Thus far I’ve tried to avoid Irish language poetry, partly because it reminds me of the shame of not speaking my indigenous tongue, and partly because such poems come a little too close to home sometimes.
That said, I’ve tackled Scatha’s warning to Cuchullain in the past, so I guess there’s not really a rule as such here. Therefore, I have added to the hilltop of poetry translations yet another version of the Song of Amergin.
Amergin, in short, was one of the Milesian invaders who displaced the Tuatha de Danaan, or Children of Danu, from Ireland. The latter later morphed in mythology to become the undying, the supernatural race of the Aos Si, or people of the Sidhe, ie the underworld.
The Milesians, or sons of Mil, were according to the same mythological history, Celts who came to Ireland from Iberia originally to invade. This history is told in Ireland’s mythological repository, the aptly named Leabhar Gabala, or Book of Invasions, for many were the invasions of Ireland.
Amergin comes to Ireland therefore as a conqueror, intending to displace the people of the land and take ownership himself. It is told that as the Milesians approached the coast of Ireland, Amergin was suddenly possessed of poetic inspiration and thus emerged his enigmatic song.
I don’t wish to comment or critique it too much. It is after all a product of ancient pagan imagination, likely filtered through layers of Christian sentiment before reaching us in its current forms. What we can safely say is that Amergin expresses the confidence of the conqueror, but a very unusually expressed confidence, in which he already seems to be merging with the flora and fauna, the geography and meteorology, of Ireland itself.
In this sense, he is declaring himself to be a suitable king and custodian of the land, for in that scapegoat primitive society, the wellbeing of the ruler was intimately braided with that of the kingdom and the land itself. Often, in times of famine, a king would be put to death to placate the land and the gods. In his song, therefore, Amergin displays an expansive kind of amor fati. He is accepting this gamble, this fate, and pledging his capacity to fulfill the role of leadership by himself becoming one with the land.
Amergin, however, did not become king, or Ri, of Ireland. He was a bard and sorcerer, a druid not a ruler. Instead the island was divided (then like now) into two kingdoms, north and south, each ruled by one of his brothers. This being Ireland, of course that led to its own difficulties later, even as Amergin became the chief poet and judge of the land.
We can perhaps accept that, in his divinely inspired song, he had at least earned that title. The song is, in a sense, the first judgement he handed down.
“The Coming of the Sons of Miled,” illustration by J. C. Leyendecker in T. W. Rolleston’s Myths & Legends of the Celtic Race, 1911.
The Song of Amergin
I am the air that moves the sea.
I am the sea wave moving.
I am the ocean’s bellow.
I am the seven-antlered stag.
I am the ox who fought seven times.
I am the hawk descending from the cliff.
I am the beam of sunlight in a dewdrop.
I am the most beautiful of flowers.
I am a boar in courage.
I am a salmon through water.
I am a flood on the plain.
I am a hilltop of sorcery and poems.
I am the tip of the battle spear.
I am the god who ignites fires in the mind.
Who is it who sheds light where the mountains meet?
Early Irish writings, including the ‘Imramma’ poems, identify Irish monks sailing to North America. Later writings, including the Brendan Voyage do likewise.
The Norse annals, which were intended as historical records, do likewise, in the Landnámabók and the Annals of Greenland, which itself is written evidence supporting the now-accepted fact that the Vikings had reached North America in the 11th century.
A number of Norse sagas, including that of Erik the Red, also cite Irish sailing and colonising North America prior to the Norse arrivals.
Throughout these texts, this land is referred to as Írland hit mikla (Greater Ireland) or Hvítramannaland (White Man Land) due to the perception of those who were resident there.
Even in 12th century Sicily, the Arab historian Al-Idrisi wrote of the existence of Irlandah-al-Kabirah, or Greater Ireland, located to the west of Iceland.
And the Shawnee legends of the Amerindian peoples near Chesapeake Bay refer to the existence in their history of white men carrying poles and using iron instruments.
And artifacts have been found in locations including West Virginia which bear marks cognate with the Ogham script of ancient Ireland, though this is disputed.
This is all generally hand-waved away by contemporary historians as mere mythology, as they quite reasonably insist on incontrovertible archeological evidence.
Mind you, they used to do the same thing in relation to the Vikings until Anse-aux-Meadows was discovered. Even then, they still attempted to argue away the Helluland site on Baffin Island, even sacking the archeologist and her husband and sequestering her evidence.
