Saturday, March 10, 2007


Donna Wong's Learner's Guide to Irish

I figured here I'd put up some of my Amazon reviews about Irish-language books. Helping to spread the cupla focail. Maybe I can even figure out how to sub-divide the blog so as to keep them in their own sidebar? Well, I'll need expert advice. I told my spouse over at http://casamurphy.blogspot.com and http://manifeasto.blogspot.com/ about the most basic HTML the other day. I think she was surprised I knew anything, but teaching nearly a dozen years at a university made for and full of techies rubbed off a bit.
Here's the first book, the formidable but useful LGI, from a brave and talented and formidable scholar who learned Irish in the US of A, and then wrote a big book about how to do so, that is, if you love hundreds of examples of to me often recondite grammatical distinctions....

This book is not hardcover (despite Amazon's data) but spiral-bound, so it's more useful for readers. It's not cheap, but compared with poorly-made paperbacks on Irish grammar, LGI's worth the investment for the serious learner who's already worked through simpler explanations of how Irish works. This book, however, is not the right choice if you simply want to pick up pub phrases or survey the context for Irish. The small Hippocrene (Paul Dorris) Irish-English phrasebook- dictionary meets casual needs for the inquirer. An overview of the language is Darerca Ní Chartúir's 2002 guide; cogent background and short lessons are in "Beginner's Irish" by Gabriel Rosenstock. (These three books are reviewed by me on Amazon-- see my blog link to my reviews.) Tapes & booklets "Buntús Cainte," and Máiread Ní Ghrada's primer "Progress in Irish" are suitable for the uncertain or the curious. LGI suits instead committed "gaeilgoirí" -- those self-convicted as lifers!

Too often, hefty language texts are either doomed to spine-breaking and pages falling out if flimsy pulp paperbacks or too expensive and recondite in university- press hardcovers for the budget buyer or beginning reader. LGI in its attractive fonts and practical design fills a need for an explanation of the language aimed at foreign learners. LGI does not describe the history of Irish. It does not offer exercises. Neither does it serve as a phrasebook or a workbook per se. Donna Wong, an American professor who learned Irish at universities here, gives rather the first in-depth grammatical survey of the language meant for international students by an adult learner from outside of Ireland. Her approach is very academic. She organizes her main text by grammatical classifications. She recalls that she knew no technical linguistics or grammar when she began studying Modern Irish. I'd add that certainly she progressed rapidly and far! By courses, intensive tutors, visits to the Gaeltachtaí, and her own diligent study, she found herself "grappling with grammar until the fascination of what's difficult resolved into the elation of what made sense." (8) Dissatisfied with texts that taught her college-level learners too much or too little grammar, she made her own handouts and then this book, appealing to the intelligent newcomer rather than a linguist or a dilettante.

Having enjoyed her memorable chapter on Irish folklore in the recent "Cambridge History of Irish Literature" (also reviewed by me), I recognize in LGI Dr Wong's continued determination to energize what most of her scholarly predecessors often deadened. (What's up with her 'Táin Rúttapaca Cuailnge,' a creative and health- conscious retelling of the "Táin Bó Cualinge' according to the jacket blurb? [Dr. Wong, if you see this, tell me, as others out there on the Net I know also want to know!]) Welcome wit enlivens what as an instructor she knows may frustrate those who are-- as she once was-- a student, likely Americans with no daily connection to Irish outside classroom and textbook. (I add that LGI's published by Dublin-based Cois Life, a fine source for mostly Irish-language books, but is not likely to be stocked by foreign bookstores. Cois Life does have an internet store for mail order. [Here it is, bloggees-- 800 lb. elephant on the Web big ol' Amazon will delete such links, hmmm: http://www.coislife.ie ])

Does LGI make easy sense on the page? I'm not a linguist, but I do have a doctorate in English lit. Yet LGI at first overwhelmed me. She intends this book for those "with no prior knowledge of Modern Irish and minimal knowledge of English grammar" (9) as well as a reference for instructors and advance students. It does focus on grammar as the way into the language; compared with a purportedly introductory "self-tutor" such as Michael Ó Siadhail's formidable "Learning Irish," LGI takes its time with grammar and provides many more examples for each section. It's also written with far more awareness of its intended use in the classroom. LI teaches the Conamara "central" dialect in its Cois Fharraige form. LGI uses the "caighdean" standard Irish as taught in schools; dialectal differences diminish as only a few arise, largely in footnotes. Unlike LI, LGI's layout's much easier on the eye (although the pages are numbered in magenta- colored squares that are hard to read). Boldface, italics, and wide margins with readable type combined with the spiral binding result in this far more (than LI) reader- friendly text.

Part One shows spelling, how to consult three common dictionaries of Irish (a useful entry that no other comparable book offers), pre-verbal particles, verbs, and regular verbs. Terms such as "Syncopating Polysyllabics with Final -igh, Imperfect and Conditional" comprise subsections. Honestly, such terms once understood are not difficult, but the attention to this manner of presentation does show Dr Wong's predilection for an organization unlike other Irish-language textbooks. LGI does not present gradually longer conversations or vocabulary lists or sentences to translate. It's meant to supplement such introductory texts. The eleven irregular verbs and the substantive vs. copula follow. These last two categories challenge many English-speaking students. Dr Wong's careful chart comparing "is" to "bí" is the best I've seen to explain crucial contrasts for the "to be" verbs. Part Two explores the Copula, Verbal Nouns, Definite Articles, and Nouns (genitive, plurals, five declensions, irregular, mutations). Again Dr Wong presents many more examples than other books do, demonstrating the depth of LGI that may discourage some but encourage others.

Part Three looks at adjectives, pronouns, prepositions, independent vs. dependent clauses, "if" and "if not," syntax, numbers, interrogatives, lookalikes, and ends with footnotes. This variety proves her classroom testing of the contents-- numbering in Irish I find one of its most difficult aspects, and she takes pains to list in great detail all sorts of ways to number--even fractions such as 6/7 or 1.11-- a feature other books ignore. Lookalikes such as the three uses of "a" or the four types of "an" finally get detailed-- other books merely define each use but fail to clearly distinguish confusing instances of the same "particle" -- LGI tells you the differences and gives multiple examples of each use. Glossaries or dictionaries merely enumerate them. Too much information for casual learners, but LGI does meet a previously unfulfilled need for a non-technical, student-directed reference where non-fluent Irish learners can look up answers in a grammar not written entirely "as Gaeilge" (in Irish itself). This book pays back its purchase and I recommend it. )

Friday, March 9, 2007


Peregrinations: Monasteries for the rest of us?

Review and Reflections on: Dennis Patrick Slattery, Grace in the Desert. San Francisco: Jossey-Bass, 2004.

Certainly a man I can relate to. Halfway on his life's journey (statistically speaking at least), teaches literature, worries about not researching and writing enough even as he feels guilty for his selfishness, has a wife and two sons, lives in Southern California (lucky him in Goleta and he gets to teach at the Joseph Campbell-inspired Pacifica Graduate Institute!) but does not have (until recently for him-- now he does and gets a sabbatical in the true sense of the word- whew!) a permanent academic position. His growing up was in a repressed home full of rage, grudges, and inability to communicate openly. DPS as I will call him also is Irish Catholic but estranged and not really a practicing believer so it seems. However, he thirsts for the spiritual and gets the call to seek monastic solitude in which he will not escape but stare down his demons.

How did I find this book,? Not my usual fare, for I eschew inspirational enlightenment at least as it's shelved in a store. Well, I was looking for information on the Camaldolese hermits in Big Sur (which relates as time will tell in my bizarre free-association to my wife's own grand scheme halfway through life too) and in a LAPL search found through cross-references this account. I had recently visited, all too briefly, Mount Angel Abbey and the Trappist monastery of Our Lady of Guadalupe on my weekend in Oregon. This book told of the latter, of Big Sur, and if not Mount Angel than the sisters down the road. I had already been working on a draft of my own recollections from that quick glimpse stolen from the free time before and after my Irish Studies conference. When I found out about Slattery, the name alone impelled me. I requested the book which had been checked out, and waited for the only copy in all of our City of Angels to arrive. It did, and here are my notes and a bit of my reflections. Not a perfect book, and I'm not bowled over by the poetry interspersed except for a couple of "prayer-poems" alluded to later. Too little on the actual places to get a sense of where he is. Too much interior ruminations that are told well enough to admirably avoid showboating, but also more what you'd read in a journal or post on a blog or tell to a spiritual director or an AA buddy rather than publish. So says more reticent me about such matters> DPS is definitely more confident than I am about such expression. For that matter, so's the wife over at http://CasaMurphy.blogspot.com on Blogger. And don't forget http://manifeasto.blogspot.com for foodie fodder. Back to the monks, my own jottings about not the style or success of the book but its contents are recorded below to preserve my thoughts until my own Oregonian thoughts can be added in a future blog post.

Thomas Moore opens this narrative with his preface, reminding us of a spirituality being open to multiple possibilities rather than the worrying over the nuances of belief. (xi) DPS recalls as do I of his neglect of his family due to his own worrying over courses, writing, research while his wife wanted to see a movie or his sons needed time. (4) Midway through his own Dantean journey, he ‘wanted to reimagine my life from the point of view of eternity,” seeking to-- as Michael Novak phrases it-- act earnestly but without attachment to the results. (3) DPS tires of the Church’s “Main Street theology,” longing rather for the back alleys and haunted corners of facing his mortality straightforwardly. Prayer, he reflects beginning at New Camaldoli Hermitage in Big Sur, is not petition but entering a presence. Not that God is there. If we knew he/she/it was, why then have faith? The possibility, not the inevitability, of what he seeks in the divine invites him towards silence. God may take him over, or he may not. Not sure of what he will find, but DPS opens himself to the chance– the readiness is all, I guess, to quote Hamlet!

