Liath Luachra: The Seeking

With crazy workloads and various schedule upsets last year (not looking at you, Covid!), Liath Luachra 3 (The Seeking) was one of the main projects I was working on to suffer unexpected delays. Originally, my intention had been to release the final book in December 2020, but the on again-off again nature of the way I’d been obliged to work throughout the year, meant that completing the project by that date just wasn’t feasible.

This situation probably wasn’t helped by the length of the story. Originally developed as an outline for a potential second season in the proposed television series, this required a plot that was far more complex than I’d originally planned. Add in the need to incorporate the first links and overlaps with the Fenian Cycle (and the later Fionn mac Cumhaill Series) and the wordcount quickly expanded.

At this stage, my current draft stands at 130,000 words (The Grey One – the first book with Liath Luachra –  was about 97,000 words) and I don’t think the story I want to tell (in the manner I want to tell it, at least) will take less than 170-180,000 words to complete. As an independent creator, (or, at least for someone who does as much research and writes as slowly as myself) this amount of work to produce a single book isn’t viable.  I’ve therefore decided to release Liath Luachra: The Seeking in two parts and as two separate books.

Given that the first half of the story (Part 1) is already done and dusted (edited, proofed etc. etc.), this will be released in a limited form on 1 March 2021.

I’ll be aiming to complete and release Part Two by June 2021.   

For those who really, really want Part 1, the full details and links to reading options will be outlined in the next issue of our newsletter (Vóg) but at this stage, the plan is to make it available for download here on the Irish Imbas website and probably in limited paperback form.  

Once Part 2 is ready to go, they’ll both be available far more widely (for those who prefer to read the entire story in one sitting).

Paperback Books

I’m pleased to announce that nearly all of my books can now be ordered through bookshops anywhere in the world (while recognising many of them are still closed due to the pandemic).

For the last six years or so, there’s really been only three paperbacks available in print outside of the Amazon system (Fionn 1, Fionn 2 and Beara 1). That’s mainly been due to the administrative complexity and the costs associated with placing books into the Ingram system (that’s the company who hold the ‘Print-On-Demand’ files and supply copies to the bookshops on request). After several years, I finally found time to get this task done. Sheesh!        

Anyway, if you order a copy through a local bookshop let me know how it turns out as I’m curious to see how this works in practice from the other side.

Dark Dawn/ Camhaoir Fuilsmeartha

Over the past three weeks, I’ve been carrying out an immense amount of work on the Dark Dawn/ Camhaoir Fuilsmeartha Project. An experimental work unlike anything I’ve done before, it’s taken up an inordinate amount of time, far more than I’d ever envisaged when I first started it. Over 2020, the non-publishing workloads I’m subject to, work on a potential television series for Liath Luachra and the impact of the Covid-pandemic have also meant I’ve never been able to give it the full focus it required.  

Even at this point however, an enormous amount of work still remains and I still have no idea if the finished product will work or not. The time I’ve allotted to fart around with this creation up till Christmas is very much an early Christmas present to myself. 

In terms of goals, Dark Dawn/ Camhaoir Fuilsmeartha is my latest attempt at exploring a more culturally authentic approach to ancient Irish fictional narratives, something I’ve been attempting principally through my Fionn mac Cumhaill Series. In terms of plot, its quite a simple character-based story involving the character Ultán from Fionn Defence of Ráth Bládhma.

“It’s raining butcher knives and my chest aches but Fiacail has a plan. That’s the way of it!  Little more than two days’ comfort here at Ráth Bládhma and already we’re caught up in its people’s problems.”

I’m aiming for release in the first quarter of 2021.

Time for a Change

Ireland: 192 A.D. A time of strife and treachery.

Ireland 2020: Somewhat similar but now we have the Covid-19 virus as well.

Just for information, I’ve set up a new cover for the digital version of FIONN: Defence of Rath Bladhma which you can see above.

The paperback version (currently only at Amazon – here) will retain the existing version although by next month (December) any bookshops will be able to order you the updated cover for the paperback version as well.

There is a plan (kinda) here somewhere. New developments are happening on the Fionn front and that’ll be come apparent early next year.

