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Macnas Parade, Galway, 2015: The Shadow Lighter

macnas parade 2015

It’s a little bit of dark, a little bit of chaos, a lot of imagination, and a stick to shake at the arriving winter. Dwell in the dark, take refuge in the symbols, there is energy and density in the bulbous, the twisted, the animal, and the shadow.

macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015
macnas galway parade 2015

The first set of black and white photos were taken with a Canon AE-1 program with a 50mm f1.4 FD lens on Ilford FP5 Plus ISO400 film, developed with Rodinal (8 mins, 25:1) and scanned on an Epson flatbed.

The second set were taken with a Canon 70d, Sigma 18-35mm f1.8 lens, mostly at ISO 800, some at ISO1600. A 430 EX II flash was used via Yongno ETTL wireless triggers.

All pictures by Donal Kelly. Do not copy or use without my permission: they take a lot of time and energy, yet I don't like how watermarking or tiny images are simple crap to look at.

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Spring Fishing (poem)

A punt on the shore of Lough Corrib Baurisheen

Spring Fishing

Am I in a trap?
Did I build it myself?

The punt bobs on the waves between Broochen and the point of Fournaugh
This is no weather for fishing; no weather for anything bar the

Seat next to the Stanley and the kettle hissing for tea
And the steam of decades sunk in dust and debris

Am I in a dream?
Is it my dream?

The oars dip in and out of the cold rolling still-winter water
Tufted ducks scatter over the Sandy as workers over

Those bridges in London built thick for the traffic
By which you once waited past six while I darted

Are you still coming?
Where will you go?

The oars squeak against the gunnel where the hand-carved oar-pins are fixed
Worn as smooth as my numb hands are rough, like

The creases of sea seen from the steel Ferry stern
While the hull cut a furrow through all that I learned

Am I still open to the air?
Can I hear the quietness out there?

The rod bends suddenly with the pull of brikeen-hooked trout
Just as I cross the Sandy’s shallow at the point where

Currents of no return meet currents of no surrender
And I am spring fishing

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Videos Lie

There’s little to match the potential incrimination of video footage. A camera sensor cannot lie; it offers a view so much more objective than the darts of our biased theorizing eyes as they read scenes and situations by projecting out a lifetime of fears and expectations.

The camera is a grid of light-sensitive pixels that has no opinion either way. Imagine a court case where one word against another is the order of the day, until late in the day a snippet of CCTV footage comes to light that exposes one of the parties in raw honest frames.

Social platforms have embraced the video format. Facebook crams your newsfeed with the cute, the curious, and the crazy, recorded on whatever is to hand.

No matter the scene, no matter the location, if there are people present, there’s probably a recording. When we hear of an incident now we immediately want to see the footage. Many ‘news’ sites package up the footage, bookend it with stock intros, and stuff the rest of the page with advertising. Jaded web users will tend to do two things: block all ads, and get to the source. There’s just too much noise in the signal.

The bandwagons mobilize so fast, keyboard warriors, torches fuelled, scanning the video with that highly adapted mind. When it comes to videos of people, every gesture and expression are read almost instantly, intentions measured in a millisecond somewhere behind our eyes, filtering through into a proposition (of guilt or innocence) and a cool wind or warm blast of anger.

But, how much faith should we put in a video? Is it enough to hang-draw-quarter, or vilify freely in the comments box?

An example from sport

The 2015 All Ireland Semi-final between Dublin and Mayo was a tense, tight, physical game. Tackles were hard and scuffles broke out repeatedly. At one point it appeared that the Dublin defender Philly McMahon gave Mayo’s Aidan O’ Shea a headbutt. Here’s the footage:


Exhibit A: No buts about it, McMahon headbutts Aidan O’Shea

The video was a big hit in the post-match chatter.It clearly shows intentional head thrusting, even if it is light and doesn’t seem to do any damage.

Aidan O’Shea himself confirmed that he was indeed headbutted: http://www.irishtimes.com/sport/gaelic-games/gaelic-football/aidan-o-shea-yeah-i-was-headbutted-alright-1.2334160

Calls were made for the head of McMahon, or at least a ban for the replay.

A day later, another angle appeared.


Exhibit B: BUT, McMahon’s head simply falls against Aidan O’Shea’s face

From this new angle, a very different interpretation is allowed: McMahon was slightly off balance and was carried into O’Shea by accident. There seems to be no intentional movement forwards, only a falling movement.

Now, it is still possible to argue intent, or, even without the second video, argue none. Either way, the confidence of our quick judgements made on the basis of a single video, or even two, needs to be qualified.

Of course, Aidan O’Shea would hardly have been in a position to see the event clearly, and both videos are consistent with his view that a headbutt happened, but without the intent seemingly shown in the Exhibit A video, it simply doesn’t matter.

Our brains are designed to make really fast calls about the intentions of others. This rapid judge-respond action may be rational and useful in many circumstances, but is it a good approach when there are so many spaces to vent and comment and bicker and chant?

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Clonmel, Suir Valley 3 Day, 35mm

suir valley 3 day 2015 photo essay Donal Kelly

It is the last race of the road season for me, but I don’t know it.

I don’t know it until halfway through stage 2 when the bunch is going down a straight descent into Dungarvin. A rider comes down somewhere in front on the left, and a dominoes game of falling cyclists begins. Given the speed there isn’t much that can be done. I swerve round a few bikes and riders and water bottles, then a white frame bounces up in front of and bang.

So instead of getting a kicking on the last two stages, I take some photos instead. I brought along my Canon eos 1n that’s almost as old as myself, and a couple of rolls of Kodak Tri-X. Before going to wartch the finish of the last stage atop the Nire, I added a roll of Kodak Gold 200 courtesy of Boots.

STAGE 1: GETTING THERE (+100km with hills)

cycling, clonmel, suir valley 3 day race
Stocking up on supplies
cycling, clonmel, suir valley 3 day race
Classic wheels
cycling, clonmel, suir valley 3 day race
Architectural Triumph?
cycling, clonmel, suir valley 3 day race
Derek ready to roll; the stage start was delayed by 20 minutes
cycling, clonmel, suir valley 3 day race
Post stage 1, eating pasta with a plastic spoon.
cycling, clonmel, suir valley 3 day race
Selfie after stage 1, finished in the bunch, lots of guys ‘up the road’
cycling, clonmel, suir valley 3 day race
Gear drying after a rinse. It was still wet the next morning.
cycling, clonmel, suir valley 3 day race
Clonmel, though this is actually in Waterford on the South bank of the Suir
cycling, clonmel, suir valley 3 day race
The River Suir got some fancy bridges with flood-proofing and snippets of literature
cycling, clonmel, suir valley 3 day race
Suir Island, West Ward
cycling, clonmel, suir valley 3 day race
Clonmel Rooftops, home to pigeons
cycling, clonmel, suir valley 3 day race
Clonmel Window display, flowers and curtains

Stage 2: LUMPY ROAD STAGE

5 hours in Clonmel A&E clogging up the place with other guys who came down in the spill on the descent into Dungarvin after less than 40km.

cycling, clonmel, suir valley 3 day race
Stage 2 didn’t go exactly as planned (Samsung S2 + Instagram filters).

