Celebrating Our Two Year Anniversary with a Complimentary Book

It’s hard to believe that it’s been almost two years since Fionn: Defence of Rath Bladhma was first published (by accident, incidentally – we really were new at this whole publishing stuff at the time!). Personally, I certainly never imagined it would be so many people’s favourite book or go on to spawn two sequels and a prequel.

We published Fionn: Defence of Ráth Bládhma and Beara Dark Legends about the same time. The Beara book had been completed first but it took so long to learn the various ropes that Fionn 1 was actually finished by the time we went live.

(Fionn amended aspect ratio)

Ironically, I’d been intending to get a less ‘fleshy’ cover for the book over that entire period as well but just never found the time despite constant piss-taking from my partner, my editor, family members etc. I say ‘ironic’ because a lot of people have described the book as ‘feminist’. To be honest, I don’t think I’d go that far and, besides, I’m genuinely fond of the covers because working with the designers and Chirinstock has been really enjoyable (they’re all very nice people). It’s also been a real pleasure writing such strong female protagonists. I’ve probably mentioned this before but the book was originally supposed to be centred around the character of Fionn mac Cumhaill (hence the title). The two leading female characters were so strong however, they simply shouldered their way onto the page and pretty much took over the series.

Defence of Ráth Bládhma minor

In any case, to celebrate two years of publishing we’re making this book available without charge through this website until the end of April 2016. If you’d like to get a copy just sign up to the monthly newsletter on the RHS of the webpage. When you sign in you should be able to get an option to download an ePUB (Apple, Nook, Kobo etc.) or mobi. (Kindle) version of the file.

We hope you enjoy it.

Praise youth and it blossoms!

Mol an óige agus tiocfaidh sí
Praise youth and it will blossom (or literally, “praise youth and it will go!”).

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Last week I attended a powhiri (a Maori welcoming ceremony) up in Fielding for the uptake of new Maori students joining Manukura, a Maori kaupapa-based school/sports academy. It was a two-hour drive up from Wellington and an early start but we had time and it was important to support our niece who was starting an exciting new milestone in her life.

Powhiri can be drawn out affairs. They follow a strict etiquette with a formal welcoming, the exchange of songs between hosts and visitors, speeches from both sides and of course, there’s always time put aside for individual people to stand up and say their own piece if they want to (they did!).
It was a dazzling 31°C by the time we took our seats and the speeches (in Te Reo – the Maori language) started. I thought the ceremony would drag but, in fact it sped through relatively easily and quickly, assisted by some beautiful singing from the school’s students and a powerful haka. Afterwards, all the students and staff lined up to hongi (press noses in greeting) the visitors. Given there were a few hundred on each side this was quite a challenge and I almost had a flat nose by the time we’d finished.

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There’s something really powerful about attending powhiri for they’re one of the few occasions where the true strength of Maori culture is given full and authentic expression, not only in terms of language and haka and songs but in terms of the cultural concepts and rituals that inform them. Many westernised people (including some New Zealanders) often experience a sense of impatience at the time taken at powhiri (and I’m guilty of this myself). They feel the event should be wrapped up a bit faster, that the traditional rituals should give way to the needs and time pressures of contemporary life. Naturally, when people think like that, their expectations are based on their own cultural and personal experiences. Attending a Maori ritual like a powhiri is a rare event for most people and as a result, the Maori cultural concepts are sometimes not only unfamiliar but not relevant to the way they live their own lives. Sometimes, this leads to individuals who believe that Maori cultural concepts are unimportant and they can end up displaying a startling lack of respect. Such scorn is very much a symptom of where two cultures exist together but one is dominant over the other in terms of population, resource or political power-sharing.

