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In 1907 Edwardian Dublin is a city of whispers and rumors. At the Abbey Theatre W. B. Yeats is working with talented John Synge, his resident playwright. It is here that the author of Playboy of the Western World and Juno and the Paycock will meet an actress still in her teens named Molly Allgood. Rebellious, irreverent, beautiful, flirtatious, Molly is a girl of the inner-city tenements, dreaming of stardom in America. Witty and watchful, she has dozens of admirers, but it is the damaged older playwright who is ...
In 1907 Edwardian Dublin is a city of whispers and rumors. At the Abbey Theatre W. B. Yeats is working with talented John Synge, his resident playwright. It is here that the author of Playboy of the Western World and Juno and the Paycock will meet an actress still in her teens named Molly Allgood. Rebellious, irreverent, beautiful, flirtatious, Molly is a girl of the inner-city tenements, dreaming of stardom in America. Witty and watchful, she has dozens of admirers, but it is the damaged older playwright who is her secret passion despite the barriers of age, class, education, and religion.
In 1950s postwar London, an old woman walks across the city in the wake of a hurricane. As she wanders past bomb sites and through the forlorn beauty of wrecked terraces and wintry parks, her mind drifts in and out of the present while she remembers her life’s great love, her once-dazzling career, and her travels in America. Vivid and beautifully written, Molly’s swirling, fractured narrative moves from Dublin to London via New York in language of luminous beauty and raw feeling that celebrates love and art. Ghost Light is a story of great sadness and joy—a tour de force from the widely acclaimed and bestselling author of Star of the Sea.
An impassioned tribute to the actress who secretly loved and outlived Irish playwright J.M. Synge.
Bestselling Irish author O'Connor (Redemption Falls, 2007, etc.) divides his powerfully imagined, poetic narrative between two eras and cities, Dublin in 1908 and London in 1952. Molly Allgood (stage name Maire O'Neill), central to both, is 65 in the London episode, a half-starved alcoholic dependent on begging, selling off her remaining scraps and a bit of acting to survive. Her salty stream of consciousness is narrated in the second person, lending an additional layer of self-consciousness to the meticulously composed prose. The earlier, third-person Irish sections mix love of landscape with scenes from the unsuitable secret engagement between the beautiful but less well-educated 18-year-old Molly and the older, ailing playwright, a liaison disapproved of on all sides. In Synge's most celebrated yet scandalous play, The Playboy of the Western World, Molly plays her greatest role, Pegeen Mike, "a woman who loves a storyteller and loses him too soon" as Molly does when Synge dies at 37 of Hodgkin's disease. O'Connor's impressionistic, intense style delivers a mismatched love story and a social landscape dominated by forceful characters such as W.B. Yeats and Synge's formidable mother, but it is Molly's perspective which prevails, the voice of a comical, intuitive, irrepressible life force.
An empathetic act of literary homage offering nuggets of emotional intensity.
"Ghost Light is O’Connor’s vivid and sometimes visionary reimagining of the love affair between Molly Allgood and the Irish dramatist John Millington Synge….O’Connor rides the wave of Irish eloquence….A jagged lyricism redolent of Seamus Heaney." —The New York Times Book Review
"[Molly’s] story comes alive in brilliant bursts of poetic language. She loves, hates, longs for vengeance, and despairs of redemption in luminous prose." —The Boston Globe
"O’Connor’s novel itself is an outstanding example of what the written word can achieve." —Minneapolis Star Tribune
"Enchanting...Moving...Rhapsodically Joycean...Wickedly comic...Readers will be delighted."
—The Sunday Telegraph (London)
“A great ambitious novel about love and loss. Joseph O’Connor has the magic touch, and I can’t imagine many better—or braver—novels coming out this year.” —Colum McCann, author of Let the Great World Spin
“A brilliant novel.” —Joseph O’Neil, author of Netherland
“When I think of Ghost Light, the words climb over each other to be first in the queue: brilliant, beautiful, exhilarating, heartbreaking, masterly. It’s that good.” —Roddy Doyle, author of Paddy Clarke Ha Ha Ha
“It has an astonishing command of voice and period detail, and offers an intimacy with the lives of others that is rare in fiction.” —Colm Tóibín, author of Brooklyn
“A spellbinding read.” —Aisling Foster, The Times (London)
“Ghost Light is a tender and compassionate love story, and a fine stepping stone to the majesty of Synge.” —Times Literary Supplement
“Remarkable, radiant, and captivating . . . On top of the biographical information concerning these two, Synge and his Molly, Joseph O’Connor has imposed a fictional overlay, and makes a vivid performance of it. . . .Deeply and resolutely imagined, Ghost Light casts its heroine as a charming and robust, playful and wayward young girl, committed to the well-being of the rather difficult and gloomy JM Synge. Molly Allgood, in this version, has a good deal of Molly Bloom in her make-up, and a lively intelligence to boot. . . . In this incarnation, [she] is a figure of great gaiety and aplomb; and O’Connor’s novel carries all the pungency and resonance of a particular era of the past.” —Patricoa Craig, The Independent
“An entertaining read that carries a touching tale.” —The Economist
“Masterful . . . With his previous novels, Star of the Sea and Redemption Falls, O’Connor carved out a unique way of playing his storyteller’s hand over a wide landscape, with the use of invented documentation and textual adventure. Ghost Light brings that achievement to a new dimension, more specifically located and yet all the more masterful in its management of re-imagined lives and the time they inhabit. . . . The writing is lyrical and moving.’ —Hugo Hamilton, The Financial Times
“With his usual deftness and intelligence, O’Connor brings to life the intense love affair between young actress Molly Allgood and the great Irish playwright JM Synge . . . Brilliant.” —The Daily Mirror