Stage 3: CRITERIUM; WET WET WET

The criterium is neutralized for GC due to monsoon rain. Riders only have to complete 20 minutes to stay in the race, and most choose to pul out after this.

cycling, clonmel, suir valley 3 day race
Finishing straight for the crit
cycling, clonmel, suir valley 3 day race
The streets are wet and shinning in the rain
cycling, clonmel, suir valley 3 day race
The strong riders figure out the best lines early on and stick to them lap after lap
cycling, clonmel, suir valley 3 day race
UCD rider walks back after falling on a bend
cycling, clonmel, suir valley 3 day race
Paidi O’ Brien, centre here, is in the front split, while most other riders pull out
cycling, clonmel, suir valley 3 day race
JLT Condor’s Luke Grivell-Mellor gets a gap in the last few laps and goes on to win comfortably
cycling, clonmel, suir valley 3 day race
Riders had to complete 20 minutes to stay in the overall
cycling, clonmel, suir valley 3 day race
Ronan closing a gap
cycling, clonmel, suir valley 3 day race
Daire Feeley putting the power down
cycling, clonmel, suir valley 3 day race
Murky night for racing
cycling, clonmel, suir valley 3 day race
Fast pace despite the monsoon
cycling, clonmel, suir valley 3 day race
Lined out at the front
cycling, clonmel, suir valley 3 day race
Getting back to shelter after the finish
cycling, clonmel, suir valley 3 day race
Licence to Sell
cycling, clonmel, suir valley 3 day race
The Ice Cream Cone
cycling, clonmel, suir valley 3 day race
Hotel Entrance
cycling, clonmel, suir valley 3 day race
Interior, post race
cycling, clonmel, suir valley 3 day race
Clonmel Rooftops at night
cycling, clonmel, suir valley 3 day race
Suir Island at night

STAGE 3: THE VEE AND THE NIRE

cycling, clonmel, suir valley 3 day race
Window View of Clonmel
cycling, clonmel, suir valley 3 day race
Morning Self(ie)
cycling, clonmel, suir valley 3 day race
Open Space
cycling, clonmel, suir valley 3 day race
My 19th Century airbnb home for the weekend
cycling, clonmel, suir valley 3 day race
River Suir
cycling, clonmel, suir valley 3 day race
Pre-race chat
cycling, clonmel, suir valley 3 day race
Aidan gearing up
cycling, clonmel, suir valley 3 day race
Derek heading to the start
cycling, clonmel, suir valley 3 day race
Ready to roll
cycling, clonmel, suir valley 3 day race
Race Start

Clonmel Streets on a Bank Holiday Monday

cycling, clonmel, suir valley 3 day race
Abbey Street
cycling, clonmel, suir valley 3 day race
Town Hall
cycling, clonmel, suir valley 3 day race
12 W. Magner
cycling, clonmel, suir valley 3 day race
Window Display
cycling, clonmel, suir valley 3 day race
Expensive facade and bell tower
cycling, clonmel, suir valley 3 day race
Champion
cycling, clonmel, suir valley 3 day race
Right only
cycling, clonmel, suir valley 3 day race
R. O’Donnell Select Bar
cycling, clonmel, suir valley 3 day race
No collections to the right of this sign
cycling, clonmel, suir valley 3 day race
Window reflection
cycling, clonmel, suir valley 3 day race
Ryan’s Butchers 1
cycling, clonmel, suir valley 3 day race
Ryan’s Butchers 2; closed after 109 years
cycling, clonmel, suir valley 3 day race
Butler’s Bar
cycling, clonmel, suir valley 3 day race
House of Lourdes (spot the cat)
cycling, clonmel, suir valley 3 day race
Liam Daly
cycling, clonmel, suir valley 3 day race
Le Jardin
cycling, clonmel, suir valley 3 day race
Power & Co.
cycling, clonmel, suir valley 3 day race
The Men of ’98
cycling, clonmel, suir valley 3 day race
The Golden Harp, Lounge
cycling, clonmel, suir valley 3 day race
Clonmel Carpets window display
cycling, clonmel, suir valley 3 day race
Clonmel Carpets
cycling, clonmel, suir valley 3 day race
KOM Start on the race-finishing Nire Climb
cycling, clonmel, suir valley 3 day race
On the Lower Slopes
cycling, clonmel, suir valley 3 day race
Team Car
cycling, clonmel, suir valley 3 day race
Ed Laverick (JLT Condor) reachs the top with a minute over the nearest rival, winning both stage and overall.
cycling, clonmel, suir valley 3 day race
Second
cycling, clonmel, suir valley 3 day race
Third, the wearer of the leader’s jersey at the start of the stage
cycling, clonmel, suir valley 3 day race
Eoin Morton from UCD finished well on the climb
cycling, clonmel, suir valley 3 day race
Daire Feeley
cycling, clonmel, suir valley 3 day race
National Champion Damien Shaw (Team ASEA) rode aggressively on the final stage to try and get clear before the climb but was hauled back before the Nire climb by the teams of the other GC riders
cycling, clonmel, suir valley 3 day race
Ronan finished strongly on the 10km climb
cycling, clonmel, suir valley 3 day race
Finishers arrive in ones and twos
cycling, clonmel, suir valley 3 day race
Derek after crossing the line
cycling, clonmel, suir valley 3 day race
Aidan after the stage
cycling, clonmel, suir valley 3 day race
The Recovery begins
cycling, clonmel, suir valley 3 day race
Prize giving pub
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St Vincent & The Little Green Cars, Galway Arts Festival, 2015

St Vincent Galway

A big blue tent, in a grassy field, between a cathedral and the River Corrib, July 2015. The Little Green Cars open for St Vincent’s Digital Witness, the feature preeesentation. For a change it’s not raining, though it’s not exactly balmy. Good enough! On with the gig, and better than good enough.

galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars

You know it’s your neglect
Is the reason I’m so obsessed with you

Little Green Cars (artist), The John Wayne (song), Absolute Zero (album), 2013

galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars

People turn the TV on and throw it out the window, yeah
Get back to your stare
I care, but I don’t care
Oh oh, I, I want all of your mind
Give me all of your mind
I want all of your mind
Give me all of it.

