The first reviews from the paperback are just starting to trickle in. Usually, by the time I release a book I’m far too close to tell if its any good or not. As a result, it’s always a bit of a relief to find the reviews are positive.
The digital version gets released on on 15 December.
The first review from Padraig O’Mahony can be found here:
The second review, from Wayne McAuliffe is here:
Huge thanks to Wayne and Padraig. Go raibh mile maith agaibh!
All going well, I’m aiming to have this out in Oct/Nov 2023.
This current arc develops the ongoing direction of the series a little further. Demne/Fionn – the titular hero – is growing up and takes a more proactive role in the adventures but his three guardians (his aunt Bodhmhall, the woman warrior Liath Luachra, and the gregarious Fiacial mac Codhna) have their work cut out for them as they try to identify who’s behind the latest threat against their charge.
Cue more adventure, betrayals, and violence with a sprinkling of friendships and romance.
One of the early variations from artist Brian Mahy when developing the cover for Liath Luachra: The Seeking.
This was at a point where we were still playing with the colour palette and we hadn’t reached the final ‘look’. I’d asked Bryan to get me a somewhat shocking/bracing cover that reflected the anger/frustration of the character and his final version image certainly delivered.
So much so, that Facebook banned the image from its shop front (one of the many reasons I don’t bother adding anything new there). Hilariously, the initial reason given was because they didn’t permit the sale of animals (the screening programme thought she was a zebra). When I appealed that, the decided the image was too lewd.
That’s why I love running this on their newsfeed (where such apparently lofty regulations appear to be dispensed with)!
Macnas have put together another impressive art creation for the Halloween celebrations in Galway (down at Fisheries Field, on the banks of the River Corrib) this year. It’s accessible on Saturday 29th & Sunday 30th October. [Images from Macnas]
The blurb is as follows:
Inventors and explorers from all over the world are baffled by startling evidence of an ancient giant living underneath the Fisheries Field in Galway city. Professor Marjorie Morrigan, an expert on “Giants & Where They Come From”, reported – “This giant seems to have been here for centuries. There is a very large iron nose, so big and rusty, you could park a car in one of the nostrils.”
Professor Marjorie Morrigan went on to confirm that this big giant is called Con Mór and originates from the ancient ‘Island of Giants’ off the coast of Connaught. Con Mór was so famous across Ireland for his love of birds and nature, his friends used to call him ‘The Bird King.
Some of the fantasists are probably going to miss the fact that this is a production with kids in mind, so I’ll just clarify here … This is not true!
The 4th book in the Fionn mac Cumhaill Series (Fionn: The Stranger at Mullán Bán) is now a close to final draft (another three to four weeks are required to complete the reviewing and editing process).
Irish Imbas Patreon supporters should be contacted by the end of October. The book gets officially released on 14 December.
I don’t know how many readers have been following that LOTR spin-off (‘The Rings of Power’) but from an Irish perspective, I can tell you that a lot of people are angry at the creators’ appropriation of Irish accents for their Hobbit/Hapfoot (or whatever they’re called) characters.
Misrepresentation of someone else’s culture has a longer-term detrimental impact on that culture when it occurs on a sufficiently large scale – definitely the case with Irish culture. The fact that the Amazon show runners have demonstrated such little understanding or appreciation of the Irish struggle to shuck off the impact from centuries of colonization (and the undermining of our culture) is incredibly disappointing.
I really get the sense that this one was really that ‘step too far’ and its going to come back and bite fantasy creators on the butt.
Irish people are often told by such creators that this misuse of their culture is ‘in homage’.
As a result, I’ve decided to make a little homage of my own with this short, sharp review of the Rings of Power Series.
I’m just in the process of completing the last chapter in Fionn: Stranger at Mullán Bánand felt it might be timely to offer a small taster of what that book will be about.
For those of you who’ve been following this series, the events in this fourth book take place six years after Fionn: The Adversary. By now, the settlement of Ráth Bládhma is well-established, even if it’s inhabitants are still haunted by the unknown forces arrayed against over the previous three books. Demne – soon to be Fionn – is now a young teenager and dealing with the ramifications of drastic actions to keep him safe. Bodhmhall, meanwhile, continues to lead the growing settlement while dealing with her Gift and the disturbing premonitions it continues to send her.