“Joseph O’Connor’s seventh novel, Ghost Light, will give days of pleasure to tens and tens of thousands of readers. It is a great love story, with extras: a virtuoso display of literary talent, a tribute to the Hiberno-English heritage of lore and lyricism and an interpretation of the Irish literary revival as the fruit of settler and native, Protestant and Catholic. . . . One of the novel’s great achievements is not just to display imaginative power but also to show how the imagination works. . . . A stroke of genius.” —Adrian Frazier, Irish Times
“Engrossing stuff . . . Beautifully written and charming.” —The Independent on Sunday
“What shines in the end is O’Connor’s precise style bolstered by quick flashes of his wicked humour. Ghost Light is a careful, thoughtful story, the worlds of which are impeccably rendered.” —Irish Examiner
“Ghost Light is a sad and stirring story of love and loss, and O’Connor skillfully brings to life a brief affair that burned brightly and for Molly, was never extinguished.” —Claire O’Mahony, Irish Sunday Tribune
“A tender, haunting tale . . . An original and moving love story.” —Marie Claire
“O’Connor has fashioned a deeply moving, beautifully written story. . . . Admirers of his writing will take pleasure not only in the ambitious range of Ghost Light and its depth of feeling but also in the nods in the direction of the author’s immediately preceding novels, Redemption Falls, and, before that, Star of the Sea. . . . Ghost Light stands up to scrutiny on its own terms. It is a profoundly sad story, but triumphant.” —Scotland Herald
“The author displays typical imaginative virtuosity and emotional depth. . . . As well as being impressively well crafted, the novel is wreathed in language of Joycean richness. [O’Connor’s] prose is tuned to a singular lyrical frequency.” —The Sunday Times
“Superbly written, magically evocative novel.” —The Scotsman
“Ghost Light is a spirited novel. . . . Like her namesake Molly Bloom, Allgood is an earthy, wily and sexually magnetic creation but O’Connor’s real feat is in his careful deployment of Hiberno-English by which he not only doffs his cap to Synge but gives flesh and blood to Molly’s neglected life story.” —The Metro
“Ghost Light will give days of pleasure to tens and tens of thousands of readers. It is a great love story, with extras: a virtuoso display of literary talent, a tribute to the Hiberno-English heritage of lore and lyricism and an interpretation of the Irish literary revival as the fruit of settler and native, Protestant and Catholic. . . . Brimming with sympathy and skill.” —Irish Times
“Joseph O’Connor occupies a special place in Irish life. The novel is artfully constructed. . . . O’Connor’s evocation of such a difficult, morbid and yet morally beautiful man through the memory of an earthy and vivacious woman is remarkably ambitious and imaginative. Ghost Light is full of . . . sly pleasures and there is a great deal of broad comedy.” —The Irish Independent
“Lyrical and moving.” —The Sunday Tribune
Growing up in the coastal town of Dún Laoghaire, Joseph O'Connor lived but a short walk from the Victorian house that had once sheltered the playwright John Millington Synge (1871-1909), and his immediate family. In the acknowledgements that close Ghost Light -- O'Connor's accomplished seventh novel -- the author notes that he'd fancied the Synge domicile "as a slightly decrepit embassy of literature, a headquarters where brave things had been attempted, some magnificently achieved, but also a hermitage of ghosts." O'Connor projects himself into that gothic space and, furthermore, into the theatrical society that blossomed around Ireland's Abbey Theatre, by fixing upon Synge's relationship with the spirited actress Maire O'Neill (1885-1952).
At the time of his death from Hodgkin's disease, Synge was engaged to O'Neill (née Molly Allgood) who had been the lead actress in the original production of his mordantly droll comedy, The Playboy of the Western World (1907). Their courtship met with resistance from Synge's family and social circle, which included fellow Abbey Theater co-directors William Butler Yeats and Isabella Augusta, Lady Gregory. Of issue to the naysayers was not only the age difference between them -- Synge was thirty-five and O'Neill nineteen when they first became fond of each other -- but differences in station. Yeats and Lady Gregory, like the rest of those who frowned upon Synge's amorous leanings, were sensitive to the class markers that distinguished him from his beloved: O'Neill was the product of a working-class background, who had received a spotty education at an orphanage where she was placed for a time, after her father's death. Synge -- the offspring of a barrister and a landowner -- was a graduate of Trinity College Dublin who could read in six languages and was well traveled.
In his novel, Ghost Light, O'Connor pulls from such contrasts reasons for mirth and gravity. Frequently, such emotions spur one another on as they do when O'Neill reads a lyric that has been added to an oft-consulted map, which bears the stamp Ex Libris Trinity College Dublin:
If this chart -- thou steal'st away,
What shall thou say
-- On Judgment Day?
Yet if this map be -- wrongly drawn Trav'ller -- mercy -- from thy scorn.
She reads the final couplet aloud. [Synge] chuckles at her pronunciation. In his accent, it rhymes. In hers, it does not. For less have millions starved.
It is O'Neill's voice, by turns vulgar and classed-up, that centers the novel and invests it with a stubborn optimism.
"Life abounds with blessings." This motto comes to her at the beginning of the story, where we find O' Neill, aged sixty-five, hung-over and indebted, living in a dilapidated London flat. She bundles herself in that sentiment, as she does in the best of her few remaining garments, to see her through a chilly day in October, 1952. In part, she is made giddy by an afternoon appointment at the BBC, where she is to participate in a radio adaptation of a play by Sean O'Casey. As she goes about her preparatory rituals, she mulls over an interview request from a scholar who is eager to discuss her relationship with Synge, and to obtain for her institution's archives any personal documents relating to the literary artist. Having long ago sold off all but one of his letters, O'Neill, for dire want of groceries, decides to part with this last memento, though it's her intention to sell it to a London book dealer who has been kind to her in the past. Placing the letter in the pocket of her only coat, she goes outside to meet the day which will give her the occasion to visit a pub, a museum, Trafalgar Square, and a movie theatre, before heading off to work in a fog of alcohol and remembrance.
