Jude in Tate Modern... A girl! A gun! The Turner Prize!

Here (hot from my inbox!) is a sneak preview of an illustration, and a chapter, from Jude in London (due to be published in September). In the picture, Jude is about to find out if he has won the greatest prize in art - the Turner of Turners. The crowd lift him aloft... his former lover, Babette, flips a golden coin...

No, I won't tell you who is sneaking up behind him with a gun.

 

For now, clicking on the picture takes you to the first book. Which is also excellent.

 

And here's some free new book to go with the picture. This is from a little earlier on, before the prize ceremony... Enjoy...

(Oh, by the way, the artist, Gareth McNamee Allen, once did this fine homage to Tayto crisps for my old band, Toasted Heretic's first album, Songs for Swinging Celibates. There's more of his work on his website. Top chap... OK, here we go... )

 

 

From Jude in London...

 

CHAPTER 80

I entered Tate Modern. The floor sloped away and down, beneath a high walkway, and out into one enormous Room. I walked for a long time, until I was in the centre of the Room, and looked around. I was obviously very early, for the Art had not arrived yet. Certainly there was more than enough blank space on the walls for it. It was a room into which you could have fitted Galway City’s great Car Park of the Roaches itself. I had never seen the like. Its scale was inhuman. Yet the Tate Family evidently still lived here, and spent all their time in this room, for their possessions lay all about me. At the far end of the room, and proof I was in the right place, a stage stood before a backdrop of vast, dead television screens. Great lights, unlit as yet, hung above the stage from steel beams.

No doubt the Prize-Giving will take place upon that stage. Oh, I hope they will not be too disappointed that I have neglected to create any Art …

Perhaps I could make up for my failure by helping to get the place ready, before the other artists’ Art arrived. I looked all about me.

There was very little furniture in the room, and that in bad order. The bed in the far left corner was in most need of attention, the sheets crumpled and filthy. The last party had obviously congregated here, for on the bed, the rug, and the surrounding floor, were empty cigarette packets, stubbed butts, vodka bottles and general debris.

Ceci n'est pas un litIt was an easy matter to collect the rubbish, turn the mattress, shake out the sheets, plump the pillows, and remake the bed. This ritual, familiar to me from the Orphanage, soothed. I sang softly as I worked. Too soft a sound to rebound in echo from the bare walls.

The fish tank proved trickier than the bed. Enormous though the tank was, the fish was far too big for it. I estimated the poor creature at thirty-five feet. Presumably, in the way of family pets, it had simply outgrown its accommodation. The older Tate children, who loved it, had themselves, I supposed, reached adolescence, and become too busy to care for it: and the aging parents slowly forgot it, in its forty foot tank in the far right corner. It appeared to have been dead for some time. Bubbles of decomposition rocked it occasionally in the thickening water, as they emerged from the decaying grey flesh. The top of the tank was sealed, which cannot have been healthy for the fish while it lived. Certainly, it made my task of emptying and cleaning the tank more difficult than it needed to be.

Ceci n'est pas un poissonWhen I was finally done with the fish tank, I examined the room in more detail. The place was in a shocking state. The closer I looked, the more shocked I was. The very basics of child-rearing seemed to have been neglected by the Tate parents. Neither the young Tate children nor their many pets seemed to have been adequately toilet trained. There were lumps of elephant dung everywhere. Some had even stuck to the paintings, and dried there. It was a hell of a job to get it all off.

The children themselves seemed to go anywhere. I even found a bottle of urine with a crucifix in it. Sighing, I retrieved our Lord Jesus on his cross, and hung him back up on a clean wall.

I began to clean the handprints and splashes of dried mud off the end wall.

As I worked, others quietly entered the enormous room. Some introduced themselves to me, and shook my hand.

“Judges,” they murmured.

“Brian Eno,”

“Brian Sewell,”

“Brian Balfour-Oatts.”

“Fascinating piece.”

“Please, ignore us.”

“Carry on, carry on.”

They crept into the shadows, murmuring.

“And while dressed as a rabbit! Brilliant!”

“I thought Mark Wallinger’s Sleeper couldn’t be improved on, but by golly…”

“I beg to differ…”

I finished cleaning the wall, and looked around. Still a great deal of work to do, to get the place ready … Unbelievable that a family as rich as the Tates lived in such squalor. Nothing seemed to work. I decided to fix the fluorescent light, which had been flickering erratically since I’d arrived. I tracked the fault to a hidden timer that someone had mistakenly set to turn the light on and off again every minute or so. It was a simple matter to route the circuit around it.

Even their big, new, colour television seemed broken. I couldn’t get any sound out of it. It was showing a rather dull film, about a woman trying to clean a shower. The pictures had gone very slow for some reason, and were in black and white. The whole thing seemed banjaxed. I switched it off.

Then I picked up some old firebricks, which had been left lying where someone might trip. Gasps came from the shadows. Brian Sewell clapped.

I put the firebricks in an old, water-damaged shed. Its overlapping boards and weathered paint reminded me of the lakeboats of Lough Derg. A pleasing warm feeling rose in me.

Now to deal with the graffiti.

The older Tate children seemed to have thrown several parties recently, without the benefit of parental supervision. Many of their friends had scrawled their names, and worse, across all kinds of objects and surfaces. I set to scrubbing. An illiterate fellow called Chris, from County Offaly, seemed to be one of the worst offenders. I was sad to see a fellow Irishman letting the side down. “Ofili” indeed.

Tired, and in need of a break after removing the graffiti, I looked for the toilet facilities. A urinal was mounted in the centre of the room. It was mounted at a curious height, and on its back: but no doubt that was the modern way. Oh, more fecking graffiti… On its rim someone had scribbled their name, and the date or time of the party. R. Mutt. 1917? 19.17? 7.17pm? I carefully scraped it off, before urinating.

 

Ceci n'est pas un urinoir

(There you go. Feel free to comment below, or explore more of the book for free here.)







A Guide To Blurbs: What They Are, Why They Sometimes Suck, And How You Can Help Me Write A Better One.

OK, I did an experiment on Twitter last week: I asked for feedback on the shoutline for my next novel. (The shoutline is the sentence on the front of a book that - ideally – is so intriguing, and so right, that the book’s Ideal Readers pick it up.)

 

The result was so interesting, and useful, that I've decided to throw open the mysterious and arcane process of writing the blurb of the book. The blurb is all the stuff on the back cover. It's usually written by the editor, the author, or both. (Though some publishers, like Penguin, employ professional copywriters.)

 

Trouble is, the editor’s an editor, not an author. And the author… well, authors cannot describe their 100,000 word books in 100 words. It’s a natural law. Asking a novelist - who’s just delivered a book - to write their own blurb is like asking a marathon runner, as they stagger over the finish line, to run a 100m sprint.

 

And professional copywriters… they get it done, but where is the love? Yes, some copywriters are superb. But others often don’t even read the book.

 

Which is why blurbs - even on great books - often suck.

 

So let’s see if we can craft an unsucky blurb.

 

I'll put the rough draft of the blurb here (actually, my eighth draft – you really don’t want to see the first). You can comment right below it, or tell me what you think on Twitter (I'm @juliangough), or email me directly at my secret email address ( juliangoughssecretemailaddress@gmail.com ).

 

I'd love to hear what you like, but also what you don't like, and why. "I hate it" and “I love it” are both useful, but not as useful as "I hate the way you give away the ending" / "I love any book containing monkeys" / "When it mentioned he had two penises, I got interested."

 

If you’re feeling tremendously motivated (or the day stretches before you, bleak, endless, like a glimpse into the abyss), you can read a short story adapted from the novel here, to get a feel for the tone I want. Remember, the blurb should accurately reflect the book… we’re not trying to lie to people here, or seduce absolutely every customer in the shop. We just want to draw the attention of the Ideal Readers for this particular, slightly unusual, book.

 

OK, here we go... I would really appreciate it if you would tweet about this, or link to it, because the more people who comment (ESPECIALLY people who don't know my work already), the more helpful and useful this will be to me. Thanks!

 

 

((The shoutline & blurb work with the cover image, which also gives you important information. So… ))

 

The front cover:

 

((It’s a photograph. Deep snow.  In the distance, under a pale blue sky, the tops of famous London buildings stick up out of the snow. In the foreground, big, we see the back of someone’s legs, standing in the snow. Possibly wearing home-made rabbitskin trousers. The footprints show he is walking towards London. Lying in the snow at his feet, a red lipstick.))

 

AUTHOR: Julian Gough

 

TITLE: Jude in London

 

SHOUTLINE: Here at last. Only the billionaires, the monkeys, and The Thing left to beat.

 

Back cover:

 

BLURB:

 

A novel which does for the sleepy English town of London what The Simpsons did for Springfield.

 

“The Death of the Author is on your conscience!”

It was. “Sorry,” I said.


It’s Jude’s first day in London. The young orphan dines on roadkill, wrestles a monkey, makes a porn film, wins the Turner Prize, battles The Thing, visits brothels, and kills the Poet Laureate. He is shot at, kidnapped, thrown overboard from a tycoon’s yacht, and forced to discuss literature in a pub of excessive Irishness. But can Jude find his True Love, in the labyrinth of the city, with its countless temptations?

 

“The biro fell from my hand.

I felt even more light-headed than usual. I looked down.

Alice removed her jane smiley from my philip k dick. She had given me an updike with the durability and tensile strength of mahogany.”

 

Yes, love's a puzzler…

 

Jude in London is a comic epic for anyone who loves Roddy Doyle, PG Wodehouse, Samuel Beckett and Kafka, but wishes their books had more explosions.

 

What a day! And I had never got my cup of tea.

 

((This next bit should be beside the barcode, like a May Contain Gluten warning. The word WARNING should be readable, and perhaps in red, but the rest should be so incredibly small they’re hard to read.))

WARNING: This novel was produced in a writing environment that also processes pop songs, computer games, and comics. May contain traces of the 21st century.

 

Inside front cover:

 

"Julian Gough is not a novelist" - the New York Times.

 

"Julian Gough is a wonderful writer" - Sebastian Barry

 

"Julian Gough’s notion that shouting the word 'feck' and being grossly scatological will make him seem echt Irish only harms his argument." - John Banville

 

"The ultimate Irish joke. Sheer comic brilliance." - The Times.

 

Jude in London is the second volume in the Jude trilogy. (Though it works brilliantly on its own.) The cult radio play, The Great Hargeisa Goat Bubble, is adapted from it.

The prologue to the trilogy (“The Orphan and the Mob”) won the biggest prize in the world for a single short story - the BBC National Short Story Award – and represented Ireland in the Dalkey Archive anthology Best European Fiction 2010.

Volume one of the trilogy (Jude in Ireland) was shortlisted for the PG Wodehouse Prize for comic fiction. In 2010, it was named by the Sunday Tribune as Irish Novel of the Decade.

 

Inside back cover:

 

A PHOTO OF MY HEAD. Not this one.

This is what an author looks like immediately after delivering a novel. Does he look in any fit state to write a blurb? Clearly, this man needs help.

 

A BIO:

 

Julian Gough was born in London, grew up in Ireland, and now lives in Berlin. In his youth, he sang with underground literary pop band Toasted Heretic. They released four albums, and had a top ten hit with the single "Galway and Los Angeles", a song about not kissing Sinead O'Connor.

He is the author of the novels Juno & Juliet, Jude in Ireland, and Jude in London. His collected poems and lyrics, Free Sex Chocolate, were published by Salmon in 2010. 

He is probably best known for stealing Will Self’s pig.

 

 

More quotes saying how great I am / how I’m a threat to Western civilization.

 

OK, and finally (but quite importantly); we came up with two different versions of the shoutline on Twitter. I’d love if you’d vote for your favourite. Just say either 1 or 2, anywhere in your comment/tweet/email, I’ll know what you mean…

 

1  Here at last. Now only the billionaires, the monkeys, and The Thing left to beat.

 

 

2  Getting here nearly killed him. Now he must fight gravity, billionaires, monkeys, and The Thing, to win his True Love.

