Milkman – Anna Burns, 2018

I first read this in January 2020 for the Irish Writers book group. Burns’ style is fascinating. The narrator has an almost academic reserve. Characters don’t have names and are instead referred to by their roles. We get lists of terms, foods, euphemisms…. The book is very funny and very sad. It’s especially brilliant on the paradoxes and self-cramping of a world of violence – “the man who didn’t love anybody” is the kindest of all.

I re-read it in January 2023 for the Second Monday book group. Now that I had assimilated the style, it didn’t seem as novel; it was great in a different way. But I marked more passages.

In this book I looked up:

  • crombie – three-quarter length wool overcoat
  • Julie Covington, “Only Women Bleed
  • Jeyes Fluid – want to smell it, but it sounds like the odor has changed
  • housey-housey – bingo
  • Bamber the Pig – couldn’t find in 2020, still can’t find!
  • Paris buns
  • wilucs – whelks?

Short quotes

  • “In those days, in that place, violence was everybody’s main gauge for judging those around them”
  • “This would be a nineteenth-century book because I did not like twentieth-century books because I did not like the twentieth century.”
  • “Although I loved running, the monotony of the wheelrun told me I didn’t love it that much” (ie running laps)
  • “you created a political statement everywhere you went, and with everything you did, even if you didn’t want to”
  • Maybe-boyfriend’s decamped parents “had written a note, said the neighbours, but had forgotten to leave it; indeed primarily they had forgotten to write it”
  • “keenness and initiative get stifled here, turned to discouragement, twisted too, into darker channels”
  • “Never did it occur to them that my powers of acuity and deception might have exceeded their own powers of acuity and deception. People can be extraordinarily slipshod whenever already they have made up their minds.”
  • “‘Are you saying it’s okay for him to go around with Semtex but not okay for me to read Jane Eyre in public?’”
  • “‘Have you been fecundated by him? … Imbued by him?’ she elaborated. ‘Engendered in. Breeded in. Fertilised, vexed, embarrassed, sprinkled, caused to feel regret, wished not to have happened – dear God, child, do I have to spell it out?’”
  • “marrying in doubt, marrying in guilt, marrying in regret, in fear, in despair, in blame, also in terrible self-sacrifice was pretty much the unspoken matrimonial requisite here”
  • “how terrifying it was not to be numb, but to be aware, to have facts, retain facts, be present, be adult”
  • “Sister exploded into advanced asterisks, into percentage marks, crossword symbol signs, ampersands, circumflexes, hash keys, dollar signs, all that ‘If You See Kay’ blue french language.”

Longer quotes

I didn’t know whose milkman he was. He wasn’t our milkman. I don’t think he was anybody’s. He didn’t take milk orders. There was no milk about him. He didn’t ever deliver milk. Also, he didn’t drive a milk lorry.

At eighteen I had no proper understanding of the ways that constituted encroachment. I had a feeling for them, an intuition, a sense of repugnance for some situations and some people, but I did not know intuition and repugnance counted, did not know I had a right not to like, not to have to put up with, anybody and everybody coming near.

The banned names were: Nigel, Jason, Jasper, Lance, Percival, Wilbur, Wilfred, Peregrine, Norman, Alf, Reginald, Cedric, Ernest, George, Harvey, Arnold, Wilberine, Tristram, Clive, Eustace, Auberon, Felix, Peverill, Winston, Godfrey, Hector, with Hubert, a cousin of Hector, also not allowed. Nor was Lambert or Lawrence or Howard or the other Laurence or Lionel or Randolph because Randolph was like Cyril which was like Lamont which was like Meredith, Harold, Algernon and Beverley. Myles too, was not allowed. Nor was Evelyn, or Ivor, or Mortimer, or Keith, or Rodney or Roger or Earl of Rupert or Willard or Simon or Sir Mary or Zebedee or Quentin, though maybe now Quentin owing to the filmmaker making good in America that time. Or Albert. Or Troy. Or Barclay. Or Eric. Or Marcus. Or Sefton. Or Marmaduke. Or Greville. Or Edgar because all those names were not allowed. Clifford was another name not allowed. Lesley wasn’t either. Peverill was banned twice.

