Read Ebook {PDF EPUB} Road to Brightcity by Máirtín Ó Cadhain Welcome look at Ó Cadhain's literary greatness. "It is as an unrepentant republican that I write this" were the opening words of Máirtín Ó Cadhain's pamphlet Aisling, in which he described the fundamentals of his political outlook. It was one which permeated his creative prose writing also - which, combined with his understanding of the complexity of human beings living their lives in a changing world, made him one of the greatest prose writers Ireland ever produced, if not indeed the very greatest. Yet to English-speaking Ireland, Ó Cadhain is virtually unknown. And indeed, even in the Irish-speaking world, Ó Cadhain has been largely silenced on the argument that he is "too difficult to understand." RTÉ, then, did a major public service last week when they broadcast a documentary on Máirtín Ó Cadhain, celebrating the hundredth anniversary of his birth in Cois Fharraige, Conamara, in October 1906. Arts Lives broadcast this special programme in Irish, but with on-screen English subtitles, under the title Rí an Fhocail (King of Words), followed by a repeat of a celebrated documentary There Goes Cré na Cille. Cré na Cille was Ó Cadhain's major prose work, compared by Irish scholars to Joyce's Ulysses. But while Joyce analysed the angst of the urban lower middle class in a changing Ireland where old authorities were beginning to be challenged, Ó Cadhain looked at a traditional peasantry coming to terms with the modernisation of their world against the backdrop of the continuing power of the Authority: the Church, and of what was then a dying tradition. Given the almost complete blanking out of Ó Cadhain from Irish cultural history by the English-speaking scholars who dominate academe, it is a great pity that this documentary did not analyse Ó Cadhain's outlook more sharply and, in particular, did not point out the way in which he can justly be compared to Joyce and Beckett. It was as if the story was too big for RTÉ to manage. And so Ó Cadhain's life was compartmentalised, as if his literary work, his political writings and his political activism were discrete parts almost unconnected with each other. We were told that Ó Cadhain joined the IRA in his youth in the late Twenties, but were never told why. What republicanism meant for him was never discussed, even though in his comments on the funeral of hunger-striker Tony D'Arcy in 1940 he explained very well that the IRA of his time stood for the completion of the social revolution that would undo the English conquest and modernise Ireland not on the basis of greed and inequality but by building on the traditions of shared work (the meitheal) and shared community (the pobal). It was this political outlook - allied of course to his unwavering commitment to the Irish language revival - that permeated his literary writings, and that gives them meaning. The programme did draw attention to his acute portrayal of the doubly-oppressed role of women in a beaten community, but left it out of context. For example, in describing Bóthar go dtí an Ghealchathair (The Road to Brightcity - available, incidentally, in English translation), the film had the heroine looking back at the hard road she had travelled, aware that this merciless struggle would reoccur every day of her life. But what was left out was her hope for a better life for her child, her belief that her hardship could be avoided for the next generation - in other words, that struggle would bring progress. This is a profoundly socialist understanding, and one fully in tune with the republicanism of his comments on D'Arcy's death. It is an understanding that explains his work, rather than just describing it. The documentary attempted also to trace the three main stages of Ó Cadhain's literary output: the early writings, rooted in a straightforward (but still progressive) explanation of his own Gaeltacht community, and the role of women especially within it; the period following his release from the Curragh (where he was interned for his IRA activities in the 1940s) when the influence on him of international trends, such as that of Maxim Gorky's socialist realism, can be noted; and the phase of his Sraith series when he had moved to Dublin and wrote with more acute awareness of the urban environment. But the programme didn't have the time to explore all of this, and neither do I in this review. There is a richness of material here, worthy of more analysis and dis cussion. But one gap was glaring, and that was the analysis of Cré na Cille, Ó Cadhain's masterpiece. Cré na Cille has two parallel themes: the real life of the Gaeltacht peasantry, with their squabbles and humanity, presented surreally here as a dialogue of the dead; and the constant threatening presence of Authority, interwoven through which are stultified tradition, ecclesiastical authoritarianism, and the eternal truth that death is the end of all life. "Mise Stoc na Cille. Éistear lemo Ghlór. Caithfear éisteacht!" I am the Stock of the Graveyard. Let my voice be listened to. It MUST be listened to. The word Stoc of course has many meanings: stock, root, connecting-thread, as well as trumpet, battle-horn and call to arms. There is a wealth of meaning in the phrase, as there is a wealth of meaning in what Ó Cadhain wrote. Nevertheless, this was a major effort by RTÉ, and one deserving of praise. Not only did they put the effort into making the documentary, but they put a lot of effort too into publicising it. Ó Cadhain deserves it, and hopefully it will stimulate many listeners to go back to the sources and read Ó Cadhain for themselves. That's a task well worth doing, even if the non-Gaeltacht speaker might need to use a dictionary. Road to Brightcity by Máirtín Ó Cadhain. Mâirtin O'Cadhain : The Road to Brightcity and Other Stories translated from the Irish by Eoghan Ô'Tuairisc ; ; Richard Power : Apple on the Treetop translated from the Irish by Victor Power. In: Études irlandaises , n°6, 1981. pp. 228-230. BibTex RefWorks RIS (ProCite, Endnote, . ) Mâirtin O CADHAIN : The