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Irish Imbas Celtic Mythology Short Story Competition

WHY WE POSTPONED THE CELTIC MYTHOLOGY SHORT STORY COMPETITION.

Introduction from Brian O’Sullivan

With the Celtic Mythology Short Story competition, we’re hoping to collect the best contemporary narratives on genuine Gaelic/Celtic mythology that we can find.  Stories from Celtic mythology have been lying dormant in the shadow of “Children’s fairytales” for far too long and it’s time to haul them back out into the open where they belong.

There’s a new wave of Gaelic/Celtic authors out there, writers ready to draw on their cultural heritage to create a rich and compelling portfolio of new works. We’re hoping this competition is going to help kindle that process!

First Prize

$500 and story published in Irish Imbas Celtic Mythology Collection

Second Prize

$250 and story published in Irish Imbas Celtic Mythology Collection

Third Prize

$100 and story published in Irish Imbas Celtic Mythology Collection

What We’re Looking For

Any kind of fiction short story will be considered (action, romance, drama, humour etc.) as long as they meet the following criteria:

  • Celtic mythology or folklore forms a fundamental element of the story (i.e. the characters can be characters from Celtic mythology, the action can take place in a mythological location, mythological concepts can be used etc.).
  • Any Celtic folklore or mythological reference used should be culturally accurate (for example; no dedicated pantheon of Irish Gods, no werewolves, vampires or other elements that don’t fit with the established mythology of ‘Celtic’ countries)
  • A compelling story/theme, engaging characters. You’re a writer – you know what we mean.

At the end of the day, of course, the success of a story comes down to the judgement of the individual reader and it’s impossible to tell what one person will like over another. The stronger your narrative however, and the stronger the cultural element, the greater your chances of getting through to the short-list. To get a feel for the type of stories that were successful in previous competitions (and the context behind them) we strongly advise downloading a free digital copy of previous Irish Imbas: Celtic Mythology Collections at the Irish Imbas Bookshop. These can also be found free of charge at most other ebookstores.

The Process and Important Dates

1. Submitted stories will be read and assessed and a shortlist compiled.

2. A panel of judges will score each shortlisted story and choose the top three prize-winning stories. A selection of the top 5-10 scoring stories will be published in the 2018 Irish Imbas: Celtic Mythology Collection. In this respect, Irish Imbas Books retains one-time, non-exclusive publication rights to the selected entries chosen for publication.

3. Submissions will be accepted from midnight 2 September 2017 to midnight 10 December 2017.

4. This will be an annual competition so any submission received after midnight 10 December 2017 will be automatically entered into the competition for the following year.

5. The shortlist will be announced on irishimbasbooks.com, on the Irish Imbas Books Facebook page and on the Irish Imbas Books Twitter feed [@ImbasInfo] before 31 January 2018.

6. Winners will be contacted by email.

7. Prize money will be paid to the authors of the three prize-winning stories in February/March 2018.

8. The Irish Imbas: Celtic Mythology Collection 2018 will be released in March/April 2018.


Terms and Conditions

  • Irish Imbas Books reserves the right to decline a story for entry to the competition for any reason at its absolute discretion.
  • All successful authors will be contacted by email.
  • The judges’ decision is final and no correspondence will be entered into once the winners have been announced.
  • By submitting a story to the competition the author warrants that the story is original, and entirely the author’s own work. The author warrants that the story they have entered does not infringe the copyright or any other rights of any third party and is not libellous, unlawful or defamatory of any living person or corporate body.
  • By submitting a story to the Irish Imbas Books Celtic Mythology Short Story Competition the author acknowledges that, free of any fees or royalty payments, their short story and biography:
    • will be made available for publication in the Irish Imbas Celtic Mythology Collection (digital and hard copy version);
    • can be used (in whole or in part) in advertising and marketing material in any format via any medium for the purposes of this competition
  • By entering the competition you agree that Irish Imbas Books may email you with news of subsequent competitions). We hate spam as much as anyone so any email sent to you will enable you to unsubscribe at any time.

How to Enter

The entry fee can be paid by credit card via Paypal using the form below.


 

Number of Stories



Following payment, submissions must be sent by email as attachments (i.e. not in the body of the mail) to: info@irishimbas.com . See full details in The Rules below.