In case you’re interested; here’s the blurb for the actual book:

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Ireland: 192 A.D.

A time of strife and treachery. Political ambition and inter-tribal conflict has set the country on edge, testing the strength of long-established alliances.

Following the massacre of their enemies at the battle of Cnucha, Clann Morna are hungry for power. Elsewhere, a mysterious war party roams the forests of the ‘Great Wild’ and a ruthless magician is intent on murder.

In the secluded valley of Glenn Ceoch, disgraced druid Bodhmhall and the woman warrior Liath Luachra have successfully avoided the bloodshed for many years. Now, the arrival of a pregnant refugee threatens the peace they have created together. Run or fight, the odds are overwhelming.

And death stalks on every side.

Based on the ancient Fenian Cycle texts, the Fionn mac Cumhaill Series by Irish author Brian O’Sullivan is a gritty and authentic retelling of the birth and early adventures of Ireland’s greatest hero, Fionn mac Cumhaill. Gripping, insightful and utterly action-packed, this is Irish/Celtic fiction as you’ve never read it before.

Dead Men Standing

One thread that occasionally raises its head throughout Irish mythology is the motif associated with the burial process of some (a word often mistranslated as ‘king’ but more accurately translated as ‘chieftain’) or mythological celebrities, where the corpse is bound upright or interred in the standing position, usually in defiance of an enemy or rival population group.

The early and medieval Irish literature contains several references in this regard but the most famous is probably linked to that of Cú Chulainn who, in a final act of defiance, ties himself to a standing stone to die on his feet. Facing his enemies, he remains upright for three days after he dies as they’re too terrified to come close (clearly, nobody thought of throwing a stone!).

Another celebrity associated with upright burials was Laoghaire (son of the infamous Niall). Famous for his hostile interactions with Saint Pat, Laoighaire is recorded (by Tíreachán) as being buried on the ridges of Tara, placed upright and facing south in defiance of the Leinster tribes. This follows somewhat in his father’s footsteps, given that Neill’s body was also said to have been held aloft by his tuath as a good-luck token when heading off to battle.

Early Irish literature has a few other references to the bodies of chieftains and heroes being buried upright and although there is a possibility that might have reflected some kind of burial ritual linked to the cult of warriors, it’s very much a literary motif rather than a historical one. As a result, you really have to be careful with its interpretation.

 

Cover Grow Up

Had a timely ‘blast from the past’ today when I received a reminder of a book cover from October 2014 (for FIONN: Traitor of Dun Baoiscne). It was timely given that Amazon have somehow managed to revert to printing my paperbacks with the older covers instead of the more recent versions (which have been in place for some years).

Back when I first started writing and publishing, there were far fewer artists available to do illustrations and limited stock photos that you could purchase within a shoestring budget. For 1st/2nd century Ireland – the time/culture in which my books are set – finding ‘representative’ covers was particularly difficult. Despite many days searching, in the end I had no choice but to resort to fantasy-style photostock and using a graphic artist to try and ‘Gaelicise’ the result as far as possible.

I was never entirely comfortable with the resulting image. The fanboy, Red-Sonya fantasy style image I ended up with, really didn’t work that well for the culturally-realistic feel I was trying to reintroduce in our mythological narratives (not to mind the lack of realism around Irish weather!). As a result, this cover (deservedly) endured some serious piss-taking (predominantly from my partner, daughter, editor [female], proof-reader [female]).

Despite that, it proved remarkably popular until I could finally afford to replace it. Skimpy-clothed model aside, I think the standing stone, the colour and the background terrain worked really well.

Favourite Irish Imbas Characters

Fiachail mac Codhna

Fiacail mac Codhna is a swaggering and irrepressible warrior from the Fionn mac Cumhaill Series. Handsome, charming, and shrewdly strategic in battle, Fiacail’s potential for tribal greatness is undermined only by an over-sexed libido and a strong weakness for women, particularly where it relates to Bodhmhall ua Baoiscne – aunt of the famous Fionn mac Cumhaill.