Road to Brightcity and Other Stories translated from the Irish by Eoghan Ô TUAIRISC, Swords, Co. Dublin, Poolbeg Press, 1981, 111 p., 0-905-169-47-6, 1 livre 92. Richard POWER : Apple on the Treetop translated from the Irish by Victor Power, ibid., 1980, 200 p., 0-905-169-30-1, 2 livres 20. Cuchulain et les autres demeurent bien vivants dans l'imagination des qui peuplent les nouvelles de Mâirtin Ô Cadhain dont deux sont à son recueil de 1939 : Idir Shûgradh agus Dairire et les sept autres à la collection de 1948 : An Braon Broghach. A preuve la description qui vient à l'esprit du jeune homme de « The Withering Branch » au moment d'inviter à danser l'inaccessible Nora Mhor : Those eyes could be melting enough to mollify the passionate rage of a Cuchullain, or again remote as pools that tantalise a traveller thirsting in the desert. When she was in the sulks or in bad humour a flinty glint came in her eye and even more of a flush into her features, to put one in mind of Maeve's face on the Plain of Muirtheimhne seeing the Connachtmen suffer a wholesale slaughter come of her own whim. Any handsome woman at twentyone makes easy conquests. But this gliding seabird of a girl. A match for Cuchullain or Red Hugh. She might have been Fionnuala Me Donald come back again, the Black. Eoghan Ó Tuairisc. Eoghan Ó Tuairisc (English: Eugene Rutterford Watters ) (April 3, 1919–24 August 1982) was an Irish poet and writer. Contents. He was a native of Ballinasloe, County Galway and was educated at Garbally College. His entered St. Patrick’s Teacher Training College, Drumcondra in 1939, graduating with a Diploma in Education in 1945. He was awarded an M.A., by University College Dublin in 1947. Ó Tuairisc held a commission in the Irish Army during the Emergency from 1939 to 1945. He was a teacher in Finglas, Co. Dublin from 1940 to 1969. From 1962 to 1965, he was editor of Feasta , the journal of Conradh na Gaeilge. His first wife, the Irish artist Una McDonell, died in 1965. The following fived years were an unsettled period of limited productivity, changing residence and jobs, and, ultimately, serious depression. [1] In 1972 he married the writer Rita Kelly, also of Ballinasloe. They lived in the lock house at the Maganey Lock on the Barrow River that Ó Tuairisc had bought near Carlow town. The plaque on the wall erected by his wife states "He was happy here. Lux Aeterna". [2] Kelly survived him on his death in 1982. [3] He wrote novels, verse, drama and criticism in both Irish and English. His first major publication was his controversial novel Murder in Three Moves which was followed by Irish prose epic L'Attaque , which won an Irish Book Club award. Both works had a strong poetic flavour. His next book was a volume of verse entitled Week-End . His narrative poem Dermot and Grace , an Irish version of Venus and Adonis , is considered his finest work. Ó Tuairisc produced little during the five years following O'Donell's death. In 1981 he published The road to Brightcity: and other stories (Swords: Poolbeg Press, 1981). This is a translation of nine of the best short stories written originally in Irish by Máirtín Ó Cadhain. Also in 1981, he and Rita Kelly published a joint collection of their poems, Dialann sa Díseart . [4] Eoghan Ó Tuairisc was an inaugural member of Aosdána, when it was founded in 1981, and the first of its members to die. [5] He was a recipient of an Arts Council of Ireland prize, as well as an Abbey Theatre prize for a Christmas pantomime in Irish. A bibliography of Ó Tuairisc's work, together with biographical information, was published in Irish in 1988. [6] Road to Brightcity by Máirtín Ó Cadhain. 'The Road to Brightcity' by Máirtín Ó Cadhain. The Book ON ONE presents a mix of celebrated classic stories, international and Irish language writing, as well as the best new fiction and memoir selected for their timeless appeal. It broadcasts nightly from Monday to Friday at 11.20pm during RTÉ Radio 1's 'Late Date' and is read by the author of the book or by a professional reader. LISTEN BACK TO THE BOOK ON ONE HERE. Autumn / Winter 2020. Monday 12 - Friday 16 October and Monday 19 - Friday 23 October : Artist and writer Sara Baume reads the complete text of her book handiwork , published earlier in 2020. This quietly, alluring book, is her personal consideration of what it is to create and live as an artist. It also meditates on grief and Baume's engagement with nature. Monday 26 - Friday 30 October 2020 : Irish Times features journalist, travel writer and poet Rosita Boland reads the complete text of her essay Bali, 2016 from her highly praised book Elsewhere. Bali, 2016 is a brilliantly raw and engaging personal account of her coming to terms with not being a parent. Monday 2 - Friday 6 November and Monday 9 - Friday13 November 2020 : Author Joseph O'Connor reads from his award-winning novel Shadowplay . named Irish novel of the Year 2019. Set in and around the Lyceum Theatre, in London, and three characters devoted to the stage and to bringing writing to life. The imagined intertwined lives of Bram Stoker, Henry Irving and Ellen Terry are at the heart of Shadowplay. The infectiousness of theatre and live performance make this book particularly moving to hear its author read at this time. Monday 16 - 20 November and Monday 23 - Friday 27 November 2020 : Writer Sinéad Gleeson reads a selection of her essays from her award-winning book Constellations: Reflections from Life , inspired by life lived through the body. It was named 2019 Irish Non-fiction Book of the Year, Monday 30 November – Friday 4 December and Monday 7- Friday 11 December 2020: Bilingual prose writer and poet Doireann Ní Ghríofa reads from A Ghost in The Throa t , the writer's prose debut. It explores how a life can be changed in response to the discovery of another's - in this case Ní Ghríofa discovering Eibhlín Dubh Ní Chonaill and Caoineadh Airt Ui Laoghaire, Already, a best seller since its publication this autumn, and highly tipped to be among the major books of 2020. 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