He begins to peer into the dark silence where God may reside, beyond the logos, the manifestation, the word made flesh. This emptiness preceded the light, the flesh, the world, and us. DPS reflects on the love of poverty, and how this shows the “blessed are the poor in spirit” confronts his own memories of a life lived by his parents grudgingly, under an alcoholic father, a too-thrifty mother, a cowed family. Solitude is a “strong potion” best sipped slowly and rarely. Thoreau’s relevant chapter in “Walden”– Of the “subtle powers” of heaven and earth: “We seek to perceive them and do not; we seek to hear them and do not. Identified with the substance of things, they cannot be separated from them.” (41)

DPS writes movingly about the shy foxes and stillness of Big Sur, the bursting grapes and his father’s torment as DPS wanders Napa Valley at the Carmelites, and at the Sonoma Zen Center takes on Zendo early morning and the oryoki “eating handout” rituals that are both compelling in what they resemble and awkward for their strangeness for one raised Irish Catholic. He learns to rake the rocks in circles so they enter into one another– the duty he’s assigned slows him down, so what takes us fifteen minutes in our world is transformed. “The task was to imagine the process rather than rush to results.” (35) I wonder how we would all live if we worked with such mindfulness, and how we’d sustain such wonder after repetition wears down novelty. Which is the whole point of order for a monk, to remain in one place, to do the same things, and not to escape the world but to face his own mortal frailty within it, without escape, distraction, or respite. Terrifying, not comforting, to face this brutal rawness of spirit, as DPS learns well.

At the “Byzantine monastery of the Ukrainian Catholic Church” hermitage somewhere up near Mendocino and Ukiah in the dry hills, a ramshackle and searingly hot setting understandably discourages him, as he had been in the redwoods the day before happy beside a night campfire. Often, as here, he is the only one at the places he visits, seeming to be “off times;” this does seem to fit into his self-imposed challenge to isolate himself and to face his own fears freed from others. He forces himself not to flee this strange setting where the monks all have concentric salt rings from sweat on their black robes (wearing them must be a penance) and finds grace there to stay.

Here he thinks of Eckhardt: We don’t know God if we’re unaccustomed to “inward things.” We are like men who have wine in our cellar, but no idea of how good it is as we’ve left it untasted. (57) Off to the Trappists near Lafayette, Oregon, the same place I stumbled upon suddenly when driving down Highway 18 with the vague idea to kill some time before my conference started at George Fox U and sent with tourist guide in hand to search for candy for Layne. A sign, in more ways than one, so I hung a quick right and three miles down the road it nestled off to the right into the mountains. I recall Merton mentioning it in a “rainforest.” No candy there at Our Lady of Guadalupe, yet I wanted to buy honey but feared its breakage in my luggage. So a monastery cookbook purchased instead at the condo-like, handsome buildings with “well-designed wooden walkways and stairs” as DPS too found them. (61) He was able to see the chapel; when I was there it was a giant hole to be a church, hemmed in by massive construction machines and tall boards surrounding dirt. Ironic that the noise followed me there, as it did at Mt Angel a few days later atop that Benedictine hillock above the flat Williamette plains full of Christmas tree farms.

That chapel also brought him a fetching glimpse of a young female retreatant there with her father. DPS uses this opportunity not to castigate himself, after a suitable pause of self-mortification, but to enter the erotic nature of our relationship with the divine; he looks to the Song of Songs. He reads Merton who advises us that poetry is a fine corridor that parallels the recesses of prayer into the mystic. “Memory can be a frightening and revelatory place to be pulled into. It can take on the landscape of the underworld itself and must be entered with a guide who can retrieve one if necessary.” These words of DPS were on the only page (other than one at the end, more about that place later) highlighted in my LAPL copy, and they deserved attention.

Walking in the forest, as I had too briefly around “St Therese’s Trail” up along a creeklet and up and over some woods down towards the enormous pond, DPS tells of us attraction to nature as an entry into the spiritual. I share this pull even if I am much less outdoorsy than he is. He puts prayer-poems into his chapters when appropriate, and the two I liked were about tree loam at the Monastery of Mount Tabor (of the salty, shy monks) and eating blackberries that the Trappists could not find a buyer for that harvest and so left for the animals, and DPS, luckily. As he picks them, he reflects on the fall leaves: “Their response to their own death was to burst into color.” (65) Just as I type this, it occurs to me that I too saw their beauty in my visit at the end of last October, and now I do recollect the reddish and burnt-orange too, so unfamiliar to me from a dry sparse place, and now this spring the dryest weather in our history: 2.4 inches of rain is all so far. The hills around me are always green for Paddie’s day, but not this year. Fire burnt some of the scrub last summer, but even where it never flickered, all around here is but a nubbin of green weeds as if stubble on a lot of beige bony beards.

He feels courage from this place where the dark and silent became his friends on a path there towards an abandoned hermitage. He forgets the idea of God and basks rather in a presence. Discussing the monastic call as not of retreat but of advancing towards one’s foes, “it marks where the world’s problems congregate in great and intense numbers, in a puree of difficult motives and decisions, to be dealt with in the desert of one’s cell, the wilderness of one’s own heart.” In Ireland, I muse, there is a strange place name, Dysert O’Dea. The desert is from the Irish adaptation of the word desert in the sense of a hermitage, so those monks 1500 years or so ago also knew that the arena (Latin for “sands”) did not need tumbleweeds or siroccos to do its worst and its best, to scour clean the soul and shave down the bristling, egotistical, self and spirit.

The rest of the book follows DPS into the Benedictine nuns’ well-stocked pantry and warm welcomes at Shalom Prayer Center in Silverton, near as could be to Mount Angel, although the abbey’s not mentioned here. He meditates on Julian of Norwich and Hildegard of Bingen, formidable women open too to respectively the terror and the awe of the mystic ravishing of one’s self. He seeks detachment from passion too, to mute his own inner voice so he can listen.

In Portland he gazes at a spider’s web until it becomes almost an hallucination and the gossamer seems to fade as he keeps focusing upon its weaver. He listens to a tape whose speaker considers how often we say ‘take’ rather than ‘give’ to preface an action we do. With lectio divina he learns how to meditate rather than simply read a verse, as if to savor it, squeeze it, pull the sap from its core. With the Franciscan sisters he ponders Veronica and Simon of Cyrene on the Via Dolorosa, and how they– unlike Jonah!– volunteered and intervened out of their free will.

At another Trappist monastery, in Huntsville, Utah, he finds what I can relate to: developers eager to exploit and exhaust what land still stays largely untouched by us. Greed and wealth are invading the valley of the monastery, as ski resorts and recreational sites mar the ranges and rills. Here the aura of his journey grows somber; the cows have been separated from their calves. For three days, like Rachel lamenting, they low and moan inconsolably in the fields. They can be heard constantly, above the chants and the quiet both. Finally, they weary and, as every year at this time, return to their 362 days of whatever world they inhabit. DPS wonders about a scientist’s claim that 96% of our world is invisible, and if animals perceive these planes of existence that we cannot.

Again returning as so many of us do to Merton, DPS after finding and becoming compelled by a curious find in the thick bushes, a deer’s dismembered but still fresh and attractively buffed leg, thinks about his desire to atavistically wear the bone, and his instinctual attraction to the trophy. The silence of the invisible deer’s death, the grief of the cattle, and the necessary attack by the wolf or coyote all remind him of “a dismembering experience.” (105) “Silence evoked presence, and I entered the dark mystery of solitude through its welcoming beam.” There, in the desert of a cell, the wilderness of a heart, DPS begins to break through into aridity, a process hastened by his next visits that take him into the Southwest.

At the fittingly named Nada Hermitage, this Carmelite outpost in the high desert of Colorado again is an isolated place where he is the only visitor. His six days here manifest the soul’s predicament within dryness, meagerness, and fortitude– appropriate for followers of John of the Cross and his dark night of the soul. He suffers altitude sickness as a crushing chest pain in the middle of a terrifying night, and is relieved to find it is only a physical and not a mental or spiritual affliction. The mountain is greater understanding, the desert one’s abnegation, and the cloud the “brilliant darkness” of the mystic pilgrim. (117) Purgation, illumination, and union.

With the Dominican sisters on Albuquerque’s outskirts– of course becoming tract homes more than semi-rural by now– he finds contentment and good-naturedly finds the sisters label his food in the fridge as belonging to “The Hermit.” He’s the only retreatant. Visiting the Cibola (city of gold that the conquistadores sought?) National Forest eight thousand feet up, he reflects on Max Picard’s “The World of Silence”: nature’s silence is permanent, “it is the air in which nature breathes.” (125) Finally, the Redemptorist-founded (none of them seem to be there now?) Picture Rocks Retreat Center near Tucson returns him to the serendipitous. The Hohokam tribe 1500 years ago left petroglyphs of people with headdresses, bigger folks holding the hands of smaller folks, animals and jets and stars and smiling cats. In this harsh landscape, what comfort did these drawings give them? Not just “follow your bliss” but your blisters, DPS sensibly if soberly finds: this is the real path to paradox, nothingness, and self-surrender. The stations of the cross along the rock art juxtapose their own unity of suffering and triumph in adversity for a fragile human’s journey. Eckhardt reminds DPS that being born into nothingness is really resurrection. Abundance is found when one gives one’s self up for good, literally and figuratively I suppose. Egoless, free of the “merchant mentality” the fetters drop away. There, in nature’s silence, we may breathe and be nourished by the presence that washes away our ego-driven self.

The problem: how to take back these hard-won insights into the busy world of the city? His fifteen weeks of peregrination end with a tender evocation of his father, who he remembers glimpsing from the stairs, kissing a plastic statue of the Madonna, a child astonished and touched that his rage and sorrow tried to find a haven in prayer, although, as DPS reminds us, prayer is not enough to rescue one from such torments as his father endured. Or perhaps made others endure. DPS faces his own similarity to his father, and his own ego-driven emptiness. He tries, however, to ease this violence with forgiveness. He recommends poetry as solace. He finds stability free at last from his childhood wounds. He welcomes liberation through grace. The positivity of nothingness?

After the narrative, notes at the back list a few other Western sites. I have visited St. Andrew’s Priory (which is not a “Trappist Cistercian monastery” as he claims on p. 137) and the Serra Center on the old Ridge estate (I think!)– the first mansion in Malibu. I even think I stopped once long ago in front of the Mt Calvary Monastery in Santa Barbara; it may be “within the Benedictine tradition” as he says, but the Order of the Holy Cross is Episcopalian as he does not say. We forget in America the Anglican religious orders– so used am I in thinking of the C of E and the dissolution of the monasteries, the martyrdom of the Carthusians, and the persecution of all those recusants and the Jesuit spies they harbored. La Casa de Maria used to be Immaculate Heart when they were an order themselves; I went there once in high school for a day and still can see the wildflowers and I girl I had a crush on who was there with my parish group.