Fiacail’s quite a lot of fun to write. He has no delusions of grandeur and he can be charmingly crass at times – particularly where it relates to sex – but his humour and genuine attraction to Bodhmhall means he’s a credible third player in the love triangle with Bodhmhall and Liath Luachra. His bawdy humour and blunt demeanour, meanwhile, offers some welcome relief from some of the more serious and intellectual characters in the series.

When not chasing women, Fiacail likes to walk around naked in the morning having conversations with Great Father Sun. Much of this involves trying to convince Father Sun not to cause the end of the world but also to give him a pony.

Over the course of the original Fenian Cycle narratives, Fiacail turns up on several occasions, usually as a kind of foster father/advisor to the young Fionn mac Cumhaill although, at one point, he’s also referred to as a reaver.

In modern Irish, ‘fiacail’ is actually the word for ‘tooth’, so it’s an odd name for a character and the ancient Fenian Cycle manuscripts offer little explanation of its derivation.

BLATHER DAY2

On the 27th of each month, I post a few independent reviews for one of my books, essentially letting other people describe their thoughts about that particular book instead of blathering on about it myself (we all dodge a bullet, that way!).

Today’s ‘Blather Day’ choice is FIONN: TRAITOR OF DÚN BAOISCNE – the second book in the Fionn mac Cumhaill Series. The reviews I’ve chosen were randomly pulled from different ebook sites so some are short, some are more in-depth, but at least they’re all from people who’ve actually read the book.

As ever, I remain very grateful for those who made the effort of leaving a review.

Go raibh maith agaibh!

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Ireland: 198 A.D. Six years have passed since the brutal attack on the community of Ráth Bládhma. The isolated valley of Glenn Ceoch is at peace once more but those who survived still bear the scars of that struggle.

Now, new dangers threaten the settlement.

The warrior Liath Luachra has discovered troubling signs of strangers in the surrounding wilderness. Disgraced druid Bodhmhall fears a fresh attempt to abduct her talented nephew. A summons from the fortress Dún Baoiscne sets them both on a perilous traverse of the Great Wild where enemies, old and new, await them.
And Muirne has returned to reclaim her son.

Come what may, there will be blood.

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.

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Just click on the image to read the review!

 

 

 

 

Scáthach and Cú Chulainn

Scáthach – the Shadowed – is a woman warrior who turns up in the tenth century manuscript Tochmarc Emire (The Wooing of Emer). A supporting character to the narrative adventure that focuses on Irish hero Cú Chulainn, her main purpose is to add an element of depth and context to Cú Chulainn’s legendary fighting skills and, of course some 10th century feminine (cough) “pizzazz”. In the Tomharc Emire, advised by his friends that to complete his martial training he should learn from Scáthach, Cú Chulainn immediately sets sail for Alba (in modern-day Scotland) and the fortress where she’s based.

To be honest, whenever I think of Scáthach, I have this mental image of a longsuffering professional working woman, gritting her teeth and doing her best to hide her irritation at an extended visit from her daughter’s boorish boyfriend. To imagine Cú Chulainn’s visit as a pleasing or welcome one would be to ignore the other interesting elements of the tale. Most people sadly, enamoured by the romanticised aspect of a woman warrior teaching the mythological hero, tend to limit their focus on that.

When Cú Chulainn first arrives and enters Scáthach’s domain, he inveigles his way into her fortress by manipulating the romantic passions of her teenage daughter, Úathach. Despite Cú Chulainn breaking her fingers (and the slaying of the warrior Cochair Cruibne), Úathach is so besotted she casts any loyalty to Scáthach aside, advising her new beau on how to overcome her mother while she’s resting. Following Úathach’s advice, Cú Chulainn overcomes his host, places his sword between her breasts and threatens her with death unless she grants him three wishes:

• that she trains him without neglect,
• that she pays the bride price for him to marry Úathach; and
• that she uses her seer skills to warn him of anything that might befall him.

Over the course of Cú Chulainn’s visit, Scáthach puts up with her unwelcome visitor’s regular acts of violence and trains him as obliged without comment. When Cú Chulainn attacks Aífe and forces her to have his child (Úathach has disappeared from the narrative at this point), she continues to keep her silence.