Mainly though, I could bear it because of the ‘maybe’ level of our relationship, meaning I didn’t officially live with him and wasn’t officially committed to him. If we were in a proper relationship and I did live with him and was officially committed to him, first thing I would have to do would be to leave.

Teacher suggests “sky can be more than blue” (an especially brilliant set-piece):

It was the convention not to admit it, not to accept detail for this type of detail would mean choice and choice would mean responsibility and what if we failed in our responsibility? Failed too, in the interrogation of the consequence of seeing more than we could cope with? Worse, what if it was nice, whatever it was, and we liked it, got used to it, were cheered up by it, came to rely upon it, only for it to go away, or be wrenched away, never to come back again? Better not to have had it in the first place was the prevailing feeling, and that was why blue was the colour for our sky to be.

She meant depressions, for da had had them: big, massive, scudding, whopping, black-cloud, infectious, crow, raven, jackdaw, coffin-upon-coffin, catacomb-upon-catacomb, skeletons-upon-skulls-upon-bones crawling along the ground to the grave type of depressions.

They killed [the dog] because it liked them, because they couldn’t cope with being liked, couldn’t cope with innocence, frankness, openness, with a defencelessness and an affection and purity so pure, so affectionate, that the dog and its qualities had to be done away with. Couldn’t bear it. Had to kill it. Probably they themselves would have viewed this as self-defence. And that was the trouble with the shiny people. Take a whole group of individuals who weren’t shiny, maybe a whole community, a whole nation, or maybe just a statelet immersed long-term on the physical and energetic planes in the dark mental energies; conditioned too, through years of personal and communal suffering, personal and communal history, to be overladen with heaviness and grief and fear and anger – well, these people could not, not at the drop of a hat, be open to any bright shining button of a person stepping into their environment and shining upon them just like that.

And that was why the dogs [IRA soldiers] were necessary. They were important, a balancing act, an interface, a safety buffer against instant, face-to-face, mortal clashes of loathsome and self-loathsome emotions, the very type that erupt in seconds between individuals, between clans, between nations, between sexes, doing irreversible damage all around. To stay it, to evade it, to push away those bad memories, all that pain and history and deterioration of character, you hear the barking, the onset of that savage, tribal barking, and you know then to wait indoors – quarter of an hour thereabouts – to let that soldiery go its way.

I’d assumed that how my face looked, how I was making it look, how I presented it outwardly, was down to me, under the control of me, the ‘I am’ deep in the council chamber. I thought this real me was in there, in charge, hidden from them but directing from the undergrowth. Thought too, I’d chosen a subordinate to assist me and not some rebel to turn tables and override me. That though, was what happened and it happened first with the face.

… my lifelong stubbornness in refusing to tell nosey bastards what it wasn’t their business to hear. ‘Why should I?’ I said. ‘It’s not to do with them and anyway, I haven’t done anything.’ ‘Lots of people haven’t done anything,’ said longest friend. ‘And still they’re not doing it, will always be not doing it, in their private coffins down at the usual place.’

‘Just because I’m outnumbered in my reading-while-walking,’ I said, ‘doesn’t mean I’m wrong. What if one person happened to be sane, longest friend, against a whole background, a race mind, that wasn’t sane, that person would probably be viewed by the mass consciousness as mad – but would that person be mad?’ ‘Yes,’ said friend, ‘if they persisted in their version of life in the stacked-up odds of an opposing world.’

Ordinary murders were eerie, unfathomable, the exact murders that didn’t happen here. People had no idea how to gauge them, how to categorise them, how to begin a discussion on them, and that was because only political murders happened in this place. ‘Political’ of course, covered anything to do with the border, anything that could be construed – even in the slightest, even in the most contorted, even something the rest of the world, if interested, would view as most unlikely – as to do with the border. Any killing other than political and the community was in perplexity, also in anxiety, as to how to proceed.