 

 

And that’s it! Tell me what you think, below, or on Twitter, or by email.

 

Oh, and when this is all over, I’ll send a signed, finished copy of Jude in London to the person who made my favourite suggestion.

 

(SMALL PRINT: Judging will be cruel, arbitrary, unfair, and I’ll probably give it to someone who makes me laugh and doesn’t even make a sensible suggestion. No need to worry about your address now, I’ll ask you for it when you win.)

 

Thanks again in advance…





World Women in Literature Day

Mr. Jonathan Franzen, author of the acclaimed novel, Freedom, was unable to attend the launch of World Women in Literarature Day.

 BREAKING NEWS: Jonathan Franzen, author of the acclaimed novel Freedom, was unable to attend the launch of World Women in Literature Day.

 

Philip Roth and the President of America discuss World Women in Literature Day

Philip Roth, author of the great American novels, The Great American Novel, American Pastoral, and The Plot Against America, said last night "It is a tragedy for world literature that Jonathan Franzen was unable to attend."

 

Women's literature is currently making a big splash in America. News that a woman had won the recent Pulizer prize for fiction was covered by the New York Times, who devoted a full line to it in their initial announcement. In a break with tradition, they even spelt her name correctly in some later editions of the paper (see correction below the article).

 

David Foster Wallace celebrates World Women in Literature Day. Image courtesy Esquire and the collective unconscious.And the publishing world has been swept by rumours that several female Nobel Prize winning authors from unfashionable countries may be briefly reviewed in two, or even three, American news outlets next year, so long as David Foster Wallace (author of the wildly acclaimed first half of a novel, The Pale King), doesn't release a collection of unfinished short stories, or a facsimile of a notebook.

 

 

 

 

 

 

A spokesman for the American Press Association said last night: "Your mouth is moving but I can't hear you, I think because your voice is so high."



Please click on the three photographs for further information on this story.

In Honour of the Moriarty Tribunal Report: guns, camels, icebergs, and brown envelopes.

In honour of the recently published (2,400 page) Moriarty Tribunal report, I thought I'd post 20 pages from my last novel, Jude: Level 1. In these chapters, (spoiler alert!) Jude is shot at by Charles J. Haughey, "heroic leader of the Fianna Fáil Party, former Taoiseach, Celtic Chieftain of all the Gaels, gun-runner, phone-tapper, tax-dodger, cute hoor and Saviour of Ireland." He also accidentally kills Dan Bunne, "Supermarket Magnate, and one of the great Political Donors of our Age". And he ends up in a Mexican stand-off with the man who made him homeless, Jimmy "Bungle" O'Bliss, "Ireland's greatest property developer"...

No similarity to any person either living or dead is intended or should be inferred. Especially to Charles J. Haughey, Ben Dunne, or, most of all

((Julian's lawyer wrenches Julian's hands off the keyboard at this point.))

 

            CHAPTER TWENTY SIX

 

            I determined to leave the hospital immediately, and have no more to do with women. My clothes having been destroyed, the hospital authorities issued me a pinstripe suit, from the stock of charitable clothing out of which they habitually re-clothed injured street drinkers before their discharge. The lady Doctor attempted to persuade me to stay for a week's further treatment, to stabilise my erectile nose, but I could not bear to stay another hour. When she realised there was no changing my mind, she left me, to return some minutes later with a brown paper bag.

            Silently she gave me the eloquent gift of sandwiches, and left the ward without turning back.

            I paused only to say good-bye to Miguel de Navarra, my Mexican neighbour. He looked up from the Galway Advertiser and shook my right hand sorrowfully with his right hand.

            "This Banana," he said, waving the Illustrative Fruit with his left, "Is a weapon of Oppression."

            I nodded. "Can I have it, so?" I said.

 

I left the hospital with only a brown paper bag full of sandwiches, a banana, and a broken heart.

            During the long morphine dream of my stay in hospital, Galway had changed. Most of its buildings had been knocked and replaced with buildings one storey taller. Many of these new buildings were now, in their turn, being replaced with buildings two storeys taller again. I grew confused and lost among the taller storeys and the construction's confusions. All about me as I walked I heard talk of Shares and Options, of New Technologies, Investment Properties, and Easy Money. Galway seemed to be accelerating into the new millennium in an explosion of optimism and cement dust. Fellow teenagers passed me in Mercedes-Benz cars, often several times, trying in vain to find a place to park.

            A shoe-shine boy offered me a share tip as I passed Griffins' Bakery, and the street entertainer, Johnny Massacre, was now swallowing swords of gold.

            I finally found Saint Nicholas's Church, my beloved home. I was surprised to see the entire Church of Ireland population of Galway outside it, weeping and wailing in the shelter of a golf umbrella. Far above them, a fat man atop a high ladder was nailing a "SOLD" sign to the Bell Tower. The fat man turned to address the crowd. His lower face was covered by a scarf.

            "Feck off,” he told them. “It's mine now.”

            "Who is that masked man?" I enquired.

            "'Tis Jimmy O' Bliss," sobbed the pensioner holding the umbrella.

            I reeled. Jimmy “Bungle” O'Bliss was Ireland's greatest living Property Developer. No deal of his had ever fallen through. His fame had spread even to Tipperary, where he had bought the abattoir and converted it into luxury eco-friendly apartments, using only paint and plywood. This was the crack of doom for Saint Nick's.

            O'Bliss descended, the better to address the pensioners.

            "Ye selfish bastards! Don't ye care about Galway's homeless?" He wiped a tear from his eye with a silken 'kerchief. "All those young, unmarried management consultants, without a roof over their heads? Dear God, you people have hearts of stone."

            "But 'tis our Church," quavered a pensioner.

            "Pah! I bought it fair and square, at auction, for a grand."

            "Auction?"

            "Look, it's not my fault if somebody forgot to put a reserve on the property. Next thing you'll be telling me it's my fault that the other bidder came down with the flu and broke both his arms."

            "The flu doesn't break your arms."

            "This flu does."

            "But where will we worship? Wed? Baptise?"

            "Amn't I providing you with a Portakabin out near Menlo, for the love of God? What more can I do? Do ye want to ruin me, with your religious shenanigans? Have ye any idea what it'll cost me to replace this knackered wreck with decent townhouses, with ground-level Retail Premises? If I hadn’t got an offshore client for all these old stones, I’d hardly bother."

            "But... what of my Bell Tower, my Home?" I burst out.

            "Oh the Bell Tower stays."

            I breathed a sigh of relief.

            He nodded. "We're enhancing it into a twelve-storey, Swedish, state-of-the-art, automated vehicle-storage tower facility."

            "So I can continue living there, then?" I said, in happy confusion.

            Jimmy O'Bliss winked at me.

            I relaxed.

            "No," he said. "It's a fecking carpark, you big gom."

            Having lost my Job, my Good Looks and my True Love in swift succession, I had come Home to find that I had also lost my Home. My sandwiches slipped from my fingers to land in the mud, my legs trembled and gave way, and I fell to my knees in the muck and rain...

 

 

CHAPTER TWENTY SEVEN           

 

            The National Anthem rang out in thin, high, single notes from the inside pocket of the lumpy navy jacket of Jimmy "Bungle" O'Bliss.

            As I knelt, in my devastation, in a puddle, Jimmy O'Bliss high-stepped over me. Pulling a small telephone from his inside pocket, he dislodged a bulging Brown Envelope. It splashed into the puddle in front of me.

            A strangely familiar voice came tinny from the tiny telephone, its tone a question.

            "I got it, Big Man," replied Jimmy shortly. “Deal's done and dusted." He poked at the little machine, and slid it back into the empty inside pocket.

He stopped. Withdrew his hand. Slapped the pocket.

He stared all around, then down at the ground. With a start and a grunt, he glared at me, then scooped the soaking brown envelope from the muck and thrust it, mud and all, back into his inside pocket.

            "You saw nutting," he said, and walked rapidly away.

            Wet-kneed, I pulled a disconsolate sandwich from its damp brown wrapper.

My initial bite met with unexpected resistance. I could not recall a tougher crust. I removed it from my mouth to have a look at it. It was green. It had an elastic band around it. I looked at the wet brown paper bag I had taken it out of. It wasn't a bag.

            A curious hush had fallen over the crowd. "'Tis the legendary Brown Envelope," whispered one ancient.

            I looked back at my sandwich. It wasn't a sandwich.

            I gave pursuit.

            "Sir!" I cried as I ran.

            He did not appear to hear me over the noise of construction. I almost caught up with him on High Street, but the demolition of Sonny Molloy’s shop sent a cloud of dust billowing.

Jimmy O’Bliss vanished.

By the time the rain had damped the dust down, he was gone.

There! At the far end of Quay Street.

But when I got there, he had crossed to the Spanish Arch, where a helicopter sat, in the lashing rain, on Buckfast Plaza. Above it was a blur of whirling blades which blew the surface water off the Plaza in a great circle about it, so that it rained sideways, as well as from above, on the young men nearby as they leaped a limestone bench on their rollerskatingboards.

It rained sideways, too, on the woman in black who fed the white Corrib swans that had gathered below her on the river.

            The woman in black turned, to stare at me. I took a step towards her. The swans began to swim obliquely away, across the Corrib, towards the Claddagh Basin and its rich sewage outfalls.

            Her eyes, now, were all I could see; her body, her face, her head wrapped tightly in black as she stood in the horizontal and vertical rain.

            There was something unusual about her eyes…

            This woman, I thought, could mean something to me. This woman of whom I know nothing, could tangle her destiny with mine. I merely have to take another step, and speak, and the threads of our destiny cross, and who knows where it will end? Together on some tropical island? In wild flight? In love? In madness?

            She stared into my eyes. I shuddered with possibilities. On the blankness of her canvas I painted future after future.

            In the distance, the white birds moved, slowly.

            She turned, and walked away, over the bridge to the Claddagh, following them obliquely in her vertical rain.

            Behind me the helicopter’s blades sped up. I turned away from her, to face my horizontal rain.

The helicopter was marked with familiar bold greens. Celtic Helicopters, I thought. The company owned by the family of the much-loved Charles J. Haughey, heroic leader of the Fianna Fáil Party, former Taoiseach, Celtic Chieftain of all the Gaels, gun-runner, phone-tapper, tax-dodger, cute hoor and Saviour of Ireland.

            Jimmy O'Bliss leaped aboard, and the helicopter whined and rose immediately.

            As I reached it, it was already above my head. Eager both to return the poor man's envelope with its huge wad of banknotes, and to regain my sandwiches, I bounded up onto the limestone bench, scattering the rollerskatingboarders, and leaped high, grabbing with my free hand one of the two fat rails or skis on which it had previously been resting.

            I began to regret my rash impulse when the helicopter lurched, turned and began to head out across the water.

            The mouth of the river opened into the sea.

            The helicopter swung low above the rain-swept wave crests. My weight seemed to tug it lower by the second. My hand began to slip. With my other hand, I crammed the Brown Envelope down alongside the banana in the inside pocket of my pinstripe jacket. Then, with both hands, I hung on.

            Dear God, was this the end of me?

            Slowly, surely, my strength faded...

As we approached the Aran Islands I made out the black bulk of Inis Mór, then Inis Meáin, then Inis Óirr... Far below me I saw the rusting hulk of an enormous cargo vessel, hurled by storm up the beach and into the rocky fields, long before I was born.

            Then we were above the sea again, and into a thick wall of offshore mist. There was no sea and no sky and I had the curious illusion that, were I to let go of the helicopter, I would simply hang where I was, suspended, cushioned on all sides by the cotton wool mist, as the helicopter laboured away from me and vanished.

Cushioned, suspended, no effort, no noise...

