Glenn Patterson is one of Northern Ireland's national treasures. His novels over the past thirty years have documented the social history of Belfast, both contemporary and historic, with a great deal of love. Where other writers have focused mainly on the Troubles and the Catholic part of the community, Patterson writes from a Protestant perspective and his novels have kept the Troubles firmly in the background. Serendipitously, his writing has coincided with the Peace Process, allowing him to reflect great social change across his works.
Where We Are Now is about middle age. Herbie is somewhere in mid-life - perhaps in his 50s - living somewhere in East Belfast. He has been laid off from his work as a payroll manager; as his company downsized, so too did the payroll Department. His ex-wife Tanya lives down south with her new partner Martin. He fills his time walking to the Public Records Office in the Titanic Quarter and offering research services to the visitors looking to recreate their family histories. His speciality is the records of public applotments. In between researches he drinks coffee in Sam's cafe and shops in Lidl.
Herbie is lonely. He drifts into other people's conversations, lives on the edge of other people's lives. He used to ave more going on in his life; he remembers former times living in Mount Oriel when he and Tanya socialised a bit, did things. They had an identity. But now, in reduced circumstances, a visit from his daughter Beth forces Herbie to see his life now for what it is.
This is, of course, a metaphor for where Belfast sits now. Trading on a recent history of being edgy, dangerous, Belfast now welcomes cruise ships, ferries its visitors around in tour buses to take selfies in front of murals. The paramilitaries no longer go on military manoeuvres but still stand over local businesses demanding protection money and free pizzas. They are hard men turning to flab. They still blight the lives of the communities they bleed, but they no longer impress anyone.
And as the Troubles fade, Northern Ireland tries to hark back to an even earlier history - the artificial creation that is the Titanic Quarter. Modern buildings set on the derelict land left when the Harland and Wolff shipyard closed, named for its most famous ship. A ship which, of course, sank on its maiden voyage. Meanwhile, in the city centre there is real history that is being renovated to the point of extinction.
Where We Are Now does have the signs of new beginnings. Sam and Derek - a same sex couple - seem to be accepted into the community. There are migrants coming to Belfast - although whether Brexit will let them stay remains to be seen. As the sub-post offices close they make way for new enterprises. The black taxis are making way for Uber. Even Herbie might find a way to reinvent himself.
There is plenty of observational stuff - the small talk of the middle classes; the sparsely attended local football game (I presume Glentoran); the airport and its connections to the disappointing public transport network; the topography of East Belfast (although I could never quite work out where Herbie lived - perhaps Ballyhackamore); the migration of businesses to the petrol station. The characters also feel real, even though most of them wander in and out of the pages without ever setting the story alight. They are bit part players in the bigger story of a city that is having a mid-life crisis.
So this isn't particularly a plot led story; it isn't exciting or shocking. It is more a chapter in Glenn Patterson's life work that suggests a turning point. Let's see where it goes next.
I loved Memorial Device - For The Good Times feels like an awkward second novel. Basically we have some lads who are into comics and laughs who've joined the IRA. First they take over a comic shop in Belfast, then they end up on the mainland plotting atrocities.
It was good, funny in parts and horrific in others. But basically, I didn't buy the characters and very specifically, I didn't buy Sammy, the main protagonist. The boys seemed to be driven neither by ideology nor by psychopathy. i just don't believe the Ra would have taken on such uncommitted, ill-disciplined jokers.
Sure there's some nice scene setting - Belfast and the Ardoyne in the 70s and some wonderful, biting humour. But the politics was done better in Milkman, and the humour was done better in The Fire Starters. For The Good Times does try to break out of the genre of Troubles novels, but in doing that it sort of becomes a parody of itself.
There have been worse Troubles novels (mostly by Americans) but this is far from the best. All this is made more disappointing when we know how well David Keenan can write and innovate from Memorial Device.
Absolutely loved The Fire Starters. Maybe it was all the references to Connswater Tesco where I used to do my shopping (though it was better when it was still Stewarts).
