Showing posts with label Claire Keegan. Show all posts
Showing posts with label Claire Keegan. Show all posts

Wednesday, October 25, 2023

So late in the day by Claire Keegan


So Late in the Day
By Claire Keegan

On Friday, July 29th, Dublin got the weather that had been forecast. All morning, a brazen sun shone down on Merrion Square, reaching onto Cathal’s desk, where he was stationed, by the open window. A taste of cut grass blew in, and every now and then a warm breeze played with the ivy on the ledge. When a shadow crossed, he looked out: a gulp of swallows skirmishing, high up, in camaraderie. Down on the lawns, some people were out sunbathing and there were children, and beds plump with flowers; so much of life carrying smoothly on, despite the tangle of human conflicts and the knowledge of how everything must end.

Sunday, August 13, 2023

Foster by Claire Keegan

 

Illustration by Simon Pemberton

Foster
by Claire Keegan
February 7, 2010

Early on a Sunday, after first Mass in Clonegal, my father, instead of taking me home, drives deep into Wexford toward the coast, where my mother’s people came from. It is a hot August day, bright, with patches of shade and greenish sudden light along the road. We pass through the village of Shillelagh, where my father lost our red shorthorn in a game of forty-five, and on past the mart in Carnew, where the man who won her sold her not long afterward. My father throws his hat on the passenger seat, winds down the window, and smokes. I shake the plaits out of my hair and lie flat on the back seat, looking up through the rear window. I wonder what it will be like, this place belonging to the Kinsellas. I see a tall woman standing over me, making me drink milk still hot from the cow. I see another, less likely version of her, in an apron, pouring pancake batter into a frying pan, asking would I like another, the way my mother sometimes does when she is in good humor. The man will be her size. He will take me to town on the tractor and buy me red lemonade and crisps. Or he’ll make me clean out sheds and pick stones and pull ragweed and docks out of the fields. I wonder if they live in an old farmhouse or a new bungalow, whether they will have an outhouse or an indoor bathroom, with a toilet and running water.

The Quiet Girl review / Deeply moving tale of rural Ireland already feels like a classic

 

Catherine Clinch in The Quiet Girl


The Quiet Girl review – deeply moving tale of rural Ireland already feels like a classic

A silent child is sent away to live with foster parents on a farm in this gem of a film from first-time feature director Colm Bairéad

Foster by Claire Keegan

Peter Bradshaw

Wednesdady 11 May 2022

This beautiful and compassionate film from first-time feature director Colm Bairéad, based on the novella Foster by Claire Keegan, is a child’s-eye look at our fallen world; already it feels to me like a classic. There’s a lovely scene in which the “quiet girl” of the title, 10-year-old Cáit (played by newcomer Catherine Clinch), is reading Heidi before bedtime, and this movie, for all its darkness and suppressed pain, has the solidity, clarity and storytelling gusto of that old-fashioned Alpine children’s tale – about the little girl sent away to live in a beautiful place with her grandfather.

‘I fell in love with it in a profound way’ / How The Quiet Girl’s fostering story captured its director’s heart

 

Catherine Clinch in The Quiet Girl by Colm Bairéad


Interview

‘I fell in love with it in a profound way’: how The Quiet Girl’s fostering story captured its director’s heart

First-time director Colm Bairéad on turning the novella Foster by Claire Keegan into the tear-jerking tour de force that swept the Irish Film and TV awards


Foster by Claire Keegan


Cath Clarke

12 May 2022

Colm Bairéad resigned himself to walking away empty-handed from the Irish Film and TV awards in March. His tiny-budget Irish language drama The Quiet Girl was up against Kenneth Branagh’s multi-Oscar-nominated juggernaut, Belfast. “We were like: ‘OK, well, that was lovely.’ We’d got 10 nominations. We’re just happy with that, you know?’”

But, on the night, The Quiet Girl swept the board, with eight wins, including best film. “Winning all those awards was, er, extraordinary.” Bairéad, 41, looks mildly embarrassed. He is modest and thoughtful, not fully relaxed at being the centre of attention. I suspect that the hour we spend chatting at the Soho offices of the film company distributing his film is about 59 minutes too long for him.

The Quiet Girl (An Cailín Ciúin in Irish) is his first film. It is the beautiful and extremely moving story of a nine-year-old girl from a poor family who is farmed out to relatives while her mother gives birth to yet another baby. It is based on Claire Keegan’s acclaimed 2010 novella, Foster, which Bairéad read after spotting it on a Top 10 list of books by Irish female writers. It left him floored, in floods of tears: “I fell in love with the story in such a profound way.” Then panic set in: “I was sure someone had snapped up the rights. But, miraculously, they were available.”

Saturday, August 12, 2023

In brief / The Importance of Being Interested; Small Things Like These; Empireland – review

 


In brief: The Importance of Being Interested; Small Things Like These; Empireland – review

Robin Ince in conversation with scientists, a brave Irish novella from Claire Keegan, and Sathnam Sanghera’s extraordinary ex

Ben East
Sunday 17 October 2021

The Importance of Being Interested

Robin Ince
Atlantic, £17.99, pp400

The comedian Robin Ince, in his role as co-presenter of the popular science show The Infinite Monkey Cage with Prof Brian Cox, styles himself as “the stupidest person in the room… not always good for the ego but very good for my education”. In The Importance of Being Interested he gathers together conversations with authors and astronauts, neuroscientists and quantum physicists. This is not to impart what he has learned as much as to celebrate the meaning and humanity of science as a discipline. In so doing Ince makes profound – and funny – reflections on our tiny lives in a massive universe.