My weary fingers began to relax their hold. No! I fought this treacherous vision of comfort, and with numb hands hauled myself higher on the ski, and slung a leg up onto it, and managed, at length, with difficulty, one-handed, to button my jacket around the ski so that my weight was half-supported by my jacket, in which I now hung as in a sling. My aching hands could relax a little.

Then, from out of the mist, loomed the terrible and wonderful shape of the fourth Aran Island.

Hy Brasil…

Yet it did not look right. Its bleak profile should have been familiar from old photographs in the Lifestyle Supplements, back when our Chieftain still gave interviews, before disgrace and self-imposed exile. But no, the familiar dark bulk was half-eclipsed by a great white mountain thrusting out of the water, hard against the island. White fog condensed and rolled off its sides, to form an enormous ring about the white mountain.

The white peak itself, to my exhausted, wind-wracked eyes, seemed to resemble a giant Nose rising from a submerged Face. There were two dark ovals near its peak resembling nostrils . Yes, a Nose sticking up out of the waves. But this, I realised, must be a Neurotic Delusion, caused by the traumatic mutilation of my own nose. I felt delighted at my sophistication. To have acquired my very own Neurosis after so short a time in the Big City! Or, I mused, perhaps I was Hallucinating: an even more sophisticated Metropolitan response to reality, and one conferring great status back at the Orphanage. Thady Donnelly had not been right for a week after doing mushrooms on his way to the 1996 All-Ireland hurling semi-finals in Thurles, and the younger orphans had followed him around the Orphanage Grounds, beseeching him to speak of his Visions, till he finally Came Down on the following Friday…

            We approached the white peak which masked the dark island. The helicopter flew low over it, and a powerful downdraft sucked us lower still, so that we staggered from the sky to within a few metres of the White Mountain. Even above the Roar of Blades and Engine, I heard Jimmy "Bungle" O'Bliss and the pilot exclaim to their Maker.

            The lurching recovery of the helicopter, as it shot back up to a decent height, was good news for the occupants of the helicopter, though of slightly less benefit to me. My numb fingers had been shaken loose by the sudden fall, and all the buttons on my Charity Suit now gave way under the tug of the sudden rise.

For a moment I hung suspended, as the ski-tip caught in my inside jacket pocket... But the pocket ripped. 

 

 

CHAPTER TWENTY EIGHT

 

I fell thrice my height, to strike the White Mountain a glancing blow with my Arse.

The entire mountain rang like a bell, with a hollow, crystal-clear chime. I skidded, bounced, skidded and began to pick up speed as the sloping shoulder of the mountain dropped away beneath me. My sliding descent through the Arctic air grew pleasing to me, and I began to control my course by movements of the shoulders and hips.

            Bruised but exhilarated, I hurtled off the last ledge of the iceberg and crashed down to the shingly beach, which was knee-deep in a cushioning layer of  slush and fallen ice.

            I looked about me, as I brushed the slush from my pinstripe suit. The iceberg almost filled the tiny natural harbour of Hy Brasil.

I turned my back on harbour, iceberg, Aran Islands and Ireland, and walked inland.

            The shingly beach became, by imperceptible degrees, stony fields. There were signs of construction work: rough stone channels cut into the unique black limestone of the island and away across the desolate fields.

I looked back, and from this slight elevation could see that the towering mountain of ice was no longer a free-floating berg, but had been pushed or hauled or driven ashore, and up the gently sloping offshore sheet of basalt which surrounded the island.

            Why, he is irrigating the fourth Aran Island in the time-honoured way of the nomadic desert peoples of Arabia, I realised. He has towed an iceberg here from the poles. My respect for the genius of Charles J. Haughey grew greater still. Was this not a potent Metaphor for his benign stewardship of Ireland herself? Had he not inherited a desolate island, parched of self-belief, and remade her into an Earthly Paradise flowing with, awash with, drowning in...

            I was distracted from my Metaphor by a distant whinnying. Charles J. Haughey's famous string of racing camels! A generous gift to the then-Taoiseach from an Arabian admirer in the 1970s, all Ireland knew their fame. These beautiful beasts reputedly ran wild upon Hy Brasil. Further away again, I heard a curious cracking or crackling noise. It echoed back off the vast North Face of the towering iceberg and mingled with the whinnying, confusing my senses so that I could not make out the direction from which it came. I resolved to head further inland, for it was my vague recollection from the half-remembered Sunday colour supplements that Charles J. Haughey’s palatial retirement home was on the far side of the island from the harbour, facing only the bleak Atlantic waves, so that the great man would not have to look upon the Ireland that betrayed him.

            I headed directly across the black limestone island, featureless except for the dry stone walls around the dry stone fields and the occasional shallow labourer's grave, cut with a Kango hammer into the raw stone. Here and there, a white arm bone protruded.

            The going was extremely difficult, as I scrambled down and up the steep rocky gullies in whose shelter grew ferns and mosses and orchids.

            I was breathing heavily when the Salmon unexpectedly leapt in my rear pocket. I hauled it out, and received its Wisdom.

 

An oblique walk across an area of open crag is a continuous struggle with little cliffs and ridges and gullies, with no two successive steps on the same level, whereas if one follows the direction of the jointing, smooth flagged paths seem to unroll like carpets before one.

-Tim Robinson, English writer of Irish sympathy, Stones of Aran: Labyrinth, 1995

 

            Walking with the grain of the landscape, I made far better time.

            A thrill of delight ran through my chilled body at the thought that I might soon lay eyes upon the Great Banqueting Hall of our deposed Chief, and that I might be invited to partake in his fabled hospitality.

            As I crested the windswept hill I saw, sheltering behind a tall boulder from the wind, the noble profile and imposing brow, the long, sweeping eyelashes and strong jaw, of a racing camel. It turned and gazed with its warm, liquid eyes into my eyes.

"Hullo Camel," I said to it.

It whinnied. There was a crack, another crack, and the noble beast slumped to its knees as though shot.

            From the doorway of his palatial retirement mausoleum, former Taoiseach Charles J. Haughey, the smoke curling from the barrel of his rifle, trotted with dainty tread down the broad granite steps and across the gravel. He was followed by the masked figure of Jimmy O'Bliss, and by Dan Bunne, the Supermarket Magnate and one of the great Political Donors of our Age. Our greatest living Retailer, our greatest living Developer and our greatest living Politician! We would have been naked, homeless and ideologically incoherent without them. They had given us so much, no wonder they looked so Wrecked.

            "Great shot, Big Man, great shot, head shot, hard shot, great shot," said Dan Bunne, his voice somewhat muffled by his constant chewing on a piece of gum.

            "Shut your hole, Bunne, you fucking spastic mong," said Charles J, "You're giving me a fucking headache."

            The camel, its eyes now glazed and untenanted, toppled slowly sideways. Charles walked up to the dying beast and, carefully aiming behind its ear, fired a final shot into its brain. The camel’s flanks subsided as its last breath shuddered from its throat, rattling its relaxing tongue out of the way in a staccato spray of spittle.

            It was not how I had imagined meeting my hero, Charles J. Haughey, but one cannot entirely control one’s destiny. I stepped forward and reached for my inside pocket, intending to return the brown envelope full of money to its rightful owner, Jimmy O'Bliss. I cleared my throat.

The three Giants of Old Ireland failed to notice me, Dan Bunne being distracted by a lock of his own matted hair, and the others being distracted by Dan Bunne. The lock of Dan Bunne’s hair swung in the breeze, slightly to the right of his right eye. Unable to see it clearly by turning his eyes, he was turning his head.

The hair, being part of his head, turned an equal amount.

He swung around on his heel in an attempt to take the lock of hair by surprise. It remained slightly to the right of his field of vision. He began to pirouette, then reversed direction.

He fell over. Charles J. Haughey sighed.

            My fingers, still numb with the cold and locked in a clawlike grip from my helicopter ride, fumbled in my torn jacket pocket for the envelope and grabbed the banana instead, which had become stuck in the lining.

            "Shite," I said.

            Charles Haughey and Jimmy spun around and saw me for the first time. Dan looked up, blinking and chewing.

Charles Haughey stared at me with the most bloodshot eyes I had ever seen, until I looked down at Dan Bunne's. Their shirts were delightful.

            I was pleased that I looked so natty in my pinstriped suit. The bulge of the stuck banana, though, was ruining the cut of my jacket. I tried to jerk it free.

            “Drop the gun,” said Charles Haughey.

            “Gun?” I said, bewildered, and gave another tug on my banana.

            “Don’t play the innocent with me," said the former Taoiseach. "Freeze."

            "I'm already frozen."

            "Shut it, funnyman," said Charles J. Haughey.

            "He's after the fifty grand," said Jimmy O'Bliss. "I know that fecker from earlier, at Saint Nick's. Oldest trick in the book, kneeling, trying to trip me. He must have followed me in another chopper."

            "Which reminds me," said Charles Haughey. "Give me that money for safekeeping while I think what to do with our Mafia chum here."

I began to realise that they had grasped entirely the wrong end of the metaphorical stick.

            Jimmy reached into his pocket and brought out a sodden brown paper package. "It fell in a puddle boss, sorry," he said.

            Charles J. Haughey grunted and, without taking his eyes off me, ripped open the brown paper with his teeth.

            He glanced down at what he held.

            "What. The fuck. Is this."

            He looked upon my cold toast and chocolate spread sandwiches with a wild surmise. He looked up at me, then across at Jimmy. His eyes grew more bloodshot on the instant, as though a small blood vessel had burst.

            "My God. He takes my money and he comes back for more." He looked me up and down with an expression that bore a most curious resemblance to respect.

            "I can explain," I said.

            "Or die trying.”

            "I have your money here in my pocket. I merely wish to return it..."

            "Bollocks. You have a gun in that pocket."

            "No, that is a banana."

            "Who are you trying to cod? It's a gun."

            "A banana"

            "Gun"

            "Banana"

            "Gun"

            "Banana"

            Dan Bunne had meanwhile stood up, and now chose this moment to spin anti-clockwise upon his left heel, in an attempt to sneak up on his lock of hair from the far side.

            He failed. He fell over. His gun went off.

I jerked in reaction, and the banana flew out of my pocket, as Dan Bunne said, "Sweet Jesus Big Man, I've shot myself in the foot!"

Jimmy O’Bliss fell over.

“Oh no, wrong, cancel that, I’ve shot Jimmy in the foot,” said Dan Bunne, and tried to spit out his chewing gum. Nothing emerged but a small quantity of pink spit. "Dear God! I have been chewing my own cheek this past hour!" exclaimed Bunne. “Isn't that gas, now? Hah? Hah? Hah?" He spat more pink spit and had a poke at the inside of his mouth with a jittery finger.

            Charles J. ignored him and the yelping Jimmy. "Well, you were telling the truth about that banana. So give me my money."

            I delved deeper into my pocket to retrieve the fifty thousand pounds. My fingers slid down, and along the bottom seam, and up the side seam, and out the gaping flap of the ripped, empty pocket.

            "You'll never believe what I'm going to tell you," I said to Charles J. Haughey.

            Charles took a step towards me, raising his gun, a semi-automatic weapon that appeared custom built. Dan Bunne’s long barrelled goose-gun had a magazine big enough to contain a full box of cartridges. Jimmy O'Bliss had just dropped a Browning large-calibre sniper rifle.

            "Are such weapons not illegal in the Republic?" I enquired, interested.

"We're not in the Republic now, Pinocchio,” said the former Taoiseach, stroking his trigger and stepping closer. “This island is extra-territorial. It's beyond the remit of the glorious fucking Republic."

            "Which is handy if you're bringing in workers, and you don’t fancy the paperwork…" said Dan Bunne cryptically, with a wink.

            "Shut the fuck up, Bunne," said Charles J. Haughey, scowling. He turned back to me. "I am the law here. I am Judge, Jury and fucking Executioner."