O'Connor is superb at holding the reader's attention across scenes drawn from O'Neill's youth as a rising actress at the Abbey Theatre, to her ominous middle years, to the waning moments of her life. There is a noticeable physicality to his writing. Peering at her aged knuckles, O'Neill sees "the fossil of a bird's wing." A clock, "placks solidly, adjusting its ratchets." An over-stuffed ashtray, "calls to mind a porcupine." The author's delineation of psychological states is equally sharp. Synge's ambivalence towards marriage belies a quality "many women have known: the suitor who craves you but secretly wants to be dismissed." As O'Neill shuffles about in the morning, getting ready for what is fated to be her final performance, she is keen to shrug off the memories that have stirred within her because "otherwise we pull into ourselves like snails . . . and you can lose thirty years in such a withdrawal. This is how time unfolds when you are old and susceptible. Wander into its spiral shell and it is hard to escape. The glisten that looks inviting to age-bleared eyes has a way of suddenly liquefying and then coagulating around your heart, and the womb in which you find yourself so numbingly cocooned is too enveloping to allow you to resurface."
Ghost Light imparts much of its joy by tracking O'Neill as she gallivants about London brushing off the slights and acknowledging the serendipities strewn along her path. It's regrettable that the novel falters for a brief spell, near the end, when she arrives at the radio studio and is introduced to a young fan eager for her autograph. What transpires is a schmaltzy incident that interrupts the otherwise unobtrusive current of pathos which carries the story along. Be that as it may, this Hallmark moment needn't deter readers in the mood for a literary work that is as inviting as a liquid indulgence.
In the top floor room of the dilapidated town house across the Terrace, a light has been on all night. From your bed it was visible whenever you turned towards the window, which you had to do in order to fetch your bottle from the floor. Most nights, the same. The bulb is lighted at dusk. In the mornings, a couple of moments after the street lamps flicker out, it dies, and the ragged curtain is closed.
You are sixty-five now, perhaps the age of that house, perhaps even a little older – what a thought. You approach your only window; it is shockingly cold to the touch. Winter is coming to England. The weather has been bitter. Last night a hurricane struck London.
You have never noticed anyone enter or exit that forlorn house, but the postman still delivers to it, stuffing envelopes through the broken glass in the door panel – the letterbox has been nailed closed many years. Men urinate in the porch. One of the street-girls plies her trade there, and the balustrade has long been splashed with obscene words. Many of the window embrasures are boarded. Buddleia sprouts from the façade.
You have a sense that the occupant of the room is a man. One midnight a fleeting shadow crossed the upper windowpane – so you thought – and there was maleness in how it moved. There was a time when you used to think about him – how can he live alone in a bomb-blasted old house? who sends the letters? what are they about? – for it helped to pass the brutal hours immediately preceding dawn. But this morning someone else is come to you again, out of the same light, somehow, out of an unseen room, out of a city you have lived in the last thirteen years but have never found a reason to call your own. This has happened to all of us: a coasting across the mind by one we had thought forgotten or purposefully banished. But today will prove him a wanderer reluctant to be exiled, an emigrant still at tempting to come home.
He could be difficult sometimes. What use in denying it? Irritable, unforgiving, for a relatively young man. Because the whisperers and poke-bonnets and gossips and sniggerers always made such a point of the age difference between you. Envious vixens. Triple-chinned hypocrites, too deceitful to utter their true objection. What are years? Fictions. Ink-stains on a calendar. There are moments, of late, when yesterday feels a life ago, and tomorrow an unborn century, so unreachable it seems. And had he lived beyond his youth, the years would have contracted, be cause a married couple become the same age, grow to resemble one another over time, like bookends, their recollections in greyed bindings between them and neither bothering to read what once divided them. What's this he'd be now? Eighty? Something. A slippered old duffer. A shuffler. An auld bags. Hard to work the calculation through the fug of a hangover. Your reckoning of the decades keeps stalling, tripping up. After a few ruined attempts, you abandon it.
You take a small, sour sip. Medicinal. Just a settler. The reek of gin dampens your eyes, somehow intensifies his presence, but you grimace it away with a swallow. The daily spite of this unmannerly town. Wasn't it Yeats wrote that? Or my other lunk? Shaw. Dublin, he was whining about; but all towns are unmannerly, to the old, the poor, the collaborator. What is it in poets that must dress a thing up? Christ, they'd nearly call their dandruff 'the fairy-snow'.
Not long after dawn. The shadow-kissing time. Grey light at the window and the whistle of the kettle as you move about, failing to keep warm. Mittens flittered to ribbons. You wear a dead man's boots. Well, no point in wastefulness. A sin. Down below in Brickfields Terrace, a milk wagon is delivering. You wonder would the man advance you another month's credit but the fear of being declined dissuades you. Hoarfrost silvers the pavement, the telephone kiosk, the street, the wrecked colonnades of the house where the light burns all night, an awning over the grocer's on the corner of Porchester Road. Rooks are circling the chimney breasts.
Johnny Synge's bit of native. The proddy's little squaw. That Kingstown playboy's huer. Insults hurled long ago by the wags of witty Dublin, still audible after more than forty years.
You shuffle away from the window, to the cubbyhole by the cooking ring. The room smells of cabbage-water and dust. Somewhere below you a wireless is playing too loudly but you do not object to the interruption, find it oddly cheering sometimes. There are hours, late at night, when you miss its consolation. Silence can be frightening to the lonely. He always said you were over-imaginative, too given to fantasy. A Catholic trait, he would joke. These nights, you read Mills & Boons from the tuppenny library in Earl's Court Road. Sure you'd be lost for a bit of an escape only it wasn't for True Romances. How he'd have hated them, your dog-eared and tearstained bedfellows. 'Opium for spinsters,' he'd mock.
The sun would dry the oceans wide;
Heaven would cease to be;
The world would cease its motion, my love,
Ere I'd prove false to thee.
A song that would draw the heart out of you, Molly. That anyone ever felt such devotion.
A drop or two of milk would take the scald off the gin. This cheap stuff hits your throat like boiled sand. Eighty-one. His age. If he was alive today. Were he to be alive. Still correcting your grammar. The sense that you were an embarrassment to him has never quite surrendered. The difference was not only one of age.