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As I was sitting there, listening to the speeches and the songs, I got to thinking how Maori managed to save at least some elements of their culture from the oppression of colonization and how similar that situation was with the impact of Norman/English colonisation back in Ireland. Colonisation is a mechanism to suppress and destroy a competing culture that encompasses a different way of thinking. It’s a way of forcing people in one culture to adhere to the way of thinking of a more dominant culture. In truth, its best to think of colonization as the competition between cultures as opposed to countries, the latter being little more than a red herring when you talk about societies.

In Ireland, from the mid-1600s onwards (when all native military power had pretty much been extinguished), the Gaelic way of thinking was systematically eroded through the Penal Laws and other social repressions enforced by the English Crown. Between the mid-1600s and today, the vast majority of the Irish population lost their language and their societal infrastructure and belief systems. Nowadays, despite 400 years of resistance, the War of Independence, the sacrifice of 1916, the cultural concepts of modern day Ireland are more like those of modern day England than the Gaelic culture pre-1650. In some respects you could say that Irish-Gaelic society won a few battles but they lost the war although you could argue that this is a good or bad thing.

It’d be a bit like looking through rose-tinted spectacles however to believe the old Gaelic social system was any better as a society than the newly imposed English rule. It might have been but then again it might not. We don’t know – and never will – but there are plenty of examples of how the Gaelic political leaders of the day could be just as big a pack of bastards as the invading colonists. No, the big loss here is the ultimate demise of a unique way of thinking that was developed over centuries (and possibly millennia). By supressing the culture of one society and forcing its members to adapt to another society we’re actually suppressing the intellectual diversity of the human race (not just the biodiversity). This, of course, has longer term and larger scale ramifications for our ability for long term survival.

Back in New Zealand, Maori lost a huge proportion of their culture and have been forced to adhere to the British system of governance, the English language and property control systems. I think the truth is that they’ll never regain their original culture (although they’ve managed to salvage important and impressive elements of it). Sitting there in the sun, listening to the songs being sung by future leaders of Maoridom (and possibly New Zealand), I realised that I was seeing something new, a resurgence, a re-melding. Despite all the oppression, these kids are still singing in Maori, talking in Maori, performing haka. More importantly, Maori have even managed to insert some of their cultural concepts into modern-day, western-dominated New Zealand (the concepts of mana, whanau, manaakitanga, tangi and so many more) so its no longer a one way road. If this can happen here, I wonder whether Irish Gaelic concepts can, or already are, working that well back home.

A Visual Representation of Irish Prehistory and Mythology

When you mention the word ‘prehistoric’ to people, most of them immediately conjure up images of Neanderthals walking around, scratching their arses and dragging huge heavy clubs on the ground behind them. What ‘prehistoric’ actually refers to though, is that period of time before which historical records were maintained. In a sense, you can think of ‘prehistory’ as a distant undiscovered country or a kind of ‘dark web’ for history. It’s an unknown territory, full of immense, untapped potential, deception and people who have an interest in controlling it.

When I imagine pre-historic Ireland therefore, it looks a little bit like this.

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The problem with history, of course, is that it’s something we all think we understand whereas if you actually stand back and kick the conceptual tyres in the same way you’d kick those of a new car, you’ll quickly work out how much of it is based on dangerous assumptions and potential falsehoods. The ‘recording’ of history has always been the privilege of societies’ winners and most powerful. The problem, unfortunately, is that those in power often have an agenda of their own when writing or recording history, mostly linked to retaining that power. What actually happened in the past comes in a distant second.

Napoleon Bonaparte is often quoted as saying ‘history is a bunch of lies agreed upon’. If he did actually say that, then he was an exceptionally insightful individual because he recognised how the reporting of the truth (not the truth itself) can be manipulated.

Essentially, history in most countries only comes into existence with the establishment of written records and therefore, the arrival of literacy. In Ireland, written records were first introduced with the arrival of Christian missionaries in the early fifth century. For that reason, for Ireland, anything that happened before that period is generally referred to as a ‘prehistoric’ event. Naturally, the first people holding the pen in Ireland looked at the world through a Christian religious lens and many of the early historical accounts are often very biased in that regard. With the spread of the church-dominated written account we can see the first steps in the ongoing erosion of native (non-Christian) belief systems. This is what we now refer to as ‘mythology’.