            A vivid metaphor indeed, I thought. He had not lost his oratorical panache.

            “Hang on here a minute,” I said.

            I picked up my banana, and ran.

 

 

CHAPTER TWENTY NINE

 

            Obviously, the pocket had ripped open after being snagged on my fall from the helicopter. The great wad of cash could have slipped out at any point since. My only hope of clearing up this misunderstanding lay in recovering the money from where it had fallen and returning it, as proof of my bona fides. No doubt we would soon be laughing about their ludicrous mistake over a pewter goblet of hot mead. I retraced my route as exactly as possible, hopping into the fern-filled high-walled channels in the limestone and running along them for a while before leaping out and tacking across the grain of the land, leaping the channels at right angles, before dropping back into another for a long, oblique run.

            Further and further behind me followed Charles and Dan.

            I made it back to the beach with little incident, but there was no sign of the envelope. I clambered from the beach to the iceberg across a shifting mass of collapsed, melting debris.

            Cracks and fissures provided hand- and foot-holds in the hard, frictionless surface, and with difficulty, often on all fours, I retraced the path of my easy descent. The ice creaked and cracked beneath me, whole slabs sometimes peeling away as I searched for a solid handhold.

            At one point, spread-eagled on the face of a flat cliff of ice, I noticed a curious phenomenon: the ice exploded out in a small spray of shattered fragments just a foot to the left of my head. When I leaned across to look at the strange hole or crater revealed, the same phenomenon took place a foot to the right of my head. I looked back at Charles and Dan to see if they could explain this curiosity, but they seemed busy, a little way up from the base of the iceberg, fiddling with their guns. Not wishing to distract them, I pulled myself up over the lip of the cliff and kept climbing, hidden from them now by the high flank of the berg.

            At last, I reached the top:

            And there it was, pristine upon the peak: the Brown Envelope, lying where it, and I, had first fallen.

            I relaxed and awaited the others’ arrival. It had been an exhausting climb, and I was glad of the chance to rest and eat my banana. Though bruised from the morning's events, its flesh was sweet ambrosia to me. I warmed myself with the thought of how relieved and delighted they would be to have their money returned to them.

They seemed a long time coming. Dan Bunne had no doubt been slowed by his unsuitable shoes.

            At length I heard their slow, almost cautious approach. "Up here!" I cried. "Come and get it!"

            The boom and echo of my voice shook free several ledges of snow, and, disintegrating, they were whirled away down the berg by the chill wind. A split in the ice at my feet widened. I dropped my banana skin into it. The splayed yellow star vanished, tumbling, into the darkness.

            A low creak came from the depths.

            Charles Haughey’s rifle barrel appeared over the ridge, wearing a hat. I laughed at his prank. "Come up here and I'll give it to you!" I shouted, anxious to put the whole embarrassing misunderstanding behind me.

            From behind me, I heard the crunch of footsteps on fresh ice crystals. I turned in time to see Dan Bunne appear from over the far side of the frozen peak. He was looking at his feet, stepping carefully around the rim of the enormous nose-holes.

            “I’ll give it to you right now. You asked for it,” I said, reaching for my pocket, “And now you’re going to get it.”

            Dan Bunne swung the long barrel of his goose-gun in my general direction and convulsively pulled the trigger. The massive recoil sent him skidding a full three yards backwards on the smooth leather soles of his Italian shoes. This would not have been so bad had he not been standing two yards from the edge of the Northernmost Hole.

            I reached the edge too late to save him. "Dear God!" he cried as he fell. "The Snorter has become the Snorted! It is a judgement on me!"

            His hands still gripped the gun, and as he fell he fired, the recoils tumbling him end over end faster and faster till he vanished into the darkness spinning like a Catherine Wheel and emitting great blazing gouts of burning cordite with each report of his weapon until he had exhausted its capacity.

            The explosions echoed and re-echoed long after the last blast of flaming gunpowder had scorched the Arctic air. A booming rumble began as the last echoes died, and grew louder. Ice cracked and split far below.

            I stepped back from the edge of the Hole as the edge crumbled and fell in. A hairline fracture appeared in the hard ice beneath me. It ran past me in both directions, to the cliff edges.

             It widened to an inch, two inches...

The left side of the peak suddenly fell a full foot.

            I had a remarkably bad feeling about this.

            With awful slowness, the iceberg began to split down the middle.

 

 

CHAPTER THIRTY           

 

            As the shuddering iceberg began to split, I tried to decide which side of the divide would be the better one to ride out the collapse upon. Yet the great noise made thinking difficult.

My mind was finally made up by the arrival over the ridge of Charles J. Haughey. Perhaps in some way blaming me for the destruction of his iceberg and the death of his oldest friend, he loosed a wild shot at me from close range. I prudently leaped the widening chasm, and found myself falling inland atop a cliff of ice, as Charles J. Haughey’s side of the iceberg fell away from me, out to sea.

            I wedged myself in a fissure, and endured the accelerating fall.

            My half of the split mountain toppled inland, its broad point of contact rolling up the shingly beach and across the stony fields, ever faster, until the very peak slapped against the stony hill crest and snapped off, countless tons of ice now tobogganing down the far slope to overrun the retirement home of Our Great Leader, coming to a halt now in its ruins.

            I emerged from my fissure, and slid and fell down off the ice, through the shattered roof, and into the Imperial Bedroom.

            I landed upon the plumped, heaped, purple satin pillows.

            Sitting at the foot of the bed, bathing his wounded foot, happily untouched by the falling lumber, masonry, and ice, was Jimmy O'Bliss. He looked back at me over his shoulder with an expression I found difficult to interpret, due to the scarf obscuring his lower face.

            He stood, and hopped at high speed from the room.

 

 

            CHAPTER THIRTY ONE

 

            I was delighted by this unexpected chance to return to Jimmy O' Bliss his packet of money. Still shivering from the icy peak, I wrapped myself in a beautifully soft sheet of rich Egyptian cotton, and pursued him down the main stairs, through the banqueting hall, into the kitchens, down into the cellars, and further down into the sub-cellars and past a dark tunnel-mouth.

            Then back up again.

            Finally, as loss of blood slowed the modest and reluctant old fellow, I cornered him in the banqueting hall. Above us, the clear glass roof was spangled with chunks of ice, and, above that, the shuddering overhang of the iceberg itself was a rich, dark blue you could almost mistake for an evening sky, were it not for the facthe
that it dripped and creaked. Out through the French windows I could see the open-air swimming pool. A camel swam in its limpid waters. I advanced towards Jimmy and pressed the banknotes into his trembling hands. "You dropped this," I said, and turned to go.

            "Wait," said Jimmy in a weak voice, and I stopped, and turned. "One moment... I know it's here somewhere..." He opened a wooden cabinet and rooted around in its interior. Was I finally to be offered a glass of mead, in thanks for my kind deed? Jimmy O'Bliss emerged with a bolt-action rifle.

            "You're too fucking dangerous to live, Sonny Jim," he said, cocking the gun with a snap of the bolt. A tremor ran through the cliff of ice overhanging us, rattling the glass roof in its frame. A little avalanche of slush and melt-water ran across the glass, rippling the blue light that filtered through to us so that we seemed to move underwater. "It is a thing I never understood, in the James Bond fillums," said Jimmy O'Bliss, "why it is they always explain their nefarious plans to James Bond, and then leave him to be killed by some complicated, untried, and unsupervised stratagem. Lasers, indeed. Volcanoes. Fecking alligators… Myself and Charlie would always be roaring at the telly, 'Shoot him in the head! Just shoot him in the head!'" He sighed, pointed the gun at my head and pulled the trigger. The loud click of the firing pin on the empty chamber caused the cliff of ice above us to rumble, and lurch forward some inches. "Feck. No bullets. Hang on." He found a box of bullets in the cabinet.

            "You are planning to shoot me in the head?" I said, somewhat taken aback.

            "I am," he said, sliding out the empty magazine and loading it swiftly with bullets.

            "That thought is a source of sorrow to me," I said, "for I am on a quest to win the heart of my true love, the most beautiful woman in Ireland and possibly the world."

            "You intrigue me strangely," said Jimmy O'Bliss, pausing. "Tell me more."

            I told him more.

            "Sounds great. Where does she work?"

            "In SuperMacs of Eyre Square."

            He nodded, and closed his eyes, and smiled. “Ah, young love.” He opened his eyes. “God, I haven't ridden the hole off a young one in a long while. Yes, I have neglected the needs of the Heart.” He slammed the full magazine up into the gut of the gun with the palm of his hand. The tremendous blue ice-cliff overhanging us swayed and dropped a foot at the report. "Ah,” he sighed, “youth is wasted on the young." He swung up the barrel.

"I was intrigued by the tunnel mouth," I said.

"What?" said Jimmy.

"Mr Bunne said something, too, about workers..."

            "Oh, Big Mouth Strikes Again," said Jimmy. He put aside his rifle. "Sure, I suppose it won’t do any harm… This is where the Blacks are brought in. Hy Brasil is, by a curiosity of the law, in extra-territorial waters. Then down the tunnels with them, and Barney writes the cheque....”

            I was puzzled. “Is such importation of shackled humanity strictly legal?"

            “Our once and future King can do whatever he fucking wants here, sonny boy. It's his rocky kingdom, the barren field of his exile. From this stony grey soil he shall gather his strength, till the people repent their treachery and call for him..." Jimmy sighed. “He dragged this shit-hole out of the middle ages and into the twentieth fucking century, and how did the people thank him? They shafted him.” He brooded a bit on this, and clarified. “They fucked him up the arse and hung him out to dry. But why am I still yapping? Old age..." He snapped up the bolt on the rifle, hauled it back, baring the chamber into which popped up, spring-loaded, a large bullet. He then slammed forward the bolt, knocking the bullet into position.

            The cliff of ice above and behind him shifted, shifted again, lurched, and fell in its entirety on the banqueting hall, driving its stout pillars down through the next two floors, collapsing its own great wooden floor, the ancient carpet ripping free and sliding down the hole, so that I fell through the cellar, into the sub-cellar and rolled down the mouth of the tunnel wrapped in sheet and carpet. Jimmy, his suit snagging on a splintered joist as he fell through the cellar, did not follow me down. His rifle, jerked from his hands by his sudden arrest, did.

            Now I had a gun. Jimmy did not. My position had improved.

            Unfortunately, the collapsing iceberg had also breached the side wall of the open-air swimming pool, in which a camel still swam, alongside the banqueting hall.

            It would have gone easier with me if the swimming pool had not been connected by a deep channel to the sea, to ensure the freshness of the bathing water: but it was: and the tide, too, being high, all the broad Atlantic attempted to follow me, camel and all, into the cellar, the sub-cellar, and, subsequently, the Tunnel.

 

Jude: Level 1((There you go... This episode is taken from Jude: Level 1, which will be reprinted later this year as Jude in Ireland. Jude's adventures will continue in the new novel, Jude in London, due out this September from Old Street Publishing.))

Julian in America!

Me reading a book in Alaska

This coming week, I will attempt to please the pants off you, my beloved readers, by reading fiction in Washington DC (March 5th), San Francisco (March 8th), and New York City (March 10th).  (And if you don't know my stuff, I apologise for my presumption. Please, have one on me.) The fiction will be extremely, almost pathologically Irish. It may be, according to some, funny. It might even be award winning.

 

For those too lazy to click the links above – or who have just been afflicted by a deadly nerve toxin, spread on their keyboard by a rival in love, leaving them helpless, paralyzed, unable to click on the links above, no matter how bitterly they yearn to – I’ll slap in the details below.

 

Washington DC

The Washington DC gig takes place on Saturday, March 5 at 7pm, in Sova, 1359 H Street NE, Washington, DC. Get a seat at the front with a good view, for I am thinking of wearing my black damask silk frock coat and bright yellow trousers.