The cupboard contains a tea caddy decorated with a transfer of a parrot, and an empty sugar bag that can be scraped for its few last grains. You are thinking about the milkman, who is old beyond his years. They say he was shell-shocked at Anzio. The children of the neighbourhood are afraid of him, call him names. It is whispered that he has queer obsessions, with dog-dirt, with blood, with immigrants, especially Poles, and the lack of public lavatories. He used to make a nuisance of himself with a pretty schoolgirl as she took the short cut to St Catherine's, and now no schoolgirls are ever seen on the Terrace. He has the grin of a corpse and the bearing of a soldier, but sometimes he stretches his stride as one negotiating steppingstones, laughing the while through his teeth. Has he failed to understand that the gaiety of the passers-by is forced, is actually a peculiarly English kind of hatred? Perhaps an understanding could be reached. If one went to him with honesty. But no. It would not be seemly.
—One does not ask for credit, Changeling. If appropriate, it is offered. One must always cut one's cloth having regard to proprieties. Anything less is the death of civilisation.
The cat slinks haughtily across the sticky, bare floorboards and arches its back against a chair-leg. Of a sudden it appears taken by a leather-framed photograph that is propped between two empty candlesticks on the mantelshelf. The man in the portrait has been dead a long time. His clothes are Edwardian: a shabby plus-four suit and brogues, a loose varsity cap, a knotted kerchief about the throat. An ashplant cane in the gloved right hand and a book protruding slightly from the pocket. Sepia has made his garments the same colour as his hair, as his mother's chaise longue in the background. The picture has shrivelled over the years. It has seen many mantelshelves; many boxes and cheap hotel rooms, the greenrooms, the flophouses, the pouches of a cardboard suitcase. There is a stiffness in how he holds himself, as one braving the firing squad in an opera, and the eyes, martyr-sad, are very slightly blurred, as though he blinked or was weeping at the moment the shutter was opened. But that would have been so unlike him.
A medieval Scottish ballad on an unseen wireless. You'd be grateful for the coming of morning. The slowplodding clop of the milkman's dray. Someone's motor car grumbles into life, a bicycle bell trills, and the phantoms recede into the wallpaper. You seem to see yourself at a distance, as a character in a story, perhaps. Miss O'Neill shivers at the table, drinks the acrid black tea. An offcut of linoleum serves raggedly as tablecloth; it is spotted with candle grease and cigarette burns. Here and there on its surface appears a crest of crossed rapiers with the motto FIDES ET ROBUR. She has twice been married, once widowed, once divorced. Her only son, an RAF pilot, was killed in the war, shot down over northern Germany, never found. It has been a long time indeed since she last played a leading role, since the palaces of Broadway rang with acclamation for her brilliance, but in whatever life those riotous ovations still echo, if they do, the ghost of a curtain still rises. One St Patrick's Night they stopped a train in Scranton, Pennsylvania, for the townspeople had somehow heard Molly Allgood was on board. Irish immigrant families. Weeping and cheering. Lofting children on their shoulders. An old miner kissing her hand. Coal dust under his fingernails. Withered shamrock in his cap. You peer at your bony knuckles, see the fossil of a bird's wing. Can they remember they were once kissed in Pennsylvania?
Mother of Christ Star of the Sea Hope of the wanderer Pray for me.
Somewhere in the room is a packet of old programmes all containing your name, but you wouldn't know where to find it among the clutter. Anyhow, the ones signed by the famous were long ago sold, with whatever books were worth anything at all. There is a little bookshop in Russell Square where they specialise in autographs. A kindly widower, a Jew, shy and scholarly, is the proprietor. A Communist, so they say – he denies actual membership. He lost an arm in the Spanish Civil War.
Does the body remember? When the mind has forgotten? Does Mr Duglacz dream that he is whole again, a sweat-stained revolutionary? If he stretched to pull an orange in the soporific heat of a grove, or groped towards some Annamaria's scarlet, mournful mouth, would he see his vanished hand and weep? And if dreams unmask our longings, as the wise have claimed since the G reeks, why is it that the dead are so often silent when we dream them? Don't we want them to speak? What would they say? Does Mr Duglacz ever dream himself a baby?
He always paid cash, more than fairly at that, was glad to see you coming, offered tea or a small sherry, showed you volumes he had recently acquired at house clearances in the shires, was perhaps even a little flirtatious in the abashed way of old men as he fumbled among his broadsheets and foxed aquatints. ('This might interest you, Miss O'Neill, the binding is exquisite. Not everyone could appreciate it as you would.') But you have almost nothing left to offer him and no pretext for calling. It has been more than a year. You think of him sometimes. His embarrassed, touching courtesies and mild self-deprecations; his cheerfulness only grief turned brave. At moments he suddenly arises like a rumour of himself, or as a reminder of someone else: the man in the photograph on the mantelshelf. Anyhow, you are glad. All that is behind you now. 'Bloom where you are planted,' your mother used to say. 'When sorrow sours your milk, make cheese.'
Life abounds with blessings. To be alive – even that. For the chances against our existence are incalculable, overwhelming; it would mesmerise you even to start considering them. So many you knew are gone. And the billions never born. Nobody should be here. Yet we are. And it is all such a beautiful and strange adventure; who would forgo it only the mad or the broken? This afternoon you have an engagement at the British Broadcasting Corporation, a part in a radio adaptation of a play by Sean O'Casey, one of the many Irish playwrights you once counted among your friends. You have never liked the piece. There are few plays you truly like. You wonder where O'Casey is now.
He would be old, even more bitter. His sweat would taste like the wince-making tea: metallic, like blood, only stewed. They say he lives someplace on the south coast of England (Jaysus), is grown shrivelled with his hatreds, has been blind many years. He wears a skullcap and sea-boots and a filthy A ran sweater he stitched from dead critics' hair. A face like an elephant's bollock, one of the stagehands once chuckled, and that was neither today nor yesterday, God knows. Poor Johnnybags Casey and his harem of perceived slights. What must they make of him, the villagers and their children, as he shambles the fogs like a poisoned old dosser on his way to sign fraudulently at the Labour? A Friday night fight-starter. A slum boy translated. Has he friends? Does he drink? You cannot remember now. Is he still at this end of the plank at all? You picture him facing out on the storm-lashed breakwaters, raging at the raucous gulls.
—Napoleon the Third was exiled before dying in terrible agony on the south coast of England. Where a lot of people live in terrible agony.