St Vincent (artist), Digital Witness (song), St Vincent (album), Digital Witness (tour)

galway arts festival 2015, st vincent and the little green cars
galway arts festival 2015, st vincent and the little green cars

I went on a whim, with the Canon eos-1n, 50mm 1.8, and a half-cooked roll of Kodak's lovely t-max 100. I shot in Av, at 2.8 outside and 1.8 inside, with spot metering and mirror lock inside to try and get something useable. But I mostly tried to enjoy the music, and only lifted the camera a few times. Did some spotting, re-sizing, and "Flip Canvas Horizontal" in Photoshop after scanning (along with tons of dust) on an Epson v550.

All photos copyright Donal Kelly

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The Mountain Man Band: Live Music Video (Canon 70D, Sigma 18-35 f1.8)

Kennedy’s Bar, Galway, July 2015, during the Galway Arts Festival.

But this isn’t the official Arts Festival. This is the low budget tagalong sibling, raised on handmedowns and shorn of ‘big’ names: the Galway Fringe Festival. Smaller venues, smaller fuss, more variety: trade your big top tent and big-rig logistics for a dark backbar stage where the hit-and-miss of the up-and-coming brew their storms?

The Mountain Man band kick up a big swell for a two-piece outfit. Born and raised in the wild west of Ireland with Gaelic as language no. uno, they nonetheless rock up a bluesyriff thick sound that seems to have done a few laps of the US and come back for a holiday… or a vacation, depending on your ken.

Baby Please Don’t Go

I stuck my Zoom H2n on a stool near the stage, where it decided to nosily listen in on ambient bar chatter, but obliged to also notice the stage output fair square (I had to push out the audio’s intro to avoid a man loudly saying “Red wine is the worst” just as the guitar starts to get into its groove). I started to record, then after a minute the Canon runs into that beloved error: MEMORY CARD FULL
Unsure of whether or not I had definitely definitely uploaded everything lately to the laptop from the jammed 16Gb card, I began to delete old photos, cursing myself for not being thorough. Come next song, I hit record again.

Baby, Please Don’t Go, is a standard so standard that its origins are as smoky as an Irish bar at 2am before the smoking ban. You might know it from Lightnin’ Hopkins, or Van Morrison and Them, or Big Joe Williams, or John Lee Hooker. The Mountain Man Band hit it from the pre-Them slower tempo, but via a moody-muddy electric direction. It’s laid back and jagged.

Now don’t you call my name, you got me way down here, on a ball and chain

Guitarist and vocalist, Declan Keane, has spent a long time working on getting good tones. For this track, he used a De Armond M75T guitar (humbucker pickups), paired with a Laney VC30 210 amp, played through the clean channel (tones low, mid/bass raised a few notches) via a Boss BD-2 pedal providing some overdrive crunch.

[nggallery id=6]

I had the Canon 70D stuck at ISO 1600, and the Sigma at 1.8 in Av, and used a focusing ‘trick’* to get a focused shot or two, and did but a quick edit in Windows Movie Maker for the video. Movie Maker didn’t quite play ball, though, and after exporting had managed to unsync the audio and video tracks slightly. A few tweaks and exports later and… same thing.

I ran the photos through Lightroom, and levels that I had been trying out of late. The temperatures of lights in a gig need some kind of ‘interpretation’; I never really take to how the camera handles them first.

Listen to more of The Mountain Man Band here: http://themountainmanband.com/music.html

To do them justice I should have captured their original songs; maybe ‘Move to the City’ or the lean and mean ‘I Swore’.

I swore that I’d never leave you; you swore that you’d never break my heart

Them’s the blues indeed…


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random tip #106
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* (How to get shots at f1.8 and slow shutter speeds in low low light with Sigma 18-35 when the autofocus is meh)

  • Turn on Live View
  • Tap screen to focus and shoot (this must be enabled): this gives better accuracy than standard AF at f1.8! (on my gear anyway, based on mine own tests)
  • Switch to Manual focus withough lowering the camera (or changing the subject/camera distance)
  • Switch off Live View
  • Shoot a bunch of photos in continuous mode, being as still as possible (no IS on this lens)
  • Delete the crap, keep the good uns (the ones you like, not necessarily the sharpest!)

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Short Story: NO TRESPASSING

No Trespassing Sign

When I lived out in the village near the mountains I would go hiking by the swift river, over the soft bogs, and up the rocky slopes, weather and work permitting.

I got to know the most popular routes and the ways onto and off them, and some of these ways on and off crossed over farmland or old rights-of-way.

On one Sunday morning during a cool June, I pulled on my toughest boots, slung a bag with a bottle of water and my camera over my shoulder, and headed out towards the hills, along a disheveled narrow boreen between fields where cows patiently clipped the summer grass.

When I reached the end of the road, the little offshooting path that I normally then switched to was blocked off by a web of wire and bailing twine, with a sign hung between the strands, bobbing in the breeze, saying “KEEP OUT!” in big red letters. A little further back, a sturdier sign on a post sunk in the bank had printed on it, “NO TRESPASSING.” I stood for a long unsure moment watching the leaves rustle and the signs twitch and twittering swallows pitch and swoon on the June breezes. “KEEP OUT!” “NO TRESPASSING.” They seemed so loud in the hushed conversation of birds and breeze.

There was no clear way round the barriers. A barbed-wire fence now ran along the bank. I could climb over, or hop the wall on the other side and try to push through the tangles of briars there, or walk back down the road I had come up and figure out a new route for the day. I was annoyed, as I had invited friends from the city to visit the next weekend and had intended to follow that same route, the most scenic and interesting I had yet found.

Walking back down the boreen, kicking an odd stone chipping from a long-forgotten repair effort, I passed an old man – I’m sure I had seen him before – going in the other direction.

“Nice day,” I hailed, and when he nodded and smiled, added, “The old path up there has been blocked off, just in case you are headed that way.”

“Yep,” he replid. “That path’s on old Mack Murphy’s land… he’s a cranky devil, doesn’t like anybody crossing his patch, says they throw rubbish, and leave the gates open, and scare his cattle… so he has it all fenced off now… though I always thought there was a right-of-way up there…”

He walked on, and I started again, too. Not far after, another man was standing on the side of the road leaning against a post and hammering in some new fencing where a section had rusted away into the air.

“Grand old day,” he called out as his sheepdog came down to sniff my legs. “Lovely, ” I replied, “though the path up there is blocked off so I have to find another place to ramble for today.”

