#: locale=en ## Action ### URL LinkBehaviour_591BF074_6911_364D_41C4_7E3FDA9FEECE.source = https://ww.virtualarts.media LinkBehaviour_FF4C2B8E_403C_0141_41B6_9B90F4F5CA89.source = https://ww.virtualarts.media WebFrame_22F9EEFF_0C1A_2293_4165_411D4444EFEA.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d1392.9668601920348!2d-5.934685069732215!3d54.614046313958646!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x48610849487d0da1%3A0xfad179af728a2af0!2sDuncairn%20Gardens%2C%20Belfast!5e0!3m2!1sen!2suk!4v1672252142263!5m2!1sen!2suk WebFrame_22F9EEFF_0C1A_2293_4165_411D4444EFEA_mobile.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d14377.55330038866!2d-73.99492968084243!3d40.75084469078082!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x89c259a9f775f259%3A0x999668d0d7c3fd7d!2s400+5th+Ave%2C+New+York%2C+NY+10018!5e0!3m2!1ses!2sus!4v1467271743182 PopupWebFrameBehaviour_0E9521D2_1D8B_94C6_41B6_F49FD88CCB0E.url = //www.youtube.com/embed/hxPbnFc7iU8?autoplay=1 PopupWebFrameBehaviour_09BC9D21_1D8D_AD42_41A8_7160A65E5B67.url = //www.youtube.com/embed/hxPbnFc7iU8?autoplay=1 ## Hotspot ### Text HotspotPanoramaOverlayTextImage_9A8E427C_4034_03C1_41D5_7A6B4E6B9872.text = Cinema Mode HotspotPanoramaOverlayTextImage_6652617B_6FA8_1088_41DA_FFD09F7C2956.text = Cinema Mode HotspotPanoramaOverlayTextImage_B14B756D_9B17_C5D5_41E0_D8D065C189D4.text = 'Doll House' Side View (Right) HotspotPanoramaOverlayTextImage_313B6F2A_02A1_8BB2_4135_CE1A481A0078.text = 'Doll House' Side View (Right) HotspotPanoramaOverlayTextImage_7CF53D6F_290B_0A0B_41BB_9DC987316210.text = 'Doll House' Side View (Right) HotspotPanoramaOverlayTextImage_5BCDE78D_1D25_1613_4165_AED5E9299E88.text = 'Doll House' Side View (Right) HotspotPanoramaOverlayTextImage_B144E56E_9B17_C5D7_41A4_AA126F5AFE98.text = 'Doll House' Side View (left) HotspotPanoramaOverlayTextImage_5BCD178E_1D25_1611_41B3_48369CD61134.text = 'Doll House' Side View (left) HotspotPanoramaOverlayTextImage_7CF56D70_290B_0A15_41AF_7AD56E4A9B18.text = 'Doll House' Side View (left) HotspotPanoramaOverlayTextImage_31DAF810_029F_B56E_4166_3820ABD15258.text = 'Doll House' Side View (left) QuadHotspotPanoramaOverlayTextImage_16868301_24F6_AA63_41C0_7A1EAE8FDA2D.text = Connections QuadHotspotPanoramaOverlayTextImage_1711EF71_2497_FAA3_418D_3407A590CC7B.text = Connections HotspotPanoramaOverlayTextImage_7CCB3D75_290B_0A1F_41B9_12A32CC5FFC0.text = Enter HotspotPanoramaOverlayTextImage_66533183_6FA8_1078_41DA_3AA4B3196BBA.text = Go To Attic HotspotPanoramaOverlayTextImage_7CCBAD74_290B_0A1D_4187_E715800BD6A2.text = Influences HotspotPanoramaOverlayTextImage_B147E574_9B17_C5CB_41E0_EEE46C838D64.text = Influences HotspotPanoramaOverlayTextImage_1D081F58_2012_4DC2_41A3_FB475D494497.text = Influences HotspotPanoramaOverlayTextImage_15CDDD24_249A_9EA1_41BE_62850298497F.text = Influences HotspotPanoramaOverlayTextImage_16AA42FE_24F6_ABA1_41B5_0C6EBF901217.text = Influences HotspotPanoramaOverlayTextImage_638443AD_2939_1E0F_41B2_DF94C1118C7F.text = Influences HotspotPanoramaOverlayTextImage_16B92015_248B_A663_41B3_AFDE5787786B.text = Mentors QuadHotspotPanoramaOverlayTextImage_17DDF09E_24FF_6661_41BA_A251607C9B4A.text = Mentors HotspotPanoramaOverlayTextImage_7CC87D74_290B_0A1D_41C3_9FB2BF98D610.text = Mentors HotspotPanoramaOverlayTextImage_B140A575_9B17_C5B5_41E2_25235AF6CA4B.text = Mentors HotspotPanoramaOverlayTextImage_1D315516_2012_5D4E_41B7_B1D5A2DE4296.text = Mentors HotspotPanoramaOverlayTextImage_638513AE_2939_1E0D_41AA_ACC0B055134C.text = Mentors HotspotPanoramaOverlayTextImage_12B31EDF_249A_FB9F_4183_005B3A7EC2C0.text = Panel Exhibition HotspotPanoramaOverlayTextImage_16993301_24F6_AA63_41BA_D15238555039.text = Panel Exhibition HotspotPanoramaOverlayTextImage_128B52B6_249A_EBA1_414D_0B52E8BAE876.text = Reading Room HotspotPanoramaOverlayTextImage_16997301_24F6_AA63_419B_0541175EE3D7.text = Reading Room QuadHotspotPanoramaOverlayTextImage_68B1C711_4014_0143_41C4_062263181496.text = Readings HotspotPanoramaOverlayTextImage_53A3A2BB_6976_BAD4_41D1_593A58FA1D33.text = Readings Area QuadHotspotPanoramaOverlayTextImage_0743FDA7_3FDD_3A86_41CC_4AB20908D226.text = Readings appear throughout the exhibition and are gathered with others in this readings area. \ \ Available readings are listed to the right and will auto play in list order. \ \ Texts are available for marked* readings and can be turned on in the menu above. \ \ Select a reading or click here to start the playlist otherwise auto play will start shortly. QuadHotspotPanoramaOverlayTextImage_16992301_24F6_AA63_41B0_B6C9AC4B91A9.text = Screening Room QuadHotspotPanoramaOverlayTextImage_119D79E0_248B_99A1_41C2_3A0D1A113506.text = Screening Room HotspotPanoramaOverlayTextImage_7CCBDD74_290B_0A1D_41B1_1AD12D7FA766.text = Shisen-do HotspotPanoramaOverlayTextImage_1D341276_2012_57CE_4142_585626E9B032.text = Shisen-do HotspotPanoramaOverlayTextImage_6384E3AD_2939_1E0F_41C2_A327FBDB13FA.text = Shisen-do HotspotPanoramaOverlayTextImage_B1471574_9B17_C5CB_41C6_C718021C2EF1.text = Shisen-do HotspotPanoramaOverlayTextImage_12A08714_249A_EA61_4178_CD9DAA9D4284.text = Themes HotspotPanoramaOverlayTextImage_16AB92FE_24F6_ABA1_41B2_602F933DCF5C.text = Themes HotspotPanoramaOverlayTextImage_7CCA8D75_290B_0A1F_41C4_564E4E485253.text = Travels QuadHotspotPanoramaOverlayTextImage_16994301_24F6_AA63_41B3_B621EDB6F601.text = Travels HotspotPanoramaOverlayTextImage_B140D575_9B17_C5B5_4191_FB8E499B9133.text = Travels QuadHotspotPanoramaOverlayTextImage_10B7A9B9_2496_99A2_41BE_3AE690E488DC.text = Travels HotspotPanoramaOverlayTextImage_1FFEFAFA_202E_54C6_41B0_2F1DFAA27F9E.text = Travels HotspotPanoramaOverlayTextImage_638523AE_2939_1E0D_41C3_3AD4DB8CECBE.text = Travels HotspotPanoramaOverlayTextImage_1D33E3BA_2012_5546_41A5_18424AE2E897.text = Urban Villages HotspotPanoramaOverlayTextImage_7CCBDD74_290B_0A1D_41BE_389067A2C18F.text = Urban Villages QuadHotspotPanoramaOverlayTextImage_1367D62A_2499_6AA1_41B0_F22EFA0E3F6A.text = Urban Villages HotspotPanoramaOverlayTextImage_638573AD_2939_1E0F_41B7_94EB9469689C.text = Urban Villages HotspotPanoramaOverlayTextImage_B1470575_9B17_C5B5_41D8_5E6FCCB5F0A1.text = Urban Villages QuadHotspotPanoramaOverlayTextImage_16AB62FF_24F6_AB9F_41C1_D30FC39AA64E.text = Urban Villages HotspotPanoramaOverlayTextImage_1E91D79D_2032_FD42_41B0_AC96D59EE365.text = View the Exhibition ### Tooltip HotspotPanoramaOverlayArea_9EDB11A2_4034_0141_41B4_C2800DEA17AA.toolTip = 1934 Funeral of Robert Hugh Hanley Baird, Belfast-born newspaper magnate. Dawe's great grandfather, a sports editor with Ireland Saturday Night and The Belfast Telegraph, is seen in the middle of third row as the cortege passes Duncairn Gardens on the Antrim Road. HotspotPanoramaOverlayArea_5FDB9E54_6757_6A5C_41D5_A3C72C662EC1.toolTip = Aine Andrews - Aodan McPoilin HotspotPanoramaOverlayArea_14FD6CFF_4014_00BF_41C0_D5A132F8889B.toolTip = Arcadia Portrush HotspotPanoramaOverlayArea_95A5FE0B_401C_0347_41A7_199E2D5C6363.toolTip = Blackstaff Press edition of Ruined Pages: Padraic Fiacc Selected Poems 1994 HotspotPanoramaOverlayArea_23D96C56_1FDB_FA31_41A1_C793BB69A2B7.toolTip = Cave Hill, Belfast. 'Napoleon's Nose' overlay_A324412E_94DF_98C6_41DE_A195EC5B7CCD.toolTip = Click To Play Solstice read by Van Morrison overlay_8BB71493_93B1_99DE_41D6_39E672D5CE09.toolTip = Click To Play Solstice read by Van Morrison overlay_8BB71834_93B0_88DA_41D1_98B54C3FE562.toolTip = Click To Play Solstice read by Van Morrison overlay_8BBAFE58_93B1_894A_41D2_45AC774E933F.toolTip = Click To Play Solstice read by Van Morrison overlay_8BB55B53_93B1_8F5E_41CE_3646478DA059.toolTip = Click To Play Solstice read by Van Morrison HotspotPanoramaOverlayArea_14EA9ECC_4014_00C1_41BD_00830E3CB452.toolTip = Coleraine HotspotPanoramaOverlayArea_9FC60979_401C_01C2_41BB_31933A8A8197.toolTip = Cover of At Miss Mulligan’s and Other Stories by Bridget O’Toole. HotspotPanoramaOverlayArea_74115192_4014_0141_41C6_D5E1CBE2348F.toolTip = Derek Mahon’s draft copy of his poem ‘Brian Moore’s Belfast’. Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College HotspotPanoramaOverlayArea_74CFD6E3_4014_00C7_41A6_DC051B8CEF48.toolTip = Detail signature from Padraic Fiacc (Patrick Joseph O’Connor) 11th November 1976. Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College. HotspotPanoramaOverlayArea_3283A2EA_401C_00C1_41D1_D1DD1FE481B9.toolTip = Edna and Michael Longley. Photograph by Bobby Hanvey. Reproduced courtesy of John J. Burns Library, Boston College HotspotPanoramaOverlayArea_0B520216_4014_0341_4196_9C37B0CD68DB.toolTip = Edna and Michael Longley. Photograph by Bobby Hanvey. Reproduced courtesy of John J. Burns Library, Boston College HotspotPanoramaOverlayArea_8C01B250_403C_03C1_41D0_CDBCCB537318.toolTip = Ethel Chartres (grandmother) HotspotPanoramaOverlayArea_8C3EE0C0_403C_00C1_41D0_78C78D920350.toolTip = Ethel Chartres (grandmother) HotspotPanoramaOverlayArea_8F97D7A9_403C_0143_41A5_DF87243DA0CF.toolTip = Ethel Chartres (grandmother) HotspotPanoramaOverlayArea_502B7DBB_68DA_EED4_41D4_833B7F55CDF5.toolTip = Ethel Chartres 1931 HotspotPanoramaOverlayArea_15D2BBCA_401C_00C1_41CE_DD1A69D556E7.toolTip = February 1967 Class visit to Prudential Insurance Company Belfast HotspotPanoramaOverlayArea_43DD391D_6295_4EBC_41D8_584B5DF226EA.toolTip = Frank Ormsby, poet and editor of The Honest Ulsterman. Reproduced courtesy of Gerald Dawe and the John J. Burns Library, Boston College HotspotPanoramaOverlayArea_74898B60_4034_01C1_41C6_C43369015294.toolTip = Front cover of Gerald Dawe’s personal copy of Derek Mahon’s Lives (Oxford University Press, 1972). Reproduced courtesy of Gerald Dawe. HotspotPanoramaOverlayArea_4F5C632C_6295_429C_41CF_E292C0FF6B4A.toolTip = GD with George Watson, literary scholar and academic. Carnlough, Coonty Antrim during John Hewitt Summer School, mid -1990s HotspotPanoramaOverlayArea_43AC991B_6295_4E84_41D6_F6475FD4FB15.toolTip = GD with Seamus Heaney after shared reading, Alliance Francaise Dublin, early 1990s HotspotPanoramaOverlayArea_504B64CD_68EB_7E4C_41D7_AB3D584D2776.toolTip = GD, Professor Clair Wills and Derek Mahon. Queens University Belfast 'Louis MacNeice Conference' 2007 HotspotPanoramaOverlayArea_15D35405_400C_0743_41B8_256DF075F67B.toolTip = Galway HotspotPanoramaOverlayArea_BBC93BD8_4074_00C1_41D0_8BE43BB4F36E.toolTip = Gerald Dawe's personal copy of 'Portrait of the Artist' aselected as a school prize in 1968 HotspotPanoramaOverlayArea_9DA03DF3_4034_00C7_41D3_5C4E6F6B017E.toolTip = Gerald Dawe's personal copy of 'Portrait of the Artist' from 1968 HotspotPanoramaOverlayArea_7CF43D71_290B_0A17_41AE_B4454EC440F9.toolTip = Go To 'Connections' HotspotPanoramaOverlayArea_B147C571_9B17_C5CD_41D3_B1CED687FF41.toolTip = Go To 'Connections' HotspotPanoramaOverlayArea_3B991FD6_0410_D0D5_4191_B4286B3F2479.toolTip = Go To 'Connections' HotspotPanoramaOverlayArea_63BAF3A8_2939_1E35_41C0_CAB250451D91.toolTip = Go To 'Connections' HotspotPanoramaOverlayArea_7CF52D70_290B_0A15_41B6_CA8EAE18A323.toolTip = Go To 'Influences' HotspotPanoramaOverlayArea_B1466570_9B17_C5CB_41E2_9986408D205A.toolTip = Go To 'Influences' HotspotPanoramaOverlayArea_3BBAFAD9_0410_F0DF_41A5_3D9ADF95F20B.toolTip = Go To 'Influences' HotspotPanoramaOverlayArea_63AE53A6_2939_1E3D_41A8_AFEE4E3E20D8.toolTip = Go To 'Influences' HotspotPanoramaOverlayArea_7CE7ED6C_290B_0A0D_41C6_04C539A84AC5.toolTip = Go To 'Mentors' HotspotPanoramaOverlayArea_3AB167AD_0411_3177_4193_92AC66EEE760.toolTip = Go To 'Mentors' HotspotPanoramaOverlayArea_7CF3BD6D_290B_0A0F_41C6_2CB5C2F980D4.toolTip = Go To 'Mentors' HotspotPanoramaOverlayArea_1F6C2907_2036_754E_41B7_134CB0D9B2EE.toolTip = Go To 'Mentors' HotspotPanoramaOverlayArea_B1466571_9B17_C5CD_41C6_CB17E51ED821.toolTip = Go To 'Themes' HotspotPanoramaOverlayArea_7CF55D70_290B_0A15_41C1_A322FAA63545.toolTip = Go To 'Themes' HotspotPanoramaOverlayArea_3AE4F4F6_0413_30D5_4193_D278F0E84754.toolTip = Go To 'Themes' HotspotPanoramaOverlayArea_63BA33A8_2939_1E35_41C4_754750234B57.toolTip = Go To 'Themes' HotspotPanoramaOverlayArea_63BAB3A9_2939_1E37_41A5_B0BDBD11938C.toolTip = Go To 'Travel' HotspotPanoramaOverlayArea_B1471572_9B17_C5CF_41C5_49B42CEAFD5B.toolTip = Go To 'Travel' HotspotPanoramaOverlayArea_7CF46D71_290B_0A17_4178_65B68E9C6BA3.toolTip = Go To 'Travel' HotspotPanoramaOverlayArea_3B920BFE_0411_30D5_41AA_86313DDA7D51.toolTip = Go To 'Travel' HotspotPanoramaOverlayArea_7CF59D70_290B_0A15_415E_320315C3CC28.toolTip = Go To 'Urban Villages' HotspotPanoramaOverlayArea_B147A571_9B17_C5CD_41C5_97A0054283FD.toolTip = Go To 'Urban Villages' HotspotPanoramaOverlayArea_353625A8_0417_317D_418C_83EF06FF69AA.toolTip = Go To 'Urban Villages' HotspotPanoramaOverlayArea_63BAF3A8_2939_1E35_41C5_D683CB0D211E.toolTip = Go To 'Urban Villages' HotspotPanoramaOverlayArea_041FDC89_401C_0743_41C0_836AC2F3C636.toolTip = John Hewitt c. 1955. Reproduced courtesy of the John Hewitt Society and the John Hewitt Estate. HotspotPanoramaOverlayArea_329A32EA_401C_00C1_41C3_5587DD3F9346.toolTip = John Hewitt c. 1955. Reproduced courtesy of the John Hewitt Society and the John Hewitt Estate. HotspotPanoramaOverlayArea_328352EB_401C_00C7_41D3_F1B2F210FF30.toolTip = Letter from John Hewitt outlining his stance as a ‘Protestant Atheist’, 11th November 1974. Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College. HotspotPanoramaOverlayArea_0B29960B_4014_0347_41B7_90FEFDBBBAD2.toolTip = Letter from John Hewitt outlining his stance as a ‘Protestant Atheist’, 11th November 1974. Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College. HotspotPanoramaOverlayArea_745AB905_4034_0143_41CE_30A670F37678.toolTip = Letter from Michael Longley offering advice on writing poetry (c. 1968). Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College. HotspotPanoramaOverlayArea_50D590A3_676B_96F4_41A8_D986D778EC82.toolTip = Mary Jane Quartz HotspotPanoramaOverlayArea_144C4A77_4014_03CF_41CA_0C2068F545FC.toolTip = New Uni Ulster Coleraine c 1970 HotspotPanoramaOverlayArea_1469E046_401C_1FC1_4179_986968DD9D84.toolTip = Norma and Terence (Gerald's mother and uncle) in Canada in the 1930s HotspotPanoramaOverlayArea_14E1881A_401C_0F41_41CC_30743DC70D54.toolTip = Norma and Terence (Gerald's mother and uncle) in Canada in the 1930s HotspotPanoramaOverlayArea_50BB62DC_68DF_9A4C_41D9_FB5E9AEC9678.toolTip = Norman Maguie Bradshaw Maternal Grandfather with Ethel Chartres 1931 Otario Canada HotspotPanoramaOverlayArea_2B8F20D9_69AB_9654_41D9_C56A1035B105.toolTip = Pat Carrol's Bar in which the Poem Moon-Viewing Room is set HotspotPanoramaOverlayArea_2B301CB6_695D_EEDC_41D5_89ACD64DC285.toolTip = Shisendo is the hall of the Poetry Immortals - Click to find out more HotspotPanoramaOverlayArea_152CEA4D_40F4_03C3_41BE_EF5E8E0A3200.toolTip = The “family home” Duncairn Gardens. Reproduced courtesy of Gerald Dawe. HotspotPanoramaOverlayArea_BBF1288A_400C_0F41_41D3_7BA7F0ADB59D.toolTip = Treasure Island in a beautiful illustrated edition given to Dawe at age nine in January 1961 by his uncle Terry HotspotPanoramaOverlayArea_923D7758_403C_01C1_41CF_C93B0A2FE37D.toolTip = Treasure Island in a beautiful illustrated edition given to Dawe at age nine in January 1961 by his uncle Terry HotspotPanoramaOverlayArea_4D25835A_6297_4284_41D7_57D78435E028.toolTip = Unveiling of Brendan Kennelly portrait by Thomas Ryan, Departmfnt of English, Trinity College , Dublin. L/r: Antony Coleman, GD, Brendan Kennelly, Thomas Ryan, Antoinettte Quinn, late 1980s overlay_8B9D4B7D_93B7_8F4A_41D0_87271DCC1405.toolTip = Video Courtesy National Aeronautics and Space Administration NASA overlay_8B9C3F7B_93B7_874E_41D0_F76F72D1F797.toolTip = Video Courtesy National Aeronautics and Space Administration NASA overlay_8B9E1B90_93B7_8FDA_41E2_472A98DB18BB.toolTip = Video Courtesy National Aeronautics and Space Administration NASA overlay_8B9FCF07_93B0_88C6_41D4_7804A8E18425.toolTip = Video Courtesy National Aeronautics and Space Administration NASA HotspotPanoramaOverlayArea_E1B16D1F_4034_017F_41D3_18FAB5C36A28.toolTip = William Carleton HotspotPanoramaOverlayArea_0B85C96E_400C_01C1_4199_EAA2B049EA35.toolTip = William Carleton, 19th century Tyrone Novelist HotspotPanoramaOverlayArea_E19C9DD2_4034_00C1_41CE_6F3A0A38EAC3.toolTip = in 1968 aged sixteen, for a prize in ‘Social Economics’ Dawe selected 'A Portrait of the Artist as a Young Man' ## Media ### Audio 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Letter from Michael Longley offering advice on writing poetry (c. 1968).
Reproduced courtesy of Gerald Dawe and John J Burns Library, Boston College.
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Taking you upstairs to 'Travels'
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Taking you to the First Floor Galleries
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Front cover of Gerald Dawe’s personal copy of Derek Mahon’s Lives (Oxford University Press, 1972).
Reproduced courtesy of Gerald Dawe.
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This is the actual Moon-Viewing room seen by Gerald Dawe. It is part of Shisen-do, a temple in Kyoto, Japan which is known as the hall of the poetry immortals. This entire upper floor is filled with clues related to this poem.
Don't forget to check the window box
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Aboutery
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Aboutery
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Aboutery
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Read by Eleanor Methven Label_F30B399A_4014_0141_41CE_1B75D4D42A07.text = Paul Marshall at VirtualArts.Media Label_F30B399A_4014_0141_41CE_1B75D4D42A07_mobile.text = Paul Marshall at VirtualArts.Media Label_3463F061_0360_F5AE_415E_EFDE2AEE9D2A_mobile.text = Pause Rotation Label_5231B566_6EB4_9676_41BB_B614E650B9C7.text = Pause auto tour Label_18858277_364E_6D5A_41BF_21D8670305E8_mobile.text = Points West. Read by Paul Cartledge Label_18858277_364E_6D5A_41BF_21D8670305E8.text = Points West. Read by Paul Cartledge Label_3C179831_152D_3A73_419A_ADE58F28A4E5_mobile.text = Quartz. Read by Katrina Goldstone Label_3C179831_152D_3A73_419A_ADE58F28A4E5.text = Quartz. Read by Katrina Goldstone Label_31AC3632_04F1_536D_41A9_14F62E8F481C.text = Readings Label_31AC3632_04F1_536D_41A9_14F62E8F481C_mobile.text = Readings Label_109A2E49_3AED_DB17_41C9_EE38280F716A_mobile.text = Refugees. Read by Katrina Goldstone Label_109A2E49_3AED_DB17_41C9_EE38280F716A.text = Refugees. Read by Katrina Goldstone Label_264FAFF7_72BF_6784_41D6_59AFE25034B6.text = Reproduced courtesy of the John J. Burns Library, Boston College. Label_F0CC134D_4014_01C3_41CA_7B5F4A0A7569_mobile.text = Reproduced courtesy of the John J. Burns Library, Boston College. Label_264FAFF7_72BF_6784_41D6_59AFE25034B6_mobile.text = Reproduced courtesy of the John J. Burns Library, Boston College. Label_F0CC134D_4014_01C3_41CA_7B5F4A0A7569.text = Reproduced courtesy of the John J. Burns Library, Boston College. Label_188C73E8_364E_7376_41B6_283D2284CFED.text = Secrets. Read by Stephen Saxon Label_188C73E8_364E_7376_41B6_283D2284CFED_mobile.text = Secrets. Read by Stephen Saxon Label_18D5BA2E_364E_5CCA_41C7_A8A8F482C959_mobile.text = Selfies. Read by Gerald Dawe Label_18D5BA2E_364E_5CCA_41C7_A8A8F482C959.text = Selfies. Read by Gerald Dawe Label_18F0C066_364E_6D7A_416D_39669B2D89E4_mobile.text = Sheltering Places. 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Read by Leontia Flynn Label_18E19CEF_364E_554A_41B1_89DBE13CED27_mobile.text = The End Of It. Read by Leontia Flynn Label_18EE9DA4_364E_57FE_419C_9F1238DE770F.text = The Interface. Read by Maria Johnston Label_18EE9DA4_364E_57FE_419C_9F1238DE770F_mobile.text = The Interface. Read by Maria Johnston Label_1A4056B4_364E_55DE_41B3_6FE689B35E62.text = The Jazz Club. Read by Brian Keenan Label_1A4056B4_364E_55DE_41B3_6FE689B35E62_mobile.text = The Jazz Club. Read by Brian Keenan Label_26E0F6D1_72BF_D99C_41D0_98422DC583E4.text = The John J. Burns Library, Boston College. Label_FAFE2EC3_4014_00C7_41B5_904B1BDBEC40.text = The John J. Burns Library, Boston College. Label_26E0F6D1_72BF_D99C_41D0_98422DC583E4_mobile.text = The John J. Burns Library, Boston College. Label_FAFE2EC3_4014_00C7_41B5_904B1BDBEC40_mobile.text = The John J. Burns Library, Boston College. Label_4D01B653_5A55_B5AE_41D2_69103E644A2C.text = The Just. Read by President Michael D Higgins Label_4D01B653_5A55_B5AE_41D2_69103E644A2C_mobile.text = The Just. Read by President Michael D Higgins Label_1A62A77A_364E_534A_41B8_7A6D993FF30E_mobile.text = The Likelihood of Snow / The Danger of Fire. Read by Carlos Gebler Label_1A62A77A_364E_534A_41B8_7A6D993FF30E.text = The Likelihood of Snow / The Danger of Fire. Read by Carlos Gebler Label_3BEAA7E1_1725_F613_415D_B6603D15E21C.text = The Moon-Viewing Room. Read by Gerald Dawe Label_3BEAA7E1_1725_F613_415D_B6603D15E21C_mobile.text = The Moon-Viewing Room. Read by Gerald Dawe Label_111CB549_3AF5_E917_41C4_E1896CCB813B_mobile.text = The People. Read by Andrea Irvine Label_111CB549_3AF5_E917_41C4_E1896CCB813B.text = The People. Read by Andrea Irvine Label_18E43C33_364E_54DA_41A2_514DB074C6F4.text = The Pleasure Boats. Read by Katherine Fox Label_18E43C33_364E_54DA_41A2_514DB074C6F4_mobile.text = The Pleasure Boats. Read by Katherine Fox Label_1A680828_364E_5CF6_41BA_6AFB6E62F4A4_mobile.text = The Spoils of Love. Read by Cathy Belton Label_1A680828_364E_5CF6_41BA_6AFB6E62F4A4.text = The Spoils of Love. Read by Cathy Belton Label_115EFD93_3A92_593B_41B7_53C12A602641.text = The Spoils of Love. Read by Dorothea Dawe Label_115EFD93_3A92_593B_41B7_53C12A602641_mobile.text = The Spoils of Love. Read by Dorothea Dawe Label_4E57A24B_5A75_6DBE_41CE_4594C6ABFE0A_mobile.text = Themes Label_4E57A24B_5A75_6DBE_41CE_4594C6ABFE0A.text = Themes Label_EAD7D23D_4014_0343_41D3_A795A4274CE4.text = This is Duncairn Gardens, Belfast. The former house location is not marked exactly Label_EAD7D23D_4014_0343_41D3_A795A4274CE4_mobile.text = This is Duncairn Gardens, Belfast. The former house location is not marked exactly Label_FB0F2093_400C_1F47_417E_AFBB18AECF1F.text = To James Joyce. Read by Cathy Belton Label_FB0F2093_400C_1F47_417E_AFBB18AECF1F_mobile.text = To James Joyce. Read by Cathy Belton Label_4FD53002_5A74_EDAF_419F_BE43C64605B6_mobile.text = Travels Label_4FD53002_5A74_EDAF_419F_BE43C64605B6.text = Travels Label_4EB43753_5A75_93AE_41C2_02FFBA6D8510.text = Urban Villages Label_4EB43753_5A75_93AE_41C2_02FFBA6D8510_mobile.text = Urban Villages Label_D9E9415A_403C_01C1_41D2_B7FC1C91BD21_mobile.text = View/Hide Text Label_D9E9415A_403C_01C1_41D2_B7FC1C91BD21.text = View/Hide Text Label_0DCD5D77_3A92_79FB_41BC_38AC5CD780C1.text = Writing. Read by Eleanor Methven Label_0BF467A2_2285_BD46_41C1_3A91034816C2.text = {{subtitle}} ### Multiline Text HTMLText_57E48848_629B_4E84_41B2_8F6B49E1DC31.html =
We are Very grateful to Future Screens NI for their support of this Future Creatives project.
HTMLText_57E48848_629B_4E84_41B2_8F6B49E1DC31_mobile.html =
We are Very grateful to Future Screens NI for their support of this Future Creatives project.
HTMLText_7D976F44_59AC_93AA_416D_05603E8B86A9_mobile.html =
Cultural Belongings
HTMLText_4EB4A754_5A75_93AA_41CE_AE0669076401.html =
For Belfast natives the city often feels like a gathering of villages, each with a separate identity rather than one single metropolis. Gerald Dawe’s childhood gave him a profound sense of attachment to the north of the city.