Holy Trinity Monastery has, as is highlighted in my library copy, “an inviting mix of priests, sisters, oblates, and married couples.” (139) What an Irish sort of idea– the old monasteries in the Celtic church were supposedly on this happy and pleasant (and perhaps sensible in the times of famine, rapine, and invasion) model. I think it is there where one retreatant lives who I try to keep in my thoughts and send good wishes to. He was my high school religious teacher, a priest on the up escalator, one who my dad (and I agreed) thought would be a bishop and a fine leader one day. Well, he got his diocese, promoted to clean up his predecessor’s sexual scandal and financial embezzlement. He instead repeated both errors, involved in a he-said/ he-said blackmail of a suspiciously trained priest with two different names from El Salvador. Lawsuits, banishment, exile apparently from what my classmates told me a decade ago when the second scandal broke at an Arizona monastery. So this may be it. If so, I hope he benefits from such an refuge with adobe chapel, hidden museum, and beautiful nature preserve north of Tombstone. But maybe a bit of devilish justice remains for him. DPS warns visitors to “bring mosquito repellant.” (140)

Tuesday, March 6, 2007


Really a United Kingdom after all?

Both Bryan Sykes' "Saxons, Vikings, & Celts" and Stephen Oppenheimer's "The Origins of the British" are new books by two Oxford geneticists. Given my fascination with genogeography, this pair has topped my Amazon Wish List for months. Today's New York Times carried in its Science section a long article, complete with big map, charting what Oppenheimer argues is the true genetic origin of the vast majority (vastest of all in Ireland, only 12% of our gene pool) of the original inhabitants of that North Atlantic Archipelago we "Celts" (sic, as the article observes) call what you probably know but I try not to refer to as the UK.

The genetic argument reminds me of Bob Quinn's "The Atlantean Irish" argument (revised in 2005, reviewed by me at Amazon--see the link via the home page of my blog) of North African and Mediterranean connections between ancient Irish settlers and peoples of that temperate region of trade and navigational innovation. Quinn's thesis has been savaged, but alongside the "Atlantic Fringe" model that's undermined (see Simon Jones' book also reviewed by me) the Celtic construct which we forget is only 18-19 c romanticism, Oppenheimer may provide Quinn and Jones with further evidence to look not to the La Tene culture or Scythia or the Danube as to the Spanish coast, the Balkans, Asia Minor, and Sardinia as spawning grounds for we who descend from the peoples of the Northern isles.

Oppenheimer argues a much earlier date for Neolithic settlement after the last Ice Age, perhaps even 16,000 years ago rather than the usual 7,000 or so, given the glaciers retreated from the isles only 16,000 years back! They would have spoken a language akin to Basque-- the oldest on the Continent and the only remnant of the pre-Indo-Europeans left today. The Irish and the Basques share some genetic markers that, as David Bradley of TCD found out a few years ago, show they were isolated holdouts of the pre-IE invaders who either pushed them into these fastnesses or wiped out everyone else but them as the IEs brought agriculture-- at a kilometer a year, thousands of miles westward over millennia, 6000-4000 BCE. My blood type of O-positive and my Connacht origins, for example, show a 98% native genetic inheritance compared to much lower percentages in the east and north of Ireland, let alone Britain or Europe. I share statistically only a tiny bit with the Middle Easterners who brought agriculture slowly, year by year, field converted from forest, towards the Atlantic from the Mediterranean, across the continent. Quinn thinks that we need to replace such a tracking with the coastal routes; I am unsure how Bradley aligns with him, although Quinn refers to such a thesis in passing.

Whether its Oppenheimer's emphasis upon the Northern Iberian settlement of the isles or claims for Spanish origins from The Book of Invasions/ Lébor Gabhala, the Irish always have traced their roots back to Iberia, where Milesius and his sons, mythic progenitors, first set sail for Ierne.

The article details where Oppenheimer differs from Bradley and especially his competing author and colleague Sykes. The linguistic assertions are fascinating and I am eager to learn more since the archeological record reveals so little about pre-Romans in reference to their mentality and culture that did not survive as stone and bone and pottery, from the time before the invasion of Britain by Caesar. Celtic as a far more ancient language is suggested--back around the first farmers coming 4000 BCE he thinks rather than the usual 500 BCE I've been taught. Also, English, he proposes from a formally discredited theory using language dating newly matched up with genetic dating-- glottochronology (great new word of the day), came over with the Belgae at the time of Julius Caesar -- they were already living on both sides of the Channel. Oppenheimer wonders if English survived in southeast Britain rather than being brought with the Angles and Saxons-- don't forget those Kentish Jutes, I might add.

In sum, most peoples trace their true "blood" back to those post-glacial peoples who arrived long before the Celtic speakers. Farming spread perhaps more than their hordes. Carmel McCaffrey and Leo Eaton in yet another book I reviewed "In Search of the Ancient Celts," incorporate the conjecture that it's like Coke cans found among a Third World people today. The artifacts of a more advanced civilization can be dispersed, or the language for that matter as with global English today I add, but this dispersal of material goods does not mean a massive depopulation or invasion by the newcomers, only their cultural--and then linguistic-- dominance over the natives, who still outnumber by far the innovative blow-ins.

http://www.nytimes.com/2007/03/06/science/06brits.html

(Image footnote from me: Castlerea looks off one county too far south. Should not it be up one in Roscommon? The map in the April 07 portion of my blog under the Bryan Sykes review seems more correct.)

Monday, March 5, 2007


Why am I learning Irish?

I posted this last week on my Yahoo Learning Irish Group [LI] working its way through the rather dreadfully written textbook by Michael Ó Siadhail [OS] that takes Cois Fharraige [CF] dialect of Connacht Irish as its basis. This already tripped me up the other day when on a tape I heard "floor" and thought "orlar," which is CF, rather than the answer in standard form, "urlar." Of such nuances localisms and regionalisms and stereotypes are made. The group asked why its members were taking the trouble to do what we do. Nobody so far has responded to my somewhat bold musings. I guess I am outspoken despite my deceptively mild manner. Touch of my iconoclastic side tearing down the plastic Paddy. By the way, watching a hideous caricatured Guinness ad the other day (I hate the new campaign with the Victorian clip art fierce mustachioed men (ahoy LLT & CBHers) . Sub-Terry Gilliamish. Well, they say at the end to drink wisely or some b.s. added only to avoid litigation during the "St. Patrick's Day SEASON. " Like Christmas, March 17th's no longer a day but a whole feckin' season of conviviality, consumerism, and consummations devoutly to be wished.

Dia dhaoibh a chairde!

I am writing this on my lunch break far from a dictionary, thus the Bearla [and lack of fadaí accents in the part below due to my lack of keyboard settings]. Since Steven had asked for responses about learning Irish, and mine sent a month ago on this thread never appeared here, a summary:

My [birth--added here] mother went to Scoil Fhursa in Bothar na Tra, or Salthill, adjacent to Galway city-- she grew up speaking Irish and in fact Salthill is less a hour's walk from the border of the Conamara Gaeltacht at Bearna, although now due to yuppification and wealthy suburbanites Bearna, not to mention Cois Fharraighe, is in danger of being swamped into greater Galway city via the purchasing by non-Irish speakers, in and outside Ireland but especially from EU, in setting up holiday homes. It reminds me of the transformation of the Canaries or parts of the Spanish coast by British ex-pats and retirees. Intriguing examples of a changing Europe, but not so hopeful when it comes to keeping a community basis for minority languages to be fostered. While all those wonderful folks who raise their children with and keep themselves daily active speaking Irish constitute in urban areas a counter to the weakened rural base for the language, this may it seems to me bring Irish in our generation into a realm like Klingon, Elvish, Latin, or Esperanto-- a chosen and rich alternative but not one that will ever be adapted by the majority, remaining an avocation, a willed expression of an alternative, a sort of "SecondLife.com" real-world community set up to give us a way to enter in and out of linguistic hobbies, fantasized roles we play. Agree or disagree?

Increasingly I fear that it's up to us on the Net to make nonetheless the cyber-community that will wind up continuing to work with the remnants of the Gaeltacht and in the urban and suburban areas throughout the island that keep Irish alive in pockets within an multicultural Ireland-- the prospects for Irish also are complicated now by a non-native English-speaking contingent; how will appeals to heritage and national identity work for the Chinese, Latvians, and Nigerians? Lots more Poles than native Irish speakers now. How are Americans choosing to learn Irish as adults different than those Irish-born who are "forced" to study it in school? My interest in these social and cultural issues has led to my expanding research into how Irish as learned by Americans is regarded within the larger Irish society within English-dominant culture; I have a paper coming out on this topic soon. As Michael Cronin, translation theorist, says: the fate of Irish will be decided in this 21st c. by those who speak not native Irish but all of us who know English. A complex and scary scenario.

A bit academic, sure. But I suppose we on this list need to be aware of the social patterns underlying any romanticized holdovers dreaming of an idealized Irish west coast with merry farmers totally living "as gaeilge." I plan to study Irish during a break there and pick up more of the "blas." But I am very nervous about doing so. I only wish the NUIG program in An Cheathru Rua fit into my teaching schedule in summers--it does not. Reading Steve Fallon's "Home with Alice: travels in Gaelic Ireland" (Melbourne: Daily Planet, 2002) is highly recommended to LI listees as a memoir and meditation on this Bostonian coming to terms with his family's Western Irish heritage and its "duchas" through the threatened condition of the present Irish language.

My Ph.D. is in medieval English literature; the abysmal job market prevents me from teaching this! Yet, I have never found learning languages easy; I speak Spanish, know Latin, Old English, Middle English, and how Hebrew and NT Greek hang together. But, Irish is truly the most difficult tongue; it resists my attempts to wrap my mouth around its sounds, its grammatical quirks defy easy recall, and while I can pick up vocabulary best of all, it's a poor showing when it comes to trying to think in. say to myself, or write easy statements!