In the end however, it’s Scáthach who has the last bitter laugh. Prior to his departure back to Ireland and Eamain Macha, she draws up her seer skills and recites the events she sees in store for him, foretelling the bloody slaughter of the Táin Bó Cuailgne. Cú Chulainn, preoccupied, pays her recitation as much attention as a blind man to the cinematic trailer of a subtitled movie.

The moment passes, nothing is learned.

I’m occasionally asked why I’ve never written a contemporary version of Cú Chulainn or An Táin, given that – in some ways – he’s far more well known to non-Irish, English-speaking audiences. The truth of it is I find it hard to write about characters I don’t particularly like. For a contemporary audience, the actions of the Iron Age Cú Chulainn are difficult to get across in a way that would remain true to the original stories. Particularly as, in many of those stories, he comes across as a violent meathead (and, to be honest, a bit of a bastard).

Just like some real life heroes, I suppose.

Pirates of Ancient Ireland

I was amused the other day to find a Russian-based pirate site offering free downloads of one of my books – “Liath Luachra: The Seeking” – the only copy of which, sits on my desktop, awaiting the last few chapters to be written.

Obviously, this was one of the many false ‘pirate’ sites that are actually scams intending to obtain a person’s credit card details.

That said, I was actually tempted to download a copy to see how it ended!

Arrrrr!!

The Rider

This is another of the images pulled from my regular weekend research of imagery – something about the mood in this image really drew me to Eve Ventrue’s ‘The Rider’ ( the image attached to this post).

I’m currently writing a chapter which involves the use of horses and was reminded of a question I occasionally get asked: Why don’t the characters in the Fionn mac Cumhaill and the Liath Luachra books ride horses?

There are several reasons for this but the most important is authenticity. Back in the 1st and 2nd century, Ireland was a very rugged land, full of dense forest, marshes and terrain that was extremely difficult to traverse. People didn’t tend to travel very far unless they had to and, a lot of the time, the journeys they took were simply too onerous for horses (because of the huge amount of clambering required).

We also have to remember that horses weren’t all that plentiful. For those communities fortunate enough to have a horse, the animals were mostly kept for critical farm work and if they were ridden, they would only have been ridden by the most important members of the tuath (tribe).

Fantasy Fiction, Irish Blood Spatter and the Online Language Colonisation Tool

The title in the image above – Camhaoir Fuilsmeartha – is the Irish title for a free, online, bilingual adventure fiction project released in January 2020. The English title  – Dark Dawn –  is one you may have come across elsewhere (it’s a bilingual Irish/English project).

As with all languages, translation often doesn’t work the way you’d expect and Irish is no exception. As a literal translation, ‘Dark Dawn’ just doesn’t work particularly well in Irish. That’s probably because it doesn’t have the same cultural connotation in English (at least, not in my head). Rather than resorting to béarlachas (the word we use where an Irish language or cultural concept is forced into an English structural form or word pattern), I’ve therefore used a different translation instead.

Literally, ‘Camhaoir Fuilsmeartha’ means ‘Bloodspattered Dawn’.  The meaning is slightly different from the English title but, more importantly, the connotation is correct, from a cultural perspective it’s far more apt and it still captures the theme of the story (a dark, action-adventure tale set in the Fenian Cycle).

Because I work in Irish mythology, a lot of my books tend to end up in the ‘Fantasy’ genre where I see a lot of writers (particularly, the Celtic Fantasy genre authors) use Irish terms to try and give their books a bit of (cough!) ‘cultural integrity’. The main problem I come across is where such authors use Google Translate for various terms in their books and the results are often disastrously hilarious. At it’s best, this tool is really a kind of  ‘béarlachas machine’: with Irish, it translates everything literally and therefore gets at least 80% of it’s translations technically correct but culturally and socially wrong.

At its worst,  you could say that Google Translate is like a global colonisation tool where any foreign concept from a different language/culture is sanitized to a ‘nice’, English-comprehensible equivalent.

Even where the original concept is left behind  and rendered meaningless.

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Note:

Camhaoir Fuilsmeartha’/ ‘Dark Dawn’ remains FREE online. You can find it here: IRISH ADVENTURE