"To compensate a little for the treachery and weakness of my memory, so extreme that it has happened to me more than once to pick up again, as recent and unknown to me, books which I had read carefully a few years before . . . I have adopted the habit for some time now of adding at the end of each book . . . the time I finished reading it and the judgment I have derived of it as a whole, so that this may represent to me at least the sense and general idea I had conceived of the author in reading it." (Montaigne, Book II, Essay 10 (publ. 1580))

Showing posts with label Ireland. Show all posts
Showing posts with label Ireland. Show all posts

Monday, November 23, 2020

Say Nothing: A True Story of Murder and Memory in Northern Ireland (Patrick Keefe, 2019)

(464 pages)

Book club selection (via POC; session held (via Zoom) November 22, 2020).

specific discussion about a common situation - boundaries are determined by conquest, power

within the boundaries are groups that may or may not get along well.  active favoritism of group in power over another.  throughout history - restrictions on Jews in Christian countries; restrictions on Christians in Islamic countries.  many examples.  Blacks in U.S.

not feasible to unmix the populations, though tried very hard to do this following WWI and WWII.  but property ownership, tradition, where to go anyway.

then how does disadvantaged group react?  at some point negotiation seems insufficient, and violence starts.  and hunger strikes.  it's a power relationship.  

and it leads to progress, right?  (despite the awfulness)  this only applies in democracies with a free press - good luck trying this elsewhere

~20-year cycle - a generation forgets the horrors, then a subsequent generation repeats it

endless and unhelpful tendency to glamorize those coming from the left.  Che, Castro - bigots, totalitarians in their own right - still on T-shirts and posters, somehow!

IRA in the same light.  the sisters.

outright criminal acts in service of the cause - somehow considered excusable by way too many

at outset I worried about author's tendency to use language like today - anyone from the right is a reactionary, those on the left are sympathetic if not cool.  but ended up very well balanced

really helpful look at the toll from a macro level, and on the individual level

Saturday, September 01, 2007

Paddy Whacked - The Untold Story of the Irish American Gangster (T.J. English, 2005)

This book turned out to be very interesting, and not only because it discussed my wife's grandfather's gangster behaviors (he's shown below on a page with his business competitor, Al Capone). It's helpful in understanding how the Irish came to be disproportionately represented in politics, police and fire departments, etc., which in turn helps explain how in the 20th century it came to be "cool" to be considered Irish, why St. Patrick's day became a big deal in the U.S., ensuing marketing and merchandising, etc. (I've actually wondered about this ever since attending ND.)

Anyway, my take is that the Irish arrived in the U.S. in the wake of the potato famine at a time when the major urban centers were growing to critical mass along the size parameters with which we're familiar today. The author explains that many of the Irish were used to organizing underground in relation to their English overlords, and transferred this skill set to the U.S. Overt vote-buying via taking care of neighborhoods; ability to run criminal enterprises by the critical combination of controlling key politicians, police and judges.

The Italians came along and eventually took over the criminal side of things, but deferred to the Irish as a practical matter in controlling government and political posts. The Irish had demonstrated great skill in this - plus they spoke English much better.

One element is the high degree of prejudice that the Irish experienced - which is interesting to think about in light of current immigrant issues. The prejudice caused them to band together, and also freed them to pursue activities that were, let's say, outside the mainstream.

It seems that these groups were incredibly effective at running criminal activities, including a very high (and increasingly public) level of "vice" activities that were being gotten away with (because of paid-off cops and judges). This led to a backlash - various anti-corruption efforts culminating in Prohibition in 1919. Which completely backfired.

I didn't really think of how Prohibition gave these gangsters access to the really big money. Overnight, a product with national demand was outlawed. Who better to fill the demand than the only well-organized criminal gangs? It seems that Prohibition gave the groups a scope and cash-generating capability that would have been beyond their imaginations a few years earlier. In turn this led to more aggressive warfare among gangs.

This was the period in which Spike O'Donnell turns up, fresh out of jail from a bank robbery in 1926 and instigator of beer wars for several years. Too bad, the author gives him little space in the book; describes Spike as "an established pick-pocket, burglar, labor slugger, and killer (he was twice tried for murder and accused of several others), Spike was also a religious man who rarely missed Sunday Mass at St. Peter's Catholic Church." Also notes the usual, i.e. that he was the first target of a Thompson submachine gun (or "tommy gun") in the beer wars, favored polka-dot ties and a felt fedora, survived at least 10 attempts on his life, etc.

Anyway, it's all very interesting, including stories about how Joe Kennedy made stacks of money running booze in the Prohibition (and how this leads to the theory of mob involvement in the JFK assassination); how the phrase "slip a mickey" came out of Mickey Finn's place in Chicago, where folks were regularly robbed with this technique; how Hollywood glamorized the Irish gangster via stars like James Cagney; how "On the Waterfront" was based on a true story of corruption on the docks. Etc.

Wednesday, August 01, 2007

Ulysses (James Joyce, 1918)


I read this in part because it keeps showing up on lists of the "greatest novels of 20th century," sometimes as high as number one. I made it all the way through 800+ pages because I kept thinking something was going to happen. One day in Dublin (June 16, 1904). Stephen Dedalus, Leopold Bloom. The book is full of literary allusions (most of which unfortunately are lost on me). It is modeled after Homer's epic of the same name (which would be of more interest if I knew that story better). The stream of consciousness stuff is fun for awhile - it makes one realize how much of time our minds are working just that way. Completely different writing styles in each chapter. Extremely clever.

Sunday, June 24, 2007

Once (June 24, 2007)

Patricia, Patrick and I went to see this movie at Camelview. I'd recommend seeing it. The movie is about a street performer in Ireland; he's pretty much in the down-and-out stage. A Czech immigrant gets interested; turns out she is a very fine singer and pianist. So they make music, and their relationship is nice.

They make a recording, using some other street performers to constitute "the band." (I guess this aspect had some genesis in the lead actor's personal story.)

When I was watching the movie, I was surprised at how much singing was included, and felt the plot was not developed much. (Those two issues go hand in hand, as the inclusion of several three-five minute songs really cuts down the time available for the story.)

But I realize I missed the point. This was a musical. It just didn't look like a traditional musical. It had about the story line depth for a traditional musical - which is fine, many of those are great stories. So I conclude that I liked this.

I heard that the production budget was only $150,000 or so, which seems unbelievable.