Earlier on this list some formidable autodidactic linguists displayed their skills. I lack these, and am but at a pre-schooler's level. I stumbled ahead to LI CH 15 a few months ago, so I am on hiatus. I do the Stenson supplements but these often error-ridden in the keys and examples do not always give me the help I need.

I did read beginner's novelettes such as An Tobar by Ruadhri O Baille or his Dunmharu ar an Dart; I am a lurker on the Urscealta list going through the Paloma thrillers. A children's simplified edition of Fr O Laoghaire's classic tale Seadna utterly challenged me, dictionary in hand, however. It's humbling to learn Irish, and it does not get easier. Still, lists like this keep me focused better. I do not like learning in class settings as I get tense and do better on my own-- but I do want to read more than say it; speaking or writing it I find rather non-essential although I force myself to spend hours on each lesson with rendering the LI writing exercises into Irish, which I like far less than translating from Irish proper. I wonder about others' preferences?

Finally, I would like to hear from others on this list about their wishes for learning Irish and how they see themselves fitting into the actual and virtual communities of "gaeilgoiri."

Le dea-ghui, John L Murphy/ Seaghan O Murchu. Los Angeles/ Cathair na nAingeal i gCalifornia, SAM.

P.S. You may have heard about the debate in Spiddal/ An Spideal about set-asides of new homes for those promising to speak Irish and pass it on. This sort of capitulation to anglicization I suppose gets me in the gut, and for about twenty-odd years on-and-off I have struggled with Irish. As my mother and I separated when I was young, I suppose my longing to know Irish is symbolic?

P.P.S. I began actually with a bit of LI and OS at the very first UCLA extension course in Irish in 1989; this gave me a sampling of "Irish how she's spoke," but my interest has always been in a basic reading knowledge as I have no one to speak to where I live in Los Angeles! There's only one class regularly held in all of this vast city, and work-commute-traffic-family duties prevents me from attending. The Net's a godsend...

Saturday, March 3, 2007



Phil Spector & Me

I was thinking about the pop princeling and his manse, the Chateau Pyrenees. Why did he choose to live east and not west of downtown LA? He could still afford the coast, even if the rest of us Angelenos can't? The lemmings at the Pacific's rim, crowd the rest of us back, we congregate, pushing forward with the sun's course, millions of us, piling up and backing up in reverse towards the desert, channelled by the mountains of whose control John McPhee wrote in his inimitably factual New Yorker magazine style on the piece about the San Gabriels and how engineers keep them from spewing boulders the size of houses down upon us in the valley of the same name. That of which here I tell.

Why then, go east into smog and aridity if you could leap into breeze and beach? Surely another of Phil's vast array of eccentricities. Robert Blake chose for his down- and- dirty work on his ex- a locale and a restaurant both South-of-Ventura (Boulevard, not the Highway of hitmaking fame), O.J. Brentwood. The Melendrez Brothers already had their own mansion there, to the manor born. Alhambra's rather downscale; even if it's a hilltop spread, it's not much of a splendid vista above the San Gabriel Valley's arrival. Did not Tom Wolfe (I reread a copy of 1970's "Radical Chic and Mau-Mauing the Flak Catchers" I found in the garage--Layne's had no cover, mine did, and seeing I held it before my face on the Blue Line it's just as well I took the coverless paperback) write of this urge by the suddenly wealthy--the Jewish kid from Fairfax, the Italian from some East Coast hell's kitchen perhaps although a child actor or the ghetto prodigy from the Fort Hunter housing projects-- in Kandy Kolored Tangarine Flake Streamlined Baby? Where he also observed that Las Vegas was the first city built by goombahs (not to be confused with Irish gombeens, although they do have a thuggish similarity and I wonder if a verbal ancestor) who took their notions of "high class" and their ill-gotten greenbacks and made their neon Parthenons. Now Wolfe's exegesis is all the more confirmed by the past forty years on the Strip and below it.

One who epitomized the road to the palace of excess beyond the more recent usurper to the King of Pop's throne, Neverland's Michael J., Spector lives in the Kimberly (of Kimberly Scott tissue & paper fame) mansion in of all places one where I used to reside-- the dusty, smog-ridden expanse just east of LA called melodiously Alhambra. Founded by a man named Shorb in 1889. A grid. Numbered streets when they were not named after romantic personae and places, although one was named after the founder, alas. I liked the street named Marengo after Napoleon's horse near my less euphonious street named Edith. That dull entity now made into suburban chain of burbs turned into an unrecognizable (to us natives from the 60s and 70s and even the first half of the 80s) twenty-mile long Chinatown -- an area of hundreds of thousands of immigrants from Asia, not to mention hundreds of restaurants, that extends to half the distance between LA and Ontario now.

There used to be a shady break after Ontario, Bloomington's garage from the 20s and the rows of eucalyptus and the freeway's offramps for Pepper, Vineyard, Archibald, Mountain, Citrus, Euclid, Indian Hill. The giant gravel mound near grey steel railroaded Colton "City of Hubs"; the green crops that endured until the turn of the century alongside the encroaching concrete pads and the enormous distribution centers that they portended. Not to mention more tracts, more strip malls, more signs (beaming four-person intact nuclear families, rustic names, lawns and invariably two stories) for more and more "Neighborhoods from the low 30s, or 90s, or 250s or 400s. Next right." What SG Valley was in the 40s and 50s, Pomona's became in the 60s and 70s. Its saturation in turn only moved the whole juggernaut further east in the land of go west, young family/immigrant/homeowner/VA buyer. Moreno Valley turned from an off-ramp into scrub into a city of nearly 150,000 in the 80s. Fontana grew gigantic. Riverside and Corona and Redlands devoured their citrus wreaths that once circled their semi-rural old towns. The old cliche about naming the streets after the groves you tear down, the beauty you obliterate, the air you choke. Us humans, all needing a place to live. Chamber of Commerce welcomes you to...

Together, this vast domain comprises the "other valley" I grew up in. No funny movies with Nicolas Cage or Julie Brown. No jokebooks or Mimi Pond satirical sketches. It offers no iconic lover's lane or scenic view as does Mulholland Drive where you and your squeeze can gaze upon the neon and lamplit grid. Chantry Flats does curve above Upland, but little of the flatlands can be seen even without smog or haze. And, I speak from personal experience, the cops do not let you park up there, whether to muse or make-out. I tried only the former. But, if you catch a glance of the valley from a rare higher perch, as from a hospital in Pasadena where I have watched my mother and sister and wife convalesce over the decades, you sense the skirt that ripples, the alluvial sediment and rocky corrugation below Altadena that slants the whole plain gently but firmly up to the foot of the mountains, so steep that even if the Angeles National Forest was not there to halt the tracts from scaling the vertical climb, I hope engineering would. But, as I will later here relate, that science progresses and hills once deemed unbuildable can be blasted and shoved apart in our newest stance for raping mother earth.

What we do thus spawned here, scattered across this otherwise featureless plain, sound or look like? We're as diverse as any Southern Californians. Whose famous from here? I have only traced Twyla Tharp (what an Okie name for such a haute couture avant-garde skinny black-clad metropolitan waif) from Fontana, where the Gucci radical Marxist-with-tenure Mike Davis also was raised, along with Sammy Hagar. His bandmates in Van Halen from Pasadena, David Lee Roth the dentist's son from adjoining Arcadia. The late lesbian enigmatic recluse SF writer Octavia Butler like so many blacks here came from somewhere southerly or Texan but lived way up in Altadena. San Gabriel birthed David Henry Hwang, banker's boy and whose ex- I even sort of know, the Chinese woman who named his most famous play with the key initial of M; he dumped her for the blonde. Sam Sheperd has some connection with the area in between Fontana and Cucamonga, where Frank Zappa once lived in the early 60s. Jack Benny made the line about Cucamonga and Azusa and I can't remember the third on the mythical silly sounding Indian-derived stops along back then Route 66 and now the 210. "Everything from A-Z in the USA," the billboard promised me as a ten-year-old as I passed it into Azusa, reading my Reader's Digest Best Fairy Tales in the back seat. Didn't Benny have Texaco as a sponsor?

Well, I had cousins who were a success: they owned a Texaco station in Fontana. I was surprised when we went there once and my dad did not merit free gas. When I started school in TC, the librarian said "you're from Claremont? That's out in the country!." My steadiest partner back in college told me that I sounded like a hick, and I better get refined if I wanted to succeed in grad school. My classmates often remarked how I did not talk the way that I wrote. They thought I lived on a farm, although I explained the concept of a dog kennel. Almost nobody I told in high school, college, or beyond had ever heard of, or visited, the SG Valley. It was on the way to the desert. The 10 freeway takes you 60 miles to Arrowhead or San Berdoo. That's about it.

So, why does it inspire my reveries? I guess wherever you grow up, there part of your idealized identity remains, no matter how commonplace it looks to the rest of us. The farmhouse attic where I lived cheap in 1984 faced demolition, next to the railroad south of the old citrus packing houses. (That railroad: the same Southern Pacific line I could hear a decade earlier on still evenings a mile or two north, the same one upon which I dared to place pennies on the tracks during downtime-- the other five innings they did not have to put me in for Little League; the same time and place that Mark McGwire played there, so I guess we may have occupied the same field once?; the same railroad a hundred yards from the TC house, so close it shook the house. The same railroad that allowed the first land rush in the 1880s away from El Pueblo de la Cuidad de las Reinas de los Angeles de Porciuncula into the ranchos and land-grant grazing desolation that once looked much more like the semi-desert it is and with global warming may more and more revert to.

Railroads bring freeways that replace straight roads like Arrow Highway across the valleys. Near its county end, one old house, amidst its own sandy and rocky detritus, still kept junk in the attic from the early century perhaps and surely from the remaining seven decades or so. IT was robbed before I moved in, but they did not know there was an upstairs room, where I happily moved out from the tract house room on Aurora (near my former grade school) into for bargain rent. A grad student from or near Oil City, Pennsylvania, learning Chinese who already translated at a school in Monterey Park, her boyfriend worked at the Pickwick, now B. Dalton (the chain beats the indie) in Redlands. Another woman named Cohen was studying at the Methodist theological seminary and having although married to someone up North a suspiciously intimate relationship with an older, gray-bearded professorial type out of Central Casting. She was rarely there. Another student not around much who worked at the Colleges in the kitchen from somewhere Texan or southerly, with a drawl. We rarely mingled, our schedules askew. We did watch some of the Winter Olympics at Lake Placid, that's the only time I recall a gathering.