I’m always intrigued by such historical disputation, and often wonder cui bono? Could a narrative which supported earlier European engagement with North America in anyway undermine Canadian claims to the wealth in and under the Arctic, for example? Such has been alleged in the past.
In any case, I hope they do find Greater Ireland one day, just as they appear to have already found Vinland and Helluland.
How cosy and quaint do the petty sectarian bigotries of 20th century Irish writing seem today.
I’m not referring to the civil war in the North of Ireland, usually euphemistically referred to in a diminished manner as the ‘Troubles’. I lived through most of that, and it was extremely unpleasant indeed.
Rather I mean the slightly earlier period of the early and mid-twentieth century, when Irish writing bestrode the world in the forms of giants like Joyce, Beckett, Yeats and Behan.
What’s interesting, considering just these four (though we could add many other lesser names), is the varying personal reactions to the sectarian divide in Ireland. For the Protestant-raised, middle-class and cosmopolitan Beckett and Yeats, minor distinctions in flavours of Christianity was an irrelevance at best.
Yeats in later life veered into mysticism, theosophy, magick and the occult. Beckett by contrast tended to dismiss Christianity if not all religion entirely, referring to it as “all balls”, though conceding that it amounted to more than merely “convenient mythology”. Raised in the era they were, both Yeats and Beckett imbibed plenty of Christian dogma in school and wider culture however, and both demonstrate in their writing an easy and deep familiarity with Christian writings and the Bible.
Beckett, probably not considering conversion to Catholicism
By contrast, the Catholic, lower middle-class/working class Joyce and Behan seemed unable entirely to shake off the tribal Catholicism of their backgrounds and education. I was reminded of this recently when I re-encountered Behan’s hilarious take on Anglicanism:
Don’t speak of the alien minister,
Nor of his church without meaning or faith,
For the foundation stone of his temple
Was the bollocks of Henry VIII.
Behan wearing a rosette proclaiming what is undoubtedly the greatest sporting chant ever.
Behan was a self-described “daylight atheist”. This is often presented online in the form of a quote: “I’m a communist by day and a Catholic by night”. However, I’ve not found a reliable source for this variant. Anyhow, Behan clearly had not managed to transcend the petty sectarian rivalries which beset Ireland, and in this he echoes Joyce, who in the highly autobiographical A Portrait of the Artist as a Young Man describes his alter-ego protagonist Stephen Dedalus refusing to consider conversion to Protestantism:
– Then, said Cranly, you do not intend to become a Protestant?
– I said that I had lost the faith, Stephen answered, but not that I had lost self-respect. What kind of liberation would that be to forsake an absurdity which is logical and coherent and embrace one which is illogical and incoherent?
We might consider this passage as a depiction in mature adulthood of his prissy adolescence were it not that it is echoed elsewhere in his work, such as the short story ‘Grace’ in Dubliners.
Joyce in his lengthy European exile.
It’s worth remembering too that Joyce and Behan both escaped the confines of petty Ireland if anything more completely than Yeats ever did, the latter becoming a senator in the newly independent Ireland whereas Joyce relocated permanently to Europe, while Behan spent much of his time in London and America. (Beckett like his mentor Joyce went to Europe and never looked back.)
So then, what fuels this seemingly pointless animus? The grounds of objection from both Joyce and Behan relate to an apparent illogicality inherent to Protestantism. Notably in both instances, there is no defence of Catholicism offered, merely a snide (and in Behan’s case, very funny) dismissal of Ireland’s second-largest faith.
And unlike Yeats, neither sought to construct a religious faith of their own, though in Joyce’s case at least there was an astonishing attempt to replace the religious impetus with an aesthetic one, succinctly underpinned as Joyce said, by “silence, exile and cunning.”
I think Behan’s piece (a translation as it happens from 16th century Irish) gives the game away here. In many locations, the first line of his translation is misquoted as referring to “your Protestant minister”. But Behan like his source material makes clear that while Anglicanism is being referred to, the issue is less the protest against Catholicism underpinning it than its alienness, that is, the fact that it was the faith of the foreign (ie English) overlords who governed Ireland from the time of bebollocked Henry to their present day.
In other words, it was an atavistic political tribalism rather than a theological objection. We still have those tribalisms in Ireland today, primarily in the North where those overlords remain in position, likely against their will and desire, due to the complexities of establishing a permanent and lasting peace. In the 26 counties of the Irish Republic however, these passages stand out as glaring anachronisms now.