 

San Francisco

The San Francisco gig takes place on Tuesday, March 8th from 7:00pm to 8:30pm, in the United Irish Cultural Center, Room 2700 45th Avenue @ Sloat Avenue, San Francisco. The wonderful Yiyun Li (author of Gold Boy, Emerald Girl, The Vagrants, and A Thousand Years of Good Prayers) will moderate, and boy do I need moderating. As Yiyun Li points out here, the last time she heard me read, I was accompanied by milking machines and cows.

 

New York

And the New York gig features me and Cady Finlayson. a “spirited Irish fiddler.” It takes place on Thursday, March 10, 2011, 6 p.m. at the Hudson Park Library, 66 Leroy Street, New York, NY.

 

OK, now I've got to go pack. Tell your friends, lie to your enemies, and I'll see you down the mosh pit.

Comedy, Tragedy, and Radio 3.

I will be blithering about comedy this weekend, as part of BBC 3's Free Thinking Festival, if that’s the kind of thing that scratches your scrotum or tickles your cervix. There's lots of good stuff in the festival, but my event will be a gory battle to the death between Tragedy and Comedy, that will take place live in The Sage, Gateshead (near Newcastle), and be broadcast on BBC 3's Nightwaves some time later (not sure when). Wearing the black hat and jackboots of tragedy, Professor of English Carol Rutter and comedian and classicist Natalie Haynes. Wearing the white hat and extremely long floppy shoes of comedy, passionate comedian Janey Godley and me. It's ticketed, but free.

  

More details on that, including how to get free tickets, here.

 

The problem of comedy has certainly furrowed my mighty brow this month. “Reality Is A Bananaskin On Which We Must Step” addresses that very subject, in the latest issue of A Public Space. For those of you too lazy to click through to the whole thing, I’ll sum it up for you in a line:

The relationship of a rock to its mountain will never be funny, because the rock does not believe it is the centre of the universe.

 

Meanwhile, let me recommend a book, or at least 50% of a book: I am halfway through Red Plenty, by Francis Spufford, and so far it’s the most enjoyable thing I’ve read all year. A splendid novel about Soviet economics in the 1950s, it reads like the satirical science fiction of the wonderful Strugatsky brothers. (They wrote the charming Roadside Picnic, which Andrei Tarkovsky filmed, in far bleaker form, as Stalker.) But it’s all true. A superb novel of ideas, deeply researched, deeply felt, deeply enjoyable, if it stays this good to the end it will be my novel of the year… I‘ll post a final verdict when I’m done.



Free Sex Chocolate in a Church in Dublin

I want to invite you to a hooley in Dublin. It should have everything - Wine! Food! Poetry! Song! Book-burning!

Free Sex Chocolate, in a dusty bookshop near you. Probably under the counter, in a brown paper bag.

If you can’t be in Dublin yourself, tell your Dublin friends: This Thursday (Sept 30th, 2010), at 6.30pm, Salmon Poetry present Free Sex Chocolate in the Unitarian Church on the corner of St. Stephen’s Green, Dublin. (There's a map here.) I’ll be reading a few poems (and perhaps even singing an old Toasted Heretic song or two) from the pulpit. (Neil Farrell, former drummer with Toasted Heretic, and the co-writer and producer of all our albums, will officially launch the book.)

This is a golden opportunity to drink free wine while simultaneously soaking up a bit of culture, going to church, and sorting out your Christmas presents early. (I will happily sign copies.) Probably the most useful and spiritually beneficial hour you will ever spend.

It’s a double launch, so the poet Eiléan Ní Chuilleanáin will break a bottle of champagne over the head of the wonderful Rita Ann Higgins, whose book of essays and verse-memoir, Hurting God, is so splendidly controversial that every copy has already been pulped, a week before publication! (Read all about it in today’s Irish Times…) Don’t worry, you’ll be able to get the slightly amended version, with some lines taken out & names changed, on the night.

Fair play to the Unitarians for letting us use their church (which is still fully functioning as a Unitarian place of worship, masses and all). Ah, the anointing of Irish writers as a new priestly caste (which I wrote about recently) is almost complete!

Oh yes, the book… Free Sex Chocolate contains the best poems I’ve written over the past few years, and all the Toasted Heretic lyrics (which were my attempt at a new pop poetry, back in the day). I may as well end with a poem from the book… this is the Internet, and you are Modern! Fast! And In A Hurry! So I won’t give you one that’s long, depressing, or hard chewing (those ones are best read from the book itself, by candlelight, in the bath.) This one was written in a café in Berlin (Sankt Oberholz, on Rosenthaler Platz, if you’re interested), during the 2006 World Cup…

 

Goal

 

They have installed the tiny goalposts

In the stand-up pissers

The tiny orange football

Is hanging by its thread,

Above the anti-splash mat,

Greener than the real grass.

Builders and philosophers

Blast it in the net.

 

Even when our cocks are out

It’s football that we think about.

 

The final is on Sunday

At home, the wives are wet

They know that we have secrets

It’s worse than they suspect.

 

 

(From Free Sex Chocolate, Salmon Poetry 2010)

 

And remember, if you buy a novel, the novelist merely shrugs. But if you buy a book of poetry, the poet eats! A shoe is bought for his barefoot child! So if you can’t make it to Dublin, but would like the book anyway, you can get it direct from Jessie of Salmon Poetry here, or buy it from Amazon in the UK, or Amazon in the USA. Poems and songs are peculiarly personal, far more so than novels, so I’d like to hear what people think of the collection - or, if you were once a Toasted Heretic fan, what hideous memories of an ill-spent youth are triggered by the songs... You can tell me what you think of the book, the band (or anything else), by writing to me at my secret email address, which is juliangoughssecretemailaddress at gmail dot com.

As we used to say in the playground, see you next Thursday…

Electric Picnic, Free Sex Chocolate, Jude in London, etc.

OK, a slightly messy blog post, catching up on a few things. I'm reading (or mud-wrestling John Banville, it hasn't been decided yet), at the Electric Picnic at 5pm, Sunday 5th, with Greg Baxter. Feel free to come up and give me a big kiss. I'll be around for most of the weekend, and so may well pop up at other events too.

My Electric Picnic reading will probably be from Jude in London, which was due out, oooh, roughly today. It isn't. Why? Because, rewriting it this year, I disappeared up my own hole in search of perfection. Perfection turned out not to be found up there, but in the meantime (warning: we are now changing metaphors, mind the gap), I went through my deadline like a freight train through a sheet of crepe paper. So, my lovely publisher Ben and I have decided to postpone publication till next year. But, on the upside, we’re using this delay to add drawings, in the manner of Alice in Wonderland. (These pictures will not only be lovely in themselves, but will also help make it clear to new readers that Jude in London is, er, not a standard literary novel.)

Thus, I've asked Gareth "Napoleon" Allen to throw a bucket down the well of his subconscious, and haul up some demons. Gareth may be known to some of the more elderly hipsters out there as the artist who designed the sleeve for Toasted Heretic's first album, Songs for Swinging Celibates, back in 1988. (A sleeve which was, more recently, at the centre of a highly entertaining legal battle with Tayto Crisps.)

 

Oh, and my darling poetry publisher Jessie, who lives on the Cliffs of Moher, would like me to tell you that Free Sex Chocolate: Poems & Songs (published by the great Salmon Poetry!) is now out. It contains all my poems (most of them from the past few years in Berlin), and all the Toasted Heretic lyrics. Putting the book together, I was startled at how many of my favourite lyrics hadn’t made it onto the albums, so I’ve included B-sides such as Food for Breakfast (always popular live), unreleased tracks like Satellite Dishes and (perhaps my favourite lyric) Pregnant (which I once set, rather illegally, to Leftfield’s Melt, under the name The Piggy Back Gang – never legally released, but Dave Fanning would have played a bootleg of it a few times, back in the day.)

 

Anyway, you can buy Free Sex Chocolate from Jessie directly, or from Amazon in the UK, or Amazon in the US. (Makes a lovely Christmas present for Toasted Heretic fans, hint hint.) If you're the sort of wild and crazy person who likes to live on the the edge, you could even get your local bookshop to order it. Should you be into signed copies, I signed a few in Easons on O'Connell Street last time I was over, and if Des Kenny has his way (and he usually does), I'll probably sign a pile of them in Kenny's in Galway next week... I'd say the copies in Charlie Byrne's might get a good seeing-to as well...

 

And I'll wrap up with a quick Q & A:

 

Q: Where was I for the last six months?

 

A: Thailand, Vietnam, Ireland, Berlin, Edinburgh.

 

Q: And what was I doing?

 

A: Writing a film. Writing a book.

 

Q: And why didn't I blog?

 

A: Because the reaction to my last blog post got a little out of hand, so I decided to keep my mouth shut for a while, and get on with my writing. Also, I have been expending my precious blogging fluids over on Twitter, which leaves me sated and drowsy.

 

OK! If you’ve any more questions, or comments, stick them in below. If it’s too private, personal, or perverted, feel free to mail me at the button down there on the right, or just send it to JulianGoughsSecretEmailAddress at good old gmail dot com.

The State of Irish Literature 2010

 

To my slight surprise (and immense delight), my story “The Orphan and the Mob” was chosen to represent Ireland in the ambitious new anthology, Best European Fiction 2010 (edited by Aleksandar Hemon, and introduced by Zadie Smith). The book’s publishers, Dalkey Archive Press, recently asked me five polite questions about the state of Irish literature. I replied with an intemperate rant. A slightly updated version follows below…

 

1. Are there any exciting trends, movement, or schools in contemporary Irish fiction? Who do you feel are the overlooked contemporary authors in Ireland who should be more widely read and translated?

 

I haven’t the faintest idea. As is traditional with my people, on achieving the status of Writer, I was strapped to an ass and driven from the City. I’ve lived in Berlin for the past few years. When I was in Ireland, I lived in Galway city, which is on the opposite side of the country to Dublin, where the novelists fester. Galway doesn’t really do literature. And I grew up in Tipperary, in the midlands, where writers were, until recently, killed and eaten. And quite rightly.

 

If there are exciting trends in literary Ireland, the excitement hasn’t made its way to Berlin yet. Anyway, I don’t believe in trends, movements, schools, and the whole German classification mania. That’s all made up after the fact, to help university libraries with their filing.  Each pen is held by a single hand. But for what it’s worth, none of my Irish friends read Irish books any more.

 

Indeed, I hardly read Irish writers any more, I’ve been disappointed so often. I mean, what the FECK are writers in their 20s and 30s doing, copying the very great John McGahern, his style, his subject matter, in the 21st century? To revive a useful old Celtic literary-critical expression: I puke my ring. And the older, more sophisticated Irish writers that want to be Nabokov give me the yellow squirts and a scaldy hole. If there is a movement in Ireland, it is backwards. Novel after novel set in the nineteen seventies, sixties, fifties. Reading award-winning Irish literary  fiction, you wouldn’t know television had been invented. Indeed, they seem apologetic about acknowledging electricity (or “the new Mechanikal Galvinism” as they like to call it.)

 

I do read the odd new, young writer, and it’s usually intensely disappointing. Mostly it’s grittily realistic, slightly depressing descriptions of events that aren’t very interesting. Though, to be fair, sometimes it’s sub-Joycean, slightly depressing descriptions of events that aren’t very interesting. I don’t get the impression many Irish writers have played Grand Theft Auto, or bought an X-Box, or watched Youporn. (And if there is good stuff coming up, for God’s sake someone, contact me, pass it on.) Really, Irish literary writers have become a priestly caste, scribbling by candlelight, cut off from the electric current of the culture. We’ve abolished the Catholic clergy, and replaced them with novelists. They wear black, they preach, they are concerned for our souls. Feck off.