“Ah, sure that can’t be helped,” he said as he straightened up. “Old Mack Murphy lives up there, and there’s a brood of rare corncrakes nesting on his land… didn’t he fence it off to protect the little fellas…” He chuckled and shook his head in bewilderment. “An odd fish, isn’t he? But some bird protection crowd came out a few weeks back…old Mack’s a softie… such a fuss over a few little birds that nobody even sees”

I hailed a goodbye as I scratched the dog behind his black ears, and was off again, a little lighter of foot.

In the pub on the edge of the village I pulled up one of the outside chairs, ordered a pint of plain, and sat back to watch the world go by, or at least the clouds amble over the hills, my aims for a healthy Sunday wander put on hold. In any case, being outdoors in any capacity felt healthier, delusion be damned.

The waitress came out with the pint and placed it carefully on the small table.

“Nice day for it,” she said, with a smile at my slouched frame and my feet hoisted up against another chair. “Ah”, I laughed back, ” I was planning a good old walk but the path was blocked off, but so it goes…”

“Oh, ” she replied. “You must mean Mack Murphy’s place… I heard his nephew is trying to claim some of the land – it was the old family plot – and he had it closed off. They’ve gotten the solicitors into it now… sad really… it’s a lovely place… used to go up that way as a kid.”

I stared into the pint. Another man who had paused after coming out behind the waitress turned and spoke. “I wouldn’t believe that Marian,” he said. “Wasn’t there a suspected case of TB in Mack’s herd? The department of agriculture crowd were out two weeks ago and shut it all off… nobody is allowed near the farm at all now. It wasn’t even confirmed yet…. such a fuss over it!”

I stared into the half-empty glass, thoroughly confused, and more than a little irritated. How could they all go round with a different story each? I took it into my head just then to go out there, to ask him myself, as all those versions of events would annoy me for days. If I could hear it from the horse’s mouth I could forget the hearsay.

I finished the pint, said my thanks, and started up the same little narrow road again. Nothing much had changed, all was green and rustled, the blades of grass in the fields leaned under the wind as the shadows of clouds sailed over them in darker shades.

As usual, my mind continued to trundle along ahead and imagine the encounter, and the more I thought, the slower I walked.

If Old Mack had blocked the path off because he was sick of trespassers using it to get to the hills, then he wouldn’t be too happy with me showing up. In fact, he’d probably just make up some tale to send me away; far quicker than confronting me, a righteous sample of his aggrievers. Or he might tell me there are rare birds building rare nests, or even a case of cursed TB, just to make me go away in peace.

Then again, if there are indeed rare birds, he won’t want too many people trooping through, and he might tell me that it’s private property and that too many folk have gone in, snooping around, littering. And If he really is in a dispute with his nephew he would surely be too proud to tell me that, and if there really is a case of TB he will hardly tell me either. In fact, no matter what he tells me, if he tells me anything, I will be no better off.

I stopped waking altogether. I wasn’t in a position, right then, to get at the actual truth, whatever it was. No matter what any of them said, there might be another reason with its own opinion and logic, and meanwhile the signs would remain, KEEP OUT and NO TRESPASSING, the only concrete facts of the matter, probably put up late in a night with no witness. It seemed that truth might be a transient juxtaposition of perspectives and propositions, with no unmoving frame of reference to be had, unless it could be founded on some unshakeable version of events… even if I had been there , had helped write the signs, and even had erected them myself with one purpose, what’s to stop there being another version outside my awareness?

In any case, I had gone far enough. I turned on my heel once again, on my narrow peninsula of jaded public road between an ocean of fenced-off earth. I would have to live with the signs and wait and see what they signified.

On my way back down again, I met a group of three, decked out in hiking gear, coming against me. I hailed them a greeting about the great weather and told them that the way ahead was freshly blocked. Of course, they inquired if I knew why.

A devil of an urge came over me. “I think some dogs chased the owner’s sheep, killed a few too, and he fenced it all off, ” I told them, and kept walking, maddened at myself but enjoying it all the same, my impulsive fabrication. They kept walking on anyway; they’d see for themselves soon and make up their own minds.

Written June 2015, Dublin/Galway, my first stab at a short in a while.

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National Rubbish Burning Night declared a limited success

June 23rd: with little to no rain and generally no wind, conditions were perfect for this year’s National Rubbish Burning Night. Despite a downturn in the tradition over recent years, there was still a large turnout all over the country, particularly in smaller communities where specimen rubbish items tend to be hoarded away in old sheds and unused rooms and attics.

As reports came in from across the nation, it became clear that despite the midgets, the general ethos of “if you build it, they will come, carrying bags and boxes to burn” attracted huge numbers of both spectators and participants.

According to John McHale, in a small village in the midlands, this year’s event was one of the best in recent times.

“It’s the biggest yet since the crash of 2008. You can see donations improving year on year as people upgrade and throw things out. We had four mattresses ourselves left out back since Christmas, and we cleared out the crap from the renovations last year. They were a bit damp but burned away grand, and we gave a few old tires for the sake of tradition, and sure they throw up grand black smoke.”

His two sons John and James were likewise satisfied, having donated their collection of mostly empty deodorant cans to the colourful blaze, along with the old desktop and monitor and two broken printers and old redundant cables.

“The printers took a while to go, ” said John. “I suppose it was the metal parts. But the cans were class, they were flying out all over the place. One of them landed right next to me. I even burned my jeans.” John lifted his leg to show me where the skinny jeans had been burned away.

Meanwhile, in a smaller fire in the west of Ireland, local man Seamus Scully explained that the organisers aimed for a balance between tradition and innovation.

“Well, we had a bunch of old crates and tyres, lots of cardboard and a few tins of petrol to get it going, and we cut down a few trees to give it a more organic feel… but we also had some great modern additions, like batteries, broken phones, boxes of Lidl and Aldi newspaper supplements, books, fat TVs, fencing, bottles, broken toys, used cosmetics… we even had a couple of armchairs and a cracked Ikea wardrobe. It was full of awful clothes!”

Seamus pointed out though, that the younger generations have forgotten about the core meaning of the day.

“The young people aren’t interested really. They only come down to drink a few cans on the sly and let off fireworks and burn things just because… they don’t care about the tradition or the occasion at all at all. Sure my young fella wouldn’t even help me drag in the old setee and dishwasher, but he was quick enough to run down with the tins of flammable paint wasn’t he? Sure that paint was still good!”

His wife Feidelma thoughtfully added.

“I suppose it’s always the way, us adults thinking that the youth of the day have lost the plot. But this was always a family day, where you’d get together to collect for the fire and enjoy a night outdoors, and the way that different materials burn and the blast of heat to keep the flies away. Sure now they’re too busy shnapchatting selfies to get involved.”