Situated within the Duncairn, Downview and Skegoneill areas, his horizons were bounded by the Shore Road and the Antrim Road. Secondary school brought him in contact with the east of the city on his daily bus journeys into and out of the city centre. Summer holidays at Bangor and the North Antrim coast opened up further geographies.


University life at Coleraine and then Galway extended his awareness of other communities in the north and west of Ireland. Later years balanced between Dublin and Dún Laoghaire underscored a life spent moving around Ireland, but always firmly rooted in the places
he called home.
HTMLText_4F5E9540_5A74_B7AA_41BC_2BFFA631289A.html =
The holdings of the John J. Burns Library, Boston reveal a lifetime of professional and personal correspondence. The archive testifies to a uniquely connected author.


From his early breakthrough contacts with James Simmons and Frank Ormsby, editors of the Honest Ulsterman, to his standing as an acclaimed poet with The Gallery Press he remains effortlessly in conversation with his peers.


Letters, cards, even scraps of paper reveal the range of material a person can receive over the decades of their adult life: drafts of poems, confidences, condolences, gossip, and even the occasional verbal tussle. He remains someone always willing to enter into dialogue, continually wanting to speak and listen.
HTMLText_4FD45003_5A74_EDAE_41D0_0FDC0E5D325F.html =
For all of his sense of rootedness in the places he has lived, Gerald Dawe has equally been open to movement and travel. From the 1980s onwards he has given readings and lectures throughout Europe.


His terms spent as a visiting professor at Boston College, Villanova University, Philadelphia, and Pembroke College, Cambridge opened up further pathways to explore. Visits to Poland, the United States and Japan proved formative not only in the comprehending of global events and the challenges of the twentieth century but also how he connected to his own sense of place in the world. He traces the dual vision of home and distant places in poems such as “The Moon Viewing Room” in which the very different locales of Belfast and Kyoto can blend together in one moment.
HTMLText_26D80993_0159_9043_4157_C755E098A4B0.html =
We gather many things as we move through life. These experiences, memories and objects shape who we are and how we engage with the world. In them we can trace our thoughts, feelings and values.


Gerald Dawe has enjoyed a rich and varied range of mentors. His schooling at the innovative Orangefield Boys School put him in contact with inspirational teachers such as John Malone and Sam McCready, as well as pupils including Brian Keenan. His degree at the New University of Ulster at Coleraine and later National University of Ireland Galway inspired a fascination with writing that led to lectureships at Galway and then at Trinity College Dublin. Along the way tutors such as Bridget O’Toole (University of Ulster) and developing friendships with, among many others, the poet Derek Mahon helped forge a lifelong passion for exploring the world through writing.
HTMLText_EF817F97_4034_014F_417C_393B000FD596.html =


This exhibition celebrates the cultural belongings of Gerald Dawe: poet and writer. We look at the mentors, influences and locations which shaped his imagination.


We explore the themes that drive his work and that underpin his life as a writer.


As an author deeply connected with his native places, we chart his travels from a Belfast childhood in the 1950s into an adulthood spent living across Ireland and further afield.



This virtual house is an imagined layout of the former Dawe family home in Duncairn Gardens.
The house was demolished and one single photograph remains.


HTMLText_40CEEB9D_5A5F_92DA_41BB_4CB0E05FDA5D.html =


This exhibition celebrates the cultural belongings of Gerald Dawe: poet and writer. We look at the mentors, influences and locations which shaped his imagination.


We explore the themes that drive his work and that underpin his life as a writer.


As an author deeply connected with his native places, we chart his travels from a Belfast childhood in the 1950s into an adulthood spent living across Ireland and further afield.




The House in which this virtual experience takes place is an imagined replica of the Dawe family home in Duncairn Gardens. The house was demolished and one single photograph remains.


HTMLText_4EB4A754_5A75_93AA_41CE_AE0669076401_mobile.html =
For Belfast natives the city often feels like a gathering of villages, each with a separate identity rather than one single metropolis. Gerald Dawe’s childhood gave him a profound sense of attachment to the north of the city.


Situated within the Duncairn, Downview and Skegoneill areas, his horizons were bounded by the Shore Road and the Antrim Road. Secondary school brought him in contact with the east of the city on his daily bus journeys into and out of the city centre. Summer holidays at Bangor and the North Antrim coast opened up further geographies.


University life at Coleraine and then Galway extended his awareness of other communities in the north and west of Ireland. Later years balanced between Dublin and Dún Laoghaire underscored a life spent moving around Ireland, but always firmly rooted in the places
he called home.
HTMLText_4FD45003_5A74_EDAE_41D0_0FDC0E5D325F_mobile.html =
For all of his sense of rootedness in the places he has lived, Gerald Dawe has equally been open to movement and travel. From the 1980s onwards he has given readings and lectures throughout Europe.