Submission of an entry is taken as acceptance of all the Rules, Terms and Conditions. Failure to comply with the rules could mean you are disqualified. Although we would not do so arbitrarily, Irish Imbas Books reserves the right to update the terms and conditions at any time.

The Rules

  • Maximum number of words is 4000 words, excluding the title.
  • Submissions must be received by midnight 10 December 2017. Submissions received after that date will be automatically enrolled in the 2018 competition and the same conditions apply.
  • Submissions must be in English
  • The competition is open to authors residing anywhere in the world.
  • The submitted stories must be the original work of the entrant.
  • The submitted stories must not have been previously published (print or online). If you receive a prize and/or are published as part of this competition, we’re more than happy for you to resubmit your story for publication elsewhere, provided we retain one-time, non-exclusive publication rights to the story for the Irish Imbas Celtic Mythology Collection
  • Authors will retain copyright of their submitted stories.
  • Authors can submit up to three stories maximum however each author can only win one cash prize.
  • Submissions must be sent by email as attachments (i.e. not in the body of the mail) to: info@irishimbas.com
  • Submissions should include:
    • The submitted short story(ies) as attachments – Word documents in doc. or docx.
    • Your name and address in the body of the email
    • The transaction ID of your Paypal entry fee payment
    • A short biography (maximum 300 words) in the body of the email (to be used in the Irish Imbas Celtic Mythology Collection)
  • The email subject line should contain the words: ‘Irish Imbas Short Story Competition Entry – Author Name’.
  • Judges are only human so if the fonts you use are difficult for judges to read, your entry is likely to suffer as a result. Therefore, please ensure submissions use clear, simple fonts (Times New Roman, Georgia or Arial)
  • There is a $US 7 (seven US dollars) entry fee for 1 (one) entry, a $US 12 (twelve dollars US) entry fee for 2 (two) entries and a $USD 15 (fifteen US dollars) entry fee for 3 (three) entries. Please pay BEFORE sending your entry.
  • Submission of a short story to the Irish Imbas Celtic Mythology Short Story Competition is taken as acceptance of all the Rules, Terms and Conditions.
  • Once a submission is received, no refunds of the entry fee will be given under any circumstances.

The photo used above was by Chris Campbell: creativemarket.com/chrisjoelcampbell

I Don’t Believe in Countries

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Over the last few years, I’ve slowly ceased to believe in ‘countries’. Nations and borders always have been an artificial construct, basically created in the past by ruling dynasties to maintain power over a territory. I can’t think of many examples where they were actually intended to represent the population that actually resided within its borders. The only exception to this are those smaller ‘countries’ who broke away from larger ‘countries’ who did not represent them or failed to recognise their culture (think Bosnia and Herzegovina and other states who broke up from Yugoslavia, East Timor which separated from Indonesia, Kosovo, Ukraine etc.). In fact, 34 new countries have been created since 1990.

The concept of a country seems to serve exclusive minorities because it allows a large population to be structure and controlled, often to their own detriment. That’s why some nationalist governments (the new ruling classes) continue to condition their young, programming them to obtain an emotional response from a waving flag or the tune of a national anthem. People are essentially trained to love their country without questioning why.

From an early age, we’re encouraged to adhere to a false concept – that we’re part of some mutually beneficial collective or brotherhood. Here in New Zealand, there’s currently a laughable attempt by the government to divert attention from its poor management of the country by trying to rally interest in the design of a new national flag. Unfortunately for them, it’s like the party that nobody turns up to. People actually aren’t that stupid, despite the money desperately being thrown at it.

It’s true that some countries have populations of a similar cultural background and heritage. Ireland is a classic example of this, particularly as our island status ensured a relatively consistent cultural system over the centuries. Northern Ireland of course is the exception. Planted with a new population that had different belief systems to the existing system, such an act was bound to create adversity and violence. It’ll take a few more generations to smooth that particular wrinkle out but it is inevitable (despite what politicians with their own agenda tell you).

When you see growing inequality within a nation, when your ‘countryman’ is more than happy to screw you for his own personal benefit, you have to ask yourself if you really want to be associated with that particular grouping?

If you’re someone who flies your national flag outside your house – something I confess to having done in the past – you might want to consider the potential that you’ve been manipulated.