As the fire burned away, slowly stripping the generous donations into ash and charred metal, the small crowd dispersed back to their homes, the site for the fire being outside any wifi and known for notoriously poor 3G signals.

Filed under satire
fire (flickr commons)

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Máméan: Photos and Words

mamean in galway

Máméan, Pass of the Birds

According to legend, St. Patrick blessed Connemara from a well at the top of the pass, and slept there (“Leaba Padraic”=”Patrick’s bed”), though to my limited knowledge there was stuff going on there before that too. There is now a little chapel next to the well and mounds of stones marking the stations of the cross. It is a remote rocky outpost where winds seem to gather, and stone in so many forms fill up to the changeable sky.

Mamean Gate, Connemara, Galway, Ireland (black and white)

Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland
Mamean, Connemara, Galway, Ireland

On Máméan

On Mountains of Máméan stone
Mounds of stones
lead up to the chapel on the Pass of the Birds
Wearied by the winds that funnel through the reeks
by ‘leaba Padraic’

We follow the pilgrim path scratched up the slope,
A journey distilled, to resonate like a lone string,
With all the other journeys,
Tracing the same strewn line,
That never seems to change
Until it is suddenly gone forever.

Names of the dead are scratched on scraps of slate
Scattered on the alter dug into the rock
And left to mark the passings by those who pass
Tracing a path back to the pagans
To a well’s water as deep as the will to drink
In sacred places.

And most of us,
When we reach a summit
Add another stone to the stones
That mark the summit,
Of the mountains
And the Gods or the absence of Gods
That the mountains themselves
Are scratchings of.

On the Pass of the Birds
The grand scheme of things,
Is momentarily reduced
To one foot in front of the other
On a winding path of white shards
Where we lean into the Mámean wind.

Mamean relics, Connemara, Galway, Ireland (black and white)

Photos were taken on a Hasselblad 553 ELX, and a Canon AE-1 Program (first and last images) Ilford Delta 100 film, developed using Rodinol (1+25). There were, unfortunately some streaks on the film after developing. This is the way of film I suppose.

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The Ends of Glann: In photos and words

The Glann road follows the western edge of Lough Corrib from Oughterard towards Maam, ending close to the foothills of the Maamturk mountains. The lake narrows towards its Northwestern corner, with peninsulas like the Hill of Doon coming within a few hundred metres of the opposite shore.

Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland
Glann shore, Galway, Ireland

The Ends of Glann
A stonestrewn shore below bogsoft hill,
And its grey ruins where lives once ran down,
Slopes furrowed still by lazybeds,
From the brows of Corrán Mór,

Where the Corrib narrows to northern bays,
In two irregular scoops of Cornamona and Maam,
Of mines mined beyond the ends of roads,
And beginnings of Maamturken peaks,

That rake the rustlings of a fresh westerly,
Bitter through the teeth of Hen’s Castle,
Teaching a tune to grass and wave,
To fall beneath a footfall’s weight,

On bare elements borne in ice to a rugged place,
Wearing lost seasons and souls with rugged grace.

(April/May 2015)
******************************************************************
All pictures and words by Donal Kelly. Copyright is mine and the sweat of my brow; do not copy or use without permission.
Technical: A Hasselblad 553 ELX with a Carl Zeiss 80mm Planar T* lens, Ilford Delta 100 film, developed with Rodinol 1+25, scanned using an Epson V550.

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A poem from a man to his bride on their wedding day

Daffodils rising, raising yellow heads to bob in March winds.
Driving from Aberdeen across a Scottish Motorway,
Over the Irish sea in the belly of a ferry
South from Belfast and west from Dublin
West to Galway City and beyond,
Until the road narrows to to an end by the lake
Where grass still grows slow down the middle.
Driving with you, at my side
The miles go by and by.

Our journeys now more than mingle,
Our path is a path for two,
From a car stacked high with candles and plans
To the lights of ceremony and family and friends
Stand here, sign this, now, you may, you may,
Standing with you, at my side
The days go by and by

Pipes carrying oil along the North Sea floor,
Patients looking for that steadying hand
Steadfast, amid the Spring winds, winter frosts,
Rare sunburned summer days, autumn fruit,
A house within earshot of the Corrib when it gales,
The rise and fall of each wave on the shore,
Of each season on the soil,

Daffodils, fallen leaves,
Echos of those who passed on,
Become the path beneath out feet,
Resonate in the roots we weave.
Growing, with you, at my side,

From Portacarron shore to where we roam
When you are at my side, I’m home.

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Driver in Shock after Hit & Run Horror

rear view mirror

A driver in South Dublin was still in shock today following a narrow escape with a speeding bicycle.

While returning from work yesterday evening, Mr. David Gilroy was involved in a collision with an unmarked bicycle, which caused severe upset and further lateness to an already delayed schedule.

Witnesses to the event reported a bicycle with flashing lights suddenly moving onto the road from a junction before continuing in a straight line close to the curb for a few hundred metres at high speeds of up to 30kph. As it carried on past an entrance to a popular local shopping centre, it ploughed straight into the side of Mr Gilroy’s silver 1,740 Kg BMW.

Mr Gilroy, who was turning left into the shopping centre to pick up some Merlot wine and cheese crackers, while reading iPhone 6 Plus reviews on his iPhone 6 Plus, was dismayed by the incident. “I’m still in shock, really” he reported. “There’s a scratch running all the way along the passenger door and a head-sized dent too. The whole panel will have to be replaced, and I have a wedding to go to on Friday.”

Meanwhile, the cyclist involved had already fled the scene in an emergency ambulance that happened to be passing.

“He didn’t even look me in the eye,” expressed Mr. Gilroy. “One minute he slams straight into me, then he leaves without even a word.”

Regular passer-by, Jamie Keys, described the scene as shocking. “Those cyclists think they own the road. That car was just driving along, minding its own business, when bang! It could have been any one of us. How can anything that dangerous be allowed on these busy roads?” Mr Keys illustrated the lethal nature of bicycles by holding up a piece of sharp-toothed steel from the scattered bits that remained on the roadside.

Another distressed driver, Mrs. Fidelma Greaney, agreed. “They have no right to bully us drivers; every day I have to swerve out to narrowly avoid them, and now most of them are decked out in horrible lights and gaudy yellow jackets. How can I get anywhere at all if I have to keep looking up to notice them and braking to stop them from ramming my bonnet? Do they not realize there is a real person inside the car? Somebody’s son, or daughter, or friend, or some poor worker just trying to get to the office on time?”

The cyclist involved declined to comment, though he is expected to possibly be out of intensive care by Monday week, possibly.