Liath Luachra, meanwhile, continues to roam the wild, hunting and teaching the younger members of Ráth Bládhma … where this story begins
It was a death-sun that revealed the strangers’ tracks, south-east of the Bládhma mountains. Sliding in on the heel of dusk, its slanted glare cast a bloodstained hue that clearly illuminated the broad spread of footprints. Liath Luachra, the Grey One of Luachair, regarded them in silence, her expression grave and hard as stone. In all her years travelling that isolated territory, she’d never once encountered evidence of another person’s passage. To find such a number, and such a diversity, of tracks all at once, made her stomach muscles clench in unease.
Kneeling beside the nearest footprint, she chewed on the inner tissue of her left cheek and glanced warily around at the surrounding forest. The dense vegetation meant there was little enough to see: a series of endless dark walls where tall oak trees layered the ridges to the north and south, the distant blur of the Bládhma mountains peeking above the canopy to the east. Within that landscape however, there was no sign of movement or anything else out of the ordinary.
Reassured by the absence of any immediate danger, the woman warrior bent closer, probing the footprint’s shallow depth with the fingers of her right hand. Conscious that the early evening sunlight would soon be fading to grey, she scraped a piece of dirt free, raised it to her nose and sniffed.
It smelled, naturally enough, of earth.
Of The Great Mother’s moist and muddy breath.
Tossing the gritty residue aside, she wiped her hand on the leather leggings that hugged her haunches and considered the two boys who stood nervously to her right. Bran, with almost seventeen years on him, was more youth than boy and by nature tended to solemnity. That sombre temperament was evident now in the furrows that lined his forehead and the nervous manner in which he chewed at his fingernails while studying the erratic mesh of tracks. The youth was visibly troubled by the prospect of strangers in Bládhma territory. He might not have been able to remember the full detail of his parents’ brutal murder at Ráth Dearg fourteen years earlier, but he was certainly old enough to realise that incursions like this didn’t bode well for anyone.
‘Who are they, Grey One?’
The younger boy, the dark-haired Rónán, had little more than seven years on him but was markedly more upbeat than his friend. Despite being burdened with a wicker backpack full of pork and venison cuts – the prize from a successful hunt in the Drothan valley – he stared down at the scattered tracks with unbridled excitement.
The woman warrior shrugged dispassionately. ‘Read the story in the Great Mother’s mantle. Read what the earth tells you and tell me what you see.’
The dark-haired boy reacted to the suggestion with his usual animation, nodding fervently as he moved closer to the tracks. Ever keen to accompany the woman warrior on her forays into the Great Wild, he invariably responded to such tests with enthusiasm. Crouching alongside her, features fixed into a frown, he chewed on the inside of his own cheek in unconscious mimicry as he studied the tracks. His long hair was held from his eyes by a leather headband, but several strands had worked free, and he brushed them away with an irritated gesture.
Liath Luachra watched as his gaze fixed on the single footprint in front of him before transferring to the jumbled network of other tracks that surrounded them.
He’s just like Bearach. Happy, eager as a puppy.
She suppressed that thought immediately, burying it deep in a dark place where she rarely chose to venture. Some memories were best embedded in dark caverns, places best avoided, crannies where it was wiser not to light a torch for fear of what you’d see.
‘There’s five or six sets of tracks,’ noted Rónán. ‘The prints are spaced wide apart so they’re travelling fast.’
She nodded, pleased by the keenness of his observation.
‘They’re headed east.’
She inclined her head to her left shoulder but made no response. That fact was plain enough to see from the direction in which the tracks were pointing.
Sensing that he’d disappointed her, the boy tried again. ‘They’re men,’ he said warily, as though not entirely convinced of his own conclusion.
Again, easy enough to work out from the breadth of the imprints and the depths of their impressions.
‘Yes,’ she pressed. ‘But what else? What’s the pattern?’
Rónán looked down at the prints once more. Unable to distinguish any obvious configuration, he threw an anxious glance towards Bran, but the youth had already turned away, focussed on other, more distant tracks.
Realising there was little succour to be had from that quarter, Rónán turned back to scrutinise the nearest imprint, bending to examine it more closely in the fading light. Despite further study however, his efforts garnered no fresh intuition. Finally, raising his eyes to the woman warrior, he conceded defeat with a frustrated shake of his head.