…kind people here, not used to phones, not trustful of them either, didn’t want to be rude or abrasive by hanging up after just one goodbye in case the other’s leave-taking was still travelling its way, with a delay, over the airwaves towards them. Therefore, owing to phone etiquette, there was lots of ‘’Bye’, ‘’Bye’, ‘Goodbye, son-in-law’, ‘Goodbye, mother-in-law’, ‘Goodbye’, ‘Goodbye’, ‘’Bye’, ‘’Bye’ with each person’s ear still at the earpiece as they bent their body over, inching the receiver ever and ever closer on each goodbye to the rest of the phone. Eventually it would end up back on its hook with the human ear physically removed from it. There might be further insurance goodbyes even at this stage, out of compulsion to seal and make sure the matter, which didn’t mean the person who’d gone through the protractions wasn’t contorted in body and exhausted in mind by the effort of detaching from a phone conversation. What it did mean was that that conversation – without any anxious ‘Did I cut him off? Will he be hurt? Have I hung up too soon and damaged his feelings?’ – had finally reached its traditional end.

‘I’d sit in that chair without complexity, without any sense of consciousness even, that there I was, sitting in it. It was just a chair; not notable to be registered as tormenting to the psyche. I’d lower myself in, then, when done, I’d higher myself out of it. All normal. Not now, daughter. Now, there’s a searing mental pain anytime I have doings with the chair because slightly my rear brushes the armrest of one side as I’m lowering myself in or highering myself out of it, or else my rear brushes similarly the armrest of the other side. These armrests aren’t capable of articulation,’ she stressed. ‘They’re stuck fast to the body because it’s a one-piece chair and of course the chair itself can’t have gotten smaller which means my rear’s gotten bigger but it’s gotten bigger without the concomitant modification to a new way of negotiating furniture and instead is still acting from the retention of the memory of how smaller in the olden days it used to be.’

Esther Waters – George Moore, 1894

Read for Irish Writers – a joint hybrid meeting with a similar group in Castlebar, County Mayo, which was delightful. Very good but alas I’m blogging this three years later (the quotes were marked in an old Nook and I thought they were lost!) so I don’t remember much, except that it was very dark and realistic. Also the novel has many Plymouth Brethren (the sect into which my dad was born), so that was of interest to me.

  • “[Christ] had not forgiven, because she could not forgive herself”
  • “‘It is always a woman’s fault, ma’am'” – but Waters shows that not to be true
  • “Esther looked at the poor wizened features [of the infant], twitched with pain, and the far-off cry of doom, a tiny tinkle from the verge, shivered in the ear with a strange pathos.”
  • “religion is easy enough at times, but there is other times when it don’t seem to fit in with one’s duty”

So the flood of gold continued to roll into the little town, decrepit and colourless by its high shingle beach and long reaches of muddy river. The dear gold jingled merrily in the pockets, quickening the steps, lightening the heart, curling lips with smiles, opening lips with laughter. The dear gold came falling softly, sweetly as rain, soothing the hard lives of working folk. Lives pressed with toil lifted up and began to dream again. The dear gold was like an opiate; it wiped away memories of hardship and sorrow, it showed life in a lighter and merrier guise, and the folk laughed at their fears for the morrow and wondered how they could have thought life so hard and relentless. The dear gold was pleasing as a bird on the branch, as a flower on the stem; the tune it sang was sweet, the colour it flaunted was bright.

Beatlebone – Kevin Barry, 2015

Irish Writer’s Group selection. I mostly hated it! Using a real person, especially John Lennon, just feels lazy, even though it’s based on an actual incident in Lennon’s life. Constant references to external things (“Wuthering Heights” by Kate Bush) w/o specifically identifying them, which usually bugs me. Example re Gerard Manley Hopkins: “I caught this morning morning’s fucking minion—the one where he sees a bird and goes all swoony coz he loves fucking nature.” Weird interspersion of first-person as-himself metafiction as he researches the book in New York and Ireland – I would have liked just that, as an essay, much better. In that section he says amusingly: “I would return to report my findings in a mature, honed prose, as clear as glass: this from a man who had never knowingly underfed an adjective.”