His terms spent as a visiting professor at Boston College, Villanova University, Philadelphia, and Pembroke College, Cambridge opened up further pathways to explore. Visits to Poland, the United States and Japan proved formative not only in the comprehending of global events and the challenges of the twentieth century but also how he connected to his own sense of place in the world. He traces the dual vision of home and distant places in poems such as “The Moon Viewing Room” in which the very different locales of Belfast and Kyoto can blend together in one moment.
HTMLText_4F5E9540_5A74_B7AA_41BC_2BFFA631289A_mobile.html =
The holdings of the John J. Burns Library, Boston reveal a lifetime of professional and personal correspondence. The archive testifies to a uniquely connected author.


From his early breakthrough contacts with James Simmons and Frank Ormsby, editors of the Honest Ulsterman, to his standing as an acclaimed poet with The Gallery Press he remains effortlessly in conversation with his peers.


Letters, cards, even scraps of paper reveal the range of material a person can receive over the decades of their adult life: drafts of poems, confidences, condolences, gossip, and even the occasional verbal tussle. He remains someone always willing to enter into dialogue, continually wanting to speak and listen.
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This exhibition celebrates the cultural belongings of Gerald Dawe: poet and writer. We look at the mentors, influences and locations which shaped his imagination.


We explore the themes that drive his work and that underpin his life as a writer.


As an author deeply connected with his native places, we chart his travels from a Belfast childhood in the 1950s into an adulthood spent living across Ireland and further afield.



This virtual house is an imagined layout of the former Dawe family home in Duncairn Gardens.


The house was demolished and one single photograph remains.


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This exhibition celebrates the cultural belongings of Gerald Dawe: poet and writer. We look at the mentors, influences and locations which shaped his imagination.


We explore the themes that drive his work and that underpin his life as a writer.


As an author deeply connected with his native places, we chart his travels from a Belfast childhood in the 1950s into an adulthood spent living across Ireland and further afield.




The House in which this virtual experience takes place is an imagined replica of the Dawe family home in Duncairn Gardens. The house was demolished and one single photograph remains.


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We gather many things as we move through life. These experiences, memories and objects shape who we are and how we engage with the world. In them we can trace our thoughts, feelings and values.


Gerald Dawe has enjoyed a rich and varied range of mentors. His schooling at the innovative Orangefield Boys School put him in contact with inspirational teachers such as John Malone and Sam McCready, as well as pupils including Brian Keenan. His degree at the New University of Ulster at Coleraine and later National University of Ireland Galway inspired a fascination with writing that led to lectureships at Galway and then at Trinity College Dublin. Along the way tutors such as Bridget O’Toole (University of Ulster) and developing friendships with, among many others, the poet Derek Mahon helped forge a lifelong passion for exploring the world through writing.
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Inspiration came from many directions in Gerald Dawe’s life. Books have figured prominently ever since a childhood gift of Robert Louis Stevenson’s Treasure Island sparked a lifetime enthusiasm for the printed word.


As a teenager in the 1960s music featured significantly. Bands and artists such as the Beatles, the Rolling Stones and Bob Dylan provided a soundtrack to his formative years. The flourishing local rhythm and blues scene of Belfast proved particularly important. The achievement of Van Morrison, a fellow Orangefield pupil, with the bandThem and later as a solo artist emphasised that Belfast could be a centre for artistic expression and creativity. As did the example of Belfast playwright Stewart Parker whom Dawe met at Orangefield during this time.


As teenage years turned into his twenties, Dawe’s reading of authors such as Robert Lowell, Sylvia Plath, Christabel Bielenberg and Brian Moore helped shape hisunderstanding of how to write about the world.


Connecting with poets such a Michael Longley, John Hewitt and Padriac Fiacc would lead to the publication of his early poems..



HTMLText_40CEB6CD_5A74_92BA_41BE_A63B74FF5A04_mobile.html =
Inspiration came from many directions in Gerald Dawe’s life. Books have figured prominently ever since a childhood gift of Robert Louis Stevenson’s Treasure Island sparked a lifetime enthusiasm for the printed word.


As a teenager in the 1960s music featured significantly. Bands and artists such as the Beatles, the Rolling Stones and Bob Dylan provided a soundtrack to his formative years. The flourishing local rhythm and blues scene of Belfast proved particularly important. The achievement of Van Morrison, a fellow Orangefield pupil, with the bandThem and later as a solo artist emphasised that Belfast could be a centre for artistic expression and creativity. As did the example of Belfast playwright Stewart Parker whom Dawe met at Orangefield during this time.


As teenage years turned into his twenties, Dawe’s reading of authors such as Robert Lowell, Sylvia Plath, Christabel Bielenberg and Brian Moore helped shape hisunderstanding of how to write about the world.


Connecting with poets such a Michael Longley, John Hewitt and Padriac Fiacc would lead to the publication of his early poems..



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___
LOREM IPSUM
DOLOR SIT AME
CONSECTETUR ADIPISCING ELIT. MORBI BIBENDUM PHARETRA LOREM, ACCUMSAN SAN NULLA.



Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue. Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula. Duis a porta sem. Maecenas sollicitudin nunc id risus fringilla, a pharetra orci iaculis. Aliquam turpis ligula, tincidunt sit amet consequat ac, imperdiet non dolor.


Integer gravida dui quis euismod placerat. Maecenas quis accumsan ipsum. Aliquam gravida velit at dolor mollis, quis luctus mauris vulputate. Proin condimentum id nunc sed sollicitudin.


DONEC FEUGIAT:
• Nisl nec mi sollicitudin facilisis
• Nam sed faucibus est.
• Ut eget lorem sed leo.
• Sollicitudin tempor sit amet non urna.
• Aliquam feugiat mauris sit amet.


LOREM IPSUM:
$150,000
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Attic Travel Area


This area will be populated by images of the Cultural Belongings exhibition on tour and details on forthcoming publications associated with the project.


This will be a workshop room for teaching/ talks and will be populated with bespoke materials for those occasions.


It is currently populated with materials related to 'The Moon-Viewing Room' and includes a snowy zen garden based on the Shisen-do referenced in the poem



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Copyright
Images and media are used with kind permission of the Burns Library Boston College, of Gerald Dawe & Family and copyright holders as noted throughout.


Developer Credits
The house in which the virtual experience is placed is a highly customised model of the original 'Victorian House' by Brad 97. The model also draws upon a range of original, bespoke and royalty free contextual assets & textures which were generously provided through the various sources below and/or available through developer subscriptions.


Sketchup 3D Warehouse
V-Ray
Chaos Cosmos
HDRI warehouse.
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We would like to extend our warmest thanks to the following people and groups who have played fundamental roles in the creation of the exhibition:


Dorothea Melvin, Bridget O'Toole, Aodán Mac Póilin, Áine Andrews, Gerard Fanning, Thomas and Julie Kilroy, Peter Fallon, Patrick Ramsey, Carlo Gebler, Conor Graham, Henry Sinnerton, Sam McCready, Brendan Kennelly, Norma Fitzgerald Richardson, Brian Keenan, Pamela Harrison, Terence Brown, Nicholas Grene, Olwen Dawe, Iarla Kilbane-Dawe, John Behan, Katrina Goldstone, Joe and Ellison Craig, Eon Lewis, Geraldine Mangan, Peter Spratt, Edna and Michael Longley, Eve Patten and Kevin Smith, Mark Wormald (Pembroke College), Eoin O'Brien, Florence Impens, Nicholas Allen and Louise Kidney, Gerard Smyth, Maria Johnston, Lilian Foley, Jonathan Williams, David Gardiner, Andrew Fitzsimons, Conor Linnie, Bob O'Neill, Eiléan Ni Chuilleanáin, Pól Ó Dochartaigh, Carmel Kelly, The John Hewitt Estate, Julie Andrews, The Linen Hall Library, Cathy Brown, The Seamus Heaney HomePlace, Michael Hewitt, Dermot Lavery, DoubleBand Films, Mark Adair, Susan Law, Ladybird Ferguson, Shea Atchison, Kate Byrne, Connie Gerrow, Janetta Chambers, Amy Warmington, Justin Magee, Karen Reid.


Images and media are used with kind permission: of the Burns Library Boston College; of Gerald Dawe & Family and of copyright holders as noted throughout.
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Gerald Dawe and Frank Ferguson would like to acknowledge the following for their help & support in the development
of this project.


We would especially like to thank Christian Dupont and the staff of the John J. Burns Library, Boston College for their generosity of time, support and advice in the development of the exhibition.


We would also like to acknowledge the financial support provided for the project by Frank Lyons and Thomas Maguire at Ulster University, the Arts and Humanities Research Council Impact Accelerator Account and the Trinity College Dublin Trust Fund.


We would like to offer thanks to the design team of Paul Marshall, Mark Thompson, Rowan Morrey and Iris Colour for the creation of the digital, panel and website sections of the exhibition.


We are very grateful to The Gallery Press for permission to reprint a selection of Gerald Dawe’s poetry.


All Enquiries/Comments on ‘Cultural Belongings’ can be forwarded to f.ferguson@ulster.ac.uk



HTMLText_DC7600CF_FC8B_CD8F_41E6_D0619BDEB8D5.html =
Developer Credits
The house in which the virtual experience is placed is a highly customised model of the original 'Victorian House' by Brad 97. The model also draws upon a range of original, bespoke and royalty free contextual assets & textures which were generously provided through the various sources below and/or available through developer subscriptions.


Sketchup 3D Warehouse
V-Ray
Chaos Cosmos
HDRI warehouse.
HTMLText_DC70B0C6_FC8B_CDF1_41EB_EED1B948B1B5_mobile.html =
We would like to extend our warmest thanks to the following people and groups who have played fundamental roles in the creation of the exhibition:


Dorothea Melvin, Bridget O'Toole, Aodán Mac Póilin, Áine Andrews, Gerard Fanning, Thomas and Julie Kilroy, Peter Fallon, Patrick Ramsey, Carlo Gebler, Conor Graham, Henry Sinnerton, Sam McCready, Brendan Kennelly, Norma Fitzgerald Richardson, Brian Keenan, Pamela Harrison, Terence Brown, Nicholas Grene, Olwen Dawe, Iarla Kilbane-Dawe, John Behan, Katrina Goldstone, Joe and Ellison Craig, Eon Lewis, Geraldine Mangan, Peter Spratt, Edna and Michael Longley, Eve Patten and Kevin Smith, Mark Wormald (Pembroke College), Eoin O'Brien, Florence Impens, Nicholas Allen and Louise Kidney, Gerard Smyth, Maria Johnston, Lilian Foley, Jonathan Williams, David Gardiner, Andrew Fitzsimons, Conor Linnie, Bob O'Neill, Eiléan Ni Chuilleanáin, Pól Ó Dochartaigh, Carmel Kelly, The John Hewitt Estate, Julie Andrews, The Linen Hall Library, Cathy Brown, The Seamus Heaney HomePlace, Michael Hewitt, Dermot Lavery, DoubleBand Films, Mark Adair, Susan Law, Ladybird Ferguson, Shea Atchison, Kate Byrne, Connie Gerrow, Janetta Chambers, Amy Warmington, Justin Magee, Karen Reid.



HTMLText_DC7320BC_FC8B_CD91_41E0_B560429F9659_mobile.html =
Gerald Dawe and Frank Ferguson would like to acknowledge the following for their help & support in the development
of this project.


We would especially like to thank Christian Dupont and the staff of the John J. Burns Library, Boston College for their generosity of time, support and advice in the development of the exhibition.


We would also like to acknowledge the financial support provided for the project by Frank Lyons and Thomas Maguire at Ulster University, the Arts and Humanities Research Council Impact Accelerator Account and the Trinity College Dublin Trust Fund.


We would like to offer thanks to the design team of Paul Marshall, Mark Thompson, Rowan Morrey and Iris Colour for the creation of the digital, panel and website sections of the exhibition.


We are very grateful to The Gallery Press for permission to reprint a selection of Gerald Dawe’s poetry.