By then, Liath Luachra had already changed position, moving away to lean against a holly tree, her backpack pressed against the coarse trunk to take some of the weight from her back and shoulders. She was looking towards the dying sun when she caught the movement of his head from the corner of her eye and, squinting against the ruddy light, turned back to consider him with an impassive regard.
‘It’s a tóraíocht. A pursuit.’ She shifted to adjust the balance of the backpack against her shoulders. ‘A group of men is chasing a single man, a solitary traveller from the looks of it.’
She gestured towards a particular line of tracks that had a visibly different appearance to the others.
‘See how those footprints look older? The edges of the prints are friable, the flat sections drier. All the other tracks are still damp because they haven’t fully dried out. That means they were made more recently, probably just a little earlier this afternoon.’
Rónán thought that explanation through for several moments before raising his eyes to look at her, his lips turned down in a frown. ‘Why are they chasing the single traveller?’
The woman warrior shrugged. ‘I don’t know. The Great Mother only ever reveals part of the stories of those traversing her mantle.’
Bran, who’d turned back to observe their interaction in silence, cleared his throat and shifted his weight awkwardly from one leg to another. ‘Grey One. If they’re travelling east, they’ll strike Ráth Bládhma.’
Liath Luachra rubbed her nose and sniffed.
‘Perhaps. Perhaps not. Just because the tracks here show them moving east, that doesn’t necessarily mean they’ll continue in that direction.’ She gestured loosely towards the forested ridges north and south of where they were standing. ‘In the confines of this landscape, it makes sense for the intruders to travel east but they might well drift to a different course once the ridges drop and the land opens out.’
Bran kept his eyes lowered and he made no response, but she sensed he was unconvinced by the argument.
Sighing, the Grey One stepped away from the tree, grunting as the full weight of the backpack settled back down on her shoulders. ‘Rest easy. Our own course to An Poll Mór follows their trail for a time yet. If they veer off the eastern path, we’ll know they’re no threat to Ráth Bládhma.’
‘What if they don’t veer off?’ asked Rónán. ‘That …’ The woman warrior gave another noncommittal shrug. ‘That’s an issue we’ll address if we come to it.
This beautiful painting is entitled “Oisin Rides to the Land of Youth”. Painted in 1936 by American artist Newell Convers Wyeth. it represents a more Anglophile view of Irish mythology that many non-Irish creators continue to produce today.
You can’t fault Convers Wyeth however. A talented illustrator and painter, he produced a huge body of work in his time. This included well over a hundred ‘action/adventure’ style images for book covers.
The first book of the Irish Woman Warrior Series has been on a trial sale for the last two weeks but this will soon be coming to a close.
Liath Luachra: The Grey One is probably the favourite book (and Liath Luachra is the favourite character) of readers who follow my mythological adventure stories, so if you want to get a ridiculously cheap introduction to her, you only have a few days left.
Set against a backdrop of encroaching forest, mythic ruins and treacherous tribal politics, the Irish Woman Warrior Series (or the’ Liath Luachra Series’) is a series of books based on the adventures of the woman warrior Liath Luachra and her mercenary fian (war party), Na Cinéaltaí (The Friendly Ones).
It tells the story of a damaged young woman who can count on nothing but her wits and fighting skills to see her through. Rising above the constraints of her status and overcoming her personal tragedies, she emerges Ireland’s greatest warrior and a protector whose influence lives on one thousand years later.
Some very strong portrayals of Gaelic culture in this image (the Tara broach, the tartan, the bodhrán etc.) but, in fact, this is from the Polish ‘Witcher’ Card Game.
The talented artist was Anton Nazarenko but it aligns with Sapkowski’s borrowing of other culture’s constructs. The naming patterns in the Witcher, for example, often include garbled mixings of Gaelic, French etc.
This charming story is associated with Áed Uaridnard, who was one of the senior Northern Uí Neill chieftains. According to the source, he was passing through monastic land controlled by Saint Muru when he stopped to wash in the river flowing through the town. As he did so one of his men warned him not to do so.
‘Oh, rí. Do not put that water on your face.’
‘Why not?’ asked the rí
‘I’m ashamed to say,’ he said.
‘What shame is on you for telling the truth?’ asked the rí.
It’s this. The clerics latrine is over the water.’
‘Is that where the cleric, himself, goes to defecate?’ asked the rí.
‘It is. indeed,’ said the youth.