'Let me alone,' you whisper. 'I am not able for you today.' The breeze comes back crisply, fricative, falling away, like a saxophonist playing sub-tones, full of breath. The cat pads towards the window and utters a famished mraow. From the cement factory in Paddington Dock, the alleluia of a siren. Men will be making their way from the estates of west London. The wind rising cinders. Wives in their milky happiness. Still the middle of the night in Manhattan.
You have nothing to eat. There has been little for two days. The hunger is dizzying, now groaningly painful, like the feeling that used to assail you when about to menstruate. Kindly, he was then. A womanly solicitude. It is so cold that you consider dressing over your nightgown and vest, but for pity's sake, Molly, there must always be self-respect. You cannot dander about London knowing you are in a nightgown. It would be a nice pancake if you had an accident and they had to cart you to the hospital. Imagine if you died in the street, girl. Naked, shuddering, your soles on cold boards. Quickly now, Molls, fetch a drawers and a shift. Don't be minding the lack of curtains for there's nobody gawping, and a nice fright he'd get if he did. A woman stalks across your memory, a dresser once assigned to you on an American tour, an astonishingly elderly Irishwoman – people said she was a hundred – but her name will not come, is kept at bay by the cold. She'd be dead these many years, you realise now. Was it Mary she was called? Born in Galway.
You have a rudimentary wash at the sink – the lavatory on the upper landing cannot be faced in the mornings – and dress quickly, fumblingly, blaspheming the cold, in your old black blouse and chestnut lambswool twin-set, and run a brush nine times through your hair. How he drowned in my ringlets. His mouth in my curls. Gone to spiderweb now. Old scuttler. The blouse is a little shiny but it is a pre-war Worth; good couture will always last, and proper tailoring. Taking your ancient box of numbered powders, you apply pan-stick and face pack in the little cracked shaving-mirror you inherited with the room: 2j with 3, a fingertip of 13, and yellow for an Italian warmth. After powdering, you dust your temples and cheekbones with terracotta dry rouge, a touch on the end of the chin, carmine lips for youthfulness. As you work, it is your fancy to imagine scenes the mirror has observed. Can it remember the man who first bought it, used it? Perhaps poor Mr Holland, the scaffolder's mate from Belfast who died in the rusting single bed you lie awake in. You sometimes wear his stiffened boots. You inhale him in dust. For months after you took the room, men would call to visit him, and it fell to you to tell them of his passing. Yes indeed, very sad. No, I myself did not know him. I am afraid I have no address for the family. I believe there is a brother, a priest in Chicago. No, I did not find any hammer. He borrowed it, you say? I am sorry, sir, I cannot assist you.
You had tried to give it dignity, your role as breaker of sad tidings. And you were good at it: poised, neither melodramatic nor too blunt. And it was better than having no role at all. It was how you had first realised you had somehow become old, for nobody is as skilled in the imparting of bad news as an elderly woman from Ireland. Once or twice you had gone so far as to proffer tea or a consoling glass of something – 'I rarely myself drink, sir, but I happen to have a bottle in beyond at the moment, which I was saving as a gift for a gentleman colleague' – but the offer had never been accepted. Perhaps it was improper. Some of them had looked frightened as they left.
No need to make your face but to do so is a rite, an act you have long believed brings luck with the doing, and like many of your profession you are unalterably superstitious. And what is need anyhow? We cannot live by mere need. The basest beggars are in the poorest thing superfluous. King Lear. Yes. There must always be more than need. Steam when you exhale. Ice on the windowpane, on the handles of the cupboard, the tap. Winter is closing on London and you have nothing to burn. Well, perhaps, on your walk, you will see something you could pick up. Broken twigs in the park, a lump or two of anthracite. Maybe try the coke merchant in the alley off Westbourne Grove. Wander into the yard where the navvies shovel the coal. But you would have to be careful not to be noticed, approached. There was unpleasantness the last time. Unwise to try again so soon. You are no beggarwoman, after all, but an artist.
Is it Joan Fontaine someone once told me I was the spit of? That part in the picture they made of the Daphne du Maurier novel, what's this was the name of it now? Jesus God, Molly. Laurence Olivier was in it. About the woman and the chap and the house and the drowned wife and the dreaming you went to Manderley again. You pout haughtily in the mirror. Fiercely narrow your eyes. 'I am Mrs de Winter now,' you murmur.
Today you shall walk. That is the plan. There must always be a plan, girl; otherwise we pull into ourselves like snails, and the devil conjures thoughts for the untidy mind and you can lose thirty years in such a withdrawal. This is how time unfolds when you are old and susceptible. Wander into its spiralled shell and it is hard to escape. The glisten that looks inviting to age-bleared eyes has a way of suddenly liquefying and then coagulating around your heart, and the womb in which you find yourself so numbingly cocooned is too enveloping to allow you to resurface. You will walk from your room to Broadcasting House, through the grey, busy streets of a late October London, perhaps digressing through Hyde Park, for there is no need to hurry; the rehearsal is not until five o'clock. It will clear your jumbled thoughts to be away from this room. A change is as bracing as a rest. You might even kill an hour in the National Portrait Gallery, where it is always warm in wintertime and the porters are courteous, or perhaps light a candle for the poor in S t Martin-in-the-Fields, a church whose strange name you love saying. It only costs a penny and sometimes there is music, the choristers practising Bach, or an organist at rehearsal. The great, fat pipes of the sonorous organ like giant bottles lined up on a bar. And the ground-bass rumbling through you, to the meats of your teeth. It is not too long to Advent. There might even be Handel. Better to light one flame than be cursing the darkness. And the store windows on Jermyn Street will be beautiful.
Was it stitched into a tapestry primer? Bloom Where You Are Planted. Because Sara was at the sewing of it all that summer I left school. Wasn't it Georgie had it framed and it hanging in Muddy's bedroom between the crucifix and the daguerreotype of Avoca. 'Jesus, come down and give me a rest.' Muddy's joke when she was wearied by a long day in the shop. Does he be looking and you naked, Mam? Sally red with laughter. Would he bother, child of God, he'd have better to be looking at. And the way she rubbed your back when you were poorly that time, and her legends of King Arthur and Cuchulainn. Poor Muddy, God rest her and the faithful departed. But don't be straying yourself into the glooms.