And even in the North, the late great “famous” Seamus Heaney (like Yeats and Beckett a Nobel laureate) is best described as sociologically post-Catholic rather than a devotee of the creed of his birth. This runs counter to the opinions offered by some of his most astute critics, Conor Cruise O’Brien and Edna Longley in particular of course, but is it unfair to point out that both critics came from Protestant backgrounds and hence saw the cultural references to Catholicism in Heaney’s work as more significant than it was simply because those references were alien to them in the same way that Protestantism was to Behan?
So, will you be converting to Protestantism, Seamus?
In other words, the sensitivities may be reversed here. Perhaps it is as readers that we detect these curious emphases. Perhaps we misconstrue the petty cultural rivalries of sectarianism in mid-20th century Ireland because religion played such a larger role in cultural life in those days, in ways that anyone under 50 is unlikely to recognise in Ireland today.
The great Irish writers never stop teaching us, and one of their lessons is that we must challenge ourselves as readers with regard to what we find striking in their writing. What we notice and what we do not says perhaps as much about us as it does about them. They hold a mirror to our souls, even if, like Behan, we are daylight atheists.
It’s a foolish person who seeks to draw conclusions from an election where the votes haven’t finished being counted yet. But I am a foolish person, and I want to explain to you, wherever you may be, why a round of elections for a regional parliament in a small European backwater which is likely to result in no one actually wielding power is nevertheless of critical relevance to you.
You almost definitely don’t care about the latest Northern Irish Assembly elections. Why should you? Even about 40% of the people of Northern Ireland couldn’t care less about the latest Northern Irish Assembly elections, according to the turnout. But actually, these elections are supremely relevant to all of us because they are uniquely helpful in explaining why democracy is failing.
Northern Ireland is a small territory in the North Atlantic, of just under 2 million people, bordering the Republic of Ireland and administrated by Britain. The elections there are of parochial interest.
Great Britain, the reluctant ruler of the territory, casts at best a weary side glance towards Northern Irish elections, which tend to have no relevance at all to the island of Britain except about once or twice a century, when suddenly they do so crucially, out of all proportion.
Likewise, for the most part, the politicos of the Republic of Ireland, so insistant on their their shiny hi-tech cosmopolitanism and Europeanness, prefer to function mostly under the self-delusion that the problematic six counties to their north don’t exist. Nevertheless, the shadow of history and what is colloquially known as the ‘national question’ has a habit of flaring up into relevance, not least because in the most recent round of elections, Sinn Féin, a party which espouses the political unification of the island of Ireland, became the single biggest party.
Northern Ireland 2022Republic of Ireland 2020
So if the British tend to ignore Northern Irish elections, and the Irish do likewise, and even nearly half the Northern Irish don’t show any interest, why should you?
Because these elections help to reveal a range of truths about why democracy is failing. Specifically, they show us that:
Democracy is being consumed by identity politics.
Democracy is promoting extremism, and extreme methods for excluding extremists.
Democratic systems are essentially flawed, especially when one attempts to embed fairness into them.
Political parties have natural lifespans, and run based on their positions on the challenges of the past, not the future.
The really important decisions aren’t made democratically anymore.
Let’s go through this point by point. Democracy is being consumed by identity politics. This was always the case in Northern Ireland. It was created by partition a century ago to ensure a majority for the unionist, British-affiliated, largely Protestant community in the north-east of Ireland. By definition therefore, its politics have perennially been about orange and green, the vying of two identity blocs for recognition of their cultural aspirations.
This was not the case in most other places until relatively recently, with the advent of more multicultural societies, of course. But in similarly riven territories, such as Sri Lanka, societies have tended, as occurred in Northern Ireland for three decades, to descend into civil war.
What we’re beginning to see in many democratic nations is the emergence of political identity parties akin to those in Northern Ireland. In Western Europe, these tend to emerge first among indigenes on the right wing, who are ethno-nationalist and resistant to immigration. But not exclusively. There is, for example, an Islamic party in Holland. This tendency is therefore beginning to proliferate.
Likewise, we are seeing the co-option of existing political parties, or rather, their repurposing to become focused on identity politics issues rather than whatever political ideology accompanied their foundation. To this end, we can identify the move towards ethno-nationalism among long-established parties like the UK’s Conservatives or the USA’s Republicans. In response, we can see their main political rivals adopt a rival identity politics, that of an opposing ‘rainbow coalition’. But what Holland demonstrates is that such broad churches of disparate identity politics are likely in the end to splinter into more coherent, more homogeneous forms.