‘Then, not only will I put it on my face,’ said the rí. ‘I’ll also put it in my mouth, and I’ll drink it – drinking three gulps of it – for the water his shit goes into is a sacrament to me.’
Obviously, this somewhat extreme example of piety reflects a fanatical sense of Christian dedication, but you’ve got to avoid the temptation of jumping on the anti-Christian outrage wagon to get your head around this particular story.
That said, there there are plenty of other valid reasons to be annoyed with Christian (and Wicca and Pagan and etc. etc.) interpretations of ancient Irish culture.
A blast from the past with this old post (and draft cover) from 2015.
At the time, I was still writing the first Liath Luachra book with the intention of using it as a prequel for the Fionn mac Cumhaill Series.
That plan went kinda sideways. After an initial lacklustre reception on it’s publication, more and more people started writing and asking for a second book. Four books (and a few short stories) later and the Liath Luachra series has now surpassed the popularity of the original series it was meant to introduce.
Add in subsequent screen options and the character seems ot have taken on a life of her own that I’d never really anticipated.
LIATH LUACHRA – THE GREY ONE (VERY EARLY DRAFT COVER)
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 Cumhaill 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 else after this feels like “walking downhill” (as one of the Ents in LOTR says)
This is a selection of some of the images I used when I was originally conceptualising the woman warrior Liath Luachra.
This particular set (from Spanish artist/photographer Lídia Vives) visually captured the savage/thoughtful aspect of the character and proved a helpful prompt when writing. I’ll probably be using these again for the next book (Liath Luachra: The Great Wild) – which will actually be a prequel to the Irish Woman Warrior Series, and involve the character when she’s far younger and far more feral.
I have a number of key scenes already sketched out and I’m looking forward to getting them down on paper.
A selection of production shots from Macnas’ ‘Gilgamesh’ (a Galway 2020 project). The final product was a short 20 minute movie, of which you can find various snippets online.
The Macnas visuals – as always – are sublime but I didn’t think the script worked particularly well. Given theat the original myth takes places in Mesopotamia, the Irish setting – albeit beautiful – also feels a little wrong.
You can try one of the visual snippets here: Gilgamesh
I got a bit of a shock today when a ‘Facebook Memory’ post alerted me to the fact that it was seven years since I’d published Fionn: The Adversary.
After that initial shock – and suddenly feeling very, very old – I was slightly mollified (and relieved) when I worked out that the post was actually referring to the online publication of the ‘cover image’ rather than the publication of the book itself … a mere (cough!) five years ago.
Despite the time that’s passed since publication, I do recall feeling a great sense of relief when I finally pressed the ‘release’ button and sent the finished product out into the void. As the third book in the series, Fionn: The Adversary completed the first of the two plot arcs I’d envisaged but it was something of a hard one to write due to the numerous plot lines and characters (and, of course, overlaps with the Liath Luachra Series where I had to be careful not to give too much away). It was also the last book I published with the limited stock photos I had available at the time (although the artist did a very good job in making it look far better than it probably should have).
Still, the post was an effective reminder that it has been a substantial time since I released anything in the Fionn mac Cumhaill Series and that it was well due another story. Fortunately, I can say that the next (the fourth in the series) will be out before Christmas. At this stage, I don’t have a working title but there will be more news in two to three months or so.
I came across Fidget Feet (a Limerick-based Irish ‘aerial circus performance company’) several years ago when I saw their ‘Sky Dance’ – a performance carried out against the backdrop of Dublin’s Customs House as part of the 2016/17 new year’s eve celebrations – which really blew me away.
I’ve always had a fascination with dance as an artwork – that physicality of movement operating within the confines of strict choreography. Aerial-based performances, however, raise the stakes dramatically, bringing in an even more complex physicality and sense of perspective that makes the choreography a hundred times more complicated.
To be honest, my first reaction was ‘why the hell would you do that?’
Merging dance with aerial display on public buildings felt a bit like merging ‘Opera’ with ‘Demolition Derbies’ (this was on a scale far greater than the more theatre-contained works I’d seen from companies like Cirque du Soleil etc.).
Utilising light projection, aerialists, drummers, pyro dynamics and vertical dancers however, Fidget Feet managed to introduce me to a pretty spectacular art form I’d not encountered before. Fidget Feet are still out there doing new festivals and production but ‘Sky Dance’ remains my favourite.