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Credits & Acknowledgements
HTMLText_DC6BD0A7_FC8B_CDBF_41E4_911EEF043B60.html =
Credits & Acknowledgements
HTMLText_4E56724C_5A75_6DBA_41C6_A3578E32808D.html =
Gerald Dawe’s writing encapsulates many themes and interests. As someone proud of his background and the cultural inheritance of Belfast, he is a sensitive and informed commentator on the Irish Protestant imagination.


Deeply fascinated with writing from the island of Ireland, Dawe has sought to understand and articulate its various traditions. His research into the 19th century County Tyrone novelist William Carleton fostered an ongoing determination in recovering the reputation and work of many authors who had slipped out of the public consciousness.


A friendship forged with Aodán Mac Póilin and Áine Andrews at the University of Ulster encouraged a great enthusiasm for the literature of the Irish language.


Dawe’s work contemplates the politics of memory, time and place. The effects of migration, relocation and return upon the individual, family and state are recurring topics in his writing.
HTMLText_94E122E0_85B8_4944_41C2_CDFC90DCDB38.html =
More Information:
- www.loremipsum.com
- info@loremipsum.com


HTMLText_4E56724C_5A75_6DBA_41C6_A3578E32808D_mobile.html =
Gerald Dawe’s writing encapsulates many themes and interests. As someone proud of his background and the cultural inheritance of Belfast, he is a sensitive and informed commentator on the Irish Protestant imagination.


Deeply fascinated with writing from the island of Ireland, Dawe has sought to understand and articulate its various traditions. His research into the 19th century County Tyrone novelist William Carleton fostered an ongoing determination in recovering the reputation and work of many authors who had slipped out of the public consciousness.


A friendship forged with Aodán Mac Póilin and Áine Andrews at the University of Ulster encouraged a great enthusiasm for the literature of the Irish language.


Dawe’s work contemplates the politics of memory, time and place. The effects of migration, relocation and return upon the individual, family and state are recurring topics in his writing.
HTMLText_9058BD17_1070_543D_4172_7959A3FEE123_mobile.html =
More Information:
- www.loremipsum.com
- info@loremipsum.com


HTMLText_94E122E0_85B8_4944_41C2_CDFC90DCDB38_mobile.html =
More Information:
- www.loremipsum.com
- info@loremipsum.com


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The Just *
Read by Michael D. Higgins, President of Ireland
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Corpus Clock *
Read by Mark Wormald
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Duncairn Gardens
Read by E. Methven
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From 'A City Imagined' on Fiacc and Mahon Read by Noel Connor
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Good Night *
Read by Melatu-Uche Okorie
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House of Fiction *
Read by Marian Keyes
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In The Country
Read by Peter Fallon
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Little Palaces *
Read by Brian Keenan
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Looking Back *
Read by Iarla Kinbane
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Mother
Read by E. Methven
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Only Son
Read by Olwen Dawe
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Parker's Pentecost
Read by E. Methven
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Points West
Read by Paul Cartledge
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Secrets *
Read by Stephen Sexton
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Selfies *
Read by Gerald Dawe
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Sheltering Places *
Read by Michael Gorman
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Solstice *
Read by Van Morrison
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Straws in the Wind *
Read by Judy Murphy
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Summer Journal *
Read by Florence Impens
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The Clock on A Wall of Farringdon Gardens -August 1971 *
Read by Gerald Dawe
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The Desert Campaign *
Read by Kenneth Irvine
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The End of It *
Read by Leontia Flynn
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The Impartial Reporter *
Read by Chris Morash
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The Interface *
Read by Maria Johnston
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The Jazz Club *
Read by Brian Keenan
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The Likelihood of Snow / The Danger of Fire * Read by Carlos Gebler
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The Moon-Viewing Room *
Read by Gerald Dawe
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The People *
Read by Andrea Irvine
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The Pleasure Boats *
Read by Katherine Fox
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The Spoils of Love *
Read by Cathy Belton
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The Spoils of Love *
Read by Dorothea Dawe
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To James Joyce *
Read by Cathy Belton
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Writing
Read by E. Methven
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A Question of Covenants *
Read by Chris Spurr
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Quartz *
Read by Katrina Goldstone
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Refugees
Read by Katrina Goldstone
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Gerald Dawe
Cultural
Belongings
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Gerald Dawe
Cultural
Belongings
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The Clock on a Wall of Farringdon Gardens, August 1971



I am the clock on a wall
of Farringdon Gardens.
I stopped dead at 7.30. They


tried to take me away
from the burning. I remember
the whooshing smoke.


But in the rush
I was left here
as if nothing had happened.


Part of my task is
not to get panicked.
I’m regular and reliable


and wake each morning
for work-
a bulwark of my society,


but when the fires
started and the windows
cracked like ice


I was snatched up
and out under this sky
to sit defenceless,


my springs and coils
and deep chimings stopped
at 7.30.


So if you come
across me in your reading -
a photo perhaps in some


glossy history-
remember the blackened walls
and roofless houses,


of what went on
before the three monkeys
and chipped mantelpieces,


in the backs
of sculleries
and in front bedrooms, before


the televisions
landed in tidily grown
gardens, think


just a little
of my time watching
these different people


who left their lives
in my hands
sitting on a wall of Farringdon Gardens.


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The Likelihood of Snow/The Danger of Fire


Around five, in the next garden, a rooster
starts up his rusty banter and the first flight,
coast to coast, soars through an endless sky.
We are hatching in the bedroom downstairs
our special dreams, maybe of home—who knows?—
heads together, facing, I suppose, the sun,
which has left you to this evening’s viewing,
with a good fire down and the curtains drawn
on shining streets and the likelihood of snow.
Sprinklers will soon play across the impeccable lawns
and the puppery of emblazoned butterflies begin
with air-conditioning, humming like a ship’s engines,
while the two imperious cockatoos
take to the surrounding suburban trees.


I’ve been asking myself, head crooked in arms,
why it could be so easy to forget about home
and all the mumbo-jumbo about one’s people.
Mine, if such they are, look for all the world
like great Deniers, the staunch, unflappable self-
deceit of always seeming to be in the right
and the fear of being found out that they are not.
I have watched since childhood their marches and parades,
with banners aloft, swords and bibles displayed,
and I have passed the banks of clipped hedges, the front rooms
with oval mirrors and cabinets full of photographs—
the husband in the Army, son in the Boys’ Brigade,
a fallen brother, the Royal Wedding—


and never known my people since they kept
to themselves in desperate innocence,
or persist behind the transparent walls to explode in hate,
or, like me in another hemisphere,
they disappear in dreams:
as stewards on ocean-going liners,
managers of building societies,
multi-national executives,
further up or down the scale of things,
the accents mellow to a faint American twang
or a touch of the Anglo,
we to whom no surface is deep enough
grin and bear the nonchalant enquiry,
‘Where do you come from?’
and know that the only real news here today
is the danger of fire.


Canberra
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A Question of Covenants
28 September 1912



The Patriotic turns to face
an invisible sea. From Castle Place
thousands swarm through side streets
and along the unprotected quays
just to glimpse Carson, gaunt as usual,
who watches the surge of people
call, Don’t leave us. You mustn’t leave us,
and in the searchlight’s beam,
his figure arched across the upper deck,
he shouts he will come back and, if necessary, fight this time.


It is what they came to hear
in the dark September night.
As the Patriotic sails out
Union colours burst in rockets
and bonfires scar the hills
he departs from, a stranger to both sides
of the lough’s widening mouth
and the crowd’s distant singing
‘Auld Lang Syne’ and ‘God Save the King’.






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Good Night


Since we haven’t met yet
and more than likely won’t—
things being what they are—
I felt a little note, off-the-cuff,
might do the trick.


Between us there is next to nothing,
but I have heard you cough
early morning and have begun
to expect to hear your window
rattle on its sash at any time,
and guess that when you turn
you face me in bed in this
Hall of Residence.


I have heard too, at midnight,
you laugh and shuffle about
with some bloke whose voice
mumbles against the stereo.
(Your taste in music is not mine.)
And now, having spent the night
reading the work of friends,
I wanted to jot this down
because in some way you have
entered myself as much as the room—


a silent partner’s sleeping out
the police car’s shocking klaxon,
and the equatorial heating pumps
in the background a steady beat,
and somebody’s alarm goes off
prematurely although we all
still sleep, or are meant to.


The magnolia and cherry trees
flower in the gardens below.
In the labs, experiments are timed
to perfection, but the invisible dust
descends on books, paintings,
maps, busts, the executive aquarium,
even the washed dishes on the rack,
and on our faces upturned in the dark.
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House of Fiction


Along Haigh Terrace
a drizzle of wind
and rain rattles
the loose windows upstairs.


Is that himself I see
squinting behind
the scrim curtains?
This is surely where


he’d spotted the people
heading to Carlisle Pier –
the belted suitcase,
the blue serge suit,


the ‘V’-neck gansey,
all in readiness for
Princess Maud’s heave
through the Irish Sea,


nothing spectacular
but that last sight
of Scotsman’s Bay
as she works her way free.
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Little Palaces



Donkey’s Lane:
an orchard and allotments,
broken window frames, pigeon-huts
on stilts, corrugated iron;
and blankets hung out
on the line to air.


A woman dusts the living room.
The Queen on horseback
smiles down upon tongues
of sprouting ivy.
Everything is right with the world;
even the kerbstones are painted.








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Looking Back


Before I knew it the train pulled out of the station
and you were on the platform running after it—
I was in the moving carriage looking back
as you called out my name, again and again.



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Quartz
for Katrina Goldstone


So there is something I want to know,
great-grandmother, reclining on whichever
foreign shore or ambrosial meadow,
taking a second look at the old place-
the valiant village, the provincial district,
the back-breaking hill climb to the apartment,
the quiet evening square in this country town
or that frontier post, down by the coastal resort
of some famous lake, say, with Roman baths,
or a minority language - I want to know
who your grand dame was, or paterfamilias,
disembarking in a draughty shed, thinking
Liverpool or Belfast was really New York,
blinking in the greyish light of a noisy dawn,
looking out for rooming houses, a decent hotel,
putting one foot in front of the other,
taking the first right and walking, walking,
past the shipping offices and custom houses,
the rattling trams and carters and mill girls,
the steep factories and squat churches till the hills
converge upon this three-storied terrace
with the curtains drawn, the bell-pull shining,
and you pull the bell-pull and in whatever
English you’d learned stepped in.








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Refugees


The map you drew on a napkin was Old Europe—
the rough edges, borders; the spaces, countries.
Up above, the hotel purred with delight.
Happy tourist rolled home to their breezy bedrooms.
The sea lapped over black volcanic shores
and all about us the hills stood vigilant.
‘You see, the Slavs were forever struggling
against the Central Powers…’
Your words trailed off as the coloured lights
played ever so slightly and a pack of dogs
chased each other around the fishing boats.
Deep down in the swimming pool
a wasted army called for air and food and shelter.
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Secrets


I was coming-of-age in a sparse
attic overlooking the sluggish tide.
Down the last flight of stairs
a grandfather clock struck
its restless metronome to those
who went about their business
with a minimum of fuss.
My puritan fathers, for instance,
stumbled from separate beds
and found their place
under the staunch gaze
of monumental heroes, frozen
stiff in the act of sacrifice;
they had always been
tight-lipped about God-
knows-what secrets.














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Selfies


I look in the mirror
and my mother looks back,
the fall of the nose, brown eyes.
For her too there’s a grandmother lurking—


those tiny feet and hands;
layers of taffeta and lace.
When she was no age
a cheetah chased her into a tent


in India while her tipsy father
paraded on his dancing horse.
And then there’s the strict demeanour
of a Sunday with the blinds drawn halfway down;


a newspaper rustles in the front room
and a tram clatters down the light-filled street
to the worrying tremor of sash windows
and here they are in the one place,


suitcases at their feet—departure for London,
Toronto, Nottingham—between wars
and in the war and later on—
who knows where will be next—


just the recollected house
that doesn’t exist anymore,
and them all seated at their best
in a perfect silence they cannot forget.