Claire Keegan


Small Things Like These

Claire Keegan
Faber, £10, pp128

It is a brave move to take on the complex, systematic cruelty of Ireland’s Magdalene laundries in a novella, and Claire Keegan writes with a rare power and texture. A teenage girl begs family man Bill Furlong to remove her from the convent to which he delivers coal. Societal mores means he’s urged to keep quiet about the troubling things he’s beginning to see, but Bill’s own childhood experiences compel him to both confront his past and act in his present. A restrained and intensely moral book, full of hope and love.

Empireland

Sathnam Sanghera
Penguin, £9.99, pp352 (paperback)

A remarkable look at how British imperialism has shaped the world and the way in which Britain regards itself, Empireland should be a set text in an education system that Sathnam Sanghera says failed him badly. Sanghera has written a deeply personal, moving and often witty reflection on Britain in which he refuses to reduce imperial history to a matter of good or bad. His idea that, deliberately or subconsciously, the British are not honest about the darker elements of the largest empire in history feels important; a lack of reckoning with the past that perpetuates exceptionalism.

THE GUARDIAN



Claire Keegan / ‘I think something needs to be as long as it needs to be’

‘I’m not somebody who finds it difficult to make work’ … Claire Keegan

Claire Keegan: ‘I think something needs to be as long as it needs to be’

The acclaimed Irish writer on writing short works, the Magdalene Laundries and her new hobby, horse training


Claire Armitstead

Wednesday 20 October 2021


For those who know and follow her work, a new Claire Keegan book is as rare and precious as a diamond in a coalmine. There have been just four of them over 22 years, and all are small, sharp and brilliant. Fortunately for an author so sparing with her output, those who know and follow her include an international array of literary connoisseurs, and many of the children passing through the Irish school system.

“Loss is what feeds narrative” / Claire Keegan in conversation with Declan Kiberd

Declan Kiberd and Claire Keegan
Claire Keegan and Declan Kiberd in conversation at the Notre Dame Dublin Global Gateway, O'Connell House.


“Loss is what feeds narrative”: Claire Keegan in conversation with Declan Kiberd

Author: Margaret Arriola

Declan Kiberd, Donald and Marilyn Keough Professor of Irish Studies and professor of English at the University of Notre Dame, spoke with author Claire Keegan about her life and writing at O’Connell House on March 23, 2023. This special 25th Anniversary event emphasizes the Notre Dame Dublin Global Gateway’s commitment to literature as a central expression of Irish identity.

Claire Keegan / 'Short stories are limited. I'm cornered into writing what I can'

 

Claire Keegan

Claire Keegan: 'Short stories are limited. I'm cornered into writing what I can'

As one of her short stories appears as a stand-alone book, the Irish writer Claire Keegan discusses her work with Sean O'Hagan

Sean O'Hagan
6 September 2010

It was Hemingway who perhaps came closest to defining the art and craft of the great short story. "If a writer knows about what he is writing about, he may omit things that he knows," he wrote. "The dignity of movement of an iceberg is due to only one-ninth of it being above the water."

The Old and the New in Claire Keegan’s Short Fiction

 


The Old and the New in Claire Keegan’s Short Fiction

Claudia Luppino
Autumn 2014

Résumé

Bien que ses recueils de nouvelles, Antarctique (1999), A Travers les Champs Bleus (2007) et la longue nouvelle Les Trois Lumières (2010) aient été bien accueillis par l’ensemble de la critique, il est regrettable qu’il n’existe toujours pas d’étude approfondie sur l’œuvre de Claire Keegan (née en 1968). Tentant de combler cette lacune, cet article place ces nouvelles subtiles et sensibles dans le contexte du débat critique actuel sur les écrivaines irlandaises contemporaines. Il aborde une réflexion sur l’ancrage de la nouvelle dans la tradition du conte oral, et sa promptitude à aborder des problèmes actuels. L’article propose une lecture analytique des nouvelles de Keegan, et s’intéresse en particulier aux thèmes récurrents dans les recueils et aux techniques narratives spécifiques. Une attention particulière est également portée aux divisions entre générations ou entre masculinité et fémininité, aux articulations entre traditions rurales et consumérisme mondial, ou encore au rôle crucial que jouent la nature, l’art et la religiosité.

Friday, August 11, 2023

Foster by Claire Keegan / Review

 



Foster, by Claire Keegan – review


Chris Ross

Sat 9 Oct 2010 00.06 BST

A

hot summer and a young, unnamed girl is taken to stay with an unfamiliar couple on a Wexford farm while at home her reluctantly pregnant mother makes ready for yet another mouth to feed. In this strange new place vegetables grow in abundance, the cows are heavy with milk and the well never runs dry. Moreover, adults evince a concern for children beyond merely setting them to earn their keep, leaving our small visitor "in a spot where I can neither be what I always am nor turn into what I could be". Keegan's lyrical novella was originally a New Yorker short story, but it has gained greatly from this expansion: the narrative breathes along with the child slowly detaching from her cramped, impoverished home and starting to unfurl, leaf-like, in an atmosphere of attentiveness. This is a story about liminal spaces: about having "room, and time to think", about the shifting lines between secrecy and shame, and a child's burgeoning apprehension of the gap between what must be explicit and what need merely be implied
.

THE GUARDIAN