Shadows on our Skin by Jennifer Johnston

Jennifer Johnston’s Shadows on our Skin (1977) was shortlisted for the Booker. The winner that year? Iris Murdoch’s The Sea The Sea.

Irish novelist and playwright, Jennifer Johnston

There is so much going on on Johnston’s Page 1: The protagonist, young Joe NOT paying attention in maths class; writing a daring poem about hating his father and wishing him dead; Miss McCabe, the frustrated teacher, squeaking her chalk to demonstrate the glories of the equilateral triangle – each image illuminating an unwritten, but acknowledged, back-story. Joseph Logan has such a miserable home life (a ruined, bitter, and abusive father and a disappointed, sour, but high-principled mother) but dispite his dour life, almost McGahern*-ish, the writing is so vivid. Everything is so clear. Johnston puts sound (squeak squeak of the chalk), thoughts of the characters (Because I hate you so), little telling actions (Hot fat spotted the floor) into the narrative, as well as comments from the narrator (The conversation wasn’t exactly swinging). You have to be vigilant and take notice of the tiny singular quotation marks: it’s important that you know what is said and what is thought, and who thinks it. It’s a rich and full tapestry of little black marks, full of meaning, that make up a page of narrative. But the most telling and useful writer’s tool she uses is dialogue. I know of one Australian teacher of creative writing who advises her students (or used to) to steer clear of dialogue. What a misguided and anti-creative piece of advice! Dialogue is one of the most effective, useful, and versatile tools a writer can have. A line of speech can paint a character more effectively than a paragraph of description. Needless to say, I enjoyed it immensely; more than half of this text has people talking, with very few adverbs. It’s clear, by the words they use, how they are spoken.

The story is set during The Troubles, in the early 1970s, in Londonderry, Northern Ireland. There’s always gunfire in the distance. Joe sees a young woman sitting on a wall. He’s noticed her before but one day he sits down next to her. Her name is Kathleen, she’s a teacher, a chain-smoker, and family-less. All three attributes alien to the boy. This meeting and their growing relationship provides the catalyst for the narrative. His older brother Brendan comes back from England but what he does when out at night remains a mystery. The father lives on his past triumphs as a fighter against the British, but now that his health is rapidfly declining it’s only his memories, or fantasies, that sustain him. The mother is stoic and sour, bitter about her lot as bread-winner and carer of a useless man but diligent in her responsibilities. Love seems as alien as good weather. And the British soldiers and gunshots get ever closer.

And then one day Brendan meets Kathleen… no spoilers here.

I was convinced that the narrative would end tragically, and yes it doesn’t end well but quite differently to what I expected.

My book-fairy (an Irishman retired to Brussels who comes to my island home bearing books twice a year) introduced me to Johnston via her 1974 novel How Many Miles to Babylon?, a WWI tale of class, affection, and betrayal. I now want to read more. Her last published book was Naming the Stars (2015). She lives near Dublin.

Some years ago, I received an email from an English writer; she obviously found my contact details on this blog. She wasn’t having much success with getting her work published so she founded her own publishing house. She was impressive and obviously determined and entrepreneurial. She asked me to review her novel and post it on my blog. I was happy to oblige. My expectations were misguided. The writing was long-winded and verbose. It appeared the writer’s main aim was to impress the reader with her vocabulary and lengthy sentences. I read the prologue twice; there was tension in the text, but still I had no idea where the two characters were nor what they were talking about. I replied to her carefully but pointed out that simple and clear sentences were the best way to tell a story. I ultimately blamed myself telling her that ‘I was not the reader for her.’ I should recommend this book to her.

The BBC filmed it in 1980, directed by Jim O’Brien with a screenplay by Derek Mahon.

Here is a short, but surprising, clip of Jennifer Johnston talking about writing.

You can purchase the book in various formats here.

*John McGahern (1934 – 2006) the Irish writer famous for his bleak settings: the squat Irish homes of the rural poor, usually dominated by a deeply religious, unforgiving, and brutal husband and father.

Bad Blood: a walk along the Irish border by Colm Tóibín

 

toibincolm_-young
Young Colm Tóibín

In a pub in the little cross-road town of Cullaville, just two fields north of the border between the United Kingdom and the Republic of Ireland, the bar has two till-drawers: one for Euros (Irish currency) and one for the British pound. More than 200 formal and informal roads (tractor and foot paths) cross the border and it isn’t often clear for travellers which country they are in; sometimes it may only be the change of the speed-limit that may give them a clue, sometimes nothing at all.

Alastair McDonnell, an MP from Belfast has been flooded with queries, following the Brexit vote, from his constituents about what will happen if the border becomes ‘hard’ again. It’s possible that come the reality of Brexit (2019 says British PM, Therese May) little border towns like Cullaville will potentially become the EU’s back door to Britain.