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Sheltering Places
For Norma Fitzgerald


It’s been pelting down
all night the kind
of rain that drenches
to the bone


and a dirtstorm
in the car park.
The hot wind carries
thunder, making girls


scream and old men
count the seconds,
improvising distance
as you shout to


turn the lights out,
pull down the blinds
so that lightning can’t
get in and frazzle us up


in the curtain-dark room,
the rumbles near
and shattering flashes
make everything go numb.


The storm is reaching
home territory, stretching
over the hills down
into our sheltering places.


















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Solstice


You arrived that bad winter
when I was like a man
walking in a circle no one else was near.
The lakes behind had frozen,
from the dump gulls came and went
and the news was all discontent,
of Sell-Out and blame for the dead
country-boy faces that already were
fading from the church wall and gate,
but the seas tightened their grip
when you faced the light and let rip
a first cry of bewilderment
at this beginning, the snow
buttressed against the brilliant windows;
and where they washed you clean
I saw the ice outside fall
and imagined the fires burning
on the Hill of Tara ring
across the concealed earth
towards a silent hospital
and our standing still
all around you, Olwen,
transfixed by your birth
in such a bitter season.


1981
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Spoils of Love


The two tango on a telephone wire.
They could be man
and wife but who knows? Maybe
one’s an enemy
and this dance a prelude to war
amongst fierce bramble,
but off they go,
wing to wing, their black
gleaming against the blue
arrangement of sky,
around our house,
the dog chases after
to a commonage of swollen lakes
and lost paths,
between their rasping beaks
the bits of bread
you left out this morning
in a bright dressing gown,
calling the family robins
and these jackdaws down.
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Straws in the Wind


I sleep in my daughter’s bed tonight
while she snortles feverishly by her mother.
Her things are all around me.
I am like a giant in a doll’s house
and in the mirror of her dressing-table
see myself, ludicrous with glasses on,
a cursèd fly buzzing overhead.


If I had the choice what could I hope for?
That she see this night through with ease
and that her dreams suffice
so when morning comes
the sickness will have passed.
But now, with time on my hands,
I wish for her much more—


the passion and caress of love;
the want to go on, not just saving face.
Far better she just sleeps.
In the meantime, like standing guard,
I think I hear night-things bombard
our fragile peace: straws in the wind,
a fugitive dog sniffing the backsteps.
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Summer Journal
for Brendan Kennelly


Through the porthole of a window
the blue muggy night is perforated
with the sound of foghorns.
Dogs answer each other back
and then it thunders gain with spectacular effect.
The girls are sleeping in the cool apartment;
shadows like planes cast over the lawn.
I’m in two minds between Tender is the Night
and the TV’s mute hectic images
which flash worldwide the breaking news
of a hillside trek and scorched villages,
the bedecked impromptu briefing.


The ignominious beetle covers oceans of san
but the man or woman who drifts
into the sky, paragliding over our prone bodies—
family groups setting up makeshift home,
couples in their prime and past their prime,
the odd one alone stretched under the sun,
where all the vulnerable, torn this way
and that, naked, flat, in repose from
the everyday, at sixes and sevens—
is trussed and hooked to the speeding boat
and, cradled like a baby, looks down
upon us with all far-seeing love and pity.


Palm doves and swallows in the apricot
and oleander, the cacophony
of high season; poolside, Mitteleuropa
tans and in silence observes a galleon
take up the full of the Bay.
The rosé goes down like mother’s milk;
it’s near ninety, best head for cover;
in the shade local dance music
beats through the scratchy airwaves
to you on whichever island you stand:
‘Let us dream it now,
And pray for a possible land.’


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The Impartial Reporter



When the great-grandmother
on my mother’s side
died, the newspaper said:


The funeral was of a private nature,
the remains being laid to rest
in Carnmoney Cemetery, Belfast.


Through the respectful four paragraphs
I note the lineage of her uncles,
aunts, sons, and daughters,


with names like Irvine Alexander,
Robert and George who sat for years
on the Town Commission Board—


Honest and independent in all public affairs,
till the end is at her beginning
with three lovely children,


two in Belfast and the other in Winnipeg, Ontario,
whose daughter in turn contributes poetry
to the Impartial Reporter back home.










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The Corpus Clock


Someone’s rehearsing Chopin
in Free School Lane;
a cyclist swings by
lit up like a miner;
the rooms lean
to roadside—museum,
chapel, the darkening hall
of nooks and crannies, all
await the next revelation
like the Corpus Clock
snaffling each golden
moment, the tourists take
their selfies and move on.



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The Desert Campaign


On a day trip to Donaghadee
I am free and easy,
scanning eyes over the bay
like a real sea captain.
There certainly are women
in floral printed skirts
and, settling through news-
papers, grandmothers with
bright blue rinses chat
about making do and watch
stretch-marked daughters
carry on the way they used to,
as the various husbands,
unaccustomed to the sun,
unbutton shirt-fronts or stand
giddily at the water’s edge.
I am dive-bombing
beneath the promenade wall,
leaving in my wake
a ruined city
and on my bended knees
discover an oasis
where sultry hussies drive
shaggy beasts to drink.





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The End of It


I sit in my bedroom bunker,
it’s barely five in the morning
and the radio-signals jam
on ‘60s songs, so I am
back in Upper Meadow Street
or a house in Ballygomartin
during the July fortnight
and friends are working
summers in London hotels,
processing peas down the country,
or think they are something else,
talking well into the night
in the darkened front room
with only a small fire
left smouldering in the grate
and the record-player’s repeating
John Mayall’s Hard Road,
and somebody’s going on
about what they plan to be,
and in my arms is Sandra,
Alice or Kate, and no one knows
any better, hitching to Bangor,
with the light like a razor
picking out this car or that,
drifting in for work,
and there is always work
for the shop assistant
and the clerk, the foundry man,
the Hoffman-presser—
work, work, work, till you drop
and that was the end of it.
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The Interface


‘The lights are going on in towns that no longer exist’
and in the districts we never knew we lived in
between the cemetery where turncoat rebels
are said to be buried and the narrow road north.
In the parlours of the very few who stayed put
the Telegraph’s folded, the curtains in perfect order
and the radio putters in the background.
Good news is rarely expected.
The kids are well grown and gone
to Scotland, Canada, the West Country,
and for all the time they spent together
little remains the same:
pound shops and discount bars and fast-food joints
and even the church is up for sale.
See. What did I tell you? It is the case
that the biggest fall is the fall from grace.



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The Jazz Club


It’s 1960 or thereabouts in the terrace
of seven houses, upper northside.
The blackout blinds are still up
but things are steadily improving.
Shops stay open late, the light
spills in rectangles from the windows.
Trolley buses clang and clank,
the mill of people going to movies,
meetings, dances, to the boat,
to the club, to church, and to Ella.
When she comes back in the only
thing my mother says is, ‘I’m sent’.
















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The Just
for John Wilson Foster


So there we were anyway,
in the middle of the night,
driving around looking for this house.
Funny the way you forget the right turning.
The last time I’d been here on foot.
But there it was, the bit of a garden in front,
new Venetian blinds, the roof splashed with moonlight.
We only stopped for a minute.
Strange how small the windows are
and the fact that somebody’s fast asleep
with only a brick between him and next door
where somebody else is sleeping, almost ear-to-ear!
Do you hear the voices of all those houses?
Some are dreaming and others are getting by
with difficulty; the doors locked and bolted.
Maybe a chesty child is soothed with Vicks
or a man and a woman are having the time of their life.
Who can tell, coming back and forth
to discuss the place as it if it were something
different from that face in the unlit hall?
The child will breathe easier and couples
soon sleep the sleep of the Just.



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The Moon-Viewing Room
for Andy Fitzsimons


Johnny in Carroll’s Bar shouts
‘Two pies, one direct’ as snow
falls like dust over Smithfield.
Up in the corner on the TV screen
moon man, lunatic, space cadet
beams all the way in black
and white to our moon-viewing.
Then, many years after, in a temple
in Kyoto, on a little bridge from
here to eternity, as psychedelic
carp gawp in such a perfect pond,
rain spindled down the lattice-work
gutter, and I too looked up,
and saw the moon-viewing room,
the turret open at each side,
for shogun, priest and poet
to visit and sit and watch the moon,
with only the device of a cloudless
sky, the snow falling also,
and the music of an icy stream.
Now I have it at my window
at whatever time it may be
all at once I see the snow
that will not last, the voice of a man
in his prime, and the jabber of us all,
in the crowded moon-viewing room.
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The People


Mr Nelson is studying the globe,
cane in hand. ‘It’s for your own good,’
he says, ‘eyes forward.’
Between railings and the great wall
the last year thumps a football
in almost total darkness.
Lights go on behind frosted panes
and in the ordinary districts
above a soundless sea the people
set the fires by which they will
be known in years to come,
then bolt fast the doors.












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The Pleasure Boats
for Terence Brown


After you leave, when the key is left
in the lock, the radio silent,
and the dressing table and built-in
presses remain out of place,
is there any chance another kind
of life takes over—
in the stiches of the old trunk,
in the vents and cornices and dust,
in the slew of coffee stains,
in the sideboard cleared at last?
The makeshift furniture’s so different
up close, the floorboards buckled,
and the rooms you always left behind
empty now, most of all, so wangle
your way up into the unlit attic
and see what’s there—
a matchless pair of rugs, sheet music—
then let yourself back down again
into the broad daylight, fresh air,
close the door and go.


In the cleft of the street,
where the book mart meets a home bakery
and electrical shop, the wind whips up;
a woman peers casually
through the anglepoise telescope
as day breaks on the yacht club
and the washed-clean slipway.
A slow-moving tanker drifts by.
Already they’re taking full
advantage of the day—
ponytailed mums keeping trim,
the recently retired who sold
the old place for a tidy sum,
and the staunch widows who
marvel at all the changes
and at what hasn’t changed:
the tops of masts and, above them,
the solid phalanx of guest houses,
facing the sea that rushes
in to the marina’s red light,
where boy-racers will be parked tonight
under a fleeting metallic sky,
and the dog-walkers out late,
and the girls, defiant, in ones and twos,
and the pleasure boats returning,
and the rank of windows on fire.
So, tell me, what good was done,
what war was on?
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To James Joyce
Bloomsday, Galway 1987


Just thought I’d drop you a line
given the fact that I happened to be walking
the same streets as you once did.
It was, of course, raining,
and down by Nun’s Island the houses
faded to a faint pointillist light.
At the derelict mill up-for-sale,
schoolgirls in greys and blacks
sped past with U2 badges on racing bikes.
They’ll keep going till they are far
from Rahoon, Wellpark and Castlelawn.
The pity is, would it have been any
different if they had known about
your woman, Nora, or how you both
managed, moving from flat to flat,
and put their country on the map
of a mostly indifferent universe?
Heading into town, the Curragh Line
is like the road in The Great Gatsby
except the billboard here is the dump.
Every house is an El Dorado
while an ancient tower teeters on the brink.
So much for the past. We must make
our own choices and live with them—
immaculate blinds and ornamental brasses—
as the Corrib seeps into glinting lakes.
What would you think of the new estates
hugging either shore, or the Telecom mast
picking up our fervent calls across the water


