 

But let us accentuate the positive, for the love of the Lord:

 

I do like Kevin Barry. His collection There Are Little Kingdoms had something special about it. Hints of glory ahead. (I gather there will be a novel. I’ll be buying it with cash money.) And from a few years back I loved Mike McCormack’s first book, the story collection Getting it in the Head. I always felt Mike McCormack had the great, demented, Irish small town heavy metal novel in him, he just needed to get it out. Then this week I discovered, from a very reliable source, that he’s finished his next novel, Pilgrim X, and it’s a post-apocalyptic Western set in the west of Ireland. Hurray! Exactly what Irish literature needs right now. I hear there’s a strong Scandinavian death metal vibe off it. This has all the signs of being his major breakthrough, and breakout.

 

For me, the only writer to grab the Celtic Tiger by the tail and pull hard while the tiger roared was Ross O’Carroll Kelly, the pseudonym of Paul Howard. And that was a newspaper column. (Collected every year into a new book – read them all if you want to understand Ireland’s rise and fall. No other writer caught it while it happened. The best, funniest, and most historically important run of Irish satirical journalism since Myles na gCopaleen.)

 

The Irish writer that most excited me recently was Diarmuid O’Brien, and he writes unproduced television scripts. Very funny, very Irish, on the edge of the surreal, a nice mixture of  WB Yeats and UK sitcoms. Padraig Kenny is another very funny, passionate, interesting guy trying to do interesting things with TV and radio scripts. (He has already managed to turn his Twitter rants into an artform.) Tommy Tiernan is Ireland’s most philosophical voice, but he has chosen stand-up comedy as his way of delivering his philosophical prose. Tiernan has read everything by Beckett, and everything by Lenny Bruce, and combined them. On the right night you will end up on the floor weeping tears of laughter and recognition as he takes Ireland apart. I remember reading Graham Linehan when he was only 17 and writing for Hot Press, and thinking, this guy is the funniest writer in Ireland. Of course, he got no recognition or encouragement in Ireland, so he went to London and co-wrote Father Ted, and Black Books, and now writes The I.T. Crowd. (Two days ago, as I write this, he won the British Comedy Award for writers.) The guy’s a genius, but he’s been working out of London, with UK broadcasters, since his early 20s, so he has no reason to address Ireland. (We had other geniuses, a decade or two back, but we didn't want them either. Cathal Coughlan tried to tell us who we were, spewing poetic vinegar with Microdisney, then sulphuric poetry with Fatima Mansions, but we didn't want to listen. Don't get me started on Cathal Coughlan, I'll cry.)

 

But then, why would our funniest, most original voices want to join a pompous, priestly, provincial literary community?  I’m pretty sure the best of the new, young Irish writers are writing for film, TV or computer games. Of course, anyone decent then has to go to England to get anything made. Another problem with Ireland is that its national broadcaster makes civil service television. Raidió Teilifís Éireann have never made a good comedy, they hardly ever make decent drama, and they treat writers like shit. Any work that has to go through an official Irish institution is slowly castrated by committee. All of those things are set up wrong. Our national theatre, The Abbey, is a weird, dysfunctional machine for setting fire to money. There is an almost total disconnect between the plays the Abbey puts on and the nation they are supposed to represent. (It does put on work by good playwrights: but with a thirty year delay.) Its most recent director, Fiach Mac Conghail, is doing his darndest, but turning round around The Abbey is like trying to do a wheelie in an Airbus full of American tourists. As an Irish playwright, you’ve a far better chance of getting your first play put on by the Royal Court in London than by any theatre in Dublin. Culturally, Ireland is a failed state. The fact is disguised because the UK and the USA have taken up the slack, and given our artists an outlet. But Ireland herself has, for example, never made a television program that anyone outside Ireland would want to watch. Given the quality of our writers, and the size of the global English-language TV audience, this is an immense national disgrace. (Just to repeat, everyone involved in Father Ted was Irish - but it was made by the British broadcaster Channel 4.) I know and like many of the individuals who work in RTÉ, but it is institutionally incapable of using the talents of its people, and it is institutionally incapable of change. Its news and sports coverage are excellent, the rest of it should be shut down. At the moment it’s a machine for wrecking talent, and the talented people inside it would be much happier under almost any other system.

 

The only area where Irish writing is thriving in Ireland itself is on the internet, because it’s a direct connection, writer-to-reader. Blogs captured, and capture, Ireland in a way literature  no longer does. Sweary Lady was brilliant (on her Arse End of Ireland blog), right through the Celtic Tiger years. Kav wrote the great Kav’s Blog. (Sweary and Kav both moved on to the Coddle Pot group blog…) And the quality, and quantity, of the swearing was and is very high on the Irish blogs, with guys like Twenty Major. The Irish swear better than almost anyone else on earth, bar maybe the Spanish and a couple of countries in Africa. That’s another area where I think recent Irish literary writers  – with the honourable exception of Roddy Doyle - have failed us badly. Ireland’s great lost playwright, Kevin McGee, was a master of the kind of swearing that had you desperately poking your inner ear with a biro to try and remove the images from your head. However, he was let down by professional theatre, moved into writing television soap operas (and translating the classics), and seems to have abandoned the stage. Who will swear for us now? Who will let rip the savage, guttural, primal utterance – half Yeats poem, half Guinness fart – required, DEMANDED, by the current state of Ireland? {EDIT: Probably Kevin Barry. Since this was first written, his apocalyptic story Fjord of Killary has appeared in the New Yorker, gracing its fragrant pages with North Galway lines as pinpoint accurate as these: 

“Fuckers are washin’ diesel up there again,” John Murphy said. “The Hourigans? Of course, they’d a father a diesel-washer before ’em, didn’t they? Cunts to a man.”

“Cunts,” Bill Knott confirmed.}


But I am biased, unstable, bitter, twisted, and living abroad, so don’t rely on my judgement. I’m sure there’s millions of brilliant writers in Ireland, I’m just mysteriously missing them every time I go there and look. In fact, aware of this, I outsourced the search to Twitter and asked who were the overlooked or neglected Irish writers that I’d missed. Here were the suggestions I got back, to balance my bile:

 

John MacKenna, Tomas O'Crohan, Mark O' Rowe (playwright and screenwriter), Antonia Logue, Sean O'Reilly, Vincent Woods (for “At the Black Pig's Dyke, the most underappreciated Irish play in the past 20 years.”), Gavin Duff, John Moriarty, Mike McCormack.

 

In an enjoyable and robust Twitter debate, Rosita Boland of the Irish Times took issue with the idea that O’Rowe, McCormack or O’Reilly were overlooked. This is a fair point, as all three do get excellent coverage in the Irish Times and on RTÉ, and O’Rowe has a powerful, thoughtful patron in Michael Colgan of the Gate Theatre.

 

Others on Twitter (some of them from lands far from Ireland) suggested Philip O Ceallaigh, Ken Bruen, and Dermot Healy, but it’s hard to think of these excellent, award-winning and acclaimed writers as being “overlooked” in any meaningful way.

 

As for Irish language writers – I’m not qualified to judge. They could all be geniuses for all I know.

 

 

2. Who are the contemporary European writers from other countries that are writing compelling fiction?

 

I’d only be bullshitting you if I tried to answer that question. My pitiful French, street-German, bar-Spanish and school-Irish are not remotely good enough to make literary judgements. I can barely mangle my way through comics in any of them. So, for me, all of European mainland literature is at the mercy of the quality of its translators, which makes me reluctant to judge. For all I know, I should be praising the translator, not the original writer. If you read my first book in Swedish, you would think I was a genius. If you read my first book in German, you would think I was a fool. So it goes. In fact, I strongly suspect that the Swedish translator of my first novel is a better writer than me, and wrote a better book. Molle Kanmert’s emails asking me questions were far funnier than mine, and the Swedish version outsold every other version. Someone sign her up for a novel…

 

3. Do you want your work to be translated? Why or why not?


Of course I do. I want readers. I want to be understood, I want to be misunderstood, I want to get into fights, I want to swim in the Dead Sea, I want to die in my swimsuit, I want to visit Siberia (but leave again), I want to butt in on your national conversation, drink your national drink, shoot and stuff your national bird, eat your national icecream, kiss your poets and pat your dogs and weep at the airport as we hug each other and exchange email addresses and our respective national varieties of flu.

 

4. Are there enough publishing outlets in Ireland for contemporary fiction? Is there a market for literary fiction in Ireland?

 

Well, we have the usual situation that arises when you share a language with a larger neighbour. A perverse, S&M relationship. You fight your oppressor & occupier for 800 years, get your freedom, then immediately ask  them for a publishing deal. Just as Bosnian writers seek Croatian publishers, Irish writers seek English publishers. Of course, English publishers seek Irish writers, so it’s a healthy, wholesome S&M relationship. 80% of Irish novels come out of London publishing houses. There’s always a slight tension in that relationship, of course, because some of your jokes and references won’t be understood by your publisher. But London publishers are very good at making sure that doesn’t become a problem, and that the integrity of the work is protected. They have to navigate the same issues with Welsh and Scottish and Indian and Australian novelists, so it’s not a big deal. There are a lot of small, very noble but very undercapitalised Irish publishers, but they have great difficulty hanging on to their writers if a UK publisher offers a decent advance. Or any advance at all.

 

We don’t really have a problem with lack of recognition, lack of outlets. The best Irish writers get recognised, usually in London first, after which the Irish literary establishment falls into line.  Ireland very, very seldom discovers its own writers first. Roddy Doyle had to take out a bank loan to publish the Commitments in Ireland. After which, he was picked up by an English publisher.

 

That has an interesting effect, though. Knowing that you are addressing sixteen UK readers for every one Irish reader, in a very mild way your book goes into translation in your head, as you write it. Most Irish writers will deny this, but I think it’s true. Of course I was born in London to emigrant Irish parents, so I feel equally at home, or not at home, in both places.

 

 

5. Given a choice, would you prefer a faithful, literal translation of your work or an interpretive re-imagining of it? Why?

 

An interpretive re-imaging, definitely. I don’t think a “faithful, literal” translation of my work – of any work - is even possible. If a translation were to be literal, it wouldn’t be faithful, and vice versa. Any decent writer is playing with nuances, rhythms, echoes, soundstuff that will evaporate in any literal translation. I like a lot of layers. Puns, resonances, double-meanings, Tipperaryisms, things my mum says at Christmas. Often the point of the sentence hasn’t anything to do with its literal meaning at all.

 

I use deliberately “wrong”, literal translations of phrases from the Irish language sometimes myself, because they sound fecking great in English. Friends of my dad would still say “I walked several strong miles”, and that is straight out of the Irish.

 

The Jude books are deliberately written in a stilted, old-fashioned, formal English, of the type spoken in Ireland a century ago. It’s the first-generation English of speakers who learnt English in school, from books, because their parents spoke Irish at home. For me this is a very rich form of English, because you can let the underlying Irish thoughts, structured in Irish grammar, burst through now and again. There is always a nice tension in the speech, as though Jude is walking on linguistic stilts, and has to be careful. He is trying to be terribly precise with a language he doesn’t really control or own.

 

Sometimes the games I play with the various versions of English are fairly explicit, as in the case of this head injury in Jude in London:

 

           “Their noble Tipperary speech reminded me of my mental catastrophe. I looked up from my book, and took the opportunity to experiment with my deformity: I spoke a Catholic thought, and it came out Church of England: I praised a fine All-Ireland semi-final performance by the Tipperary Under-21 hurlers against Kilkenny; and from my mouth came alien speech of an F.A. Cup semi-final replay at Villa Park.

           Sweet Mother of Jesus, I thought, astonished, and

           “Queen of Heaven!” I said.

           Christ on a bicycle, I thought.

           “Good Lord!”

           Holy fuck.

           “Blessed Union!”


           I gave up the attempt to accurately express myself, and returned to my book.”