What results is a refutation of game theory approaches to politics. As in Northern Ireland, where unionist farmers along the border or nationalist bureaucrats in Belfast actively vote against their personal best interests and in favour of broader identity issues, we’re seeing people gravitate in many democracies towards voting for political identities which actually function against their own personal interests in many cases.
Democracy is also now promoting extremism, and extreme methods for excluding extremists, I’d argue. It promotes extremism because in a contemporary mediated world where political debate and the public sphere is being reduced to soundbites and tweets, only the loudest and simplest arguments are getting through. Furthermore, more and more of us exist in cultural echo chambers, obtaining our news and information from inside discourses we already entirely concur with. We are rendered impervious to having our minds changed because we don’t encounter alternative perspectives except in terms couched in condemnation.
In reaction to this, political establishments are forced to take more extreme measures to restrict the spread and growth of such extremism. Sometimes this involves co-opting the less extreme aspects and attempting to detoxify them. Other times it involves unstable coalitions of very odd bedfellows coming together to exclude parties perceived as extreme from holding any power. In Ireland, this manifested most recently with a grand coalition of two bitter rivals, Fine Gael and Fianna Fail, to exclude Sinn Fein.
We can begin to argue persuasively in many nations therefore that democratic systems appear to be essentially flawed, even or especially when one attempts to embed fairness into them. In Northern Ireland, the Assembly is a kind of regional parliament, overseen by the British government in Westminister, but semi-autonomous in theory. Its creation was underwritten by the Belfast Agreement, in which both unionist and nationalist communities must be represented in government in an enforced power-sharing executive.
In reality, this doesn’t work very well as it creates inbuilt antagonism among people forced to share collective responsibility for political decision-making, and as a result it has collapsed on more than one occasion in the past, and is likely to collapse imminently again despite these most recent elections. So, it’s a unique system and a unique situation, not one easily mapped onto other democratic nations.
However, the strange and unstable coalitions we see democracy throwing up in recent times, often in reaction to identity politics parties, is a very similar situation. Who could have foreseen Cinque Stelle sharing power with Salvini’s Lega in Italy? Or the Republicains and Socialistes in France effectively stepping aside to permit a shiny new centrist party with a relatively untried leader to become president?
Where proportional representational models, especially list models, exist, there is a risk of opening the doors to fringe extremist parties. But in FPTP systems, though this doesn’t occur to the same extent, it prevents it solely because in itself it is less than fully democratic. Tens of thousands of voices of, for example, Green voters in the UK, simply are not represented.
More significantly, we’re beginning to see in many nations that political parties have natural lifespans, and these spans relate to the fact that they all run based on their positions on the challenges of the past, not the future. In the Northern Irish Assembly elections, formerly the biggest two parties, the Ulster Unionists and the Social Democratic and Labour Party, have effectively been consigned to history, despite their estimable political lineages.
Why is this? Partly because they are not extreme parties, but nor are they, like Macron, radical centrist alternatives. (The radical centre in Northern Ireland are the Alliance Party, who just polled an historic high of 13.5% of the vote.) Falling between two stools, their time in the sun appears to have passed, their votes cannibalised by more polarising, more extreme versions of their own politics (Sinn Fein in the case of the SDLP, and the DUP in the case of the Ulster Unionists. In fact, we can already see this even happening to the DUP. Their vote sunk this time around, largely due to leaking votes to an even more extreme unionist alternative.)
The problem for the SDLP and UUP is that they campaign based on their histories, their ability in the past to come together in a functioning power-sharing executive, to represent their communities and their identities in ways which were nuanced, reasonable and accommodating.
But those were challenges of the 1990s in Northern Ireland, as it emerged from a civil war period. The future challenges are the ones which the 1990s parked indefinitely – those of the constitutional position of the territory. Sinn Fein espouse unifying Ireland. By constrast, the DUP vehemently oppose anything they see as undermining the union with Great Britain. To this extent, they are still fighting future challenges.
But in reality, with the partial exception of the Greens, none of the parties in Northern Ireland even have policies on the REAL major challenges likely to face the territory in years to come. And this is also true of most parties in most democracies too.