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Corpus Clock *
Read by Mark Wormald
HTMLText_1ED6C11D_3ABE_17B9_41BD_EEABE18E213E.html =
Duncairn Gardens
Read by Eleanor Methven
HTMLText_09EF77AA_37C7_F3CA_41C7_B9E2238696EA.html =
From 'A City Imagined' on Fiacc and Mahon
Read by Noel Connor
HTMLText_099125E8_37C7_F776_419B_C2389666F510.html =
Good Night *
Read by Melatu-Uche Okorie
HTMLText_09BBF43D_37C7_F4CE_4197_5DD36B93B934.html =
House of Fiction *
Read by Marian Keyes
HTMLText_09D7BA6E_37C7_FD4A_41B1_D176594A492B.html =
In The Country
Read by Peter Fallon
HTMLText_36D73A7D_04F0_D3D7_4195_B6EED57A485F.html =
Little Palaces *
Read by Brian Keenan
HTMLText_097DBD76_37C7_D75A_41B3_183B34E9486D.html =
Looking Back *
Read by Iarla Kinbane Dawe
HTMLText_1F227DCC_3ABE_0E9F_41C5_7C8885E4E6ED.html =
Mother
Read by Eleanor Methven
HTMLText_09FAE8A1_37C7_FDF6_419E_F6A04AD85C09.html =
Only Son
Read by Olwen Dawe
HTMLText_1EA70FAE_3ABA_0A9B_41C2_6B5021809CCB.html =
Parker's Pentecost
Read by Eleanor Methven
HTMLText_09C5D980_37C7_FFB6_41B0_B3D6FDB076F1.html =
Points West
Read by Paul Cartledge
HTMLText_08273CA2_37C7_F5FA_4193_4A3AD4FC10DD.html =
Secrets *
Read by Stephen Sexton
HTMLText_09777CAF_37C7_D5CA_41C8_643E1E96EF17.html =
Selfies *
Read by Gerald Dawe
HTMLText_099CA6CA_37C7_F54A_41BD_AC33E8CA1A82.html =
Sheltering Places *
Read by Michael Gorman
HTMLText_36CD2BC7_04F0_D133_419F_07761DDE10FF.html =
Solstice *
Read by Van Morrison
HTMLText_094A0E41_37C7_D4B6_41BA_09CFBDE5EA38.html =
Straws in the Wind *
Read by Judy Murphy
HTMLText_09680BCF_37C7_D34A_41C9_451DED073E8F.html =
Summer Journal *
Read by Florence Impens
HTMLText_1D940768_3B66_1B87_41C1_35D865AD203B.html =
The Clock on A Wall of Farringdon Gardens
-August 1971 *
Read by Gerald Dawe
HTMLText_1CEBFD7B_3AA6_0E79_41A4_F1EF3F233EA6.html =
The Desert Campaign *
Read by Kenneth Irvine
HTMLText_095C9FD6_37C7_D35A_41BF_6A66A11C4D1A.html =
The End of It *
Read by Leontia Flynn
HTMLText_0961BB02_37C7_DCBA_41AB_A1F7F348D79D.html =
The Impartial Reporter *
Read by Chris Morash
HTMLText_09AFE34A_37C7_F34A_41A0_FA7A73523C63.html =
The Interface *
Read by Maria Johnston
HTMLText_092E326F_37C7_AD4A_41BA_E498063A7322.html =
The Jazz Club *
Read by Brian Keenan
HTMLText_23DB2181_1132_9A24_41AC_62F6BDA86304.html =
The Just *
Read by Michael D. Higgins, President of Ireland
HTMLText_09129793_37C7_D3DA_41AB_70F03B02BA71.html =
The Likelihood of Snow / The Danger of Fire *
Read by Carlos Gebler
HTMLText_1166E1BC_3F75_6A8A_41B5_65AA27F1C67F.html =
The Moon-Viewing Room *
Read by Gerald Dawe
HTMLText_0950FF0B_37C7_D4C9_4191_BD1AA8C20A30.html =
The People *
Read by Andrea Irvine
HTMLText_1F55E6E2_3ABA_7A8B_4189_E5F952E133EC.html =
The Pleasure Boats *
Read by Katherine Fox
HTMLText_0919BA0B_37C7_DCCA_41C6_118C867B9598.html =
The Spoils of Love *
Read by Cathy Belton
HTMLText_1C104089_3AA6_1699_41CB_3A3794DBAD90.html =
The Spoils of Love *
Read by Dorothea Dawe
HTMLText_F80EED7D_403C_01C3_41CD_D644ECEE31B7.html =
To James Joyce *
Read by Cathy Belton
HTMLText_1FCC2FDC_3AA6_0ABF_41A5_682023A8B295.html =
Writing
Read by Eleanor Methven
HTMLText_84FAA46B_400C_07C7_41BE_509ABE9B7D03.html =
A Question of Covenants *
Read by Chris Spurr
HTMLText_31AD3632_04F1_536D_413B_E3F0728D3414.html =
Quartz *
Read by Katrina Goldstone
HTMLText_1F7E8FBF_3AA6_0AF9_41B5_86A37B344E2E.html =
Refugees
Read by Katrina Goldstone
HTMLText_941492C2_85B8_4944_41BC_7EEA4921E87B.html =
Gerald Dawe
Cultural
Belongings
HTMLText_20951E78_400C_03C1_41C9_4F7995D0A858.html =
The Clock on a Wall
of Farringdon Gardens, August 1971



I am the clock on a wall
of Farringdon Gardens.
I stopped dead at 7.30. They


tried to take me away
from the burning. I remember
the whooshing smoke.


But in the rush
I was left here
as if nothing had happened.


Part of my task is
not to get panicked.
I’m regular and reliable


and wake each morning
for work-
a bulwark of my society,


but when the fires
started and the windows
cracked like ice


I was snatched up
and out under this sky
to sit defenceless,


my springs and coils
and deep chimings stopped
at 7.30.


So if you come
across me in your reading -
a photo perhaps in some


glossy history-
remember the blackened walls
and roofless houses,


of what went on
before the three monkeys
and chipped mantelpieces,


in the backs
of sculleries
and in front bedrooms, before


the televisions
landed in tidily grown
gardens, think


just a little
of my time watching
these different people


who left their lives
in my hands
sitting on a wall of Farringdon Gardens.


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The Likelihood of Snow
/The Danger of Fire


Around five, in the next garden, a rooster
starts up his rusty banter and the first flight,
coast to coast, soars through an endless sky.
We are hatching in the bedroom downstairs
our special dreams, maybe of home—who knows?—
heads together, facing, I suppose, the sun,
which has left you to this evening’s viewing,
with a good fire down and the curtains drawn
on shining streets and the likelihood of snow.
Sprinklers will soon play across the impeccable lawns
and the puppery of emblazoned butterflies begin
with air-conditioning, humming like a ship’s engines,
while the two imperious cockatoos
take to the surrounding suburban trees.


I’ve been asking myself, head crooked in arms,
why it could be so easy to forget about home
and all the mumbo-jumbo about one’s people.
Mine, if such they are, look for all the world
like great Deniers, the staunch, unflappable self-
deceit of always seeming to be in the right
and the fear of being found out that they are not.
I have watched since childhood their marches and parades,
with banners aloft, swords and bibles displayed,
and I have passed the banks of clipped hedges, the front rooms
with oval mirrors and cabinets full of photographs—
the husband in the Army, son in the Boys’ Brigade,
a fallen brother, the Royal Wedding—


and never known my people since they kept
to themselves in desperate innocence,
or persist behind the transparent walls to explode in hate,
or, like me in another hemisphere,
they disappear in dreams:
as stewards on ocean-going liners,
managers of building societies,
multi-national executives,
further up or down the scale of things,
the accents mellow to a faint American twang
or a touch of the Anglo,
we to whom no surface is deep enough
grin and bear the nonchalant enquiry,
‘Where do you come from?’
and know that the only real news here today
is the danger of fire.


Canberra
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A Question of Covenants
28 September 1912



The Patriotic turns to face
an invisible sea. From Castle Place
thousands swarm through side streets
and along the unprotected quays
just to glimpse Carson, gaunt as usual,
who watches the surge of people
call, Don’t leave us. You mustn’t leave us,
and in the searchlight’s beam,
his figure arched across the upper deck,
he shouts he will come back and, if necessary, fight this time.


It is what they came to hear
in the dark September night.
As the Patriotic sails out
Union colours burst in rockets
and bonfires scar the hills
he departs from, a stranger to both sides
of the lough’s widening mouth
and the crowd’s distant singing
‘Auld Lang Syne’ and ‘God Save the King’.






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Good Night


Since we haven’t met yet
and more than likely won’t—
things being what they are—
I felt a little note, off-the-cuff,
might do the trick.


Between us there is next to nothing,
but I have heard you cough
early morning and have begun
to expect to hear your window
rattle on its sash at any time,
and guess that when you turn
you face me in bed in this
Hall of Residence.


I have heard too, at midnight,
you laugh and shuffle about
with some bloke whose voice
mumbles against the stereo.
(Your taste in music is not mine.)
And now, having spent the night
reading the work of friends,
I wanted to jot this down
because in some way you have
entered myself as much as the room—


a silent partner’s sleeping out
the police car’s shocking klaxon,
and the equatorial heating pumps
in the background a steady beat,
and somebody’s alarm goes off
prematurely although we all
still sleep, or are meant to.


The magnolia and cherry trees
flower in the gardens below.
In the labs, experiments are timed
to perfection, but the invisible dust
descends on books, paintings,
maps, busts, the executive aquarium,
even the washed dishes on the rack,
and on our faces upturned in the dark.
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House of Fiction


Along Haigh Terrace
a drizzle of wind
and rain rattles
the loose windows upstairs.


Is that himself I see
squinting behind
the scrim curtains?
This is surely where


he’d spotted the people
heading to Carlisle Pier –
the belted suitcase,
the blue serge suit,


the ‘V’-neck gansey,
all in readiness for
Princess Maud’s heave
through the Irish Sea,


nothing spectacular
but that last sight
of Scotsman’s Bay
as she works her way free.
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Little Palaces



Donkey’s Lane:
an orchard and allotments,
broken window frames, pigeon-huts
on stilts, corrugated iron;
and blankets hung out
on the line to air.


A woman dusts the living room.
The Queen on horseback
smiles down upon tongues
of sprouting ivy.
Everything is right with the world;
even the kerbstones are painted.








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Looking Back


Before I knew it the train pulled out of the station
and you were on the platform running after it—
I was in the moving carriage looking back
as you called out my name, again and again.



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Quartz
for Katrina Goldstone


So there is something I want to know,
great-grandmother, reclining on whichever
foreign shore or ambrosial meadow,
taking a second look at the old place-
the valiant village, the provincial district,
the back-breaking hill climb to the apartment,
the quiet evening square in this country town
or that frontier post, down by the coastal resort
of some famous lake, say, with Roman baths,
or a minority language - I want to know
who your grand dame was, or paterfamilias,
disembarking in a draughty shed, thinking
Liverpool or Belfast was really New York,
blinking in the greyish light of a noisy dawn,
looking out for rooming houses, a decent hotel,
putting one foot in front of the other,
taking the first right and walking, walking,
past the shipping offices and custom houses,
the rattling trams and carters and mill girls,
the steep factories and squat churches till the hills
converge upon this three-storied terrace
with the curtains drawn, the bell-pull shining,
and you pull the bell-pull and in whatever
English you’d learned stepped in.








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Refugees


The map you drew on a napkin was Old Europe—
the rough edges, borders; the spaces, countries.
Up above, the hotel purred with delight.
Happy tourist rolled home to their breezy bedrooms.
The sea lapped over black volcanic shores
and all about us the hills stood vigilant.
‘You see, the Slavs were forever struggling
against the Central Powers…’
Your words trailed off as the coloured lights
played ever so slightly and a pack of dogs
chased each other around the fishing boats.
Deep down in the swimming pool
a wasted army called for air and food and shelter.
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Secrets


I was coming-of-age in a sparse
attic overlooking the sluggish tide.
Down the last flight of stairs
a grandfather clock struck
its restless metronome to those
who went about their business
with a minimum of fuss.
My puritan fathers, for instance,
stumbled from separate beds
and found their place
under the staunch gaze
of monumental heroes, frozen
stiff in the act of sacrifice;
they had always been
tight-lipped about God-
knows-what secrets.