Final Cover for Liath Luachra – The Grey One

Liath Luachra cover

Some months ago I mentioned that I was writing a prequel to the Fionn mac Cumhaill series entitled Liath Luachra – The Friendly Ones. The latter part of that title referred to the mercenary group Na Cinéaltaí (The Friendly Ones) originally mentioned in FIONN: Defence of Ráth Bládhma and to which the character Liath Luachra had at one point belonged. After some feedback from various people, the title name was changed to Liath Luachra – The Grey One and the final cover completed (at last!).

Some of you will have recognised An Grianàn Ailigh (the Grianán of Aileach) there in the background. An ancient stone structure up in Donegal that’s believed to date back to around 1700 B.C.,  I passed it by on my way to visit the ever-amazing Mel and Ruairidh last year. For the purpose of the the story, I actually transferred the Grianàn south and east to northern Leinster. It’s a pretty amazing place with spectacular views that I’ll write about again at some stage.

This particular book basically came about about as I was keen to explore some research I’d carried out on tribal dynamics and on the use of fian (the original word for a ‘war party’ but also the word that later became ‘fianna’) in pre-fifth century Ireland. I was also keen to provide some additional background context to the character of Liath Luachra in the Fionn mac Cumhaill series.

The book currently has it’s own page on this site and although it won’t be released until September/ October this year, I will be putting a sample chapter up in the next two weeks or so.

The back cover blurb reads as follows:

Liath Luachra – The Grey One
Ireland 188 A.D. A land of tribal affiliations, secret alliances and treacherous rivalries.
Youthful woman warrior Liath Luachra has survived two brutal years with mercenary war party “The Friendly Ones” but now the winds are shifting.

Dispatched on a murderous errand where nothing is as it seems, she must survive a group of treacherous comrades, the unwanted advances of her battle leader and a personal history that might be her own undoing.

Clanless and friendless, she can count on nothing but her wits, her fighting skills and her natural ferocity to see her through.

Woman warrior, survivor, killer and future guardian to Irish hero Fionn mac Cumhail – this is her story.

————————————————————————

To be honest, it always feels a bit weird doing the whole back cover blurb thing. Obviously, you want to give people some idea what the book’s about and try to make it sound interesting (with a limited number of words). At the same time though, it’s hard not to find yourself falling into cliché. To my ear, the blurb often rings wincingly melodramatic at times. I guess this was as good as I could make it without taking it all WAAAYY too seriously.

Hope you enjoy!

The Moving Statues and Me

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When people talk of 1985 in Ireland, a lot of them mention how awful the weather was that summer. Oddly enough, for me it was one of the brightest and sunniest summers I can recall. It’s all down to perspective, of course. In the summer of 1985, I was in Kinsale, a beautiful seaside town/ tourist centre on the Cork coast. Having completed my university exams (successfully, for once!), I’d been unable to find work (Ireland was in mid-recession at the time) and a result, I was living on my Dad’s boat on Kinsale marina. I had a whole summer of sailing, drinking and partying ahead of me and I was blissfully unaware of the storm blowing in from about five miles off to the south west, a storm that was about to set the country alight.

The story of the moving statues started in Ballinspittle one evening in July. I have memories of meeting a French girl I really liked so around that time so I was desperately preoccupied trying to win her affections. Over in Ballinspittle however, two local girls had just told their parents they’d seen a roadside statue of the Virgin Mary move while they were praying. Most people who’ve been to Ireland will be familiar with these roadside grottos and their statues of the Virgin Mary. There are hundreds of these statues dotting the country in all sorts of places as a result of the religious fervor during the Marian Year in the 1950s.

By late July, the French girl was well gone, continuing her tourist trip around Ireland. I consoled myself by sailing with my family at the Schull and Baltimore regattas and then returning to skim around Kinsale harbour on my Lazer (a very fast and fun one-man sailing dinghy). Most nights, I’d end up drinking at a friend’s house (or at my cousins) as I rarely had enough money to actually get to a pub. By then, people were already talking about the “Ballinspittle Miracle” and the small groups of four or five congregating around the grotto. By the time I got back from Schull a week or two later, the Cork Examiner was reporting on the matter at length. The one thing that really indicated how serious things were getting however, was the sudden and startling presence of a double decker bus on the tiny streets of Kinsale as it brought the faithful down from Cork city to see the miracle.