Which mainstream parties anywhere have policy documents on issues like automation or roboticisation of the workforce? Or on the challenges posed by Artificial Intelligence? Or on the dangers of autonomous weapons? We’ve seen parties around the world mostly fail at addressing the recent Covid pandemic. What are their policies should an outbreak of Ebola occur globally, or even just in their nation? We’re seeing most of them fail right now at addressing energy provision and future security. How do they actually intend to transit to a renewable future energy economy?
Actually, what are their policies on the real challenges of the climate crisis? Not just things like recycling, but how to prevent the great die off of our fellow species on Earth, or the likelihood of conflict over water or food resources? The answer is that almost all political parties have little to no coherent positions on such issues. But these kinds of issues are the ones most likely to impact most people over the next few decades.
Finally, we many conclude that all the really important decisions aren’t made democratically anymore. In Northern Ireland this is utterly self-evident, because it is a regional parliament overseen by Westminster. If, as could well happen, this Assembly is unable to form a functioning executive, it will merely revert to the ministers, or to London, to run the place.
But likewise we can see in many democracies that increasingly national parliaments either do not or cannot invoke agency or power over issues of significant national interest. This is partly because of the growth in power of corporations, which often can flex more economic might than those nations.
Even where nations, or supranational blocs like the European Union, do have such might, they appear all but impotent in the face of even exacting reasonable taxes from such corporations. Meanwhile, those corporations fund squadrons of lobbyists in every democratic nation in order to bend parliamentary decisions to their interests and not those of electorates. And that’s before we even address issues like the democratic deficits embedded in so many democratic systems, from the 2 party monopolies in Britain or America, to the technocracy of the EU.
So the latest Northern Irish Assembly elections are simultaneously historical and meaningless, for a number of reasons. We might be inclined to dismiss them because of that. But actually that’s why we should be paying close attention, because they help to reveal the huge systemic flaws in all democracies.
They help explain the rise of ethno-nationalism, the prevalence of unstable and unlikely coalitions, the temporary ‘radical centre’ solutions, the apparent failures of agency, and most of all the utter failure to address the real challenges of the future.
Last week, I was asked to produce my own list of Ninety Nine Novels that I might recommend to others. The criteria were that the books must have been published in the past 38 years and be available to read in English. It’s an odd request, but didn’t sound odd to me. Allow me to contextualise.
In the early 1980s, Anthony Burgess was commissioned to write a book of book recommendations. He was well placed to do it, as a prominent international author himself, as well as a prolific reviewer of fiction since the 1960s. Lore tells us that he wrote the book in a mere three weeks. By contrast it has taken me three days just to produce my own list which takes us from where Burgess left off – that resonant year 1984 – to the present.
A Personal Choice.
Burgess’s list covered 45 years, whereas mine covers a little less, of necessity. I can’t predict the future of the next seven years of publishing. Also, where Burgess appended excellent mini-essays on each text, I have spared you the tedium of my pontifications, though I am happy to elaborate briefly on my choices if there are any queries.
Burgess’s book, a compendium of these mini-essays, is therefore a deft and succinct potted history of Anglophone literature’s greatest hits from the war and post-war period of the 20th century, as he saw it. Ninety Nine Novels is a fascinating list in itself, and I don’t intend to comment on or critique it at all.
What were Burgess’s criteria? That they be a) novels, b) published between 1939 and 1983, and c) concerned with what he called ‘human character’. It is, as he wrote in the introduction to Ninety Nine Novels, “the Godlike task of the novelist to create human beings whom we accept as living creatures filled with complexities and armed with free will.” I have ignored his proscription against ‘comic strips’, which he himself in agreement with the critic Leslie Fiedler, felt was already an outdated exclusion in the Eighties.
Finally, he argues that novels should “leave in the reader’s mind a sort of philosophical residue.” Whether he intended that to be as didactic as it sounds is unclear, but it has been the guiding principle in selecting these books. They are therefore novels which I have read, which feature superbly drawn characters, and which have haunted my thoughts afterwards.
Hence, they’re subject to the whims and prejudices of someone of my age, gender, class and race, raised in the place I grew up and educated in the way I was, and circumscribed by which books were available for me to encounter. There’s probably a lot of Irish fiction here. I’m Irish. There’s probably quite a lot of science fiction too. Well, I study it for a living. If there’s an especial density of texts from the late 90s, that’s probably because I was having to read umpteen novels a week as the Books Correspondent for Dublin’s Sunday Independent at the time.