(filed under satire)

Bike Crash

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Song: Lighter Side of Blue

Swan Lough Corrib Galway Ireland

First song in a while. Don’t have time but couldn’t help myself. It feels like familiar territory, but something is new. A lot of the time I am retreading old ground anyway, looking to maybe strip away another layer of the onion and get something more real from the looking.

I guess it does a two-step with cliche, a waltz with phoneyism, but so be it, I tried to feel authentic and it happened. There is no real story, as is usual for me, but maybe the fragmented attempts at impressions leading to mood are worth something. I don’t really believe that pictures, despite the “thousand words” tell a thousand-word story. It is what it is. There are many ways to put in and many ways to take out, meaning, satisfaction, kicks, pain.

Listen:

Lyrics:
The weeks are flying by, and I’m trying-
Oh how I’m trying all the time.
It’s now or never but no, I’m not clever,
To ever really know your mind.

I need to feel like I’m going places,
Progressing through some states of me.
And just for once, hit the nail on the head,
life the veil from my eyes to see.

Because I’m blind to the light that’s coming from the outside
Coming from our bright eyes;
Blind to the lighter side of blue.

I spent too long trying to chase down a Zeitgeist,
Pull off a big heist job.
I went too far down the maze of persuasion,
Driven by the ratings mob.

I worked so hard on my own facade,
Building out from the heart with steel.
Played the game with a good charade,
Strut the stage with a part so real.

But I’m blind to the light that’s coming from the outside,
Coming from your bright eyes;
Blind to the lighter side of blue

Settle down; set the stones in the ground-
Yes I’m running out of words again.
Just let me know if you’re gonna be around,
While I’m running with the words that went:

I’m blind to, the light that’s coming from the outside,
Coming from your bright eyes;
Blind to the lighter side of blue.

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A Reading of W.B. Yeats’s Among School Children

thoor ballylee galway yeats

W.B. Yeats visited a public school in Waterford in 1926, and there, as an ageing man among the young children, his mind wanders, first to Maud Gonne, to youth, and in an unexpected way, to something universal and beautiful: Among School Children

How can we know the dancer from the dance?

The poem is an incredible journey from the bustling school room to pithy metaphors of being. The words need to be read and heard, as they flow with such energy and ability.

My effort does little justice, but it is a poem that should be heard.

The poem comes from the Tower, published in 1928, and named after Thoor Ballylee, in Gort, Co. Galway, which Yeats owned from 1916/17 to 1929.

Audio

thoor balylee galway yeats
W.B. Yeats bought it for £35 in 1916 or 1917

Words

thoor ballylee galway yeats
Inscription in the Tower wall by W.B. Yeats.

I
I walk through the long schoolroom questioning;
A kind old nun in a white hood replies;
The children learn to cipher and to sing,
To study reading-books and histories,
To cut and sew, be neat in everything
In the best modern way — the children’s eyes
In momentary wonder stare upon
A sixty-year-old smiling public man.
II
I dream of a Ledaean body, bent
Above a sinking fire, a tale that she
Told of a harsh reproof, or trivial event
That changed some childish day to tragedy —
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato’s parable,
Into the yolk and white of the one shell.

III
And thinking of that fit of grief or rage
I look upon one child or t’other there
And wonder if she stood so at that age —
For even daughters of the swan can share
Something of every paddler’s heritage —
And had that colour upon cheek or hair,
And thereupon my heart is driven wild:
She stands before me as a living child.

IV
Her present image floats into the mind —
Did Quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat?
And I though never of Ledaean kind
Had pretty plumage once — enough of that,
Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.

V
What youthful mother, a shape upon her lap
Honey of generation had betrayed,
And that must sleep, shriek, struggle to escape
As recollection or the drug decide,
Would think her Son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth,
Or the uncertainty of his setting forth?

VI
Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;
Solider Aristotle played the taws
Upon the bottom of a king of kings;
World-famous golden-thighed Pythagoras
Fingered upon a fiddle-stick or strings
What a star sang and careless Muses heard:
Old clothes upon old sticks to scare a bird.

VII
Both nuns and mothers worship images,
But those the candles light are not as those
That animate a mother’s reveries,
But keep a marble or a bronze repose.
And yet they too break hearts — O presences
That passion, piety or affection knows,
And that all heavenly glory symbolise —
O self-born mockers of man’s enterprise;

VIII
Labour is blossoming or dancing where
The body is not bruised to pleasure soul.
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

thoor ballylee galway yeats
The Castle was built in the 15th or 16th century
thoor ballylee galway yeats
Local youths playing with a hurley by the tower during ‘culture night’ in 2013
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Macnas Parade, Galway 2014

macnas parade 2014

Symphony for the Restless: Let the Night in, let the night out


Macnas Parade 2014, Galway

It moves slowly, eerily, growing from a small blob to the right of the cathedral, into a more distinct giant head as it crosses the Salmon Weir bridge. With hollering and boom, behind the brassy siren of a high-perched saxophone, under a darkening gull and crow wheeled sky, comes a troll with a head as big as a house, and it’s slowly scrolling eyes peering at those who have gathered to watch.

Macnas parade galway 2014 Troll past Salmon Weir bridge
Macnas parade galway 2014 Troll past Salmon Weir bridge in red smoke
Macnas Parade 2014, Galway
Macnas parade galway 2014 Troll past Salmon Weir bridge aliens red smoke stilts
Macnas parade galway 2014 court house alien costume wireless flash 430 ex II
Macnas parade galway 2014 Troll court house black and white standoff
Macnas Parade 2014, Galway

Macnas have the streets now. The troll is on the ascent, ambling up Eglinton Street, turning right down Shop Street, then onto High street.

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

Onwards, onwards, yell he, we must be born before the sun has risen

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

Kids are waiting everywhere, waiting, impatient, then mesmerized as the manic energy sweeps by: fuel for a thousand nightmares; seeds for a thousand imaginations. It’s an edgy racket, leaping and lurching along in the darkening, a chaotic meandering of distorted faces, fumes and snap-spit-cracking bangers, fire and light, light and dark, dark and dance. Skulls, horns, hair woven from a thicket of worn branches.

The little city under a dark siege, a muscular madcap spree of invention, the Macnas spirit and inventory emptied onto the old roads. The troll abides, jaws opening and shutting wordlessly.

Rise, rise, elemental eyes

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

Open ye to the night, to the underside of the circle’s flight, to the bare bones buried there.

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

The darkening season in the week of Halloween, on the Western rain-pecked edge of Europe, is a fitting setting.

Hear it, the long night of winter rising!

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

It gets stuck somewhere down narrow Quay street, and darkness has settled in well before the first bellows emerge again from the buildings. There are not that many floats, but this is not a long green St Patrick’s Day parade in Spring. This is a primal gathering with helpings of sinister and hues of dark mystery, more original brothers Grimm than modern eareasy versions with the elemental stripped out.