 

 

I must be a real bastard for translators, because increasingly I like to back-engineer scenes so that a crucial line of narrative, thrown up by the action, is also a line of poetry by Yeats, or a line of dialogue is also a line of Joyce, or Kafka, or is made out of Radiohead song titles. They can be tricky to spot - most of my native-English readers miss most of them. And I also use the misunderstandings and gaps between American English and English English and Irish English to generate jokes and misunderstandings, and moments of unease.

 

 

A single English word sings in many voices, and I like to set off a couple of them, and make my words sing harmonies with themselves, or beat each other up. I doubt if anyone but me gets the half of it, but I think readers find pleasure in it anyway. I remember a woman on a blog quoting her favourite piece of my writing. She said she couldn’t put her finger on why she liked it so much. Well, I could. It was the end of a chapter, and I’d written it in iambic pentameter. Because it was laid out like prose, she hadn’t consciously registered the formal rhythm, the internal rhymes. But subconsciously, she got it...

 

That makes me sound too much of a word wizard – I should also say that most of my sentences are extremely straightforward attempts to get a character through a door in such a way that the reader understands it without having to read it twice, and I don’t always even succeed at that.

 

 

{EDIT: OK, I'm getting Repetitive Strain Injury from putting in links to all these bastards, enough for tonight. Hope you enjoyed it, if you got this far. I'll link a few more lads tomorrow. Your comments are very welcome.}



Best albums of the noughties?

CDs and lots of them. Not sure who took the photo (contact me!) From http://www.jazzchicago.net/

I've been asking friends and strangers all week on Twitter about the best albums of the past decade. (A mixture of the joy of conversation and research: I'm discussing the decade's albums tonight - Tuesday, December 1st 2009 - on RTÉ's Arena program at 19.30 GMT, with Luke Clancy and others.)

In a spirit of internetty openness, here's a copy of the email I sent last night to the producers of the show, with some thoughts on the subject of music, albums, decades, technology, Twitter, and the Long Tail...

 

Please do add your thoughts and comments...

 

"Hi Penny, hi Luke,

That sounds fine. Here's a rough overview of my thoughts: I'd quite like to step back and talk about the whole idea of an album, and how it changed over the past decade. I suspect this might be a bit more original, and interesting to the listener, than my own personal taste in a top three (though I will give that too!)

That would mean talking a little about the technology. It's technology which secretly shapes musical eras. Pop music as we know it became possible with the 45rpm single, and the pop single.  Then the 33rpm, 12" vinyl disc made albums possible, so people bunched some songs together. Then multi-track recording allowed the Beatles to happen (and thus allowed rich, complicated, overdubbed albums to happen). Transistorised electronics allowed Kraftwerk to happen. Digital technology allowed techno to happen. And so on.

But you could argue that the invention of the CD meant albums were suddenly a bit too long for listeners to comfortably pay attention to all the way through. (The human brain can only stay focused for about 45 minutes before it needs a break.) And that, in the noughties, with the rise of  iTunes, iPods, and the iStore, the album as a collection of songs in a particular order is beginning to disappear, as people download individual songs off an album, or listen to their music at random, on shuffle. (As the great music site Pitchfork pointed out, the decade is a few months younger than Napster and only a year older than the iPod.)

So lists like the NME's favour quite a retro thing, the old-fashioned, short sharp rock album. The Strokes, at number 1 in the NME poll, are incredibly old-fashioned. They're rich kids who met at a Swiss finishing school, and pretended to be a gritty, streetwise New York 1970s band. It's absurd to say they sum up the noughties. In fact the NME's list is full of young bands knocking off old bands. Interpol, Strokes, Yeah Yeah Yeahs, Bloc Party. They knock off specific 70s and 80s bands! Interpol are a Joy Division tribute band.

I've read a lot of these lists, thinking about this, and the big problem is, where can anyone stand - on what sacred gold mountain - to take their view?

The noughties was the decade of the obscure album that you stumbled on and loved. A Top 10 made sense in the 60s when only a few hundred albums came out each year, and you could, with a bit of effort, hear most of the music released. But for the past decade, a top ten would be misleading and wrong. It was the decade of the top ten thousand. I put up a hashtag on Twitter, and got a fairly random bunch of lovely people to name their favourite album of the decade. The range of albums suggested on Twitter was astounding. The vast majority were not on any of these best of lists. What has happened is the same as what has happened to books with the rise of Amazon, and the rise of the long tail. The majority of Amazon's sales and profits don't come from selling loads of the top ten books. They come from selling a tiny number of copies of each of the bottom two million books. It's very democratic. Likewise, many more people are recording albums, and finding small, loyal bands of followers.


The forties had Sinatra. The fifties had Elvis. The sixties had the Beatles. We don’t have a Beatles, and it's possible nobody will be able to dominate a whole decade like that ever again. Which is fine.


And that ties into a final point: We probably haven’t heard the greatest albums of the decade yet. The people that do the thing that is new are not instantly recognised. If you look back at the lists from previous decades, they are full of forgotten bands. But truly influencial bands like, say, The Velvet Underground - the band the Strokes want to be - don't appear on any of these lists. It took twenty years for the first Velvet Underground album to go gold.

Meanwhile, guys that were already out of time, out of step with fashion, have aged really, really well. Maybe Tom Waits made the album of the decade. Maybe it was Johnny Cash, with The Man Comes Around.

As for legacy... it was a transitional decade. I suspect the noughties will be remembered more for its computer games than its music. But there were many, many wonderful gems, in all genres. So, a golden age of democracy, with no real king of pop.

I'll send you a top three tomorrow! Still thinking about it.

-Julian"

A nice picture of vinyl albums (ask your mum) from the wonderful Wikipedia Commons

Twitter & Tweets: Who Can Read What (And How And Why To Use The Dot).

I started to use the mighty "." on Twitter today, and immediately got into about 50 confused conversations about it, most of which started "What's with the . thing?" Trying to tweet 50 different bitesized answers did not lessen the confusion, so I thought I'd explain here what I'm doing (or what I think I am doing).

May this post give you the strength to make the dot a good thing, the self-restraint to avoid making it a bad thing, and the wisdom to tell the difference.

See? Many of humanity's problems, incredible as it seems, predate Twitter. (Explosm sell this as a T-shirt! Site seems down, so I've linked to info on the Cyanide & Happiness guys.) 

SOME BACKGROUND ON HOW USERS DRIVE TWITTER'S EVOLUTION

A lot of people, especially new users, are not entirely sure how Twitter works, or who can read what, when and how. This is unsurprising: Because Twitter has evolved so fast, features that didn't even exist a year ago are at the heart of the Twitter conversation now. Users are constantly finding new implications of those new features, and creatively using (& misusing) them, in turn. And those new, user-invented features and workarounds that are popular and useful get turned into new, official features: When I started using Twitter only a few months ago, for example, retweets had to be done by hand, and there was no agreed syntax ("Retweet", "(RT)", "RT:", "Via" and others were all in use.) ...Twitter only installed an official button for retweeting in September this year. (We will get to the meat of the matter after you jump the shark. With its black dot for an eye.)

A lovely blue shark 

SO WHO CAN READ WHAT?

Before we talk about the mighty dot, we need to be clear on how tweets work. As things stand today (and this wasn't true last year, and may not be true next year), this is who can read what. Let's say I send a nice ordinary tweet, like "I am eating the most amazing pickled shark testicles." That tweet
will appear in the stream of everyone who follows me. It also appears in my own stream (where I can read all the incoming tweets from those I follow), and on my own page (where all my tweets are stacked up one after the other.)

But if I reply directly to someone else's tweet, like this: "@sharklover Sorry, I forgot you were a vegetarian. And married to a shark. Whoops." ...then that reply will only appear in the streams of the people who follow BOTH me (@juliangough) and her (@sharklover). Twitter don't make this very clear, and it isn't intuitively obvious, so a huge number of Twitter users assume that everyone who follows them can read all their replies. Not so. However, that last tweet is defined by Twitter as a reply simply because it STARTS with a name, @sharklover. If I hand-crafted a reply like this: "Well listen, @sharklover, obviously I wouldn't have eaten his testicles if I'd known he was your husband" ... then, because it doesn't start with a name, Twitter will treat it as a regular ordinary tweet, and all my followers can see it in their stream, whether they follow @sharklover or not.

 

WHICH IS WHERE THE DOT COMES IN...

Which is, at last, where the dot comes in. Hitting reply is handy: there's the person's name, the cursor is blinking after it, all you have to do is type the message and send. Building your tweet either side of the other person's name, however, just so your reply will be visible to all your followers, is not handy, and can sound really awkward, like a tweeted, 140-character version of stilted Victorian dialogue: "So, @moriarty, we meet again, in the shadow of the Reichenbach Falls..."

 

Of course, most replies are not of general interest and the system, by hiding them from most of your followers, works fine. ("@mum I left @dad drunk in the coal shed.") But sometimes a reply would be of interest to many, or all, of your followers (not just those who follow you and the person you are replying to). For example, I sometimes get asked interesting questions about my novels, or about my old band: I know that a good chunk of my followers are fans who would appreciate seeing my reply. And sometimes you just want to open up the conversation with a reply, and give others a chance to join in. And sometimes you want to start a big fight.

But how do you quickly and easily convert the reply into an open message? You can't just type a letter, or letters, directly in front of the name with no space, like this: a@sharklover. That stops it from being treated as a reply by Twitter, sure, but any letters touching the front of the "@" mess up the name, stop it from being searchable, prevent it from appearing in the @replies box of the person you sent it to, and mean it is no longer hyperlinked (that is, you can't click on it and go to their page). So, what, add a letter and a space? A quick abbreviated explanation? It starts to get messy, and distracting. And eat up scarce characters.

But you CAN type non-letters, such as punctuation marks, directly in front of a name, without messing it up and breaking it as a link and all that bad stuff. And the simplest, smallest, least annoying punctuation mark is the full stop. This guy, inside the quotes: "."

So if I send this: ".@sharklover I've always loved you, I've had fins surgically attached also intromittant organs, feels weird having a double penis, marry me", now everybody who follows me can read it. Which may or may not be a good thing, but it's a nice option to have.

 

A WORD OF CAUTION

The dot allows a personal conversation to be overheard by many others, so use it sparingly. Think - is this private remark really going to interest many of my other friends? If not, don't dot. Otherwise you run the risk of being the person at the bar shouting loudly at their friend, in the vain hope of impressing the whole pub. Don't beat yourself up if you overuse it at the start and annoy a few friends. It is natural to get a bit carried away at first (he said, after an entire day's experience). I certainly did. But I had calmed down by teatime, and so should you. A cup of camomile should do it.

 

WHO INVENTED IT?

I've no idea, but I'd love if you could tell me. I first noticed guys like @glinner using the dot recently, I had no idea what it was, and (too shy to ask) worked out what it meant by context. I have noticed that comedians and scriptwriters are prone to use it. (The dot is particularly useful if you are replying to a friend with a cracker of a joke and don't want it wasted.) It just seems to have spontaneously evolved, because it was needed, and may have many mothers and fathers.

 

A FINAL THOUGHT ON DMs (DIRECT MESSAGES)

Oh yeah, while we are at it: there is one other type of tweet. DMs (direct messages) can only be sent to people who are following you, and can only be read by you-the-sender, and the individual you sent it to. But bear in mind, if YOU aren't following THEM, they can't DM you back, which can lead to an embarrassingly public tweet like this: "Sure thing @juliangough I'll DM you an answer to your DM requesting the name of my drug dealer as soon as you follow me." So it's probably best to follow people BEFORE you DM (direct message) them.

 

Also bear in mind that nothing in human cultural history has grown as fast as Twitter, and that this is just a snapshot of the evolving situation in late 2009. It will all change, change utterly, and within a few months this post will seem as quaint as advice on the kind of red flag your servant should be carrying as he walks sixty yards ahead of your self-propelled mechanical vehicle.