Anne Devlin, a resident of the North who buys her petrol in the South where it’s cheaper, said, “Brexit got everyone talking, that’s for sure. It reminds everyone who is who, where is where, north or south, the Troubles, all of that.” It’s been only 18 years since the last bomb exploded during the religious-based conflict that claimed more than 3,500 lives.

With the signing of the Anglo-Irish Agreement in 1985 between the UK and the Irish Republic the path was finally set for peace but which didn’t come for another 13 years with the signing of the Good Friday Agreement in 1998. In the summer of 1986 Colm Tóibín walked the border in preparation for his account of the feat published the following year: Bad Blood: a walk along the Irish border. Actually it was more like a ‘drink’ along the Irish border: Colm likes his ale.

For a border that may now need to be re-fortified, given the European refugee problem that doesn’t look like slowing down – certainly not within the next two years, its ‘hardness’ may have many other repercussions. Sometimes it runs through the middle of someone’s field; in South Armagh (the North) there is a shop whose “doorway itself was the border, the outside of the shop being in the North, every entry and exit involved smuggling”; and not only that, where the border separates County Fermanagh (the North) from County Caven (the South) there is a house where “the border went right through like a slicer through a block of cheese.

The house was a small, modest, old-fashioned cottage. When I knocked on the door a man in his sixties came out. His name was Felix Murray, I discovered, and the border ran through his house in which he and his two brothers lived. These days, he said, all three slept in the North, but there was a time when one of them had slept in the South. ‘Only an odd time now,’ he said, ‘we sleep in the State’. There was a sofa in the kitchen, he pointed out through the window. Where you could sit and let the border run through you.”

This was 20 years ago and things may be a different now but as you can see from the image below, the border to this day, seems a long way from logical.

irish-border-pic

His early non-fiction shows the development of Tóibín’s style later employed, to some extent, in his novels; his first novel, The South, was published in the following year, 1990. His fiction shows his debt to journalism with his plain unadorned prose, seen here in Bad Blood.

“I told him I was writing a book. He invited us in. He didn’t say anything. The front room of the house was small and comfortable. There was a fire lit. A television and a video machine stood in the corner.”

Compare this is a passage from his second novel, The Heather Blazing (1992),

“His grandmother was in the kitchen with his Aunt Margaret and his Aunt Molly who was married to his Uncle Patrick. Two of his cousins were in his the back room in cowboy suits. They all stood round as Eamon distributed the presents. Stephen sat by the fire, huddled in against the wall with his legs crossed. He opened his parcel slowly and smiled when he saw the book.”  Short, bald, unadorned sentences.

Tóibín trusts his readers to do most of the descriptive work and gives them great responsibility to fill in the detail, so much so that in his latest novel, Nora Webster (2014) no place or person is described: every reader has a hometown, its feel and smells, and every reader knows a nosy neighbour or a favourite aunt and Tóibín relies on this reader-experience. In this way Toibin’s work, for readers, becomes very personal. A reader from Melbourne, Australia, on finishing reading The South, slept with it under her pillow for two weeks.

In 1989, even though the border may have been on the map it wasn’t, in a lot of places, on the land (large white crosses had to be painted on roads to make the border visible to British helicopter pilots), but it was in people’s hearts. Back then it was all about tension in the air but a stiff upper British lip, this is in the North, was still the way people behaved.

At dinner in a hospitable family house in the North the first course served was beetroot soup. Toibin, from the South, innocently commented that it was called borscht, and it was a great favourite of the Pope’s. That word hung in the air like a fart. Everyone stopped listening and became immensely interested in their soup and the care it took to not let it spill on the white tablecloth. No-one spoke.

Religion was not at the heart of it but at the bottom of it.

“Yes, one of them said, the older people maintained that the accidents were a sort of revenge for what was done to the Grahams. God, you know, did I understand? It was God. It seemed like a large number of young people from the same area, I said, to be killed in accidents. They nodded grimly. I said I didn’t think it was God. No, they agreed, they didn’t either. It was just something which was said.”

Since Brexit the talk now is again about Irish re-unification: Gerry Adams, leader of Sinn Fein (once a terrorist organisation, now a major political player), said that since the vote by the North against Brexit (56%) a referendum over unification was necessary, Michael Martin leader of the main opposition party in Ireland agrees; Arlene Foster, first minister of the North, thinks such a move would be ‘a folly’.

When Tóibín walked the border the air was still tense. Now a lot of golf is being played and it’s a nice place to be a cow. In people’s lives now the border is a shadow: it’s crossed for shopping, for school, for selling. No-one wants it to become a frontier again. What everyone wants is for the leaders in London, Brussels, Dublin and Belfast to manage Brexit while preserving the peace and allowing the economy to flourish. They’ve got 2 years.