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

Fear the dark. welcome the fear.

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

The long night where lies, them lurking traces of buried eyes

Macnas Parade 2014, Galway
Macnas Parade 2014, Galway
Macnas Parade 2014, Galway

The parade heads of across the Wolfe Towne bridge to its end on Fr. Griffin Road. The crowds begin to disperse into the night, a wave dissipating inside into cars and buildings. Normality begins to seep back in. The madness is buried. Until next time.

Macnas Parade 2014, Galway

All photos and words by Donal Kelly. Do not use without permission. I used my Canon 70D with Sigma 18-35 1.8 and 430 exII flash in slave mode being triggered wirelessly by the pop-up. The changing light conditions were interesting; I tried to hold the flash far from the camera to avoid the on-camera flash look and maybe add some shadows. I stuck to Av and manual, and struggled a bit with focusing accuracy at f1.8. I used from ISO 400 to ISO 1600 as the light faded.

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Very Short Story: The Mistake

rear view mirror

The Mistake (a very short story)

Wasn’t like the daydreams at all. They chased me up Taylor’s street and left down St. Kilda’s Avenue and over the grassy wall into Finny Park where the trees were just beginning to leaf and for a change nobody was walking a dog. I had my heavy work shoes on and had to drop my hipbanging Macbook-holding bag and it was too soon since I ate. In my daydream I would happen to have my sleek running shoes on and would toy with my pursuers, leading them on a merry urban dance, always a step ahead and in control through the winding streets. How could it be captured best? A helicopter view perhaps, a wide angle shot from above, tracking while zooming slowly as it overtakes me, panning, with me always in the frame, and rising thumping music to thicken the drama. Me, the narrow lanes, and the two dark demented chasers. But in the real-life here-and-now what-the-hell-is-happening pursuit I couldn’t quite catch my breath, and my gammy knee buckled in with every stride, and my jeans chafed, and when they caught me they hauled me to the ground and after a good breathless kicking dragged me back onto the street and into an arriving old green Nissan Primera that then sped off.

It wasn’t like the nightmares either. There was too much rushing detail and no time for foreboding and too many clear bouts of sudden pain as I took the punches and my head flapped back and forward. It was hot in the car and I was sandwiched between the two chasers. I tried to yell and managed to swear and shout out “what do you want?” but I was winded and my jaw felt like it had just been borrowed from someone else and I had to speak through a newly brokentoothed gap.

It was hard to tell the two apart. Brothers maybe, with red uneven faces and close eyes and short cropped hair. Left had an old scar over an eyebrow and more stubble. Right had a cotton shirt. Old? Hard to tell. They looked vaguely familiar. The twentysomething woman driving looked familiar too. She kept glancing back in the rear-view as she drove us jerkily north out of the city towards the coast.

“Whaddaywant? Whaddefuck?” I tried, bloodily said, bloodily ignored.

A few blows later, left said something.

“You’re gonna pay!”

Right added.
“The judge can’t protect you now!”

The twentysomething woman looked back. Approvingly. That was nightmarey for sure. Sudden unexpected malevolence, deep disturbing grip. But no waking, no waking, and stabbing pains in my cheeks and chin and abdomen.

“What? What judge? What are ye talking about? Let me go!! Wrong person! Wrong person! Stop the fucking car!”

So it wasn’t quite a nightmare then, or one of the idle stories that could often waft across my brain on a whisper of wind. A “first-rate fantasist,” Divilly had called me once. I was dribbling and it was hard to think and panic surged and I shivered but I was held down and we had left the city and nobody had noticed. Nobody noticed at all, through three sets of lights and a roundabout and along the prom in a line of traffic. I tried to send my focus deep down into the nail of the small toe on my right foot. But we did not evolve the ability to ignore panic and pain. It is too useful. I could only slump under the weight and the blows went away.

A least when we pulled up with a sliding jolt at the end of the dark drive down the tiny grassy road near the sea there was some alignment, some control. As I might have imagined it: I pushed hard against right after they pulled me from the car, then swivelled on my heel to get my arm up with force and my fist into left’s stubbled jaw. His mouth clicked nicely and his head pitched back and my hand burst into pain and I was already expressing my knee with vigour into right’s cottonshirted stomach. Then I was running and over a stone wall and into a lumpy field of Atlantic edging bog.

But but but, the wrong shoes, the wrong pants, overfed on office lunches and submerged in sticky pain, my foot caught the soggy lip of a brown bank and the rest of me followed forward in a collapsing arc, down into the boggy ground where the weight of three crushing bodies soon arrived on my back. Water in my mouth, no air, no air.

“Don’t fucking move” said left, who was now on my right. A kick, or a punch. Nobody around for miles.

“He let you walk.”

“Let’s see how far you get now!”

Right was to my left now, as I pulled myself up enough to gasp air with the bogwater. He had a long lump of wood in his hands. The woman was behind him. Crying. The wooden lump was raised. A seagull patrolled the salty sea breeze above it. I could see the field stretch down and give way to black craggy rock and mutely glinting surf and in the distance the karst cliffs of Clare with the lights of Kinvara beginning to twinkle.

“Wait!” I yelled. “No!!” “This is a mistake!” “Don’t do something stupid! You’ll be locked up for life! You have the wrong person! Check my wallet!” “It’s a mistake!”

“This is for what you did.” he said.

“To Emily” she said.

“For Emily” he said.

I shouldn’t have killed Emily.

*************************Donal Kelly, May 2014

This is based on a recent news story about assailants getting minor community service sentences for being involved in an assault where a man was killed, and a strange experience driving to work one day last month where it seemed that a man in the car behind was being punched by two others. It got mixed up of course in some ideas about a possibly unreliable narrator and the violence of justice and the collision of fantasy and reality and the hills of Clare in their stony western march on the far side of Galway bay in early summer.

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Poem: The Little Things

The smallest thing; flap of a finch’s wing
Dart of a blackbird’s eye
Rising of spring from buried roots with a cry

Strange to be here again
Late, behind schedule, delayed, out of time,
Yet back at the beginning, where we met
Busy but immobile
The beat of your long-absent feathers
Only memory’s furrows to plough again and again
To sow once more in wonder down
In the winterground

The lightest touch; dewbead dropping
Gossamerglint in that old dawn
Circles in the sky tilting round

Arranged to be here again,
Boxes to tick, lists of lists to fit in,
Install, edit, reboot, compile, deploy, finish, begin
Work and its workings flow
Keeping order, version five dot oh dot oh dot oh
Hollow-chested eye-driven seeker and kin
Chasing the homeroad- getting steeper and dim:
All them words to keep you company
And not a shred of sense between them

The littlest play of light; flicker in a pool
Dances in the ripples,
Lilting out in eager chasing waves

Is it a purpose worth promising
That keeps us from falling off
this slanting Earth?