Winners of the Celtic Mythology Short Story Competition (2015-2016)

Irish Imbas Books are pleased to announce the winners of the 2015-2016 Celtic Mythology Short Story Competition. These are:

First prize ($500): Sighle Meehan for ‘Hawthorne Close
Second Prize ($250): Sheelagh Russell Brown for ‘A Mainland Mansie Meur
Third Prize ($100): Marc McEntegart for ‘In a Small Pond

All three stories will appear in the forthcoming Irish Imbas Celtic Mythology Collection 2016 due for release in March this year with two additional stories:
• ‘Transit Hours’ by Marie Gethins
• ‘Lir’ by Coral Atkinson

As well as the short stories, the Irish Imbas Celtic Mythology Collection 2016 will contain explanatory context/notes on the various elements of Celtic Mythology associated with each story. A key purpose of this competition is to provide a source of authentic context and information on aspects of Celtic mythology for the general public.

Comments from the judges:

In total, 37 submissions received (initially there were 40 but 3 were withdrawn). The vast majority of stories covered aspects of Irish mythology. Stories related to elements of Welsh mythology were the next most popular (in terms of numbers).

The three criteria used by the judges were:

  1. Celtic mythology or folklore forms a fundamental element of the story
  2. Any Celtic folklore or mythological reference should be as authentic as possible
  3. A compelling story/theme, engaging characters.

Submissions were received from all over the world, including countries such as Australia, New Zealand, America, Canada, Norway, Denmark, France etc. The majority of submissions came from Ireland.

In terms of the mythological content used within the stories, the most common were:

  • Elements from the Fenian Cycle (Fionn mac Cumhaill and related stories)
  • Seilchidh (Selkie)-related stories
  • Beansaí (Banshee)-related stories

The quality of submissions varied extensively both in terms of writing quality and authenticity of mythological content. A number of the submitted stories were excellently written but used elements of mythology in the wrong context. It was a difficult decision not to accept these submissions

We’d like to thank all entrants for taking the time to make submissions.

An announcement on the 2016-2017 Celtic Mythology Short Story Competition will be made later this year.

Update on the 2016 Irish Imbas Celtic Mythology Short Story Competition

We’re pleased to announce the short-list of submissions for the 2016 Celtic Mythology Short Story Competition. Please note that submissions are listed in alphabetical order and a final decision on the winners has yet to be made:

A King’s Fancy’ ‘ by Ann Rhodes
A Mainsland Mansie Meur’ by Sheelagh Russell-Brown
Hawthorne Close ‘ by Sighle Meehan
In a small Pond ‘ by Marc McEntegart
Letting Go’ by Alison Walker
Lir’ by Coral Atkinson
Muse’ by Catriona Murphy
Oisin and the Hunt ‘ by Nicola Cassidy
Tara and The Yoke ‘ by Emlyn Boyle
The Great Birds of High Imbolc ‘ by Derek Fennell
The Seafarer and the Lord of Inis Mean ‘ by Mairead Rooney
Transit Hours‘ by Marie Gethins
Wondres Spelle‘ by Rina Bruinsma

The winning entrants will be contacted by email in the next week or two. A final decision on the stories to appear in the 2016 Irish Imbas Celtic Mythology Collection will be made by the end of January.

We’d like to thank those of you who entered this competition but did not make the short list. Having entered several such competitions ourselves in the past, we’re aware of the disappointment that can accompany such outcomes. As a result, the judges have decided to offer all entrants a complimentary digital copy of the final collection as a ‘thank you’ for taking the time to submit.

Update to Competition conditions:

Although it was originally envisaged to place the top 9-10 stories in 2016 Irish Imbas Celtic Mythology Collection, this number is now likely be reduced to 5-9 stories. This is to allow sufficient room for explanatory notes etc.