I looked up:

  • bevvied: drunk
  • boreen: narrow country lane
  • Liverpool time slip reports (note I do not believe in anything paranormal but find it interesting)

Quotes:

  • “Zola wrote that the road from Lourdes is littered with crutches but not a single wooden leg”
  • Depressed/unresponsive father (of the driver) “would look back at me, with the eyes like stones inside his head”
  • “He read once that the hare augurs darkly in the Irish mythology. From what he can remember there is fuck all that augurs brightly in the Irish mythology.”

Cornelius (the driver) asks what’s on his mind:

Love, blood, fate, death, sex, the void, mother, father, cunt and prick—these are the things on his mind.

Also—

How many more times are they going to ask me to come on The fucking Muppet Show?

I do like that italicized tmesis there! And the references to Radio Luxembourg (this is set in 1978 so right around when I was listening in my bedroom in Paris).

The Sea, The Sea – Iris Murdoch, 1970

Irish Writers selection, but alas I missed the discussion. Once again didn’t have post-it flags with me for most of it, and it’s a long book—too long by half and soap-opera-ish, but I loved the beginning. What struck me the most was Charles Arrowby’s love of food and focus on his little meals and treats, which I 90% identify with (not 100% because I get synergistic pleasure from reading while eating):

I ate and drank slowly as one should (cook fast, eat slowly) and without distractions such as (thank heavens) conversation or reading. Indeed eating is so pleasant one should even try to suppress thought. Of course reading and thinking are important but, my God, food is important too. How fortunate we are to be food-consuming animals. Every meal should be a treat and one ought to bless every day which brings with it a good digestion and the precious gift of hunger.

It was early evident to me that my uncle was more loved and fortunate than my father. How does a child perceive such things, or rather how is it that they are so perceptible, so obvious, to a child, who perhaps, like a dog, reads signs which have become invisible amid the conventions of the grown-up world, and are thus overlooked in the adult campaign of deceit?

One of the secrets of a happy life is continuous small treats, and if some of these can be inexpensive and quickly procured so much the better.

I also took up acting … because I wanted to have fun myself and to procure some for my father. I doubt if he possessed the concept, or ever managed to acquire it later under my eager guidance. In having fun myself I have throughout my life been fairly consistently successful.

This interesting Paris Review essay comments that Arrowby’s food is not as good as it sounds to him, indicative of his self-deception about his character, but also that Iris Murdoch herself loved and ate similar dishes.

Whoredom in Kimmage: Irish Women Coming of Age – Rosemary Mahoney, 1993

Irish Writers selection. I was hooked on the first page, Mahoney’s story of working for Lillian Hellman one summer: “I was as ornery at seventeen as Lillian Hellman was at seventy-three.” A very well-written book but ultimately somewhat infuriating to read (the topic, not the book itself).

In this book I learned about

[Francis MacNamara’s] speech was slow and drawling, and there was a great sense of confidentiality in everything he said, for he spoke with his head inclined toward his listener, and often, when shifting the direction of his ideas, he said softly and urgently, “But come here to me,” which was the Irish was of saying, ‘Listen carefully and keep this between us.” Francis sighed heavily when he spoke, as though he had been too long deprived of fresh air.

The conversational competition [in the pub] was fierce and reached far beyond that evening. It was a matter of intellectual hierarchy, who fit where, who was sharpest and most knowledgeable, and who, therefore, deserved the greatest share of attention.

It delighted me that a lone woman could stand at the side of the road and put out her thumb without trepidation. To me, hitching was a bygone freedom, and that I was able to do it here contributed to my feeling that Ireland lay just beyond the corrupting reach of the modern world.

There seemed to be no conventional concept of time here, no concept of having made a promise or a commitment, and they showed not the slightest embarrassment or remorse over their tardiness. Too, the Irish were always delighted to put things off to a later date, even the most pleasurable things—vacations, parties, picnics. Procrastination, indecision, and stalling were symptoms of a chronic national disease that seemed related to a deeper fear of allowing themselves any expectations at all, and I thought it was as a result of this fear that the Irish appeared so deceptively supple and easygoing.