I ate giant bowls of filling Roman Meal cereal, apples and cheese for bag lunches or shrimp Cup o'Noodles, and eggs broken into chicken soup or just a lot of eggs with potatoes for dinner. I lived in an upstairs garret that faced Arrow; you can imagine how hot it was even in spring. I wrote and typed on a large trestle as a table atop cinderblocks, the tabletop fan whirring, sounds provided free by KSPC, an sonic and spiritual echo of-- and nearly a frequency overlapping-- the faded signal from faraway KXLU. Both stations played my requests. Dead Kennedys playing on my clock radio as I read Gawain in the original. Going the year without talking to practically anyone unless in a business or educational sense on the CGS campus and its sister campuses (the hushed and empty library at Scripps my favorite haunt, or the top floor of Honnold next to the PR stacks for Brit lit. I made no friends, nor did I need them. I had my girlfriend still at LMU, and a few of us first-year English students who lived locally got together a couple of times only. At one girl's place I heard a phone chirp rather than ring for the first time. Her father, a prof from Rockland College in Illinois, visited her once and asked me given my family's neighborhood roots in London being Poplar, if I was Jewish. I would be asked the same question by others who knew London's pre-Blitz history and boroughs well in other conversations.

But at CGS extra-mural talks were few. I was on my own, much more than in college at the dorms. No cafeteria, no communal needs outside seminars. My tuition was paid by my fellowship, and it gave me $2000 to live on the year. I rode my bike or walked. It was a winter the dryest ever after one that rivalled 1969-70 in its rivulets. I cannot remember ever getting rained on the year I was in Claremont. Another $400 had been saved from my summer job tele-recruiting for Red Cross blood donors. Another mansion! Their offices were off Orange Grove's millionaire's row in Pasadena, in a lovely place once owned by a cigar baron, or a baron who loved cigars. Once in a while I stayed there due to a split shift. Finding a niche higher up in some covey turned file cabinet central, I read Seán O Faolain's Vive Moi and Flann O'Brien and Jude the Obscure and The Great Gatsby. O Faolain, as gleaned in my recent etymological-lycanthropic investigations, derives from "faol," wild beast or wolf in Irish. I walked there all the way from the bus stop at Mission and Meridian (today a hipster's hangout) in South Pas, a long but charming trek that took me through neighborhoods that looked exactly like those around Claremont's colleges. Those enjoyed cooler shelter, which I craved.

My fingers the previous August, when grad school had started, had smeared with sweat (and I rarely perspire unless hard-pressed) the Penguin pages of Christopher Hill's The World Turned Upside Down, assigned for my Milton seminar. By the start, for we ended in May, of the next summer I had moved away; I was going to transfer for my Ph.D. to UCLA. I hated to leave, but I gambled that UCLA in a parlous job market would provide me a more recognized "name" degree than Claremont; I also feared that my fellowship would not be continually renewed and that I'd be faced with a $12000 debt each year if I wanted to remain enrolled at CGS. Next to the wide verandah, a mark of all those granite-faced and wood-framed houses I cherished, there still hung facing the road (which always seemed busy, surprisingly) a wavy-painted sign, "Samsara." Abandoned arboreal wireframes in the weedy back looked like vegetables had been given their chance once. Remnant of a freshly failed new attempt at Brook Farm. Place we have to travel through in Buddhism towards enlightenment. But we do not stay in Samsara. I did drive to 703 Arrow Avenue once after I left. No house. Light industry.

There, beyond the industrial and suburban advance, my years roaming orchards and fields and streets in Claremont were my best kid memories, but then we moved in the era of endless Social Studies assignments to clip out the articles in the paper on Watergate, Welcome Home POWs, OPEC embargoes, and Yom Kippur War to forlorn Temple City. Many Italians had settled there, from Italy rather than NYC or Buffalo, after who knows what happened to them in WW2. Walnut trees marked the natural flora, and one still grew, rotting boards still allowing me a place to crouch in its branches, in the background overlooking the concrete wash, named after the Eaton who once owned a swath of the canyon from which in McPhee manner mountain water trickled, the park and canyon too bearing his name above JPL. The area then was sleepy, irrelevant, and polluted. We had to live in an industrial zone since my parents ran the kennel behind our little box of a simple house, built in the 30s.

Now my wife goes once in a while to a massive Chinese market in adjoining San Gabriel. Basically in the 80s the demographics shifted, as we say today instead of there went the neighborhood. Asians in, whites out. Latinos remained steady. The other two basic color groups nearly exactly flip-flopped in increase/ decrease. My multicult-dazzled foodie-proud wife, perhaps now the only youngish "white" lady shopping on Valley Boulevard for miles around.

It was once the San Gabriel Drive-In, screen out of Zorro, a dark man on horse, a frilly woman in lace and a fan standing below, flirtatious. Olde California, the mission up, well, Mission Road just off Valley. Towards El Monte, there was a cul-de-sac called Easy Street near the unemployment office. I walked there once from home, all the way down Valley in the heat. It always seemed like summer there, furnace-blistering glare. I got a job there one summer as a chicken processor, or more precisely a de-boner, de-fatter, and meat separator, at Moffitt's Chicken Pies in Arcadia, on Baldwin named after Lucky B., of Santa Anita fame. Arcadia had much wealthier residents. The girl I worked with was Jewish, I think recalling her name now although then I only half-registered it, and her perfumed (I could smell the scent on her daughter when she came into the kitchen) and rouged mother dropped her off, as I was delivered by my patient mom, at 6:30 a.m., but I was in a Honda with dog crates in the back and my co-worker was in a Mercedes. The mother had a Germanic accent. I knew personally--as opposed to some vague brush with someone which rarely presented itself anyway-- neither Jews nor Protestants. In high school two students were from Arcadia, both living in condos and both with moms with Mercedes. I knew nobody, close that is, who had a Mercedes or a condo. Catholics. At least one mom's brood had travelled to Europe. I knew clergy from Ireland and a priest who had worked alongside JPII with displaced Poles in post-war Belgium, but that was about it for my ties to that continent. One mother midwestern and tubby and reeking of cheap scent. One mother Latina and attractive and divorced. This all evoked wealth for me.

Years later, in two separate instances, I was told by people who grew up there around that time and a bit earlier that TC was feared by Arcadians. Our football team won the CIF 2-A championship, and the Rams made what little fame TC gained. TC was a place where you could get beaten up. This seems ludicrous to me: "Home of Camellias" where each spring an imitation Rose Parade saw flowered floats dragged down Las Tunas (as in the cactus, not the fish), the main drag. Like Alhambra, El Monte, San Gabriel, and Rosemead back then, all was either a bit foggy in the winter mornings or unbearably ovenish the rest of the year, at least in memory.

But, come to think of it, bicycling home from 12:30 Sunday Mass across the street from the cattycorner public school (I attended there the tail end of sixth grade when we moved, as the parish school was full up until the fall), a ball rolled towards me in the gutter. The older, scruffy, bigger teens who had been playing with it yelled at me, making fun of me, demanding I pick it up and give it back to them over there. I was fourteen. I ignored them. They got in their car, chased me down Cloverly and around a few streets they knew as well as me, unfortunately, about a quarter-mile, and caught up with me although I tried to outwit them. I should have pulled into a driveway and vanished for a moment, but I feared being off my bike I would be more vulnerable to attack, and my bike could be stolen. So, I tried to get home, about a third of a mile but over the hump that bridged the wash, and which would slow me down, and around which no alternative existed. I did not make it. They threw me down, punched and kicked me.

Telling nobody at home, the next day I did tell a classmate, who was from Cudahy, red-haired and freckled and very Irish-looking. That meatpacking area was even then nearly all Hispanic in the schools and younger population, and he had a hard time there. He knew how I felt.

Working-class neighborhoods often offer little of interest. My area proved the point. Down the street where I lived in TC was the gated, nearly unidentified, filled but closed pioneer cemetery from the 19c for the ranches surrounding the missions. Up the street was a theatre from the 1920s. That was about it for history. Blue-collar suburbia, although a sign with Mary and the message "Pray for Peace in Our Barrios" long stood as a billboard on the closest intersection to my house. At those same rail tracks, down which a few yards Fiesta Floats around the corner made Rose Parade monstrosities, which trundle up TC Blvd to Michillinda Park, to have their one glorious deb at the ball moment, in the invariably sunny balmy morning framed by snow on the distant peaks reminding us once more New Year's missed the Christmas rains.

She shops there at the massive Asian outdoor mall, as the loudspeakers blare in whatever form of dialect has triumphed here. She buys Japanese candy, dried fish snacks, more cheap but wet fish, and dangerously preserved cellophane-wrapped Malaysian sweets. She also earned twirly energy-saving bulbs as a premium once.

A half-hour's drive beyond, past the original In'n'Out as the valley's claim to culinary fame, over Kellogg Hill (coming back you looked down on the skyscrapers of downtown LA tipping through the haze or smog that marked the region), lay what by now looks nearly identical: the Pomona Valley. A decade after I unwillingly left Chaparral Elementary, I got my MA at Claremont Graduate School. I loved the college-town ambiance that eased the oppressive heat and depressing stucco sprawl that stretches by now eastwards nearly to Palm Springs.

Coming back to what I had left eleven years earlier, I always wanted to visit the Graber Olive Factory in Ontario. It's still an unfulfilled wish, as I need to keep some for my middle age. I used to eat as a kid at Henry's Broasted Chicken, a googie-type place, on Euclid Avenue. Why cities often have a Euclid Avenue is a question unanswered. Each year we'd go there to Chaffey HS to watch the Fourth of July fireworks. When we would visit (my great-) Uncle Leo and Aunt Annie in what was by then a Chino barrio, we'd drive down Central Avenue with the windows up to keep out the dairy smells that permeated the whole area. My beloved slice of Guasti by the 10 Freeway held out for long the last remnant of a vineyard (its poor grapes capitulated to pollution) but now it's a Home Depot.