Looking back now, in many respects it seems strange that nobody really took notice or reacted to the event for such a long time. I guess, the truth is that most of us kind of took it for granted. Miracles weren’t exactly unheard of. In Ireland, we’d always been raised with tales of the miracle up at the Knock shrine in Mayo. My parents – and most of my friends’ parents – had visited Lourdes or Fatima at least once to see the miracle sites there. I don’t think my friends were ‘believers’ by any stretch of the imagination but our generation had been raised to adhere to the beliefs of those that preceded us. The interesting thing was that although we accepted their religious beliefs, we were never truly confronted with them (not, really). They were our parents’ “thing”, not ours and we were fortunate in that we had sufficient freedom that they didn’t really touch us as much.

In August, the country started to get a bit crazy when a Marian statue was reported moving at the grotto in Mount Melleray (County Waterford). The papers picked up the story and connected it with Ballinspittle and almost immediately, competing Marian statues started shifting at thirty other grottos around the country. Everybody was now talking about it – mockingly or fervently – and it was becoming a phenomenon that could no longer be ignored. A tangible religious fervor was picking up amongst the more fanatical believers although the developing sceptics movement was just as strong. Thousands of people had started to gather at Ballinspittle every Sunday, although it has to be said that not all of them were believers. A large proportion were going out of sheer curiosity, for the craic, or simply to take the piss (something not unheard of in Ireland).

Even at the time, feckless youth that I was, I remember being surprised that the Catholic Church were so silent on the whole matter, refusing to be drawn on whether this was a genuine miracle or not. Fortunately, I’d discovered the joys of sex by then. That and the sheer physical pleasure of skimming across the waves in the Kinsale’s outer harbour held much more appeal than discussing the theological strangeness of moving statues although the subject seemed impossible to ignore. At this stage, reports of moving statues were on the television every night and public opinion seemed to be polarised predominantly along the lines of:

  • Yes, this is some kind of supernatural event and God is sending us a message (we’re just not exactly sure what it is)
  • No, it’s all an illusion driven by religious hysteria

Keen to get in on the action, a group of scientists from University College Cork (the Psychology Department) declared that the visions were either optical illusions caused by staring at static objects too hard in the evening light or a general psychological and sociological reaction to the recession, the crippling unemployment, the wet summer (WTF? It’s raining?!). Given the fact that I was actually studying Science at University College Cork, I was immediately skeptical, although for no particularly strong reason. I ‘knew’ many of the scientific ‘experts’ (albeit more for their personal foibles than for their professional competence and when you know people in one light it’s hard to accept them in another). To be honest, I suppose that even back then I was something of a cynic. Personal experience with both groups meant that I distrusted the religious ‘experts’ just as much as I distrusted the scientific ‘experts’.

In September, the situation took a sharp turn off Bizzare Street to career precariously down Wierdo Avenue. Up in Culleens (County Sligo), another moving statue had been spotted and strange things had started to appear in the sky. People were reporting ‘red balls of fire’ and ‘lights descending from the sky’ and for a moment, attention switched away from Ballinspittle. One night, watching the Late Late Show, I saw an interview with some local boy talking wide-eyed about ‘angels in the sky’ (the actual interview can still be found here: http://oldportal.euscreen.eu/play.jsp?id=EUS_F2B237A5C9B1497786593EBDF0F4B31F).

Even then, I felt things were balancing precariously on the hysterical. Despite this, another two or three weeks passed without major event. Life went on. Leaving the freedom of Kinsale behind, I returned to University for another gruelling year of study and socialising. The weather grew colder, it rained more often. Slowly, but surely, the statues started to reclaim their immobile pedestals. Despite the transfer of attention to Sligo and the subsequent ‘statue fatigue’, crowds of people (markedly smaller) kept flocking to Ballinspittle but it was clear the party was drawing to a close.

On Halloween (October 31st), it all flared back to life again when the Ballinspittle statue was attacked by three men wielding axes and hammers. Destroyed in front of a number of praying onlookers, the men (led by a man called Robert Draper) were arrested by Gardaí and the ensuing court case filled the headlines for weeks. The three men were some opposing religious group who disbelieved in praying to false idols. Like all fanatics, rather than protesting or getting their own message across though peaceful means, they’d taken it upon themselves to ensure nobody else could pray to them either. Despite boasting publically of what they’d done, the men were never sentenced. This caused immense resentment but the response was remarkably restrained (apart from a number of broken windows at Draper’s home). Apparently, buoyed by success, Draper went on a roll smashing other statues and ended up doing six months in prison in 1987. Whatever you believe however, following the Draper attack, I’ve not heard of the Ballinspittle statue ever moving again. Things went all quiet and the resulting silence was ear-splitting.