“Sigh sios agus do scith a ligean! Nil aon tintean mar do thintean fhein! La bhrea buiochas le Dia!” Sit down and rest yourself! There’s no fireplace like your own fireplace! It’s a fine day, thank God! These were the platitudinous sayings that people flung out with bold authority when their Irish was rusty or incomplete. The habit was known as the cupla focail, the few words.

Rosemary volunteers with teenagers and is asked her age. She’s already said “thirty” three times before this exchange:

“Rose! I’m askin’ ya how old are ya?”
“I’m thirty, Una,” I said.
Una brought her face around to look at mine again. She was utterly puzzled. Abandoning all pretense at a whisper, she screeched, “What are ya sayin’ to me, Rose?”
Karen, two seats away, saw the problem. “She said she’s torty, Una. Are ya feckin’ deaf?”
“Torty!” Una exclaimed. “Shite! Older dan me mudder.”

“Are you from Dorchester, Massachusets?”
“Very close,” I said and kept walking.
“I have friends and relatives in Dorchester,” he said, following behind me.
“I know,” I said.
How do you know?”
“Every Irish person has friends and relatives in Dorchester.”
At this the man laughed loudly and gave me a friendly slug on the arm. The ease with which Irish people laid their hands on strangers always impressed me.

Subsequent encounter with another guy:

He spoke as though he had known me for years—the way many Irish people speak to strangers with an ease born of a presupposed universal understanding, as though we were all passing through life together, as though my plight couldn’t possibly be any better or worse than his and therefore I couldn’t possibly reject him.

Though fundamentally at odds, religion and superstition served the same ordering, protecting purpose, and in Ireland the two seemed particularly intertwined.

I saw then that … as a foreigner I was beyond his rural purview. That was what [Mick Pat] and the other villagers appreciated about me: I didn’t have to obey their rules, didn’t have to be watched or reined in. I could live alone in a creepy castle without annoying local sensibilities and without being termed mad or brash. Mick Pat had never asked me whether I had a husband or children. I had come from across the ocean and so was exempt from the question.

As I made my way back into the castle I had a powerful feeling of déjà vu. The evening’s familiar display [of shouting conflict] had recalled an entire habit of existence, a vehement, mistrustful, precipitate way of relating that I had witnessed in Ireland but that I had also grown up with and was part of whether I liked it or not.

Greeted with “Lovely morning” on a cool, drizzly day:

I checked his face to see if he was kidding, though I should have known he wasn’t. The Irish always thought this sort of day was beautiful. As long as there was no wind, the rain wasn’t too hard, and the temperature wasn’t too low, the day was beautiful.

The Islandman – Tomas O’Crohan, 1929; Robin Flower translation, 1937

Irish Writers Book Group selection, a bonus on top of Skippy Dies because the copies came in late.  A sort-of memoir of life on the Blaskets, islands off the coast of Ireland, by a farmer-turned-writer born in 1856. Mildly interesting but weirdly detached and full of gaps (he marries and has 10 children, but only one sentence about his family, after a child dies). This Irish Times review sums up the tedium by calling him a “Blasket bore.” The funniest/strangest strand is about his nemesis, a poet who keeps interrupting his farming to declaim his verse for hours and insist that O’Crohan write it down. Bonus: people are always sticking their hands “under their oxters” (armpits).

The Spinning Heart – Donal Ryan, 2012

Irish Writers selection. A short novel that I found remarkable, both for capturing many different voices in brief chapters, and for the technical brilliance of weaving them together in a narrative without revisiting any. It would have helped me to take notes along the way—I might re-read it at some point.

Most of the inhabitants of this small Irish town, post financial collapse, are miserable. Bobby, the first narrator and effectively the hero, has a father so bitter about his fate that he “trains himself to become a drinker.”

I can forgive him for turning piles of money into piss … I’ll never forgive him for the sulking, though, and the killing sting of his tongue. He ruined every day of our lives with it. Drunk, he was leering and silent and mostly asleep. Sober, he was a watcher, a horror of a man who missed nothing and commented on everything. Nothing was ever done right or cooked right or said right or bought right or handed to him properly or ironed straight or finished off fully with him. We couldn’t breathe right in a room with him. We couldn’t talk freely or easily.

