RIAM as a piano teacher in 1887, remaining in that post until 1932. She is the first female teacher in the RIAM listed as holding a diploma in music. She is also an assistant to Michele Esposito as a local centre examiner. She is a founding member of the Feis Ceoil, undertaking large responsibility for its organisation, and it becomes an annual event under her leadership. In 1898, she describes the foundation of the Feis in a paper to the Incorporated Society of Musicians as being inspired to “ultimately do more for the art of music in Ireland than anything which has yet been attempted.” Along with Joseph Seymour and Edward Fournier she visits the Welsh Eisteddfod to compare it with the Feis, and hopes it will become as influential as the Welsh festival. She works with Eoin MacNeill and the Gaelic League to promote the Feis, and to organise prizes. Under her influence, the festival broadens its scope beyond purely Irish music. She serves as the honorary secretary of the Feis Ceoil Association from 1896 to 1905, and vice-president from 1905 to 1950. In 1897, Esposito dedicates his cantata Deirdre to her. She is a founding member of the Dublin Orchestral Society in 1899, and she succeeds Esposito as the director of music at Alexandra College, Dublin, in 1927. She is made an associate of the Royal Dublin Societyin 1892, and fellow of the RIAM in 1938.
Doyle is awarded the Military Cross for his bravery during the assault on the village of Ginchy during the Battle of the Somme in 1916. He is also posthumously recommended for both the Victoria Cross and the Distinguished Service Order, but is awarded neither. It is possible that anti-Catholicism played a role in the British Army’s decision not to grant him both awards.
General William Hickie, the commander-in-chief of the 16th (Irish) Division, describes Father Doyle as “one of the bravest men who fought or served out here.”
Irish folk singer Willie ‘Liam’ Clancy is named after Doyle due to his mother’s fondness for him, although they never meet.
In August 2022, the Father Willie Doyle Association is established to petition the Catholic Church to introduce a cause for canonisation for Doyle. In January 2022, the Supplex Libellus, the formal petition, is presented to Bishop Thomas Deenihan. Having consulted with the Irish Bishops’ Conference and the Dicastery for the Causes of Saints, Deenihan issues an edict on October 27, 2022, announcing the opening of a cause. The Opening Session takes place on November 20, 2022, at the Cathedral of Christ the King, Mullingar.
After qualifying, Ryan works for several solicitors’ firms before establishing a private practice in Dame Street in Dublin, in which he remains an active partner until appointed to ministerial office in 1973.
In opposition, Ryan serves as Fine Gael Spokesperson on Health and Social Welfare (1966–70) and on Foreign Affairs and Northern Ireland (1970–73). During this period he is involved in several important pro bono legal cases, including the 1963 challenge in the High Court, and then, on appeal, in the Supreme Court of Ireland in 1964, by Gladys Ryan (no relation) on the constitutionality of the fluoridation of the water supply. While the court rules against Gladys Ryan, the case remains a landmark, for it establishes the right to privacy under the Constitution of Ireland (or, perhaps more precisely, the right to bodily integrity under Article 40.3.1.). The case also raises a legal controversy, owing to the introduction by Justice Kenny of the concept of unenumerated rights. Other notable cases involving Ryan include a challenge to the rules governing the drafting of constituency boundaries, and an unsuccessful attempt to randomise the order of candidates on ballot papers (owing to a preponderance of TDs with surnames from the first part of the alphabet).
Fine Gael comes to power in a coalition with the Labour Party in 1973, and Ryan becomes Minister for Finance. He presides over a tough four years in the National Coalition under Liam Cosgrave, during the 1970s oil crisis when, in common with most Western economies, Ireland faces a significant recession. He is variously lampooned as “Richie Ruin” on the Irish satire show Hall’s Pictorial Weekly, and as “Red Richie” for his government’s introduction of a wealth tax. Following the 1977 Irish general election Fine Gael is out of power, and he once again becomes Spokesperson on Foreign Affairs.
On being appointed to the European Court of Auditors in 1986, he resigns his seat and is succeeded by Chris O’Malley. He serves as a member of the Court of Auditors from 1986 to 1994, being replaced by Barry Desmond. After retirement, he continues in several roles, including as a Commissioner of Irish Lights (until 2004) and a time as Chairman of the Irish Red Cross in 1998.
Ryan is the father of the economist and academic Cillian Ryan. He dies in Dublin at the age of 90 on March 17, 2019. He is buried at Newlands Cross Cemetery and Crematorium in Dublin.
McGuckian is the youngest of six children to Brian McGuckian and his wife Pauline (née McKenna). He is named after his uncle, also Alexander Aloysius McGuckian, who dies five month before he is born. Yet another uncle, Daniel McGuckian, is a priest of the Diocese of Down and Connor and serves as parish priest of Cushendun and then Randalstown until his death in 1980. His father is a successful pig farmer who, alongside his brothers, develops the world’s biggest pig farm.
Two of McGuckian’s brothers are also Jesuit priests, while another brother is a businessman. Both of his sisters predecease him.
McGuckian is ordained to the priesthood on June 22, 1984, and makes his final profession on February 15, 1997.
Following ordination, McGuckian spends four years as a teacher in Clongowes Wood College and vocations director for the Jesuits, before undertaking a six month period of spiritual renewal in southern India and serving in a shanty town in Quezon City, Philippines.
McGuckian returns to Ireland in 1992, where he is appointed director of the Jesuit Communication Centre, during which he develops Sacred Space, a website which allows people to pray at their computer, in 1999, and Catholic news service CatholicIreland.net in 2004.