There was an inn on Foothill that was founded in 1849 on the stagecoach route; I remember Robaire's in Cucamonga (no upwardly mobile suburban-voted Rancho prefix then) and sitting around a 1930s-era roadhouse at an open bbq pit inside watching the meat cook. Hicksville. Zappa had hung out here in the early 60s perhaps with Glendale-born Beefheart before the latter went off to retire and paint in the Mojave and the former to the top of Lookout Mountain atop Laurel Canyon in the halcyon years of the late 60s. You could take that flat two-lane road all the way to San Berdoo beneath the 10,000 foot-high range of the San Bernardino Mountains on old Route 66, passing The Wigwam Motel near Rialto, made up of individual tee-pee rooms.

Eucalyptus and pepper trees lined Foothill, orchards still stood here and there amidst the tracts, and giant granite boulders from the alluvial wash down from millions of years of rain and storm and wind littered the vacant lots and silent brush. On the dark freeway, you could look north at the glowing light, perpetually adoring the shadowy bulk of Kaiser Steel. From Foothill you could look south all the way to the freeway on the county border: nothing between but emptiness, and the night's lights of the new Montclair Mall (built 1969, hideous then and wait 'til you see the 1980s style remodel in the spirit that clad the 84 Olympics: fake turrets and round pink cylinders and mauve stripes). Once me and my friends messed up the time of our Charlie Brown movie, and had to stand outside the theater there for an hour and a half until their mom picked us up. I had asked the gas station attendant (you can see how long ago this was, 29 cents, Ethyl pumps still used for our Volvo) for a dime to call her. "What do you think this is? A bank?" I was nine or so. I never forgot that rejoinder, and vowed if a kid asked me for money when I grew up, I would give it to him. Which I am with my two sons, grudgingly, lovingly, seemingly endlessly. Montclair was once Monte Vista but when incorporated it took the name the flip of Claremont (not to be confused with Clairemont near San Diego). But it was always a lower class, more trailer park, atmosphere there, thus the mall to inspire civic pride and fill otherwise empty municipal coffers.

That ambiance did lead to a drowsier, clammier sensation that led often to naps. Perhaps from that woozy state, I have a déja-vu memory from early years. A road surrounded by shady eucalyptus, dipping gently under a steel-grey railroad bridge like you see trestled in a Lionel set. A candy store, striped red and yellow and bright like a candy cane, non-Christmas variety. I cannot tell if this was real or not, it seemed by the foliage as if it would have been around Fontana or Ontario.

Etiwanda just north of my recollected landscape gave its name to a label for wine vinegar made around there. I liked seeing it was made there on the bottle-- nothing else marked our area in the store. The earliest vineyard in California was there too, a great moniker: Virginia Dare. Do you know the significance of that name? Alta Loma fit its named stretch. Lots of rocks beneath high ridges, that's it. Plenty of pits and granite and little else, wood frames from collapsed sheds and desolate lots in the harsh sunlight and strong winds that swept down from Devore Pass and hung a left towards us, although the dry desert Santa Anas never seemed to oust smog long.

In SB County, there were in such rural areas white posts with the names stenciled in black capitals down the side for the streets at intersections. My sister and I loved going to SB that way. Dips and rises made it a rollercoaster. Washing machines, full of bullet holes, littered the heaps of quarried rock and abandoned ranch storehouses along that road. Cable Airport took up much of the area between that road and Foothill, and the private planes buzzed above. Millard Sheets had his studio practically on the border; on that same street, a dog leg off of Route 66 at Mills, was the gas station where more than once and over more than one decade I inflated my bike tire too high and had it explode, as the attendant laughed. Maybe self-service stations have their advantages for me?

On the next main corner east, Mountain and Foothill, my mom and dad raised, unsuccessfully, chinchillas in the late 40s in what was then the county border of rural Upland-Claremont. Hobby Hut incongruously was across the street quite a trek for a ten-year-old with a 50 cent allowance each week, going up a nickel each birthday. Did I ever buy rather than simply look? There was also a bar, where I did go a decade later. All I remember is that Bauhaus was playing when my classmate from Glendora and I returned to the car, "Bela Lugosi's Dead." I agreed with his comment: "it sucks that such a great band name was used by such a shitty band." That band once strolled the Loyola campus to be interviewed on the dopers' fortress, KXLU, third floor Malone, antenna atop the roof. The pasty, pouffed, fey Englishmen as they wandered past the cafeteria stood out, in those days when out of three thousand or so undergrads, there truly were but a one-handed handful of identifiable punks. The rest of us who were into punk and KXLU and in my case worked there as well as reviewed music for the college paper, looked like everyone else-- to me a truer manifestation of the punk spirit. An inspiration for Bauhaus, bassist Steve Severin (now that's a great name too from Teutonic culture, the master in Baron Masoch-Sacher's decadent Viennese romp "Venus in Furs") mused that the spirit of punk was "sixteen and saying no." In the year punk broke at least for us who could not get into clubs or did not drive and rarely got to go to Tower on Sunset to buy import LPs and read Slash magazine, 1977, I was sixteen.

Six years earlier, past that same bar, I used to think it was so dramatic when I would walk across the county line and back, mere minutes from my house and school. It did not seem to rain much out there. The exception, in the torrential rains of 1969-70 when the hippies predicted that our state would around Easter topple into the ocean, offered a slight hope of snow at the 1200 or 1500-foot level where our school was, it was so chilly. A winter of Mansons and riots and Vietnam and in retrospect the Stooges (who today on the cover of "City Beat" Niall mused looked like the original trio in their haggard mien) sang "1969" and it was not a celebration, but a condemnation. The 60s could not even make it to the chronological end of the fabled decade. Us kids too young for teenaged revolution regarded the colleges a mile away full of angry students marching and burning. To me, college was full of affluent kids with stringy hair, button festooned and dirty and hirsute and loud in both color and attitude. But a hippie, named of all combos Patrick Goldstein, and his gentle gal pal with straight blonde hair middle parted, named Gussie, was my soccer coach, and to my surprise my parents did not seem to mind when early a misty, chilly spring Saturday morning he would pick me and the more northerly-placed team members up to take to the AYSO game. After Torrance, Claremont was the Age of Aquarius epicenter for the nascent entertainment that about two decades later would lead to SUVs and a whole voting cohort of "soccer moms." When I learned, the sport-- which I liked far more than baseball for its chance to show my defensive skills, and in which we played at least half the game-- was associated with Mexicans and everyone who wasn't American. But my dad had played it with those other hyphenated Bohunks and Hunks, the mittel-European spawn in the slum where he grew up in the Depression.

College-connected families did exist in my larger circle, such as the kid on the team who was the son of Pomona College's president. That explained his omnipresent sweatshirt. Earl and Roland Jackson were long-haired twins living near the college in one of those overgrown stone-walled Craftsmans, for their dad was a professor. The silver POW bracelets were often worn by the kids from the collegiate world. I did get a "Welcome Home POWs" button but we all did in sixth grade. My dad took the family to Ontario Airport to see Nixon at a '72 campaign rally, so we (and he?) could say we saw the President.

Our evening news, still in b&w in our house, was always about riots and protests and war and saving the earth. War is not healthy for children and other living things. The night would bring the day's casualties, with little flags on screen at the designated moment for the enumerated dead and wounded for, always in this descending rank, the VC, the RVN, and the US forces. Even my Archie Bunker dad (and it is often commented that Lear meant him to be an Irish Catholic in all but name, which I suppose is undergrad writing major SYMBOLIC) mused that he could not see how we were losing the war when all thd figures would be skewed in favor of the few US, some RVN, and a helluva lot of VC killed each broadcast. I remember the tallies showed "us" killing it seemed ten times what we lost and still, we were losing. Walter Cronkite, John Chancellor, the token afro or woman, all droning on. Handheld cameras and young men screaming, wounded and bloody. Other men yelling too, this time women that looked more like us and less like the Vietnamese under their triangular straw hats as they too mourned their country's dead. Dishevelled, not out of poverty and grief but posed proleterian solidarity: hippies and feminists marching and pickets falling before the assault of helmeted National Guardsmen.

Moratorium was a word I could have spelled even in fourth grade, so common it was. "Hair" was staged at Bridges Auditorium to protests. My Catholic school teachers told us the peace sign was a demonic symbol, an inverted cross, a chicken's voodoo footprint. A black family moved in two streets down. I met them one day when they bounced my ABA red and white and blue basketball. It had rolled down our driveway, where I shot baskets to a small hoop placed low as I was short. It bounced rapidly down the gutter line into where Judson Court met the larger Radcliffe Street. All streets at least then in Claremont that were not numbered (those were the oldest ones on and near the campus that spread among the tonier, much less oppressive, tree-rich surrounding houses from the century's teens and twenties) bore the names of colleges, usually smaller private ones with one word.

Then the ABA ball vanished from sight. I could not catch up with it as I was thin and it was an effort for me to run far or fast. Doing laps in the first-stage smog alerts and filling my lungs with metallic residue I could taste and breathe as my breath constricted noticeably: an irony I thought even then as we wore ourselves out for the President's Fitness Award each smoggy spring. For weeks, we could not see Mt. Baldy, which loomed round and often snowclad-- when not its granite skullcap shone white too-- straight above the town.

Some time later I saw two black boys on Radcliffe bouncing an ABA ball. I found out-- my dad always labelled my belongings for Scouts as well-- my name was on it! The mystery solved and the new owners compensated. They graciously agreed to a deal which my parents probably in retrospect worked out as a compromise. They could shoot the ball all they wanted at our house, with its hoop that must have been only about seven feet high! They did, and so I became friends with them.

Amidst "Mod Squad," "Love American Style," "Gomer Pyle", and "Laugh-In," I played in the fields, building in the sand with my Tonkas and Matchbox and Hot Wheels and tunnels made of golf-club holders long tubes of plastic, or congregating in the fort the three neighbor boys had their dad build in their backyard. German Lutherans, with a bumper sticker about the Missouri Synod. Pepper the dalmatian who ate a potato bug once. The mother was named Doris or some hideous name, and she had a perm, heavy glasses, and prominent braces. Her husband, I never got it, was a handsome Navy man, not her Erma Bombeck on seconal type. As I left one day their porch, I heard her say about departing me: "that boy's weird."