And so life abounds with blessings. It is only a matter of noticing them. You are grateful to have an engagement, a reason to leave the hungry room, an interlude of parole from the cat's grave stare, its reminder that man is not the Supreme Being. You will say to yourself, traversing the cold, great thoroughfares: I am walking through London because I am busy, a professional. I have an appointment with people who need me. Every role has its importance. London is full of actors. But I have been chosen today. And you will speak your few lines properly, with the austerity they demand, no bogus mellifluousness, no hamming or shamming, and the broadcast will be transmitted around the world like a wind, to India, Australia, Canada, South Africa, what a miracle, truly, when you think what man has done: airstreams of consolation engirdling the globe from a bunker in wintry London. And who can know what opportunities might result from today's performance? An impresario could be listening, a casting agent; a director. A little playhouse in the provinces or in Ireland someplace. Well, it is possible; it is possible. Stranger things have happened. Everyone has a slow year. It is the nature of the profession. Bad 1952 has not all that long to live. Maybe the better times are coming in. On such a full sea are we now afloat, and we must take the current when it serves, or lose our ventures. People have braved the Atlantic for less of a chance. All you must brave is London.
The producer, an elderly Dubliner, has remembered you at the last moment, has somehow dug up your address, when he could have chosen others, and to be remembered, for any actor, is a mercy. Such a cultured, benign man. Handsome as Ariel in a cardigan. You know what they say about him, Molly. Well, what business of theirs? Blessed Jesus, couldn't we do with more love in the world, not less. And if men wish the companionship and the beauty of one another, didn't God in His gentleness make us all? The pay is not good – it never is at the BBC – and they always pay late, but you have grown skilled at economising, as has everyone since the years of war. You will be able to make the two guineas last a fortnight, maybe more. Roll the pastry good and thin and you'll never grow fat, and hunger is the best sauce anyhow. And you could salt away a shilling or two for a Christmas gift for your grandchildren. A little comic-book, maybe; a bag of sherbet lemons. Perhaps you might even be able to redeem some of your costume jewellery from the pawn. (Ain't so much of a market in second-hand eternity rings, love. Stands to reason when you reckon. The girls think it bad luck, see. I'll have a shufti if you like. But I couldn't give you much.') It will be a blessing simply to work, to see people again. Sometimes the younger actors are kind. They sense your fate to be the one awaiting most of them in the end. You have become for the young an example of What Could Happen. We should be merciful to those embodying our dreads, for the season of our own denouement will come, when we may embody the dreads of others.
I know That my Redeemer Liveth
Your daughter lives in Aberdeen with her children and husband, an organiser for the Furnacemen's Union. Your twin grandsons are aged seven: James-Larkin and Emmet. You might go to them for the Christmas if you can somehow scrape the fare. Please God, some little job at the start of December. He is a good man, your son-in-law But strict. Doesn't drink. Pegeen is a most fortunate wife.
She writes to you monthly, of schoolyard adventures, of head lice and hand-me-downs, second-hand furniture. They don't have much. Is her chattiness hiding something? Her handwriting is almost identical to yours.
To kiss the twins, smuggle them a sweet. So far away, Aberdeen. Five hundred miles from London, might as well be a thousand, for the night train is slow as a miser's compassion and it's rare you can afford the express. And the months tend to drift, and then tumble into seasons, and sure next thing you know it's gone a year since you've seen them. Now don't exaggerate, Molly. It is only eight months. And it shocked you, the last time, when she was waiting for you at the station, and hurrying towards your carriage with a smile would melt snow. It was like looking at your sister. For a moment, you couldn't speak. The twins tugging your coat, leaping around you like terriers, and the thunderstorm of family resemblance.
Your sister died two years ago, is buried in Hollywood. You and she had not met in some time. You did not attend the funeral – it was too arduous a journey, you had not been at all well. And money. Always money. The obituaries had been fulsome. Someone helpful had mailed them from Dublin. 'Greatest Irish actress of her noble generation.' 'The peerless heroine.' 'Academy Award nomination.' 'No character actress of her era would ever rival Sara Allgood. (A sister, Maire O'Neill, also acted.)'
—Envy is unbecoming in a woman who is an artist.
'Go and blast yourself' you say, aloud. 'It's all I have left me.'
The wind chuckles feebly as it gusts down the Terrace and the rattle of the bin-lids is the rack of his breathing. You must not make me laugh so, with your scampish impertinence. You know asthma is made more distressing by amusement.
Oh the cemetery is only beautiful – so you have been assured – and the funeral was a Cleopatran occasion. A dozen of holy priests and one of them in line for a bishopric and the others all as jealous as schoolgirls. Hitchcock read the lesson. Mario Lanza led the hymns. In a neatly wooded parkland overlooking Culver City. And a vineyard nearby. Oh the little purple grapes. Admirers are often witnessed placing lilies on the tombstone, or copies of play-texts, lighted candles. A half-mile of palm trees on an avenue of glittering quartz; a Roman temple of remembrance so impossibly white it would blind you to look at it in sunshine. Mexicans tending the orchids. Hoses spraying the lawns. Negro ladies in pink uniforms polishing the headstones till you'd nearly see your face in the marble. They give you a map when you visit, indicating all the movie stars' graves. It is whispered that Bela Lugosi owns a plot. So cool in the chapel on a blazing Los Angeles day. There is always music playing. Bach. Palestrina. A system of taped recordings. Onyx and porphyry. O, lespetits muscats mauves ...
And if I had emigrated to America. He and I used to speak of it. The brave young country where differences do not weigh and all must create themselves over. They love and respect the outsider. We have fought in their wars, constructed their cathedrals, bridged their savage rivers. A Republic will always treasure the newcomer, the rebel, the player of wild cards, the frontiersman. You and I shall truly feel we are come home at last. There is nothing in this heartbroken Ireland for either of us, Molly. It is a mirrorland of celibates and killers on bicycles, a Lilliput of Reverend Mothers and pittances and fogs and embarrassing stains on the mattress.