 

THE PREHISTORY OF TWITTER

For those interested in the prehistory of Twitter, and how such arcane events as the great #fixreplies revolt of May 2009 shaped the current Twitter universe, here's a couple of links:

The Evolution of Retweeting. This article from August 2009 (only two months ago as I write!) gives a flavour of how users drive the development of Twitter, and of how tentative and confused the developers can feel in the face of such pressure from below. The retweet option they initially planned to build is nothing like the one that they eventually delivered.

The Great #fixreplies Revolt of May 2009. This battle reshaped the modern @replies. A bit like the slaves' rebellion in Spartacus, the revolt failed but left an enduring legacy, and scared the pants off the Emperor (ie this is when the chaps who set up Twitter first realized they were not in fact in total control of it).

The Invention of @replies and @mentions. Back in November 2008, when the world was young, @replies were formally adopted by Twitter. This Twitter blog post now feels like the Magna Carta.

 

Throw in comments, advice, argument below, or attack me frenziedly on Twitter itself (@juliangough). Feel free to link to, copy, or pass this onto friends if you think it's helpful. And be nice to each other out there. Oh, it's all fun and games in the Twitter playground till somebody loses an eye.

 

Meanwhile, to reward you for reading so much stuff about such a small thing, here's a real dot to play with. Focus on it. Now lean forwards, and backwards. Feel the power of the mighty dot! (This probably won't work for you, Momus, or any other visitors with one eye.)

Feel its power

See the smallest film in the world, on the biggest TV in the world.

This has been popping up on the internet anyway, so I thought I might as well share it with my three devoted readers here on the website... News of my tiny new film below the photo... Cheers!

The Playhouse Project lights up Liberty Hall in Dublin


"The Playhouse Project in Dublin has been showing short animations for the past two weeks, using two sides of Liberty Hall – the tallest building in Dublin - as an immense 16-story television screen.

Now Tod & Viv, a two and a half minute animated movie by Irish novelist Julian Gough, will premiere on Dublin’s Liberty Hall late Friday night.

Says Julian Gough, “It’s a very low resolution TV screen – each window is a pixel, so it’s only 10 pixels by 16 on each side. So very strong, simple images show up well. People have done some great stuff, mostly a single idea, often a single image, moving or repeating, and a bit of music as a soundtrack. Someone did Space Invaders, someone did static… But I thought it would be interesting to be madly ambitious, and make an entire feature film, with love and death and murder and forgiveness… I wanted to see if you could make a film with a bit of a narrative. A story that was strong & simple enough to work on this amazing screen, that was so primitive and high-tech at the same time. And a film that was written for Liberty Hall, that used the fact that the screen was also a building in Dublin. And could you pack it all into in a couple of minutes?”

The result is Tod & Viv, a-two-and-a-half minute murder mystery/ghost story/drama that starts with the words “Tod & Viv live in a big house…” as two windows light up on Liberty Hall. It wouldn’t be giving anything away to say that Tod & Viv are trapped in a hellish relationship. And, as Flann O’Brien said, (in the original title for The Third Policeman), “Hell goes round and round…”

“You could loop the film, and they’d be killing each other forever,” says Julian Gough. “I wrote it as a loop, because I couldn’t be sure people would catch the start of it, walking along the Quays, or over O’Connell Bridge. This way, they’d get the whole story even if they only started watching halfway through. But you wouldn’t want to watch it more than twice, it would wreck your head pretty quickly. It’s all death, nightmares, and slamming doors.”

The project is high-tech: 100,000 low energy LED lights light up 330 windows. Inspired by the amazing, seminal Blinkenlights installation in Berlin, Playhouse has gone one, or even two, better, and added colour, and sound.  But the animation in Tod & Viv is minimal in the extreme. “Yeah, Tod is a single pixel. And Viv is also a single pixel. Two pixels in love. It doesn’t get more minimal than that. My favourite bit is where Tod takes off his clothes to have a bath. A single window turns from white to pink… Most of the effort went into the soundtrack, which will go out simultaneously on the radio in the area around the building, 94.3FM. I had kids pounding up and down five flights of stairs in our apartment in Berlin to get the footsteps, and slamming doors. Luckily, our upstairs neighbour is a professional actress, Elisa Gelewski, who’s done a lot of TV and theatre in Germany. So she popped downstairs, we put on a pot of coffee, and she recorded the only line of female dialogue. So the total cost of the film – apart from everyone’s time – was a pot of good coffee. Berlin is a bit like Sesame Street, if you need someone to help you with a film or anything else, you just lean out the window and shout.”

Tod & Viv has its world premiere late on Friday night, half an hour after midnight, and is best seen while listening to the soundtrack, broadcast on 94.3FM in the vicinity of the building. It can be watched live on the internet at here at justin.tv. A film of the performance, taken from across the river, will be available later on the internet. You can check out more details here."

Twitter, Death, and Football

A football, yesterday

I note, with interest and a little unease, that I have posted four hundred and fifty three (453!) tweets on Twitter since I first had a poke at it last month. In that time I think I've put up two (2!) blog posts here.

 

Given that the occasional bazooka rounds of my blog have been replaced almost entirely by the countless shotgun pellets of Twitter... if anyone has any interest in what I'm blasting away at, please feel free to follow me here.

 

Something I didn't mention yet on Twitter is that a top-floor neighbour of ours was carried out of the building on Sunday evening, wearing an oxygen mask, strapped to a stretcher, and accompanied by eight paramedics (two ambulances turned up). She had been very, very sad lately.

 

Cast rather a pall over the week.

 

Anyway, let us turn our face away from sorrow, if we can't comfort it. And we can't... Football is back, back, back on Saturday, when the English Premier Division ("See the most overpaid young men on earth kick an imitation pig's bladder!"), QUITE LITERALLY kicks off. I have selected my unstoppable team (Bike Dynamo Berlin), and will be playing in my usual Fantasy Football League (The Stoney Battery... full of friends who live, or once lived, in Stoneybatter in Dublin). If you would like to join our league, or would like my mighty warriors to play in your league, contact me through that unobtrusive "Mail Me" button on the right hand side of the page...

 

 

What I'm Doing In 2010. (Books, Mostly.)

In 2010, I plan to make lots of paper aeroplanes

Allan Cavanagh (or @AllanCavanagh, as I fondly know him) just tweeted to ask me, "have you got a poetry collection coming out?" Which is one of those embarrassingly intimate questions about shameful practices best unmentioned. Apparently he had heard the magnificent Jessie Lendennie mention it earlier tonight on Lyric FM.

But the question reminded my that I haven't actually talked about, you know, books. The things I write. And what state they are in. For a long time. So let's deal with that distasteful stuff, category by category.

 

1.) Poems. Yes, I do have a poetry collection coming out. Salmon Poetry will publish my first collection in February 2010, God willing. It will contain all the poetry I've ever written that I'm not utterly ashamed of (which means, mostly, the recent poetry written in Berlin, and a mutilated fistful of older pieces), and all the Toasted Heretic lyrics that are fit to print. Working title is Free Sex Chocolate (collected songs and poems). And if anyone has a suitable cover image for such a book, with such a title, I'd be very interested to see it. It's poetry, so there's not much of a budget, but the glory! The glory! (You can contact me through the Mail Me button, off down there to the right.)

 

2.) Novels. Yes, Jude: Level 2 will finally emerge into the harsh global spotlight in June 2010, blinking, eating roadkill, and shagging anything that moves. It's set largely in London, and indeed may well get called Jude in London. You can read a piece from it here.


3.) Short Stories. I am very happy to be the official representative of the Republic of Ireland in the Dalkey Archive's scarily ambitious anthology, Best European Fiction 2010. If I were capable of humility, I'd be humbled. Here's a description I nicked off Amazon:


"Best European Fiction 2010 is the inaugural installment of what will become an annual anthology of stories from across Europe. Edited by acclaimed Bosnian novelist and MacArthur “Genius-Award” winner Aleksandar Hemon, and with dozens of editorial, media, and programming partners in the U.S., UK, and Europe, the Best European Fiction series will be a window onto what’s happening right now in literary scenes throughout Europe, where the next Kafka, Flaubert, or Mann is waiting to be discovered."

They've chosen "The Orphan and the Mob", which a lot of you will know already.

 

My exciting adventures in the categories of:

4.) Children's Books

5.) Feature Films

6.) Animated Films

7.) Theatre

8.) Computer Games, and

9.) Opera

 

...will all have to wait till I've had a good night's sleep.

(I'm afraid I lied about Opera. I have no plans to write an opera for 2010. Although 2011, now, is another matter...)

 

Why I Love Twitter (and will for at least another month)

Photo by iJustine, via flickr: http://www.flickr.com/photos/ijustine/

OK, after a couple of weeks playing with it, I love Twitter. I find it much more yummy than I ever found Myspace, or Facebook (which should be odd, because Twitter is very, very limited in comparison.)

 

But Twitter gives me a very pure form of that thing I liked most about Facebook (with their status updates): A sense of low-level telepathy. I have a vague idea of what a lot of my friends, and other people I like, are feeling. How their life is going. People who really like Twitter tweet far more often than they update their Facebook status, so the knowledge of how they are doing is more granular, more finegrained. With Facebook I know they're happier, or sadder, this week than last week. With Twitter, I know they're happier, or sadder, this evening than they were this morning.

 

And the blurring of the line between friend and famous person is democratic and interesting.

 

Plus, I've never seen a social/internet thingy evolve so fast. It's fascinating.

 

Does this mean Twitter will change the world/hit a billion users/be around in a year's time? Not necessarily. It's evolving fast in an ecosystem which is also evolving fast. Spam risks ruining it. And every other tech company wants to buy it/kill it/replace it. Anything could happen.  But it's the closest thing yet to the simple, non-technical, magic app that will bring the internet right into our head, so that we can talk to anyone about anything in any language, to solve any problem at any time, so that we will never be lonely again.

 

This version of Twitter is going to look primitive as fuck within a year. But you, me, it, and the world will be very different in a year. Right now, it's the place to play. (Which has distracted me terribly from my blog, sorry. I've posted something like 89 tweets in the past fortnight, and one blog post.)

 

Anyway, if you are Twittering, or thinking you might try it, call round and see me sometime.

I Thought I Saw Johnny Massacre Last Night, As Alive As You Or Me

I was crossing Torstrasse about an hour ago, round midnight, and I thought I saw Johnny Massacre coming across the road towards me, wearing a big green gansey. I was mildly but very pleasantly surprised. Always a joy to meet Johnny. As he got closer, I was about to say hello, and then,

 

A) I realised it wasn't Johnny, and

 

B) I remembered that Johnny was dead.

 

The last time I saw him, if you can call it seeing him, he was being lowered into the ground in a coffin in Longford in 2003. Ming the Merciless (Johnny's great friend Luke Flanagan) gave a speech at the graveside, a good speech. And then Ming the Merciless urged us all to give Johnny Massacre (born John Doran, and only 27 when he died, in a car crash), the parting gift he would have most appreciated - a huge round of applause. We did, oh we did.

(Mike Casey had filmed Johnny's street show in 2002, and put this tribute together after Johnny's death.)

A Twit Twitters

This pretty picture links to my new Twitter thingy. Ain't computers smart, huh?

I was vaguely wondering if my name was still available on Twitter, or was some teenaged, early-adapting Julian Gough with an iPhone, wi-fi-enabled double-entry vibrator and frightening buttock-tattoos tweeting as Julian Gough eighteen times an hour on the subjects of his motorbike and STDs, to the consternation of my aunts, bank manager, and former Christian Doctrine teacher.

 

Anyway, no, he is not. My name was still available. So, one thing led to another, and next thing I knew, I'd signed up to Twitter.

 

My, um, name, is:   http://twitter.com/juliangough

 

Or you can just click here to get to my Twitter page

 

Not sure what I do next, but there you are.