One of these progenitors did have the "Mellow Yellow" album which I thought was lamer than the first albums my sister and I collectively bought at Fedco by the Partridge Family. One visit, either to Pasadena's or San Berdoo's as they were equally a long twenty-five miles down Foothill, my mom did show a rare glimpse of astute pop cultural knowledge when she counselled me on my decision as I was split between a Brady Bunch and a Partridge LP to go with the latter. I also bought Led Zep II. I wanted Quadrophenia but it was a double album, more expensive. I listened to 93 KHJ and soaked up all the Motown and soul and R&B and proto-disco that washed about Top 40 along with all sorts of simpering, strutting, and silly rock and pop. Nobody enamored of this age of lunar landings, "American Pie," and Three Dog Night seems to ever bring up the once popular novelty singles in which presidential candidates or celebrities were "interviewed" and gave responses that were snips of hit songs, lyrically satirical or funny.

Along with music, I read voraciously, a long bike ride that same mile south each way to check out books from the old stone library that had carved above it PVBLIC according to the pedantic Roman lettering, doubtless a legacy of the correctly educated New Englanders who brought their colleges and their demeanor to turn dirt and scrub into shade trees and sylvan quads. Years later, I found out that T.S. Eliot's ex-, Viv lived around there, gradually going insane. Pomona College also was a holdout for Baconians who refused to admit, in Viv's era, that WS could have written the works attributed to his name, being but a provincial glovemaker's son.

My first book bought with my own money happened in 1972. It was an obsolete 1972 Scott's two-volume stamp catalogue bound in red for $7.50 at the stamp and coin store in Pomona-- which had the best library of all, a room where you had to be twelve to enter but I did anyway to read the Irish philatelic catalogue of its filigreed and half-Gaelic squares of slick and perforated paper. The library also had a permanent display of Laura Ingalls Wilder memorabilia, I don't know why.

My second book, new: $2.85 at Pickwick in the Montclair Plaza. The slip-bound faux-Gothic and reddishly ominously in hue set of Lord of the Rings, each paperback cover with the green box with a message from the pipe-tooting Oxford don himself, facsimile signature nearly as Gothic or runic, not to buy any but the authorized Ballantine printing. Wittily told in its caution too, befitting a man I admired somehow even then. I learned that he was a medievalist and what he taught and that such lore could still be acquired and added to by research and study.

My love of languages, although I possess no skill in acquiring them as Tolkien did, spurred me on, not to wretched sub-Middle Earth imitators (but Lloyd Alexander's Prydain delighted me too) but luckily back to the real core. Golden Book hardbound versions of Myths & Legends and one of the Hieatt's "adaptation for younger readers" (I bet) of the Canterbury Tales led me into the narratives. I never got the hang of Olympus but I atavistically felt drawn into the Catholic haze and the Celtic gloss of British antiquarianism, for beneath its ornamentation I could retrieve the Irish core. And so, over twenty years later I earned my doctorate in medieval English lit; thirty years later I labor through Irish itself, even daring last two weeks as I post at the Come Back Horslips GB (a colloquoy as mad as Erasmus' antinomian versions) on Kilkenny's werewolves or the Bricriu's Feast coupling between Médb and Cú Chullain to glance at Old Irish and puzzle a teasing fragment out that in the latter case reveals translators embellishing the spare and cryptic and barely suggested original meaning, hidden in the text that even though its Irish was penned by monks, and therefore circumspect and reticent not about sheep-devouring men turned wolf but about promiscuity. Thus is my scholarship revived and if not applied in a yellowing monograph than as a popularized demonstration for my cyber-friends whether in Marin County, New Zealand, the University of Gloucestershire, suburban Dublin's Flann O'Brienized Dalkey, or the Appalachians.

Inevitably, I am brought back from present autodidacticism when I encounter my evocations of the spark for my currently consuming thoughts to Claremont. Where you are as adolescence looms permeates your life. Even I can recall, now very sadly when I smell sliced lemons (they remind me of the grenade fights we'd have amidst the greener and less shady trees, and the smudge pots would fill the air with a sticky heavy flowery oily odor on frosty mornings that covered the windshields in a solid sheen), the ticky-tacky homes and a freeway that eliminated the lemon groves behind my house. Not to mention erased soft hills where I chased jackrabbits, found bottles from the Depression, shot a bb-gun, and rattled coyote skulls. So much for my nostalgia.

In our chaparral adjacent, decades later, more development. My open space is somebody else's undeveloped land. Vacant lot to you, wildlife sanctuary if only for hawks and mice to me. Maybe now you can understand why I react so strongly to what most people shrug off as the inevitable Western manifest destiny. Yes, I live in one house here too. But it was first, in 1944, amidst nothing else, no trees, no flowers, no fruit. Is that better or worse, to be the inheritor of the pioneer homestead amidst the then-unpaved canyonette?

As I write, one home next door: remodel & expansion. Within 100 yards: three homes (one 4500 feet on a triple lot on a hairpin blind curve) bulldozed out of the hill and rising. Next door: the narrow lot between us and the neighbors too inflated for us and them to buy, our repeated offers rejected by the bastard of an owner who hates us (since his bastard of a father was killed by an angry gardener on the site but the realtors flat out denied it was a murder site, although you must do so if the crime happened within the past three years of a sale)--well, it finally sold last month. Anyone who could pay that much will build a McMansion for sure. And there's ironically a lemon tree with bitter fruit on the lot outside the kids' bathroom window I can see, and among other delicate small trees an enormous elmish one that does much to cool down our house in its northeasternly placement and alignment with the hill. The sun goes down much faster, as far as our yard's concerned. A blessing in the summer and a respite from the glare.

Our city councilman, coasting this very week to sure re-election, is securely in the pocket of developers. Over his first term, massive home construction obliterated more pockets of green (or chaparral and tumbleweeds-- but they are indigenous California plants, you know!) under the assault from LA's relentless population growth. A hundred-thousand newcomers each year into our county alone. SB & Riverside: always now in the top-ten population increase rates. The mayor wants fill-in architecture so he doesn't lose more residents to that insatiable Inland Empire--the very reason of the exoribitant housing prices (about 15% of those living in LA/OC can afford an average mortgage for a home sold today) for all those endless subdivisions for 100 miles east (as well as west, north, and south).

Indeed, what housing slump? We're active in the city's neighborhood council, but they have to "play fair" to realtors; nothing stops more permits. I favor monkey wrenching, but it too is quixotic. My son asked me a couple of years ago why we can't simply put up signs, sit there, and protest, like in the Disney Channel plots. In those stories, the little guys defeat the bulldozers. In reality, they rarely do unless a wealthy big guy lavishes cash upon the bulldozers' employers and gets a tax write-off if said little people raise enough money by bake sales to meet his pledge and buy the land for a hiking trail, wetland, or ballpark named after him. I do feel downhearted.

Part of living in the endless boomtowns of our Golden State, don't you know?

Tuesday, February 27, 2007


Gerry Smyth's book on Irish rock

Here's my review "le mo ainm as gaeilge" since my anglicized name is as common as, in Joyce's phrase, "Mickey Mud and Paddy Stink." It appeared in The Blanket last week; the link's at the bottom back to that doughty online project straight out of Ballymurphy, West Belfast.

The Critical History of (Irish pop) Noise Gerry Smyth. Noisy Island: A Short History of Irish Popular Music (Cork UP, 2005) 1-85918-387-5. Book Review Seaghán Ó Murchú • 21 February 2006

Mark J Prendergast's pioneering 'Isle of Noises' (Irish publication as 'Irish rock', 1987; St Martin's US, 1988) brought Irish rock, by anecdotes, interviews, summaries of bands and albums and key songs, its first extended presentation in print. Now, in a book also titled with a variation on 'noise', cultural and literary critic Gerry Smyth (Liverpool John Moores U) brings his postmodern application of Jacques Attali's 70s-era 'Noise: the political economy of music' to dismantle the leftist, Adorno-founded, snobbish dismissals of rock as a populist vulgarity unbefitting the deluded proles beholden to their cunning minders. Smyth takes music seriously but not snootily. He's an academic who can discuss music intelligently without falling into condescension or hyperbole. He is a fan of much of what he writes of, but he also knows when to keep his intellectual distance. He presents the shift in Irish rock and pop from an insular, uncertain, cultural expression to another slick (if perhaps classier) product for the global capitalist media market by the 90s. Ireland's boom allowed its cultural production the status it needed to enter into the ranks of Anglo-American cultural capital (and sometimes beyond): successfully sold, eagerly consumed entertainment.

I only caught a couple of typos; sadly such quality's rarer to find in many scholarly studies today. (Although it is debatable if as he states Horslips began in 1972; the band played in some form as early as 1970.) Smyth admirably can paraphrase arcane French theory while analyzing the most glossy pop tart or candyflossed ditty. He integrates his critique with a defense of some oft-benighted musical efforts. His apologia for the showbands' significance; his understanding of Horslips as the first home-grown, domestically-committed success; his placement of punk and then U2 as harbingers of the confidence that Irish youth by the mid-90s began to exude; his thoughtful examination of 'Celtic' music's label and the Enya and Clannad's ethereal emanations; Eurovision and its spawn of the martial Riverdance-- these topics make convincing points that foreground the emergence of artists who knew how they could be marketed to accentuate their Irish identity as necessary. This appeal to the Irishness supposedly inherent in a band's image or musician's sound, however, could as easily been irrelevant, and part of Smyth's study also examines why and how certain musicians, especially those aiming for the top of the pop charts, presented themselves without discernable traits supposedly tied to Ireland. This calculated strategy-- to be or not to be heard and seen as if Irish-- itself deserves more sustained attention. This book is so brief that such theoretical matters lack the investigation that they deserve. However, this book should inspire in-depth study by those scholars and critics who will extend and narrow Smyth's arguments to particular bands, styles, and musical trends.