Rebecca. It was called. That picture.
Even after he died, in the rainfall of his mourning, you would imagine your newfound land. Him watching Niagara roar, or in the bird market at Baton Rouge, on the steamboat for Great Falls, Montana. Some go to Paradise, others to Purgatory, but the good to an eternal West. And in the years after his passing, the seasons of your American fame, you thought of him during every bow. To be a citizen of Brooklyn, of tall, stately Chicago. To gaze on Lake Michigan on an Illinois Christmas Eve, the faint smell of lakewater, and Lilliput far away, and the frost bitter-crisp as champagne. But the bags had been packed, the return sailing taken. There had never been a moment when you had decided not to defect. It was something you simply hadn't got around to.
The clunk of doors closing, of hobnailed boots on the staircase. London is outside in the rain. The house's barrenness looms at you, each partitioned-off room a stage in a theatre gone dark. Almost all who reside here are workingmen, labourers. No one in the house is married. It is impossible to imagine the laughter of a child ever lightening such corridors, or darkening them, for laughter can unease. And there would be no reason to imagine it, for it will never happen now. You hear them come and go; old men in their moleskins. Sometimes they pause on the landings conversing briefly of the weather, with the guardedness of men who do not like or trust one another and who have been hurt when they trusted or liked. Then the doors quietly close and someone switches on his wireless and there arises the stink of burnt frying. Pawned tools of a Friday. The pound sent home. The mail-boat on Christmas Eve. In your dreams the house screams with its murdered hungers. Its night-windows redden with lust.
To have someone to share the room with. A few words of an evening. Someone to make a pot of tea when you're sick. Lately you have caught yourself grumbling to the walls, to the turrets of broken-spined paperbacks that stand sentry about the floorboards, to the lamp with its ripped shade, its dishevelled aplomb, the pegs on the coatless hatstand. The night-thoughts are the hardest. You cannot talk to the night. If you do, it might start talking back.
He is a good man, your son-in-law. Didn't mean what he said. Every family has these little disagreements, when harsh words are spoken. You are his children's only living grandparent, the mother of his wife. If you wrote and said you're sorry and you'd give anything to see the twins. It's been eight long months. If you promised.
Wind shrieks in the chimney as you open your tobacco tin and extract the makings of a poor cigarette. Little flimsies of paper, like torn pages of a bible, and fag-ends picked up in the street. But we mustn't complain. Haven't we health at the least, and the hurting comfort of smoke? My throat is a chimney breast, these lips a venting smokestack. Always he pleaded for you to quit the filthy practice, yet he never quitted, the great hypocritical flue, with his burblings and his belchings and his clouds of condemnation and his sermonising ridiculous smugness. It is different for a man. You know that very well. Wilde said a gentleman must always have an occupation. It would be a nice pancake entirely if he didn't.
Papers strewn everywhere, blown around the room like old leaves, for one evening last week you forced open the jammed window, forgetting the storm that was billowing across London. The season's weather has been violent, as though in overture to the hurricane, which struck last night as the street lights came on, with the bulb in the hermit's ruin across the Terrace. You lay awake in Mr Holland's bed listening to the wildness of the world, the racketing clatter; smashing roof slates. The bells of distant fire engines came borne on the storm. The house groaned like a ship in a cyclone. Around four in the morning there was a sudden brief lull and you realised that the public telephone on the street below was ringing. Who could it be? Would anyone answer? Should you yourself hurry down? Preposterous, dangerous. An insane notion came to you that it was Mr Duglacz in his bookshop, frightened among his Torahs and autographs and folios. Out of what junkshop of the heart do such yearnings arise? It rang almost twenty minutes. You let it.
"Excerpted from GHOST LIGHT: A Novel by Joseph O'Connor, published in February 2011 by Farrar, Straus and Giroux, LLC. Copyright © 2010 by Joseph O'Connor. All rights reserved."
Excerpted from GHOST LIGHT by Joseph O'Connor Copyright © 2010 by Joseph O'Connor. Excerpted by permission of Farrar, Straus and Giroux, LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Synge is a troubled, reticent genius, the son of a once prosperous landowning family, a poet of fiery language and tempestuous passions. Yet his life is hampered by conventions and by the austere and God-fearing mother with whom he lives. Scarred by a childhood of immense loneliness and severity, he has long been ill, but he loves to walk the wild places of Ireland. The affair, sternly opposed by friends and family, is turbulent, sometimes cruel, yet often tender.
In 1950s postwar London, an old woman walks across the city in the wake of a hurricane. As she wanders past bomb sites and through the forlorn beauty of wrecked terraces and wintry parks, her mind drifts in and out of the present as she remembers her life’s great love, her once dazzling career, and her travels in America. Vivid and beautifully written, Molly’s swirling, fractured narrative moves from Dublin to London via New York with luminous language and raw feeling.
We hope that the following guide will enhance your reading group’s experience of this tour de force.
Questions AND TOPICS for Discussion
1. How were you affected by the voice of the novel and its structure? O’Connor chooses not to tell the story in straight chronological order. What does he gain by unspooling Molly’s memories in the course of a single day?
2. What portrait of Molly emerges in the opening scenes, as she copes with severe hunger while anticipating recording a radio play? How did your image of her change as you read about her marriages and the death of her son? What traces of her teenage personality remain to the end?
3. What were your initial impressions of John Synge? What fuels his attraction to Molly? What gives her the nerve to refuse his stage directions, despite the sixteen-year difference in their ages?
4. Synge’s mother plays a pivotal role in his life and in his romance with Molly. Why is his mother so against Molly? Discuss your reactions to the scene where she meets Molly in person.
5. What is Molly’s relationship with her sister Sara? What might account for Sara’s greater wealth and Hollywood success?
6. How does O’Connor depict the Irish poet and founder of the Abbey Theatre W. B. Yeats? Does Yeats mentor Synge, or does Synge defy mentoring?
7. Discuss the novel’s portrayal of the making of The Playboy of the Western World, which features an Irish farm boy called Christy Mahon, who glories in the belief that he has killed his father. Girls (including Pegeen Mike, played by Molly) find it attractive to hear him brag about this. Protestors rejected such a brutish portrayal of the Irish. What might have motivated Synge to create such an irreverent hero?