Thirty years have passed since the whole Moving Statues event and yet, despite all the weirdness, the thing I find most striking is the total silence surrounding the topic since 1985. In some respects, it’s as though it never happened. Loathe to be ridiculed, few people are willing to discuss the subject (although there have been one or two small documentaries where the original witnesses were sticking strongly to their stories). To be honest, to this day, I still don’t completely understand the madness that overtook the country.

A few years ago, when I was back home I finally went down to the grotto in Ballinspittle. Ironically, despite everything (and the fact that I was living just a few miles up the road) I’d never actually got around to visiting the site of all the action. On two separate occasions, I’d actually been invited to join a group of friends going over to the statue for a ‘squizz’ but on both, I’d declined. The first time, because I was still chasing the French girl, the second because of more ‘generic’ party reasons. I’ve never really regretted either decision.

It was early morning when I got there. I’d driven over from Kinsale where I’d spent the night revisiting some old friends and some old haunts and I was in a melancholic state of mind. Conscious of the fact that my plane back to New Zealand was in two days time, I was feeling ‘homesick’ although in hindsight, I think it was a homesickness for my youth and the freedom I’d enjoyed in Kinsale rather than for my country.

The grotto is actually a pretty place that reminds me of my childhood, with its white balustrade and blue concrete letters reading “The Immaculate Conception”. The new statue has small electric bulbs around its head in the form of a halo. Because it was so early, there was no-one else around although I’m not sure if people still come here anymore. Before I hopped into the car to drive back to Cork, I looked up at the statue one last time, waved and shouted goodbye.

But it didn’t move.

Magic Roads in Ireland

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The Magic Hill up in Louth (or ‘The Angel’s Highway’ as it’s sometimes called) is one of a number of magic roads in Ireland where, if you park at the ‘bottom’ of the hill, turn of the engine and shift it out of gear, your car will actually run back uphill.

Magic roads are, in fact, what are sometimes referred to as ‘gravity roads’ (that’s an area where the landscape creates an optical illusion so that a downhill slope actually looks like an uphill slope). There are actually quite a number of such places around the world (and there’s a least three of them in Ireland that I’m aware of). Most have their own folklore associated with them although most of that lore is usually derived after the invention of the motorcar.

When my Dad took us on our very memorable trip to Dundalk (county Louth, we went to see the magic road there and there’s an amusing summary of it here on youtube: http://talkofthetown.ie/2014/02/25/the-real-magic-hill/

It’s hardly deep, intellectual folklore but it’s great craic!!

Liath Luachra – The Grey One

Ireland 188 A.D. A land of tribal affiliations, secret alliances and treacherous rivalries.
Youthful woman warrior Liath Luachra has survived two brutal years with mercenary war party “The Friendly Ones” but now the winds are shifting.

Dispatched on a murderous errand where nothing is as it seems, she must survive a group of treacherous comrades, the unwanted advances of her battle leader and a personal history that might be her own undoing. Clanless and friendless, she can count on nothing but her wits, her fighting skills and her natural ferocity to see her through.

Woman warrior, survivor, killer and future guardian to Irish hero Fionn mac Cumhaill – this is her story.

Dark, dangerous and strikingly original.”

FIONN: The Adversary

The Fionn mac Cumhaill Series – Book Three

Ireland: 198 A.D. The druid Bodhmhall and her nephew Demne have survived a bloody ambush but the cost has been substantial. The Ráth Bládhma allies have been decimated and the ragged survivors lie strung along the banks of a harsh river valley.

With their pursuers closing in.

Despite the odds, Bodhmhall must reach the fortress of Dún Baoiscne where the shadows of her childhood await her. Only there can she confront her tribal competitors, her scheming father and finally unearth the identity of the mysterious Adversary.

The woman warrior Liath Luachra however, pushed to the edge of her abilities, has a more direct approach in mind.

The future is balanced on a precarious sword edge. No-one will escape unscathed.