Surviving Christmas And an Irish ‘Sword’ Film

If you ever decide to invade New Zealand, I’d really recommend you do so over the Christmas period. Because of the fact that the Christmas holidays here take place in the middle of summer, you essentially end up with a double-whammy of a summer holiday and everything – everything! – comes to a complete halt for several days.

I love New Zealand during this period. Even if you wanted to work (and, hell, I’ve already got a crippling work schedule!) it’s actually quite hard to do so. And that’s not just because of the sun beckoning in through the window every morning.

In Wellington, we’ve had an amazing few weeks of sun this year, despite a harsh winter that dangled us by the short and curlies for several months. I had great plans to achieve a great many things but, in the end, I just gave in and went with the flow and feel so much better for that!

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In between eating, running, drinking and reading I also surfed the internet for an extended period and one of the little gems I came across was this interesting mini-film on You Tube (https://www.youtube.com/watch?v=VYAcYNg64UY ). Called ‘The Last Grasp’, it’s a short film project by Claíomh Productions (Claíomh is the Irish word for sword). To quote from their website, “Claíomh are an Irish military ‘living history’ group that re-create ‘live’ images of the country’s past, particularly related to the turbulent late medieval to early modern history period”. I’m personally more interested in the pre- [pre-5th century] history, myself but these guys stuff has always impressed me.

The film itself is about four years old or so. It’s pretty short with a limited story-line but I do like the camera work and the attention to detail, which marks the company’s fantastic research and high production values. More recently they did some reproduction work for 1916 so I’ll be interested to see what they get up to during the centenary events. Their Facebook page (here: ) has a number of photos which display their work and I’d highly recommend a visit.

Sex Education (or lack of) with Diarmuid and Gráinne

For many years, most Irish schoolkids had the dubious pleasure of studying the Tóraíocht Dhiarmada agus Gráinne (the Pursuit of Diarmuid and Gráinne) as part of the national Irish school curriculum. An epic Irish narrative, the oldest remaining copy is believed to date from the 15th century but it’s generally agreed to contain elements that date back to the 9th century. This proved little solace to most of us although we could, at least, console ourselves with the fact that it wasn’t Peig Sayers mind-numbing biography.

Remember this anyone?

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Years later, I can now finally look at the Tóraíocht with less ‘negative’ eyes. The tale is actually quite unique in that it’s one of the first narratives (and one of the very few) in which mythological legend Fionn mac Cumhaill is portrayed as ‘The Bad Guy’ and shown to have human foibles. In this particular tale, he’s portrayed as an old man set to marry a much younger woman (Gráinne). Not enthralled at the prospect of being taken to bed by the elderly Fionn, Gráinne instead opts to put one of warriors at the wedding banquet that she fancies – Diarmuid – faoi geasa (under a magical obligation). While all the other guests are snoring under the influence of a sleeping draught, Diarmuid is forced to elope with her and the subsequent pursuit across Ireland by Fionn forms the basis of the narrative.

In Ireland, the Tóraíocht proved exceptionally popular (until it was made a compulsory school book!!) because it has all the elements of a good melodrama; a love triangle, young lovers, a pursuit, a revenge quest, action and adventure, etc. Given the story’s popularity and the scope of the legendary pursuit, local storytellers, back in the day, often stretched the chase to include topographical features in their own area to make the story more interesting for their audience. This is probably one of the key reasons for the many different existing variants.

Although some elements of the tale are difficult for a contemporary audience (and incomprehensible to a modern schoolkid), there are some motifs that stand out more than others. One of these is the sexual restraint displayed by the hero. While being chased by Fionn and his men, Diarmuid marks his loyalty to his leader and the abstention from sexual activity, by leaving an uncooked fish behind. This way, when Fionn subsequently locates their campsite, he knows that there hasn’t been any hanky-panky.