Creative Writing class assignment: Week 7. A short poem about the rising of spring from the dead-looking winterground, flecks of green and bloodswipe peeking and poking from the earth. I wrote this just before the class and have tinkered with it since. I wanted to get whisks of some numb office life amid the flow of season, and the little little changes by tiny measures. Donal Kelly March 20142014

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Very Short Story: Abiogenesis

Tokyo 2011

Dr Malthus and Dr Richards were very excited about something. They leaned over each other to get a better look at the microscope.

The film crew, squashed along the other side of the capsule, paid them no attention. They had already broken through several ceilings of boredom. At first, the jerking motion of the T79ix2 STEP (Spatio-Temporal Exploratory Platform) as it plane-shifted (setting an official new record) then bounced around in the dense unpredictable Archean environments had been novel; intense. Now, the distinguished director Lans Henrig and his two cameramen languished with no clue as to whether they were still circling the thermal vents or bobbing higher up in the toxic clouds.

Kissner, head cameraman for the Reality Infotainment channel, shoved his weight further up against an uncomfortable pile of scientific utensils. There was no light, no doors or windows, all of the external cameras had been broken off, batteries had been severely rationed for use with experiments, the incessant Brownian motion plagued his stomach, and they already had hours and hours of footage of the enthusiastic scientists.

The T79ix2 was designed as a single-use, return trip-disposable vehicle. The passengers were sealed inside with only a tiny supply hatch operated by a cumbersome series of authorization protocols to let anything out or in, until they returned to 2142 where the outer shell could be carved off by a giant laser. There, then, billions of years later, the panel from the temporal consistency review panel would analyse every inch of surface and the petabytes of diagnostic information. Scientists would pore over the data with their supercomputers, and the editing team would struggle to create a dramatic story from the limited footage.

Lans Henrig, whose reputation had been made by the earlier Secrets of Time series of docu-drama shows, and then damaged by the temporal consistency interferences caused by the shooting of season three, had invested much of his personal fortune into the Dawn of Life production. He ran his hands through his greying hair and wondered how they could possibly get something compelling: two weeks of searching had yet to reveal any life. It looked like they had gone back too far, or to the wrong part of the Earth, or were using the wrong gear. The scientists had already seemingly invalidated many of the standard theories and were speculating wildly about alternatives. Dr Malthus defiantly stuck to the theory of a coincidental alignment of the right mixture of, among others, ammonium phosphate, formaldehyde, and ammonium molybdate. Dr Richards was adamant that an organic seed was needed given the conditions; some fragment of self replication to kick off the show.

Since the 2021 disaster in 2139, all chrononauts were supplied with fast-acting mood stabilizers. Kissner, given to unhelpful thoughts about a certain mop of blonde hair being playfully flicked over a shoulder in dappled sunlight, pulled a vial from his belt pouch and swallowed the blue liquid. Right then, Dr. Argins emerged from the supply chamber where she had been confined for over a week.

GCS, General Chrono Sickness, was not yet fully understood in 2142, though some medication had been developed. Its symptoms varied hugely, though Dr. Argins displayed clearly common ones such as pounding headaches and confusion. It affected up to 20% of chrononauts, and was more severe with larger distances. Kissner, sinking into an induced balmy calm, was able to look up and notice and say

“Feeling any better?”

Dr Argins, with her mouth and both eyes half open, seemed to be struggling to focus.

“Worse?” She said.

The capsule shook suddenly and Dr Malthus dropped the sample he had been holding. Lans Henrig, for want of something better to do, aimed his portable camera at Dr. Argins.

“I thought you were not supposed to come out?” he said.

Dr Argins, who had forgotten to take her mood stabilizing pills for the past four days, tried harder to focus.

“Too hot!” she said.

“It can’t be too hot,” said Lars Henrig. “It’s always exactly 20.5 degrees inside the capsule.”

“Too hot!” repeated Dr Argins. She squinted, then pointed back at the supply chamber. “Wet!”

Kissner went to the supply chamber entrance and peering in said, peacefully, “The supply hatch is open.”

The capsule rocked again as it hit a swirling current. Kissner was calmly tipped forwards into the supply chamber. There was a sucking noise followed by some clanking, then several alarms went off at once.

Donal Kelly, February 2014, for the 6th class of the GTI Creative Writing class. The idea with this week's work was to put yourself in a historical event. I had a few different ideas but was forced to pick by Time, and wrote this quickly on the Tuesday of the class (it had been floating in my head for a few days). The idea was for time travellers from the future to go back a few billion years to observe the exact moments when life emerged. Then, of course, they accidentally affect the event itself. I didn't want to worry too much about the logics of time travel, but at the same time, I wanted it to a be an important factor- just one I didn't have to explain exactly.

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Poem: An artist regrets having never committed

seagull over Atlantic ocean

An artist regrets having never committed

Streets outside the curtains
Draw me back
A bad sketch of a hollow tune
Hums above the others in the room
For her, my vacant ruin.

Waking in a strange old bed can be lonely
Is this where all those veining streets lead?
I might have said: my one, my only
But you know I put things off instead
For her, my poorly sculpted head

Scenes outside the windows
Trace me out
Paint sloshes where I grip to sleep and doubt
Did her hand brush off this or graze these?
For her, the heaviest ideas

Waking in a strange old bed can be hard.
Is this where all my streets began?
I must have lied and lay in a cold doorway
Nestled in etchings of spent nights, stale ends, floorsway
For her, the road’s oldest bends

Streets outside the curtains
Fill me in
People going past and going round again
My paints leak back down into the sheets
For her, my tuneless retreats.

What you were told about things like love
(Now that you’re old enough to learn firsthand)
Were merely scaffolds to get the building up
Until it was stable enough to stand

Creative Writing Class Week 5. The idea was to use the last line of a poem by Carol Ann Duffy called "Warming Her Pearls" which went like this "I feel their absence and I burn" and write something that touched on obsession. I drifted wide but their is an obsessive idea here somewhere, in the waking in a strange old bed and the dedication of things to Her and maybe at the end of streets, maybe at the beginning and so on; a few insecure threads. I had an idea of a unstable poem, an adult, after the facts, stuck in his bed or in his own head, maybe an artist, the world calling to him, sketching him out, the real world outside the window. I like the idea of scaffolds, the frames we erect to get a building off the ground and into the air. Hopefully I can revisit the space.

Donal Kelly, February 2014