“He had begun to notice that he was surrounded mostly by English accents. Magistrates. Landlords. They were melodic and well informed, but when he asked of the hunger that he had seen in the streets they said there was always a hunger in Ireland. She was a country that liked to be hurt. The Irish heaped coals of fire upon their own heads. They were unable to extinguish the fire. They were dependent, as always, on others. They had no notions of self-reliance. They burned and then poured the empty buckets down upon themselves. It had always been so.”
TransAtlantic, Colum McCann, Random House, 2014
An Irish Childhood in England: 1951
The bickering of vowels on the buses,
the clicking thumbs and the big hips of
the navy-skirted ticket collectors with
their crooked seams brought it home to me:
Exile. Ration-book pudding.
Bowls of dripping and the fixed smile
of the school pianist playing “Iolanthe,"
"Land of Hope and Glory” and “John Peel.”
I didn’t know what to hold, to keep.
At night, filled with some malaise
of love for what I’d never known I had,
I fell asleep and let the moment pass.
The passing moment has become a night
of clipped shadows, freshly painted houses,
the garden eddying in dark and heat,
my children half-awake, half-asleep.
Airless, humid dark. Leaf-noise.
The stirrings of a garden before rain.
A hint of storm behind the risen moon.
We are what we have chosen. Did I choose to?—
in a strange city, in another country,
on nights in a north-facing bedroom,
waiting for the sleep that never did
restore me as I’d hoped to what I’d lost—
let the world I knew become the space
between the words that I had by heart
and all the other speech that always was
becoming the language of the country that
I came to in nineteen fifty-one:
barely-gelled, a freckled six-year-old,
overdressed and sick on the plane,
when all of England to an Irish child
was nothing more than what you’d lost and how:
was the teacher in the London convent who,
when I produced “I amn’t” in the classroom
turned and said—“You’re not in Ireland now.”
Eavan Boland, from An Origin Like Water
The Emigrant Irish
Like oil lamps, we put them out the back —
of our houses, of our minds. We had lights
better than, newer than and then
a time came, this time and now
we need them. Their dread, makeshift example:
they would have thrived on our necessities.
What they survived we could not even live.
By their lights now it is time to
imagine how they stood there, what they stood with,
that their possessions may become our power:
Cardboard. Iron. Their hardships parceled in them.
Patience. Fortitude. Long-suffering
in the bruise-colored dusk of the New World.
And all the old songs. And nothing to lose.
A Woman Without A Country
As dawn breaks he enters
A room with the odor of acid.
He lays the copper plate on the table.
And reaches for the shaft of the burin.
Dublin wakes to horses and rain.
Street hawkers call.
All the news is famine and famine.
The flat graver, the round graver,
The angle tint tool wait for him.
He bends to his work and begins.
He starts with the head, cutting in
To the line of the cheek, finding
The slope of the skull, incising
The shape of a face that becomes
A foundry of shadows, rendering —
With a deeper cut into copper —
The whole woman as a skeleton,
The rags of her skirt, her wrist
In a bony line forever
severing
Her body from its native air until
She is ready for the page,
For the street vendor, for
A new inventory which now
To loss and to laissez-faire adds
The odor of acid and the little,
Pitiless tragedy of being imagined.
He puts his tools away,
One by one; lays them out carefully
On the deal table, his work done.
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