You will likely disagree, and have your own list. And so you should. There are many astonishing books missing from this list, I agree. There are some choices you might find baffling. I can only reiterate how Burgess concluded his introduction to Ninety Nine Novels: “If you disagree violently with some of my choices I shall be pleased. We arrive at values only through dialectic.”
1984 – Neuromancer – William Gibson
The Unbearable Lightness of Being – Milan Kundera
Empire of the Sun – JG Ballard
1985 – Love in the Time of Cholera – Gabriel Garcia Marquez
Oranges are Not the Only Fruit – Jeanette Winterson
Perfume – Patrick Suskind
The Handmaid’s Tale – Margaret Attwood
1986 – Watchmen – Alan Moore and Dave Gibbons
The Old Devils – Kingsley Amis
The Light Fantastic – Terry Pratchett
1987 – Norwegian Wood – Haruki Murakami
Dirk Gently’s Holistic Detective Agency – Douglas Adams
The Bonfire of the Vanities – Tom Wolfe
Beloved – Toni Morrison
1988 – Foucault’s Pendulum – Umberto Eco
The Satanic Verses – Salman Rushdie
Dictionary of the Khazars: A Lexicon Novel – Milorad Pavić
1989 – Ripley Bogle – Robert McLiam Wilson
London Fields – Martin Amis
Billy Bathgate – E.L. Doctorow
And the Ass Saw the Angel – Nick Cave
1990 – Amongst Women – John McGahern
Vineland – Thomas Pynchon
Use of Weapons – Iain M. Banks
LA Confidential – James Ellroy
The Buddha of Suburbia – Hanif Kureishi
1991 – American Psycho – Bret Easton Ellis
The Famished Road – Ben Okri
Maus – Art Spiegelman
1992 – Snow Crash – Neal Stephenson
Red Mars – Kim Stanley Robinson
Fatherland – Robert Harris
1993 – The Shipping News – Annie Proulx
A Dead Man in Deptford – Anthony Burgess
Trainspotting – Irvine Welsh
1994 – How Late It Was, How Late – James Kelman
Dead Lagoon – Michael Dibdin
1995 – Independence Day – Richard Ford
1996 – Fight Club – Chuck Pahlaniuk
Infinite Jest – David Foster Wallace
The Tailor of Panama – John Le Carre
Bridget Jones’s Diary – Helen Fielding
1997 – The God of Small Things – Arundhati Roy
Mason & Dixon – Thomas Pynchon
Enduring Love – Ian McEwan
Quarantine – Jim Crace
Underworld – Don DeLillo
1998 – My Name is Red – Orhan Pamuk
The Catastrophist – Ronan Bennett
1999 – Q – Luther Blissett
Ghostwritten – David Mitchell
Motherless Brooklyn – Jonathan Lethem
2000 – Atomised – Michel Houellebecq
White Teeth – Zadie Smith
Persepolis – Marjane Satrapi
Perdido Street Station – China Mieville
2001 – The Eyre Affair – Jasper Fforde
The Constant Gardener – John Le Carre
The Other Wind – Ursula K. Le Guin
2002 – Any Human Heart – William Boyd
Everything is Illuminated – Jonathan Safran Foer
2003 – Millennium People – JG Ballard
Brick Lane – Monica Ali
2004 – River of Gods – Ian McDonald
Cloud Atlas – David Mitchell
Jonathan Strange and Mr Norrell – Susanna Clarke
2005 – Never Let Me Go – Kazuo Ishiguro
The Girl with the Dragon Tattoo – Stieg Larsson
2006 – The Road – Cormac McCarthy
The Book of Dave – Will Self
2007 – On Chesil Beach – Ian McEwan
The Yiddish Policeman’s Union – Michael Chabon
2008 – Bad Day in Blackrock – Kevin Power
Bog Child – Siobhan Dowd
2009 – 1Q84 – Haruki Murakami
Wolf Hall – Hilary Mantel
2010 – Room – Emma Donohue
Suicide – Édouard Levé
2011 – 11/22/63 – Stephen King
My Brilliant Friend – Elena Ferrante
2012 – Capital – John Lanchester
2013 – Journalists – Sergei Aman
City of Bohane – Kevin Barry
2014 – Annihilation – Jeff VanderMeer
The Bone Clocks – David Mitchell
The Three-Body Problem – Cixin Liu
2015 – Seveneves – Neal Stephenson
2016 – The Underground Railroad – Colson Whitehead
The Association of Small Bombs – Karan Mahajan
Central Station – Lavie Tidhar
2017 – Lincoln in the Bardo – George Saunders
2084: The End of the World – Boualem Sansai
2018 – Circe – Madeleine Miller
Milkman – Anna Burns
The Black Prince – Adam Roberts
2019 – This is How You Lose the Time War – Amal El-Mohtar
2020 – The Sunken Land Begins To Rise Again – M. John Harrison
There is, sometimes, a weird cyclical pattern embedded in etymology, the linguistic science of what we might otherwise call the glacial process of Chinese Whispers. Allow me to offer one particularly colourful and occasionally literary example.