In fact, a prolonged period of time (and many adventures) passes before Diarmuid actually succumbs to temptation. This occurs when Gráinne is crossing a small stream and a spray of water spurts up to splash on the inside of her thigh. Looking at Diarmuid, Gráinne remarks – cuttingly – that the water is actually bolder than he is. Spurred by her words, Diarmuid takes her and “makes a woman of her”. Needless to say, absolutely no clarification of this particular scene took place during my school reading at least.

Another interesting motif of the tale is the constant need for the lovers to sleep in a different location every night (due the constant harrying by Fionn and his hunting dogs, always on their trail, always just behind). Over the subsequent centuries, this particular motif was absorbed into local folklore through the dolmans – neolithic burial portals that consist of a large flat rock overlaying two support rocks. Again, local storytellers started to explain the presence of these startling monuments by describing them as the ‘leaba’ (beds) of the fleeing lovers.

Beware! Ancient Mythological Sex Site!

Examples of these ‘leaba’ exist all over the country and many still retain names associated with the Tóraíocht (e.g. Labby Rock in county Sligo). One of the more interesting folk beliefs that also developed from this interpretation, was that young women had a much better chance of becoming pregnant if they slept on the leaba (linking this action to that of Gráinne who became pregnant over the course of the chase).

Looking back on my own schooldays, I can actually understand why those in charge wanted to include the Tóraíocht in the national educational curriculum. It’s a very important piece of our culture that everyone should be familiar with and … (yaaaawn!) etc. etc. To be honest, the effort to inspire kids with this mythological tale was doomed to failure. Kids in my class never received any explanation as to what the story really entailed, had no comprehension (or therefore, appreciation) of the many references it contained. Many of the actions and events were obscure to the point of ‘alien’ and therefore had no real relevance or meaning to us. It’s hardly surprising most of us yawned our way through it and hoped against hope the bloody bell would ring soon.

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Fortunately, nowadays, there are other – more accessible – versions of the tale available. One of my favourites is Colmán Ó Raghallaigh’s graphic novel (entitled: An Tóraíocht) but there are several others including the recent movie ‘Pursuit’ by Paul Mericer (which, admittedly, I haven’t seen). Hopefully, these more contemporary versions (or equivalents) are used nowadays. Even the sex scenes wouldn’t have saved what we were being taught all those years ago.

Beauty That’s Just Too Big to Absorb

Over the years, I’ve come to the conclusion that it’s impossible to truly appreciate beauty when other people you know are present. When you’re in a group staring at a beautiful view, person, piece of art, for example, you’re often conditioned to vocalise it out loud and invariably end up saying things like “Wow! She/he/it’s beautiful, stunning …[insert appropriate adjective here]”.

This weekend I spent a weekend tramping with friends (in between intense periods of drinking and eating) down in New Zealand’s south island. The sheer scale of some of the scenery there is on a level of grandeur we don’t seem to get in Ireland. Even while I was staring at it however, I felt oddly detached. I found myself looking at it much in the way I’d look at a television screen or a computer monitor. It was beautiful but oddly two dimensional. It did not touch me.

For me, the beauty of the landscape back in Ireland tends to be smaller, more contained and easier to digest. Cutting through the Healy Pass or heading out of Glengarrif for Beara, I can have an equally dramatic physical terrain stretched out before me but when I pull the car over and step out to look at it I can genuinely appreciate it. I’m pretty sure this is because I have a familiarity (a connection) with this landscape. I know how Irish landscape ‘works’. I know its contours, I know the dynamics of the sea, the cliffs, the fields. Down in West Cork, I also know the stories associated with the land, stories of my own family working it or living on it. I’ve lived and grown up on it and that gives the land an emotional resonance that makes it particularly accessible.