8. What did you think of Lady Augusta Gregory and her part in Synge and Molly’s lives?
9. As Molly retraces her life, from her Irish girlhood to the awkward meeting about Synge’s estate to her life on New York’s Lower East Side and her impoverished final chapters in London, where does she feel most at home? Was she at home with Synge? What was the easiest role for her to play in life?
10. Synge blames illness and poverty for keeping him from marrying Molly. In some ways, did it help their commitment to have a lack of commitment (she breaks off the relationship more than once, yet she also asks for marriage)? Had he survived his illness, would he have eventually married Molly? If so, would it have been a happy marriage?
11. Despite the sadness of Molly’s story, does she strike you as defiant and still in love with life? How does O’Connor manage this?
12. In the novel, is alcoholism a cause of Molly’s suffering, or the reaction to her suffering? How did you respond when you read about her final tragedy? Why was it fitting to end not with an image of her hospitalization but with a vivacious love letter from the Changeling to her Tramp?
13. What did you discover about the nuances of Irish history and culture, including the role of a Protestant aristocracy, by reading this novel?
14. In his acknowledgments and caveat, the author reminds us that “certain biographers will want to beat me with a turf-shovel.” O’Connor proceeds to tell us that letters featured in the novel are fictional, the chronology has been tinkered with, Synge and Molly did not holiday in Wicklow, and it’s even possible that their romance was never consummated. Does historical fiction sometimes do a better job than biography in bringing the past to life? Do all biographies contain a dose of fiction?
15. Joseph O’Connor’s best-known previous novels include Star of the Sea, depicting passengers crossing the Atlantic from Ireland to New York during the potato famine, and Redemption Falls, set during the U.S. Civil War. What themes of the human condition run through each of his novels, including Ghost Light? What makes his approach to history unique?
Praise for GHOST LIGHT “As I read Ghost Light, I found myself going more and more slowly, because I didn’t want to miss a single sentence . . . It is a rare and wonderful book.” —Michael Cunningham, author of The Hours and By Nightfall
“A brilliant novel.” —Joseph O’Neill, author of Netherland
“I can’t imagine many better—or braver—novels than Ghost Light coming out this year.” —Colum McCann, author of Let the Great World Spin
“When I think of Ghost Light, the words climb over each other to be first in the queue: brilliant, beautiful, exhilarating, heartbreaking, masterly. It’s that good.” —Roddy Doyle, author of Paddy Clarke Ha Ha Ha
“A spellbinding read.” —Aisling Foster, The Times (London)
About the Author
JOSEPH O’CONNOR is the author of seven novels, including the international bestseller Star of the Sea, which was named a New York Times Notable Book, and Redemption Falls. Also a writer for the stage and screen, he lives in Dublin. Reading group guide written by Amy Clements / Amy Root’s Wordshop, Inc.
Posted May 24, 2011
Molly Allgood O'Neill is a cranky old woman, weakened by extreme poverty and loneliness. An aging actress, she makes her way across London to one of the few jobs she can find-as a voice actress. Throughout her journey, she spends her time remembering the long ago affair she carried on with the Irish playwright, John Synge. In her memory Synge as well as the legendary Yeats come to life, and through her memories she gains a bit of vitality-all while so malnourished she can barely walk.
Her memory is detailed, and with equal parts humor and bitterness, she reflects on aging, competing with her sister, and the complicated socially-unbalanced relationship she had with Synge. His being of wealth and fame, and her poor urban upbringing, dooms their affair from the start. His mother will not consider him marrying her as beneath their social level. Molly's sister too objects to the relationship, denying its reality. The Dublin theatre, and everything made up and false, becomes a key to understanding their attraction to each other as well as their eventual distance.
Molly is at her best when she's thinking aloud. The author, Joseph O'Connor, presents her as a tough old bird who dismisses those beneath her, yet still partaking of their charity towards her. Especially touching is a local bartender who spots her a free drink on occasion, as well as a bit of food. They both keep up the pretense that she's a wealthy old actress, when without him she'd likely starve. In her small apartment, she's down to living with that which can't be burnt for warmth. Hunger grates at her, and makes her memories that much more painful.
She laments aging and her habit of talking to herself: "And getting up earlier. Another symptom, that. What young person ever got up at dawn out of choice? And talking to the wireless. And talking to the rain. And talking to dogs and to flowers in people's gardens. And talking to clothes that don't fit you any more and to dishes that need washing but haven't been washed..and whoever puts the zips in the back of women's dresses, a presumption, if ever there was one, that every woman is married."
Her observations of the London neighborhood are sardonic and 'cheeky'. One man that looks at her a bit too long gets her riled: "So turn the other cheek if you don't like the look of me, and kiss my arse like it owes you the rent."
The name of the novel comes from a theatre tradition: "An ancient superstition among people of the stage. One lamp must always be left burning when the theatre is dark, so the ghosts can perform their own plays." The significance is obvious: she's still alive while her peers are dead, yet who remain as alive in her memories.
As a character study, it's fascinating. Seeing the character change as she observes Synge's illness, and her reaction to the gossip about her is subtle-the author doesn't tell us how she's changed but shows us instead. A few times I thought the theatre scenes, where Synge and Yeats interact, ran a bit long (I sort of scanned those pages). Perhaps if I knew more of their actual history I'd have been more interested. The other thing that unsettled me was the ending. The book proceeded to a point that I expected it to end, it would have been perfect (to me), yet a new development occurred that continued it a short while longer. That put me off-track a bit, and it was hard to reconnect after what seemed like the obvious ending.
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Posted September 6, 2011
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Posted April 2, 2011
Joseph O'Connor is a brilliant writer who perfectly captures the spirit of his characters and their place and time. Is there something in the genetic makeup of the Irish that they express themselves so well? It takes courage and abundant talent for a scholar to create a fictional account of famous literary personalities.
By the time I had finished I wanted to know more about the characters and looked forward to reading more by this author.
Posted February 24, 2011
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