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Selfies


I look in the mirror
and my mother looks back,
the fall of the nose, brown eyes.
For her too there’s a grandmother lurking—


those tiny feet and hands;
layers of taffeta and lace.
When she was no age
a cheetah chased her into a tent


in India while her tipsy father
paraded on his dancing horse.
And then there’s the strict demeanour
of a Sunday with the blinds drawn halfway down;


a newspaper rustles in the front room
and a tram clatters down the light-filled street
to the worrying tremor of sash windows
and here they are in the one place,


suitcases at their feet—departure for London,
Toronto, Nottingham—between wars
and in the war and later on—
who knows where will be next—


just the recollected house
that doesn’t exist anymore,
and them all seated at their best
in a perfect silence they cannot forget.



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Sheltering Places
For Norma Fitzgerald


It’s been pelting down
all night the kind
of rain that drenches
to the bone


and a dirtstorm
in the car park.
The hot wind carries
thunder, making girls


scream and old men
count the seconds,
improvising distance
as you shout to


turn the lights out,
pull down the blinds
so that lightning can’t
get in and frazzle us up


in the curtain-dark room,
the rumbles near
and shattering flashes
make everything go numb.


The storm is reaching
home territory, stretching
over the hills down
into our sheltering places.


















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Solstice










You arrived that bad winter
when I was like a man
walking in a circle no one else was near.
The lakes behind had frozen,
from the dump gulls came and went
and the news was all discontent,
of Sell-Out and blame for the dead
country-boy faces that already were
fading from the church wall and gate,
but the seas tightened their grip
when you faced the light and let rip
a first cry of bewilderment
at this beginning, the snow
buttressed against the brilliant windows;
and where they washed you clean
I saw the ice outside fall
and imagined the fires burning
on the Hill of Tara ring
across the concealed earth
towards a silent hospital
and our standing still
all around you, Olwen,
transfixed by your birth
in such a bitter season.


1981
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Spoils of Love


The two tango on a telephone wire.
They could be man
and wife but who knows? Maybe
one’s an enemy
and this dance a prelude to war
amongst fierce bramble,
but off they go,
wing to wing, their black
gleaming against the blue
arrangement of sky,
around our house,
the dog chases after
to a commonage of swollen lakes
and lost paths,
between their rasping beaks
the bits of bread
you left out this morning
in a bright dressing gown,
calling the family robins
and these jackdaws down.
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Straws in the Wind


I sleep in my daughter’s bed tonight
while she snortles feverishly by her mother.
Her things are all around me.
I am like a giant in a doll’s house
and in the mirror of her dressing-table
see myself, ludicrous with glasses on,
a cursèd fly buzzing overhead.


If I had the choice what could I hope for?
That she see this night through with ease
and that her dreams suffice
so when morning comes
the sickness will have passed.
But now, with time on my hands,
I wish for her much more—


the passion and caress of love;
the want to go on, not just saving face.
Far better she just sleeps.
In the meantime, like standing guard,
I think I hear night-things bombard
our fragile peace: straws in the wind,
a fugitive dog sniffing the backsteps.
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Summer Journal
for Brendan Kennelly


Through the porthole of a window
the blue muggy night is perforated
with the sound of foghorns.
Dogs answer each other back
and then it thunders gain with spectacular effect.
The girls are sleeping in the cool apartment;
shadows like planes cast over the lawn.
I’m in two minds between Tender is the Night
and the TV’s mute hectic images
which flash worldwide the breaking news
of a hillside trek and scorched villages,
the bedecked impromptu briefing.


The ignominious beetle covers oceans of san
but the man or woman who drifts
into the sky, paragliding over our prone bodies—
family groups setting up makeshift home,
couples in their prime and past their prime,
the odd one alone stretched under the sun,
where all the vulnerable, torn this way
and that, naked, flat, in repose from
the everyday, at sixes and sevens—
is trussed and hooked to the speeding boat
and, cradled like a baby, looks down
upon us with all far-seeing love and pity.


Palm doves and swallows in the apricot
and oleander, the cacophony
of high season; poolside, Mitteleuropa
tans and in silence observes a galleon
take up the full of the Bay.
The rosé goes down like mother’s milk;
it’s near ninety, best head for cover;
in the shade local dance music
beats through the scratchy airwaves
to you on whichever island you stand:
‘Let us dream it now,
And pray for a possible land.’


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The Impartial Reporter



When the great-grandmother
on my mother’s side
died, the newspaper said:


The funeral was of a private nature,
the remains being laid to rest
in Carnmoney Cemetery, Belfast.


Through the respectful four paragraphs
I note the lineage of her uncles,
aunts, sons, and daughters,


with names like Irvine Alexander,
Robert and George who sat for years
on the Town Commission Board—


Honest and independent in all public affairs,
till the end is at her beginning
with three lovely children,


two in Belfast and the other in Winnipeg, Ontario,
whose daughter in turn contributes poetry
to the Impartial Reporter back home.










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The Corpus Clock


Someone’s rehearsing Chopin
in Free School Lane;
a cyclist swings by
lit up like a miner;
the rooms lean
to roadside—museum,
chapel, the darkening hall
of nooks and crannies, all
await the next revelation
like the Corpus Clock
snaffling each golden
moment, the tourists take
their selfies and move on.



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The Desert Campaign


On a day trip to Donaghadee
I am free and easy,
scanning eyes over the bay
like a real sea captain.
There certainly are women
in floral printed skirts
and, settling through news-
papers, grandmothers with
bright blue rinses chat
about making do and watch
stretch-marked daughters
carry on the way they used to,
as the various husbands,
unaccustomed to the sun,
unbutton shirt-fronts or stand
giddily at the water’s edge.
I am dive-bombing
beneath the promenade wall,
leaving in my wake
a ruined city
and on my bended knees
discover an oasis
where sultry hussies drive
shaggy beasts to drink.





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The End of It


I sit in my bedroom bunker,
it’s barely five in the morning
and the radio-signals jam
on ‘60s songs, so I am
back in Upper Meadow Street
or a house in Ballygomartin
during the July fortnight
and friends are working
summers in London hotels,
processing peas down the country,
or think they are something else,
talking well into the night
in the darkened front room
with only a small fire
left smouldering in the grate
and the record-player’s repeating
John Mayall’s Hard Road,
and somebody’s going on
about what they plan to be,
and in my arms is Sandra,
Alice or Kate, and no one knows
any better, hitching to Bangor,
with the light like a razor
picking out this car or that,
drifting in for work,
and there is always work
for the shop assistant
and the clerk, the foundry man,
the Hoffman-presser—
work, work, work, till you drop
and that was the end of it.
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The Interface


‘The lights are going on in towns that no longer exist’
and in the districts we never knew we lived in
between the cemetery where turncoat rebels
are said to be buried and the narrow road north.
In the parlours of the very few who stayed put
the Telegraph’s folded, the curtains in perfect order
and the radio putters in the background.
Good news is rarely expected.
The kids are well grown and gone
to Scotland, Canada, the West Country,
and for all the time they spent together
little remains the same:
pound shops and discount bars and fast-food joints
and even the church is up for sale.
See. What did I tell you? It is the case
that the biggest fall is the fall from grace.



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The Jazz Club


It’s 1960 or thereabouts in the terrace
of seven houses, upper northside.
The blackout blinds are still up
but things are steadily improving.
Shops stay open late, the light
spills in rectangles from the windows.
Trolley buses clang and clank,
the mill of people going to movies,
meetings, dances, to the boat,
to the club, to church, and to Ella.
When she comes back in the only
thing my mother says is, ‘I’m sent’.
















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The Just
for John Wilson Foster













So there we were anyway,
in the middle of the night,
driving around looking for this house.
Funny the way you forget the right turning.
The last time I’d been here on foot.
But there it was, the bit of a garden in front,
new Venetian blinds, the roof splashed with moonlight.
We only stopped for a minute.
Strange how small the windows are
and the fact that somebody’s fast asleep
with only a brick between him and next door
where somebody else is sleeping, almost ear-to-ear!
Do you hear the voices of all those houses?
Some are dreaming and others are getting by
with difficulty; the doors locked and bolted.
Maybe a chesty child is soothed with Vicks
or a man and a woman are having the time of their life.
Who can tell, coming back and forth
to discuss the place as it if it were something
different from that face in the unlit hall?
The child will breathe easier and couples
soon sleep the sleep of the Just.



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The Moon-Viewing Room
for Andy Fitzsimons


Johnny in Carroll’s Bar shouts
‘Two pies, one direct’ as snow
falls like dust over Smithfield.
Up in the corner on the TV screen
moon man, lunatic, space cadet
beams all the way in black
and white to our moon-viewing.
Then, many years after, in a temple
in Kyoto, on a little bridge from
here to eternity, as psychedelic
carp gawp in such a perfect pond,
rain spindled down the lattice-work
gutter, and I too looked up,
and saw the moon-viewing room,
the turret open at each side,
for shogun, priest and poet
to visit and sit and watch the moon,
with only the device of a cloudless
sky, the snow falling also,
and the music of an icy stream.
Now I have it at my window
at whatever time it may be
all at once I see the snow
that will not last, the voice of a man
in his prime, and the jabber of us all,
in the crowded moon-viewing room.
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The People


Mr Nelson is studying the globe,
cane in hand. ‘It’s for your own good,’
he says, ‘eyes forward.’
Between railings and the great wall
the last year thumps a football
in almost total darkness.
Lights go on behind frosted panes
and in the ordinary districts
above a soundless sea the people
set the fires by which they will
be known in years to come,
then bolt fast the doors.












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The Pleasure Boats
for Terence Brown


After you leave, when the key is left
in the lock, the radio silent,
and the dressing table and built-in
presses remain out of place,
is there any chance another kind
of life takes over—
in the stiches of the old trunk,
in the vents and cornices and dust,
in the slew of coffee stains,
in the sideboard cleared at last?
The makeshift furniture’s so different
up close, the floorboards buckled,
and the rooms you always left behind
empty now, most of all, so wangle
your way up into the unlit attic
and see what’s there—
a matchless pair of rugs, sheet music—
then let yourself back down again
into the broad daylight, fresh air,
close the door and go.


In the cleft of the street,
where the book mart meets a home bakery
and electrical shop, the wind whips up;
a woman peers casually
through the anglepoise telescope
as day breaks on the yacht club
and the washed-clean slipway.
A slow-moving tanker drifts by.
Already they’re taking full
advantage of the day—
ponytailed mums keeping trim,
the recently retired who sold
the old place for a tidy sum,
and the staunch widows who
marvel at all the changes
and at what hasn’t changed:
the tops of masts and, above them,
the solid phalanx of guest houses,
facing the sea that rushes
in to the marina’s red light,
where boy-racers will be parked tonight
under a fleeting metallic sky,
and the dog-walkers out late,
and the girls, defiant, in ones and twos,
and the pleasure boats returning,
and the rank of windows on fire.
So, tell me, what good was done,
what war was won?
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To James Joyce
Bloomsday, Galway 1987


Just thought I’d drop you a line
given the fact that I happened to be walking
the same streets as you once did.
It was, of course, raining,
and down by Nun’s Island the houses
faded to a faint pointillist light.
At the derelict mill up-for-sale,
schoolgirls in greys and blacks
sped past with U2 badges on racing bikes.
They’ll keep going till they are far
from Rahoon, Wellpark and Castlelawn.
The pity is, would it have been any
different if they had known about
your woman, Nora, or how you both
managed, moving from flat to flat,
and put their country on the map
of a mostly indifferent universe?
Heading into town, the Curragh Line
is like the road in The Great Gatsby
except the billboard here is the dump.
Every house is an El Dorado
while an ancient tower teeters on the brink.
So much for the past. We must make
our own choices and live with them—
immaculate blinds and ornamental brasses—
as the Corrib seeps into glinting lakes.
What would you think of the new estates
hugging either shore, or the Telecom mast
picking up our fervent calls across the water


















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