Based on the ancient Fenian Cycle texts, the Fionn mac Cumhaill Series recounts the fascinating and pulse-pounding tale of the birth and adventures of Ireland’s greatest hero, Fionn mac Cumhaill.

This book includes the following EXTRA CONTENT:

  • a glossary with explanations of ancient Irish cultural concepts
  • historical notes on the Fenian Cycle
  • a pronunciation guide and links to an online audio pronunciation guide

Liath Luachra – The Grey One (Initial Draft of Cover)

Liath Luachra 03

2015 has been a bit of a tough year on the work front so far but I’m pleased to say that we’re actually making good progress on the book and website fronts (amongst others).

At this stage, I’m approximately two thirds of the way through Liath Luachra – The Grey One (which is something of a prequel to the Fionn Mac Cumhal Series). I usually find that by the fifth chapter, the plot lines are cohesive but that I need to go back and rewrite/amend some of the earlier sections to ensure the linear flow of the narrative. This tends to delay the completion but it really is the most important part for me in terms of ‘plot quality’ so getting over that ‘hump’ is important. Everything after this feels like “walking downhill” (as one of the Ents in LOTR says).

I know other writers are much more focussed in terms of outlining their plot but I find that when I do that, the emotional resonance of the story tends to falter. Everyone has their own way of doing things, I guess.

Word count with Liath Luachra at this point is 54000 words or thereabout. I realise some people are waiting for Fionn 3: The Adversary but I needed to get this story done first as part of it is relevant to  the plotting in the latter. Fionn 3 is sitting at about 48000 words. Both will definitely be complete in the last quarter of 2015.

The above is an early draft of the cover image for Liath Luachra but the finished version is quite different. I’ll be putting out the back cover blurb (the summary of the plot) next week with an updated version.

Thank you for being patient with the – ahem – creative process!

(My Writing) Update on new Writing Projects

Metaphysical sweat pouring from the brow over the last three weeks due to huge workloads in other – non-writing – areas. Hence, the great silence for such a long time. A brief post this week therefore, just to share some of the background work going on in the covers for Fionn Book 3: The Adversary.

I really like working on book covers. Visual design is a new creative skill for me (and one I’m not particularly good at). Hence, I love to dabble and work with people who are. Here, for your interest, is one of the early proposals for Fionn III.

The Adversary 04

 

Giggling Stones near Beara

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There really are few activities more fun than skimming stones with your kids. In Irish, to skim stones is ‘sciotar uisce a dheanamh’ which is where the anglicised word ‘skittering’ comes from (i.e. sciotar). What I really love about the Gaelic though, is that ‘sciotar‘ is also the word for ‘giggle’ or ‘titter’. In my head whenever I see the stone hit the water I see it producing a giggle – probably completely deluded but, sure, there you go!

The attached video was taken back in 2011 when I took my kids down to Loch an Ghleanna Mhóir to teach them how to make water giggle. It’s nice to be able to pass on these … er … practical skills that they can utilise for the rest of their lives.  They now know how to use saighdiúrí (soldiers – another post, I’m afraid), suck Fiúise (Fuschia) and pop lus mór (foxglove) so that’s the next generation sorted.

My work here is done!

 

Tiring of the Heart

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Tuirse croí – literally, ‘tiring of the heart’ – is a wearing down of the spirit or the soul or whatever you want to call it. It’s not really a state that’s easy to define or classify as it changes all the time, depending on circumstances, and tends to be driven by the intangibles in our lives (pressure to succeed, familial expectations, societal expectations etc.).

In some ways, it’s similar to another term ‘lagar spride’ (literally ‘weakness of the spirit’) which is the official translation for the English word ‘depression’. Both terms absolutely suck.

Lagar spride uses the word ‘weakness’ which is hardly positive or supportive. The English word – depression – is more of a clinical term which has been incorporated into everyday speech and gives the impression of a ‘drop’ in ‘spirits’ that needs to be remedied.

In my limited experience, tuirse croí is brought on through a gradual erosion of a person’s self-confidence by events or circumstances outside of that person’s control. In that respect, the Irish language concept is so much better than the English one because in Irish you’d say tuirse croí orm / tuirse croí air (I have tuirse croí on me/ he has tuirse croí on him). This really incorporates the understanding that it’s a transitory thing that’s ‘on you’, not a specific state of being.