This is a comic novel set in the heart of loyalist East Belfast. Sammy Agnew is a decommissioned paramilitary trying to cope with civilian life. Jonathan Murray is a GP whose heart is not really in his work. Both share a feeling of irrelevance; both share concerns that their children are growing up to become monsters.
Much of the humour is derived from a deadpan explanation of the cultural mores of the protestant working man. With a straight fact, we are told of the traditions of the Twelfth; the need to assert cultural supremacy over the neighbouring Catholics by the building of immensely tall bonfires; and the injustice of the lack of appreciation for these acts of fealty by the State that they are designed to venerate. And there is Jonathan's first person narrative that sneers at his patients - especially the older and poorer sections of society - as he himself feasts on red wine and pizza.
Then, every now and then, the Sammy and Jonathan narratives will break for a vignette of a child with some extraordinary and esoteric superpower - with some superpowers more useful than others. Being able to turn into a boat, for example, is probably less useful than, say, the ability to fly.
Both Sammy and Jonathan are simultaneously grotesque and loveable. There is a sense that they put on an external act to satisfy others' expectations but underneath there is a genuine human. They feel real.
The novel is also hugely referential. Some references - to popular culture, music, the Anonymous movement, politicians - are quite obvious. Others are more subtle - there's more than a hint, for example, of the NIO Cats In The Cradle advert; or the Midnight's Children superpowers. And then there's this idea of linking prodigy to fire starters... Spotting these references adds enormously to the fun.
The plot as it unfolds is a masterpiece. It leads the reader off to expect some kind of terrorist/police procedural but in fact is a really insightful look at the relationships between parents and children; the aspirations we have for our kids and how we handle things when they don't turn out quite the way we expected; the way we understand their uniqueness in a world where other people's children blur into a single society.
I really cannot find fault in The Fire Starters. I wholeheartedly recommend this novel.
Milkman is a stream of consciousness story narrated by an unnamed young woman living in an unnamed part of Belfast (probably the Ardoyne), some time in the late 1970s.
By way of context, the intensity of the killings in the early 1970s – especially the civilian deaths – had subsided; there had been population movement and people had retreated into small, “safe” pockets exclusively populated by people of the same political tradition (which was also generally correlated to people’s national identity and religion). Both unionists and nationalists still thought they could win the war through armed conflict, and the political voice of Sinn Féin had not yet come to the fore. The Hunger Strikes were still a couple of years into the future and most people could remember a time before the British Army was deployed to assist the civil power…
So the novel is almost a love story set in this quite specific time period. Our narrator lives in a Catholic enclave of North Belfast. She reads 19th century novels while walking, which marks her out as a bit odd. Her maybe-boyfriend is a car mechanic from another unspecified Catholic district of Belfast. She is from a large family, four-ish brothers and three sisters and Ma. Da is dead.
Our narrator talks to herself extensively in a colloquial Belfast voice that hinges on repetition and over-explanation. It is a sarcastic voice, cynical about the sectarian conflict and the motives of those who engaged in it. She narrates in euphemisms: the Sorrows, Renouncers of the State, Defenders of the State, the country across the water, the country across the border. People are second sister, the real milkman, chef, the tablets girl, Somebody McSomebody. Similarly places are not names and although most are recognisable – the reservoirs and the parks is Cavehill Road; the ten minute area is Carlisle Circus; the usual place is Milltown cemetery – the euphemisms allow liberties to be taken with the geography.
The resulting text is very dense, often circular (at the very least non-linear) and pretty intense. It is like Eimear McBride crossed with James Kelman.
The story is one of personal love and personal tragedy set within a dysfunctional society. Our narrator wants to be with maybe-boyfriend, but is admired by Milkman (a senior ranking paramilitary) and Somebody McSomebody (a wannabe paramilitary – was this a time before spides?). In a world where normal law and order does not operate, where law is made by the paramilitaries and is mutable, where whispers and innuendoes constitute evidence, this is a dangerous space. Our narrator knows the perils and even the most mundane activities – jogging by the reservoirs, buying chips, learning French, winning a scrap Blower Bentley supercharger – can be fraught with danger. Her quirky narration and eccentric world view manage to create deliciously black comedy from these dangers.
