Showing posts with label Ireland. Show all posts
Showing posts with label Ireland. Show all posts

Monday, March 19, 2012

Good Short Fiction: "The Dead" by James Joyce

Title: The Dead
Author: James Joyce
Where I read it: Dubliners


I first read "The Dead" in high school, and as I picked it up again recently I remembered one scene clearly. It's when Gabriel Conroy is looking up the stairs at his wife, Gretta, who has paused on the landing to listen to music being played in another room. I remembered the "panels of her skirt" and the atmosphere of that moment - a woman arrested by music and memory, observed by her husband, who is oblivious to everything but his own feelings of desire and tender possessiveness at the sight of her. He doesn't consider what her own thoughts might be.
There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. Her blue felt hat would show off the bronze of her hair against the darkness and the dark panels of her skirt would show off the light ones. Distant Music he would call the picture if he were a painter.
Gabriel is the central character in this story, and for most of it he's self-important and self-conscious, unable to connect deeply with other people and step into their shoes. The scene I've just described takes place at the end of a long dinner and music party at his aunts' house. Earlier he gave a speech at their table, a task he took to with relish, nervousness and condescension. Gabriel likes to be at the head of a table, particularly if everyone recognizes that he belongs there, carving the roast and bestowing wit and eloquence on the less cultured guests.

Gabriel's attitude towards Ireland, his home country, is colored with the polite regard and subtle contempt with which he treats other people in "The Dead." He wants to find favor in the eyes of his aunts' guests, so he holds forth on old-fashioned Irish values ("genuine warm-hearted courteous Irish hospitality, which our forefathers have handed down to us"). At the same time he's embarrassed of his country; in his eyes, his wife's major fault is that she came from the Irish countryside, because he's the sort of man who thinks of himself as worldly and prefers to vacation in Continental Europe.

Joyce is setting Gabriel up to be humbled, to step outside of himself. Even from the start Gabriel's central position in the story is always being threatened. Other guests come and go, and he's buffeted by them, pushed off the page by their colorful personalities. He makes some egotistical blunders that bely his image as an attentive sophisticated man, and he wavers with self-doubt. At one point he's dancing with another guest, Miss Ivors, who comments on his lack of connection with Ireland. When he loses his composure and tells her that he's sick of his own country, she asks him "Why?" and he can't answer. By the end there's something of an answer; Gabriel's distaste stems in part from his discomfort with himself and his unwillingness to confront what's lacking in his life and experiences. He's too softly civilized to accommodate his own country and its people, its passions and history.

At the end of the story he's softly shattered like a clump of snow. It's a terrible and gentle scene, and there really is snow falling outside. The colors and sounds of the party fade beyond it. It's difficult to dislike Gabriel, especially after that last scene. His soul roams widely and melts into the land, where the dead are alive and living people like Gabriel die briefly and taste things bigger than themselves, as the snow falls over everything.
Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves... His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.
-------------

I was inspired to write about "The Dead" this week because of Irish Short Story week over at The Reading Life blog.

Thursday, June 23, 2011

Worth Watching: The Secret of Roan Inish (1994)

Title: The Secret of Roan Inish
Director: John Sayles
Language: English (and a bit of Irish Gaelic)
Rating: PG

Synopsis
Fiona Conneely (Jeni Courtney) goes to live with her grandparents near Roan Inish (Island of the Seals), which used to be her family's home. Several years ago during an evacuation of the island her baby brother, Jamie, was washed out to sea in his cradle and never seen since. As Fiona settles in with her grandparents she learns about a family story involving a selkie, a seal that can slough off its skin and become human. When she visits Roan Inish she spots signs of human life and finally comes across a young boy who runs from her approach. It's her younger brother, she's sure, but how will she convince her family that he's alive? And what will get him to stop running from her when she calls his name?

Characters
Fiona is a stalwart girl; she listens and observes, and she's not easily afraid. What drives the film is her curiosity about Roan Inish, and then her determination to bring her missing brother back and help heal her family.

Her grandparents, played warmly by Mick Lally and Eileen Colgan, give Fiona a healthy loving home, and she finds a friend in her older cousin, Eamon (Richard Sheridan), a straightforward and hard-working kid. She also encounters another relative in back of a shop, gutting and scaling fish; people say that he's not quite right in the head, but he's also the one who tells Fiona about a key part of her family's past: the story of the selkie.

The film's treatment of the selkie (Susan Lynch) is matter-of-fact. The film doesn't marvel over her appearance or add any special effects to her transformation. The focus is on the emotion of the story; the selkie is torn between her family on land and her compulsion to return to the ocean.

A young, dark-haired woman stands against a gold background with a door and the film's title in the foreground
From Wikipedia


The ocean is a character too, murmuring on the surface, silent below, slapping the sand and rocks. The seals lounge on the rocks watching the passing boats with their dark uncanny eyes.

Relationships
The ocean's rhythm of give and take shapes the history of Fiona's family in complex ways. As Fiona seeks out her brother she finds herself contending with the ocean and with her family's past.

Her cousin, Eamon, comes to believe her claims that she's seen her missing brother. Eamon becomes an older brother figure to Fiona, and her confidant; at one point he helps her with the difficult task of preparing the abandoned cottages on Roan Inish for habitation.

At the heart of it the story is about understanding one's past and bringing family back together, in a struggle to deal with traumatic changes and a world that's quickly modernizing. Fiona's grandparents have a warm secure home but their way of life is in danger, and they may have to move inland. The cities offer jobs but also fracture families, and there's a struggle to stay rooted in one's heritage and not lose it all to modern forces. Fiona is drawn to Roan Inish in part because her family was whole when they lived there.

Memorable sights and sounds
Stars and water framed by a bedroom window, as Fiona peers through the darkness at Roan Inish. The film in some ways has the quality of a dream, though it treats magical creatures as a concrete reality - improbable but not impossible.

The visuals are beautiful throughout - fog and cloud, a grassy knoll overrun with wild flowers, the watchful eyes of the seals who stealthily change the course of boats. The selkie herself with her pensive face and wild dark hair is also a sight, stirring a stew at the hearth or letting her child's cradle float in the shallows by the beach.

Stand-out scenes
One of the best sequences is when Fiona and Eamon are rebuilding the old cottages together. They're young, determined and competent. I love when movies show children as skilled and able to work wonders without superpowers or magic (and without the movie having a patronizing attitude towards them). The soundtrack is especially lively and beautiful too in this part of the film.

Further thoughts
In a lesser film, the reunion with Jamie would have taken place with melodrama and fanfare, close-ups of teary faces. There's never a sense that the film is talking down to the audience or holding itself cheaply. The same is true for the story-tellers in the film, who weave folklore into family history and trust that the substance of their tales will compel your attention.