In modern society, tuirse croí seems increasingly because, I suspect, as individuals we’re exposed to more intangible pressures than at any other time in the history of humankind (through the constant pressure of connection with mobile phones, saturation by social media, marketing etc.). I’m certainly no expert in these matters but I can’t help thinking that the Irish approach to understanding these pressures and issues would be so much better than what exists in the English-speaking world at present.

And, no – before you ask – fortunately, níl tuirse croí orm.

Update on Forthcoming Productions

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Winter is coming.

Not that you’d know it in Wellington at the moment with all the gorgeous weather. Despite this though, the days are getting shorter, it’s darker in the mornings and at night. Meanwhile, there’s lots of quiet industry going on in the downstairs office.

I thought it might be useful if I gave a quick update on where things are at in terms of …. eh … upcoming productions. People have been hounding me for the third Fionn book for a while now (not to mind Beara 2 which I still feel pretty bad about having to put aside). So, here’s the plan.

Fionn 3: The Adversary

I completed chapter 5 of this, last week. I have bits and pieces of 6 and 7 written but they need to go through the narrative melding process. My target for publication was June this year and although I’m still working to that, work and family responsibilities mean it’s probably going to be more like July/Aug. This isn’t helped by the fact that this looks like it might be a longer book than 1 or 2. It covers quite a lot of Bodhmhall’s background story (much of it is centred around Dún Baoiscne and her relationship with her father) as well as the ongoing narrative.

Liath Luachra: The Kindly Ones

I just completed chapter four of this manuscript tonight. It’s essentially a kind of prequel to the Fionn series and focusses on the backstory of the character, Liath Luachra. Given the complexity of this particular character, I felt she needed a full story to herself and it was one I needed to complete in order to clarify some of the plot points that pop up in Fionn 3.

Oh, and yes, I should warn you it’s slightly darker than the other books in the series.

The story here is a  very much a stand alone one concerning Liath Luachra’s days with Na Cinéaltaí  – the Friendly Ones – the mercenary group she was part of prior to meeting Bodhmhall us Baoiscne and the events in Fionn: Defence of Ráth Bládhma. She doesn’t actually encounter Bodhmhall in this particular story as I wanted to focus on my research on fian (war parties) and tribal dynamics – particularly for those individuals who, through no fault of their own, weren’t actually part of a tribe.  I have left scope for a sequel to this but that’s low on the list of priorities for the moment.

Non-Fiction Book

This is a book I’ve been wanting to write for several years. If you’ve read my blog you’ll know that I see myself more as an amateur folklorist/historian  than a writer and over the years I’ve spent researching Irish culture and heritage, there are a number of things I’ve discovered that I’m really keen to pass on. These are the kinds of things which I – in my great wisdom – believe are increasingly important but which nobody else seems to understand or even consider. Anyway, if I do succeed in writing it and publishing it, it’ll probably be the most important thing I’ve ever done.

Well that’s one person anyway!

In terms of timeline, I think it’ll be late next year before this is published as there are a few items I still need to get clear in my head so I can articulate them clearly.

Beara 2:

Ah, yes! The guilty conscience.

I have to confess, the Fionn series is great to write as it allows me to work through and introduce a lot of ancient cultural concepts, Gaelic vocabulary and elements of history that people wouldn’t normally get to hear or think about. For me, though, the Beara Trilogy is really where the intellectual grey pedal hits the cultural metal (Yes, sorry. Talk about forced metaphors! It’s late. I’m tired.)

The plot for Beara 2 is pretty much outlined in my head but I didn’t want to leave Fionn readers in the lurch with a cliff hanger, hence the rationale for finishing Fionn 3 first. This will be the next thing I launch into after the first two books are completed.

Fionn: The Stalking Silence – Audiobook

I’ve been planning to do a pilot audiobook for some time and I’m pretty sure that this will finally occur before Christmas this year. Naturally, I’m using this book as the pilot because it’s (a) short (b) stand-alone and (c) I have the audio style already mapped out in my head. This is really just a fun project for me – a chance to play around and do something different so please just bear with me. Like the book Fionn: The Stalking Silence (Kindle) and Fionn: The Stalking Silence (Smashwords), this will be a freebie I’ll probably make available on this site.

Anyway, that’s as much as I know at the moment. Apologies if you visited looking for some insightful commentary on Irish cultural folklore.