Milkman is a timely novel. This period of the late 1970s has been largely airbrushed out of both world and Northern Irish history. Nowadays the Republican movement has been rehabilitated. They are seen to champion human rights and to lead the equality agenda. Its history is seen to be the ballot box in one hand and the armalite in the other. Their community justice is seen to have been a viable – almost legitimate – alternative to the RUC and the state agencies. It is often almost assumed that those who lost their lives (apart from in the early 1970s) had been “involved”. But what we see is a violent society with kangaroo courts based on self-interest and hypocrisy, arbitrary expulsions, witch hunts, suspicion. Paramilitaries tyrannise their own communities but the communities seem to lap it up. Each fresh atrocity is just casually dropped into conversation.
More than anything, our narrator, her family and friends needed stability and predictability. What they got was the law of the jungle. And we know from history that they had 15 more years of this ahead of them before the first signs of the re-emergence of normality.
Of course all this is viewed from a nationalist vantage point but we can safely assume that the situation was mirrored in the loyalist community across the road.
And Milkman is also relevant to current developments as we start to see the emergence of an anti-political movement based on extreme and ill-planned actions. Brexit as a response to immigration and crime. Walls and travel bans and flip-flopping between nations and leaders being best friends and beyond the pale.
If Milkman has a failing, it is that the meandering narration can frustrate the reader. There are few natural pauses, there can be a feeling that we have already covered this ground, ideas and phrases repeat. But they do add up to a work that is strong enough to carry the frustration. Milkman is a mature work that does say something new (or at least say it in a new way) in a field that has been ploughed often before.
Travelling in a Strange Land is another masterpiece from David Park.
Tom is a photographer. Often commissioned for weddings and portraits, he has a good eye for composition. He is a man of taste and discernment, appreciating his surroundings and those around him. He knows he is being superseded by the ubiquity of the selfie, shared on social media in an instant, forgotten in a moment – but he still believes he offers a quality product. He is a comfortable man with a comfortable life in North Down (my guess is Holywood).
Shortly before Christmas, his son Luke is stranded in his university digs in Sunderland, snow has closed the airport and Luke has a terrible cold. Tom is sent out on a rescue mission to bring Luke home for Christmas. The plan is to get the first ferry to Stranraer, drive to Sunderland and back in time for the last sailing home. God and snow willing…
The novel is Tom, alone in a car, lost in his own thoughts as he travels across a strange land. Self-satisfaction starts to fray a little at the edges, and ultimately Tom’s thoughts are overtaken by his older son, Daniel, who is no longer part of the happy family. Daniel was a difficult child who became a difficult adult. Tom skates a fine line between guilt at his failure to love Daniel completely and resentment of Daniel for not being easy to love. All this crowding out the feelings he ought to have been having for Luke. There are occasional interruptions to phone home, the occasional interjection of the satnav, and a stop or two along the way. But mostly the strange land through which Tom is travelling is his own mind rather than the Scottish borders.
The journey takes us back in time to a Northern Ireland long gone: paramilitaries and territoriality. There is a journey too through different social classes; Tom steps away from leafy North Down to explore the Belfast drinking dens and squalid bedsits of the Holy Lands. And then there is the journey through generations; from youth to fatherhood, back into the world of the young as he tries to find reconciliation with Daniel. As we get to know Tom’s story, we start to see him as more than the slightly pompous photographer. He is a man struggling to understand familial love and to accept human failings. It is not that Tom is perfect; he knows he isn’t and knows that neither he nor anyone else ever can be. It is that Tom cannot accept his own imperfection.
There are some beautiful set pieces, sometimes inspiring, sometimes harrowing. The imagery is undemonstrative but precise. David Park needs few words to convey really complex ideas – not least the bonding near the end with the Angel of the North. Park trusts his readers to fill in the blanks, to make associations, and gives his readers the time and space to let their own imaginations wander. Park is a generous writer who lets the inherent goodness of the human spirit shine through in his characters, even when they go to dark places.
David Park is one of the finest writers; pretty much every one of his works could match anything from Ian McEwan or Kazuo Ishiguro. Yes, he really is that good. I hope that one day he will get the recognition he so richly deserves. *****