Which is most beautiful? Depends on so many things!
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Personally, I think to truly appreciate beauty (in terms of landscape at least) you need to have an aesthetic AND an emotional/cultural connection. Up in New Zealand’s high country, I knew – theoretically – know how things worked. I watched the people on the stations (a bit like American ranches) operate the land. My friends explained how the rivers and the mountain slopes interlinked, how the climate affected (or restricted) the use and transport across the land. But the problem, of course, was that I’ve never personally walked it before or known those who had. I’m also unfamiliar with the physical dynamics (which is why so many Irish tourists can get into trouble over here) and I have no cultural or emotional connection. I can genuinely appreciate it – and I do – on an intellectual and aesthetic basis but my connection is purely visual. I love coming here but if I want beauty I can break down and warm the soul then I know I’ll always need to go home.

Deadlines and Deadlines

There are now eight days left until the closing date for the Celtic Mythology Short Story Competition. While we’re waiting, we’ve been busy preparing the draft cover for the final collection (obviously based on the original poster image – see below) and attempting to plan out the formatting.

3D Book Preview

The latter is actually something of an impossibility in that we still don’t know the range and style of the stories with any certainty. I suspect there’ll be feverish mutterings as we attempt to add the background mythology facts for each of the stories chosen. I must admit it’s something of a struggle to resist having a peek at the submissions but I’m forcing myself to hold off. It’s not really possible to judge a number of different works properly unless you look at them all at the same time and do your best to judge on an equal basis.

In terms of numbers, at this stage, we’ve received just under twenty-five entries which is a pretty low number – but we’re not particularly fussed. It’s only natural for any new writing community to grow and gain credibility slowly and we’re still within budget. It’s also nice in that – unlike many of the major international competitions (which I stopped entering many years ago) – the odds of actually winning one of the prizes are substantially more realistic.

In any case, don’t forget the deadline for entries is midnight 10 December 2015.

Meanwhile, for those of you in Wellington, we’re delivering our Secrets of Celtic Mythology seminar in the mezzanine of the central library at 6:00 on 11 December. This will be the first seminar I’ve run in a while so I’m a bit nervous and hoping to God the technology holds together.

Wish me luck!

Secrets of Celtic Mythology

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For those of you based in Wellington, you may be interested in a seminar we’re holding on Friday 11 December at the Mezzanine in the Wellington Central Library. The seminar is called ‘The Secrets of Irish Mythology’ but will actually focus predominantly on Irish mythology, which is what we know best.

I’m still working through the structure of the seminar but it will probably involve some initial explanation of mythology (what is it, exactly?) followed by some living examples of it in Ireland today. I’m also keen on running through the practical ramifications of this for society as this is an area I’m quite keen on and hope to do some more of in the future.

In any case, the details are below:

“Irish Imbas Books presents Secrets of Celtic Mythology at the mezzanine of Wellington Central Library from 6:00 to 7:30 on Friday 11 December 2015. This one hour presentation will explore the background to the development of mythology, examine some practical examples of Irish mythology in Irish folklore and explain why this is relevant to us all. The event is free to enter. Irish Imbas Books will have a selection of books available for sale for those who are interested.”

Location/venue:
The Mezzanine, Wellington Central Library 65 Victoria Street Wellington
Date:
11 Dec 2015

It’s always a bit of a thrill to see the physical end product

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It’s always a bit of a thrill to see the physical end product from your creative work. Even after five or six printed books, the tangible experience of holding the first physical copy in my hand still gives a bit of a buzz. Oddly enough, from experience, I also know that sensation fades pretty rapidly. Within a month or so, whenever I pick it up a book I’ve written, it always feel as though it’s someone else’s book.
I’m not quite sure why such ‘distancing’ occurs. In some ways it’s good in that I can actually pick up and read one of my previous books with a very objective eye. I recently reread Fionn: Defence of Rath Bladhma and the nice thing was that I actually quite enjoyed reading it. How weird is that?