The (somewhat uncommon) Irish surname Prunty originates from an Anglicisation of the Gaelic Irish surname Ó Proinntigh, meaning ‘descendant of Proinnteach’, which in turn was an archaic Irish forename which meant literally a banqueting hall. The idea underpinning this is that of a generous person who feeds his neighbours and kin.
As often happens with surnames, pronunciation of vowels or consonants slides a little over time and usage. So Prunty also becomes Brunty in some cases. Brunty as a surname retains its Irish origins but is very rare indeed. Nowadays it is mostly found in the United States.
Probably the most famous Brunty in history is Patrick, an Anglican clergyman who was born as the eldest of ten children into a very poor family in Rathfriland, county Down, on St Patrick’s Day, 17th March 1777. Why is Patrick famous? Because of his immensely talented children, particularly his daughters Charlotte, Emily and Anne, who are all now renowned as famous Victorian novelists.
The Reverend Patrick Brontë
However, the sisters did not publish under the name Brunty. Rather, given the sexism of the era, they initially released their books under the male names of Currer, Ellis and Acton Bell. In reality, their surname had become Brontë by then. How had this happened? It’s unclear why Patrick changed his surname, but a desire to distance himself from his impoverished Irish origins after his graduation from Cambridge no doubt is part of the reason.
The Brunty homestead, now in ruins, still stands in county Down.
Another reason, it has been suggested, relates to a desire to honour Admiral Horatio Nelson, who had been given the title of Duke of Bronte by the King of Naples, whom Nelson had restored to his throne. Bronte is the name of an Italian estate in eastern Sicily, close to Mount Etna which was also granted to Nelson by the grateful King.
We now relate the name Brontë to his famous daughters, the authors of books like Jane Eyre, Wuthering Heights and The Tenant of Wildfell Hall respectively. The parsonage Patrick oversaw for many years in Haworth in Yorkshire, which inspired many of the scenes in his daughter’s books, is now a museum in their collective honour.
The Brontë sisters
But Haworth is not the only location which honours the Brontë sisters. There are many such locations, given their collective fame. One such place is the little town of Bronte in northern Central Texas. Ever since an early oil boom subsided, it has been a relatively impoverished place, not unlike Rathfriland, with a stable population around the 1,000 mark.
Back in the early 20th century, this was one of the small Texas towns that was briefly home to Isaac Howard, a semi-itinerant doctor who wandered with his wife and son from town to town working as a medic, and occasionally losing his money on get-rich-quick schemes, much to his wife’s frustration. Isaac’s son was a big reader, and, encouraged by his mother, began writing his own stories from an early age. We now know him as Robert E. Howard, the progenitor of the ‘Swords and Sorcery’ genre of fantasy fiction, and author of the Conan the Cimmerian stories in particular. Howard was particularly interested in Irish and Scottish mythology, and many of his characters, including Conan, display this interest.
Robert E. Howard, author of Conan the Barbarian.
The Texan town of Bronte has had its pronunciation amended by new world accent to /bɹænt/, or ‘brant’, over time. This is of course a homophone for a genus of goose, the Brant or Brent goose, which migrates in winter to Ireland and Britain. The Brent oilfield in the North Sea takes its name from this goose.
It is a smallish bird by geese standards, but nonetheless, in the era before the new world turkey took primacy as the quintessential Christmas dining food, the Brant goose (whose name derives from the pan-Nordic brandgás, or ‘burnt’ goose due to its black colouring) would have been one of the more common feast dishes provided by generous hosts in Ireland at the midwinter feast.
Due to a widespread medieval myth, which persisted in Ireland into the 20th century, that these geese were somehow related to barnacles, they were permitted to be eaten by Catholics on a Friday, when meat other than fish was otherwise prohibited. In other words Proinnteach the medieval Irishman got his name due to feeding this bird to his friends and neighbours.