Lily, who sleeps around unashamed and has five children who all leave her, says, “Isn’t that a fright, after a life spent blackening my soul for him, for all of them? Yerra what about it, sure wasn’t I at least the author of my own tale? And if you can say that as you depart this world, you can say a lot.”

Vasya loves to look at water:

The evening sun turns it to a glistening, dazzling thing that has no place on this dull earth except in that short time before sunset. That light is a trick: if I were to swim to it or row out to put my hand upon it, it would be gone as I approached and there would be only dark, cold water in its place.

Bridie, mourning her drowned son:

I came to a little church with a lovely name: Star of the Sea. I went in and knelt down and blessed myself and bowed my head and anyone looking on would have thought I was praying to God for my lost son. I wasn’t, I was cursing Him. You bastard, I was saying, you bastard, just because your son was killed, have we all to suffer forever? Have you not had enough revenge? And your boy only stayed dead three days. Will my boy be back on Sunday, the way yours was?

There’s also a reference to the Pixies’ Black Francis, extra-cool because he lives around here!

Dubliners: An Illustrated Edition with Annotations – James Joyce, ed. John Wyse Jackson, 1995

Irish Writers selection. I first read Dubliners in college and have re-read “The Dead” several times since—love it, as many do—but I don’t think I’d revisited the other stories, and this edition provided so many interesting details that it took me a long time to get through it! Each story has a sidebar of dozens/hundreds of references explained (sometimes dwarfing the original text in total length), plus there are pages of commentary, alternate versions, and wonderful supporting photos and reproductions. Here are some great little tidbits I learned:

  • “jerry hat” in “Encounters” is explained as a “hard round hat, popular in the mid-nineteenth century” but then the footnote elaborates that the full name was “Tom and Jerry hat,” after Corinthian Tom and Jerry Hawthorn, characters in Pierce Egan’s Life in London (1821). A play called Tom and Jerry was adapted from it in 1822, which a) must be the original of the cartoon names and b) was advertised as an “entirely new classic, comic, operatic, didactic, moralistic, Aristophanic, localic, analytic, terpsichoric, panoramic, camera-obscura-ic extravaganza burletta of fun, frolic, fashion and flash.” Whoa!
  • “Araby” references “The Arab’s Farewell to His Steed” [sic–actually it’s Horse] which I recited over-dramatically in character as part of a skit celebrating the Susquehanna County Historical Society & Free Library Association‘s 100th anniversary.
  • Hugh Kenner’s “Uncle Charles Principle“—how Joyce subtly uses a character’s idiom in what appears to be objective narration
  • The Awful Disclosures of Maria Monk: The Hidden Secrets of a Nun’s Life in a Convent, Exposed: ILLUSTRATED . Wikipedia quotes Richard Hofstader claiming it was “[p]robably the most widely read contemporary book in the United States before Uncle Tom’s Cabin.”
  • the Yankee Rubber Baby
  • Joyce’s satirical poems “The Holy Office” and “Gas from a Burner,” with the great couplet “I printed poets, sad, silly and solemn; I printed Patrick What–do-you-Colm”
  • “Among Joyce’s books was an 1893 copy of Jerome K. Jerome’s Novel Notes, with the telling inscription ‘Stolen from Stanislaus Joyce by the present owner.’ Either brother might have written it.”
  • About “Ivy Day in the Committee Room,” Stanislaus commented, “My brother was never in a committee-room in his life.”

Quotes

  • “Rapid motion through space elates one; so does notoriety; so does the possession of money.”
  • “[he was] conscious of the labor latent in money”
  • Poor Little Chandler in “Little Cloud” starts thinking about maybe writing poetry, and jumps right to “invent[ing] sentences and phrases from the notices which his book would get” and planning what version of his name would look best
  • Mrs. Kearney “respected her husband in the same way as she respected the General Post Office, as something large, secure and fixed.”
  • “At the crest of the hill at Inchicore sightseers had gathered in clumps to watch the cars careering homeward and through this channel of poverty and inaction the Continent sped its wealth and industry. Now and again the clumps of people raised the cheer of the gratefully oppressed.”