I suppose I’ve never really thought about it too much until yesterday (when I picked up the physical sample copy of Liath Luachra – The Grey One from the printers we use here in Wellington). Now, I suspect that what happens is, once one creative project is completed, I just mentally “chuck it” as I move onto the next. This is probably good in that it actually makes me quite productive but it also means I no longer have such a strong sense of creative ownership of the works I produce. I suppose that just doesn’t become so important any more once you’ve delivered your first “creative baby”! With each new creative work you become a lot more pragmatic and substantially less precious about them.

Anyway, Liath Luachra – The Grey One is now available for pre-order on Kindle. It’ll also be available in hard copy from Amazon in the next 1-3 days.

For those who live in Wellington, I’ll have paperbacks available from sometime next week providing all goes to plan.

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By the way, the white paper to the right of the computer is the rough draft of Fionn: The Adversary. I’m taking a week or two off from it at the moment but, yes, I am working on it.

The Warrior Woman

The Woman Warrior

Writing Liath Luachra – The Grey One turned out to be a lot harder than I’d anticipated. Most of it was written over a miserable New Zealand winter (in Wellington, at least), we had a number of other strenuous work contracts on and constant repair work on the house meant it was difficult to focus at times. This slowed down the writing immensely but, to be honest, in some ways I think this was a good thing. When you push yourself to write a pre-determined plot you can end up writing an almost perfect outline that lacks genuine emotional resonance. When the plot’s clear in your head but you take additional time to work through the different scenes in terms of characterisation, motivation, additional twists and so on, the story usually ends up much more powerful and dramatic for that.

Although ‘The Grey One’ is essentially a ‘stand-alone’ prequel to the Fionn series, for me it was an interesting opportunity to explore the dynamics of war-parties and inter-tribal relationships in Iron Age Ireland. There’s a surprising amount of material available on early war-parties – particular on fian – although, as always, you have to take what’s written with a grain of salt. The Church in Ireland hated them with a passion and, hence, wrote very negatively about them but other sources describe them as a pragmatic part of society at the time. Interestingly, the word ‘fian’, eventually disappeared out of common usage and instead, the plural noun ‘Fianna’ was used. This is, of course, what most people mistakenly believe to be the name of the war band led by Fionn mac Cumhaill (as well as the origin of the more modern term ‘Fenian’).

Having a single female protagonist in a male-dominated world (particularly one involving violence) has proven a particularly interesting challenge in that it creates powerful tensions between characters that I normally don’t delve into in great detail. Obviously, the main one is that of sexual harassment/coercion – particularly with more vulnerable younger women – and that’s dealt with pretty bluntly throughout the novel. Most of my previous books have strong female characters but it’ll be interesting to see what people think of the approach I use in this particular one.

When it comes to female warriors in the ancient world, there are of course, occasional snippets available in the historical sources but, again, you really have to take care with these as well. Most of the writers tended to be male and that almost certainly influenced their descriptions and interpretation. It’s also probable that at least some of them sensationalised the topic just as much as in contemporary times. The truth is that, for some very obvious practical reasons, women didn’t tend to engage in physically dangerous and violent combat unless there was a particularly compelling reason to do so. Given that ‘The Grey One’ is a work of fiction with elements of fact, this is something I’ve had to dance around somewhat carefully.

To give people a sense/taste for what the book’s about, I prepared a three-chapter pre-launch teaser in ebook form under the title ‘The Warrior Woman’ which went up on Amazon last week. Being Amazon of course, they insist on charging a minimum of 99 cents however if you want a free copy in mobi. (Kindle) or ePub (Apple, Kobo etc.) you can find one at Smashwords or at Noisetrade. If you read/print off your computer you can get a good, old-fashioned PDF document here under ‘Download sample chapters’.

This book itself becomes available through Amazon on 4 December 2015. Hardcopy versions will also be available in hardcopy through Amazon (sometime in December) and by ordering through other bookshops (from February). If you really, really, absolutely have to get an ePub version just email me though the website and I’ll see what I can do.