Smyth "reads" a few songs closely, and in Horslips' "Dearg Doom," the Undertones' 'Teenage Kicks', the fusion of Moving Hearts, the defiance of the Pogues, or in 'N17' the contradictory allegiances from Saw Doctors, Smyth shows how such songs capture key moments of the Irish experience. The emerging confidence of the island between Britain and America begins to be heard as the early 1970s bring about (as Horslips drummer and 'Hot Press' commentator Éamon Carr has commented upon in Harper & Hodgett cited below) a delayed countercultural movement in Dublin that began to mix folk and rock, pop and experimentalism. While the 90s began to promote this version of a homegrown response to the Anglo-American media hegemony, its roots can be found, Smyth reminds us, as far back as at least the showbands, Seán Ó Riada, and state-sponsored cultural bursaries as a spin-off of the Lemass administration's emphasis upon economic self-sufficiency. (For more context, read Irish-born and a few Irish-by-adoption baby-boomers on the largely classic rock influences that shaped them in the collection 'My Generation', eds. Antony Farrell, Vivienne Guinness, Julian Lloyd. Dublin: Liliput Press, 1996. Track how many old hippies acknowledge the LP 'Ó Riada Sa Gaeilty' as a desert island disc that argued for the first time that the traditional music need not be moribund, risible, or barbed with CBS threats.)

It is a credit to Smyth's ability to listen without (much) prejudice that he gives a patient ear to many efforts by musicians that au courant hip critics would have disdained. He does not let his own preferences overly interfere with his quest to understand how Irish musicians-- at least in their more inspired moments, rare as they may be-- tried to balance acclaim with integrity. Even those musicians I never have cared for (such as Rory Gallagher, Saw Doctors, Enya, or most of Van the man), by his patient exposition and evident enthusiasm, proved in Smyth's rendering able to account for themselves reasonably well as representative forces for not only musical expression but cultural significance. Neither does Smyth ignore pin-ups, one-hit wonders, or rather obscure groups who earned or did not deserve their obscurity.

The book does have slight shortcomings. Do not expect a narrative as complete or as personal in its style as "Isle of Noises." Smyth does take the necessary story further fifteen years past Prendergast, yet this is not an exhaustive compendium or a definitive reference. It's ultimately a 'Critical' as well as a 'Short History'. He is a professor. It's oriented for an academically inclined general reader, whereas Prendergast's book was for fans. Both authors clearly possess an inherent patience and eclectic embrace of a vast array of musical efforts. Popular music for Ireland seems in both books doomed to account for folk, a bit of trad, jazz, blues, bubblegum, teenybopper, rave, dance, chart fodder, and techno, to name but a few varietals. Like Prendergast's book, Smyth appends his own bibliography along with a provocative discography. Many entries, however, are not mentioned in the text. Pictures contributed much to Prendergast's evocation of the times; illustrations for Smyth's book would have been effective. I assume their absence is to lower production costs, as Cork UP has had tumultuous times lately.

I do wish Smyth had paid further attention to both Ash & Therapy? within their Northern context (or lack of, he might observe). As an aside, I find it odds-defying that another Northern Irish group had emerged in the 70s, more folky, called 'Therapy'! (no punctuation in the original...) A major oversight also lies in too little attention paid to the punk movement, on both sides of the border in the later 70s and early 80s. Similarly, Stiff Little Fingers has often been yoked with their 'British' journalist-lyric writer Gordon Ogilvie, but why not a look into how that band cleverly managed to speak to both sides by its ambivalent stance and its refusal to take sides so as to appeal to both sides? Smyth correctly cites this in 'Alternative Ulster' but the analysis deserves in-depth attention. The evolution of the 'Tones into That Petrol Emotion with its more aggressive counter-Thatcher lyrics and graphics and liner notes needed to be expanded similarly, as did the emergence of Ruefrex, Derry and Belfast punk, and the Good Vibrations label. I know that 'Tone Seán Ó Neill and Simon Tregarth {mistake: Guy Trelford, some other Brit-Cornishy name!} co-authored 'Makes You Want to Spit' on NI punk, but Smyth needed to incorporate more of its expression into his own study-- as it is he only lists in the bibliography.

Likewise, genre-challenging experimenters better or worse like Pierce Turner, Iarla Ó Lionaird, or Kíla needed more than a nod. Country & Irish gets superficial asides; I ask how does its appeal connect with the showbands' past audiences? The sean-nós vocal heritage and its echoes in modern Irish singers could have merited reflection and exemplification. The tastes of those raised in Ireland on either limited domestic hits or British and American pop stars from the 50s and 60s: how did they change with the demographic and musical shifts as Irish artists gained wider success abroad? What influence has local radio had? The remarkably vapid choices of most regional radio stations in their musical programming seem to me forever at odds with the wealth of innovation by many Irish musicians. How can Smyth account for this and the role of alternative media channels over the past five decades? He does consider more recent innovations such as digital recording at home, the Net, filesharing, and DJ mixes, but this area of individually-driven production and distribution needed more historical situating within earlier channels and home-grown distribution efforts that countered, subverted, or aped the largely London-dominated mass media.

The quirky Cork rock scene of the 80s gets but a nod beyond a bit on Microdisney. How that city succeeded or failed in churning up an contrasting sound to that of guitar-driven Dublin deserved more detail, as the book suffers from a Dublin-centered concentration. Understandably so, but all the more reason for a closer examination of the regional reactions to it in such places as Cork, Derry, Belfast, and Galway. What happened in the market towns? What was played at the parish dance? How did bands in rural areas adapt, or fail to do so? Did varieties of music persist in particular districts-- were these popular as well as traditional types? The political uses, particularly in the North, of grassroots protest songs and cassettes of rebel ballads and loyalist anthems might have greatly enriched Smyth's study. However, the political applications Smyth applies and the theorists he chooses admittedly follow in post-modern more than nationalist or sectarian directions.

Two complementary books from 2005 (they seem to have appeared too late for Smyth's acknowledgement) widen a key section in Smyth's account of the 60s and earlier 70s. Britta Sweers musicological-sociological study of the British heyday of 'Electric Folk' (Oxford UP) treats the scene from which-- if one or half a step removed-- kindred spirits Paul Brady, Sweeneys Men, Planxty, the Bothy Band, and the Woods Band emerged. Belfast journalists Colin Harper & Trevor Hodgett's 2005 'Irish Rock, Trad & Blues' (Cherry Red; also reviewed by me for The Blanket) in rock mag style compile their interviews and reviews and reminiscences of this same era, more or less. This late 60s, somewhat postponed, Dublin-Belfast counter-cultural ferment, when progressive mingled with protest tunes, psych with acid, and folk with rock, needs still more investigation in its Irish manifestation. Dr Strangely Strange, Skid Row and Brush Sheils are nearly invisible; Eire Apparent-- whose one album was shakily produced by Jimi Hendrix-- is invisible.

Likewise, Virgin Prunes and the alternative-to-U2 Dublin movement of the late 70s, as well as the place of the Radiators within as Ireland's fast-maturing answer to and challenge to punk, gain notice but lack the detailed treatment that they deserve. (Neil McCormick, whose 2006 book co-authored with U2 is a bestseller, earlier wrote an engaging and surprisingly thoughtful memoir of this Northside Dublin milieu as he grew up with the band in school, provocatively titled 'Killing Bono'. The Christian evangelical mix with a proto-goth ethos that Lypton Villagers practiced also merits more sustained study. Speaking of which, not mentioned is the metal-Irish-folk hybrid Cruachan. Their ethos could have garnered for Smyth a heap of rich ore to grind in his critical mill!)

Basically, a longer book, for once, would have been better.

To his credit, when the Corrs or Thin Lizzy's 'Whiskey in the Jar' or B*witched-- not to mention Van Morrison with and after Them-- raise familiar touchstones, Smyth also pauses and treats these breakthrough artists with the same attention that he devotes to lesser known musicians or groups more fawned over by many erudite rock critics. As an aside, speaking of hits, I would have liked to know, if only to satisfy my momentary curiousity, why Chris de Burgh (to blame for that wretched 'Lady in Red' ballad!) was only a psuedo-Irish artist. Even Gilbert O'Sullivan gains his glance. This book-- far more than Smyth's previous, more theoretical, Pluto Press, post-modern analyses of literature and culture-- reads easily. He's able to show why cult faves and chart toppers both left an Irish legacy, some for being identified with the island, some for not.

By the turn of the century, it seems less so that Irish artists desire to be identified with the island's benign or patronising musical stereotypes. Whether the Corrs, JJ72, Samantha Mumba, or Boyzone-Westlife-Take That boybands, Smyth shows cleverly how they all chose to downgrade or simply elide over any sense of themselves as the Other as they achieved wider chart success. The few pages given to Louis Walsh's Svengali-like spell over boybands itself again shows how a topic SMyth raises could lead to follow-up exploration by cultural critics, especially those enamoured of queer theory and gender issues. Similarly, Smyth's take on Sinéad O'Connor's soul-baring move away from her early contradictions of fragility and brutality into a more complex relationship with her Irish allegiance presents a challenging idea that future scholars will continue to refine.

U2 is the guiding angel-daemon behind any Irish rock music post-1980. Suffice it to say that Smyth shows well why 'Achtung Baby' succeeds. He argues that the band took an enormous risk here, and stayed with the zeitgeist even as it expressed it, yet its music hearkened back to its roots even as it expanded into the dance-rave scene then popular. He tracks how after all the Fly-Zoo hubbub again the band regrouped from a weak album a decade later. The band's own talent at managing to speak to its own audience while advancing their listeners and the band itself into further self-exploration, artistic courage, and musical challenge is expressed well by Smyth. Again, credit the author with being able to convince at least this tepid listener to U2 that the band does indeed represent the past three decades of Irish identities in its music, its image, and its idealism. 'Beautiful Day' was well-timed as the rarest of feats, a band able to move with the times for the third time. Smyth, with this concluding episode, to date the zenith of Irish pop success, reminds us that the band, for all its slyness, embraces many facets of an artistic shape-shifting. U2's success helped them, as the first truly international Irish superstars, to achieve the fruition of today's complex blur of Irishness. Four teens and a sharp-eyed manager, they have been able to express all the changes of the past thirty years within the vision that they began with when Ireland slumped in the late 70s and appeared as if it would never recover. Smyth's small study reminds us how crucial popular music has been in encouraging today's Ireland.
http://lark.phoblacht.net/SOM210207.html