McGuckian also serves as editor of both An Timire and Foilseacháin Ábhair Spioradálta, later translating the autobiography of Ignatius of Loyola into Irish under the title Scéal an Oilithrigh. He also co-authors the drama 1912 – A Hundred Years On with Presbyterian historian Philip Orr in 2011, which looks at the experiences of the Ulster Covenant and the wider Home Rule movement from both nationalist and unionist perspectives.
McGuckian also serves as chaplain to many of the Gaelscoileanna in the Diocese of Down and Connor, and subsequently as chaplain to Ulster University campuses in Belfast and Jordanstown. Following the publication of the Living Church Report, which outlines the findings of a synodal process within the diocese, he is appointed by Noël Treanor in 2012 to set up and lead the Living Church Office, whose aim is to realise the hopes and aspirations expressed in the report and subsequently in the upcoming diocesan pastoral plan.
McGuckian is also appointed diocesan director of formation for the permanent diaconate in 2014, and also works during his directorship of the Living Church Office to establish pastoral communities across the diocese, through fostering a culture of co-responsibility for the mission of the Church between clergy and lay people.
McGuckian is appointed Bishop-elect of Raphoe by Pope Francis on June 9, 2017. His appointment makes him the first member of the Jesuits to be appointed a bishop in Ireland.
In an interview with The Irish Catholic in September 2019, McGuckian says that having a home is as fundamental as the right to life and education, and that the Government must be “pushed” to enshrine a right to housing in the Constitution of Ireland. He also joins a number of church leaders in the West of Ireland on September 16, 2021, in calling on the Irish government to offer reparations to homeowners whose properties are affected by defective concrete blocks.
In an interview with The Irish Catholic in February 2021, McGuckian takes issue with the view held by political leaders that public worship is deemed to be “non-essential” during the COVID-19 pandemic in the Republic of Ireland. Quoting Pope Francis, who states that “the right to worship must be respected, protected and defended by civil authorities like the right to bodily and physical health,” he expresses a need to let political leaders know that public worship is not only central, but also “utterly essential.”
Following a fatal explosion in Creeslough, County Donegal, on October 7, 2022, McGuckian refers to the explosion as “the darkest day in Donegal,” adding that the local community is “living through a nightmare of shock and horror.” He also concelebrates at the Funeral Masses of each of the victims, describing the fact that the parish church would be holding two funerals in the space of three hours as “surreal.”
McGuckian is appointed Bishop of Down and Connor by Pope Francis on February 2, 2024. In his first address following his appointment, he expresses his hope that the restoring of the Northern Ireland Executive will help the most vulnerable in society.
Clarke sings in a women’s choir from age 14 and is an outstanding piano pupil at the College of Music (now the DIT Conservatory of Music and Drama), Dublin. She studies music at University College Dublin (UCD), earning a Teacher’s Diploma in 1978 and a BMus in 1980. She teaches at a number of schools in the Dublin area. When she participates in the Ennis Composition Summer School in 1985, she is introduced to the music of continental composers such as Luciano Berio and Witold Lutoslawski, which leaves a lasting impression.
Some of Clarke’s early works receive awards, such as the Six Short Piano Pieces (1982), which wins the composition prize of the Feis Ceoil, and the choral work Suantraí Ghráinne (1983), which wins the Seán Ó Riada Memorial Trophy at the 1984 Cork International Choral Festival. For Sisyphus (1985) for flute, clarinet and string trio she receives the Varming Prize, which is awarded only every four years to an Irish composer under the age of thirty. She completes her first orchestral score in 1991 (A Great Rooted Tree). In 1992, she receives a Ph.D. from Queen’s University Belfast (QUB). She is a lecturer in music at St. Patrick’s College, Dublin City University (DCU).
Clarke receives commissions from RTÉ, the Cork International Choral Festival, Concorde, Music Network and the National Concert Hall, among others. Her work is performed and broadcast throughout Ireland and worldwide. In January 2014, she is the featured composer in the Horizon Series of contemporary music by the Irish national broadcaster RTÉ. For this event, the RTÉ National Symphony Orchestra commissions her orchestral composition SHIFT (2013). Since 2009 she has been collaborating with visual artist Marie Hanlon, including short experimental films with music, live music with visual projections and joint exhibitions, one example being the joint exhibition DIC TAT at the Gallery Draíocht, Blanchardstown, Dublin, July-September 2014.
Clarke is a member of Aosdána, Ireland’s state-sponsored academy of creative artists.
Clarke’s output includes choral, chamber, orchestral and electronic works. Her calm and evocative music in the early Suantraí Ghráinne creates some curiosity at its 1984 performance. Early chamber works such as Sisyphus (1985) and Purple Dust are characterised by wide-spaced harmonic settings of a rather sparse tonal material. Some aleatoric passages alternate with more strictly notated pitches and a rather limited degree of dissonance. In Gloria Deo (1988) for soprano, mixed chorus and orchestra she combines modal influences from Renaissance music with free atonality. Since the early 1990s she has been exploring the possibilities of electroacoustic music, winning an award at the 1992 Dublin Film Festival for her electronic score Whaling Afloat and Ashore. Her recent orchestral score SHIFT reflects her experiences in electroacoustic processes: “Extended techniques, deliberately avoided in previous work, are embraced here using harmonics and noise elements in strings, and bowed, timbral effects on percussion. In a single, fifteen-minute movement, transformations in colour and texture vary from slow and intense in the opening section, to sudden and harsh later in the piece.”
seamus dubhghaill 