The Last Storyteller

( 24 )

Overview

Frank Delaney, New York Times bestselling author of Ireland, Shannon, Tipperary, Venetia Kelly’s Traveling Show, and The Matchmaker of Kenmare, is the unparalleled master of Irish historical fiction, bringing Ireland to life with exceptional warmth, wisdom, and wit. Now, in The Last Storyteller, Delaney weaves an absorbing tale of lasting love, dangerous risk, and the healing power of redemption.
 
“Every legend and all mythologies exist ...
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Overview

Frank Delaney, New York Times bestselling author of Ireland, Shannon, Tipperary, Venetia Kelly’s Traveling Show, and The Matchmaker of Kenmare, is the unparalleled master of Irish historical fiction, bringing Ireland to life with exceptional warmth, wisdom, and wit. Now, in The Last Storyteller, Delaney weaves an absorbing tale of lasting love, dangerous risk, and the healing power of redemption.
 
“Every legend and all mythologies exist to teach us how to run our days. In kind fashion. A loving way. But there’s no story, no matter how ancient, as important as one’s own. So if we’re to live good lives, we have to tell ourselves our own story. In a good way.” So says James Clare, Ben MacCarthy’s beloved mentor, and it is this fateful advice that will guide Ben through the tumultuous events of Ireland in 1956.
 
The national mood is downtrodden; poverty, corruption, and a fledgling armed rebellion rattle the countryside, and although Ben wants no part of the upstart insurrection along the northern border, he unknowingly falls in with an IRA sympathizer and is compromised into running guns. Yet despite his perilous circumstances, all he can think about is finding his former wife and true love, the actress Venetia Kelly.
 
Parted forcibly from Ben years ago, Venetia has returned to Ireland with her new husband, a brutal man and coarse but popular stage performer by the name of Gentleman Jack. Determined not to lose Venetia again, Ben calls upon every bit of his love, courage, and newfound gun-running connections to get her back. And as Ben fights to recapture his halcyon days with Venetia, he must finally reconcile his violent and flawed past with his hopes for a bright and loving future.
 
Brimming with fascinating Irish history, daring intrigue, and the drama of legendary love, The Last Storyteller is an unforgettable novel as richly textured and inspiring as Ireland itself.
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Editorial Reviews

From Barnes & Noble

Frank Delaney (Ireland; Tipperary; Shannon) returns to his beloved Emerald Isles in this absorbing tale about a man who attempts to overcome a troubled past to win back the only woman he has ever really loved. An epic story about romance, reform, and the IRA.

Sessalee Hensley

Publishers Weekly
The riveting final installment of Delaney's Ben McCarthy trilogy (after The Matchmaker of Kenmare) explores the protagonist's relationship with lost love Venetia and his folklore studies with legendary storyteller John Jacob Farrell O'Neill. O'Neill's gift for spinning a yarn is a powerful one, and McCarthy discovers that O'Neill's stories verge on the prophetic, lending this engaging historical a shade of magical realism. McCarthy opens up to O'Neill about Venetia (whom he impregnated when he was much younger), but who is now married to an abusive, deceitful performer—Gentleman Jack. McCarthy also finds himself unwittingly involved with IRA revolutionaries determined to reunite north and south Ireland, even if it means disturbing the countries' young peace. McCarthy finally resolves to liberate Venetia from her cruel husband during one of his hypnotic performances, but the troubled Venetia soon flees her rescuer. Both men—desperate to right the wrongs for which they hold one another responsible—escalate tensions to dangerous levels, while McCarthy struggles to assume O'Neill's mantle as preeminent storyteller and locate his beloved Venetia. Long-time fans of the trilogy will relish its conclusion, while new readers—though likely to feel lost at the outset—will quickly warm to Delaney's vividly described Ireland of the 1950s, its fully-realized inhabitants, and the dynamic political and personal relationships that make for a remarkable story. (Feb.)
From the Publisher
PRAISE FOR FRANK DELANEY
 
The Matchmaker of Kenmare
 
“A delight to read . . . with its memorable characters and variety of adventures . . . [The Matchmaker of Kenmare] burnishes this veteran writer’s reputation as a consummate storyteller.”—Kirkus Reviews (starred review)
 
“Engrossing . . . Delaney again unspools a fine yarn, while providing substantive insights into history and human nature.”—The Star-Ledger
 
Venetia Kelly’s Traveling Show
 
“Wonderful entertainment [that] encompasses Irish history and politics, a mystery, a quest, and a coming-of-age story . . . written with style and humor by a masterful storyteller.”—The Boston Globe
 
“Entrancing . . . Delaney unleashes a cavalcade of memorable characters worthy of John Irving. . . . Teeming with life and a sprawling, chaotic energy, [this novel] scores another goal for Delaney.”—The Plain Dealer
Library Journal
Ben McCarthy, the protagonist of Delaney's previous novels of Ireland, roams the country collecting lore for the Folklore Commission. Haunted by the memories of his estranged wife, Venetia Kelly, and the children he's never met, McCarthy encounters John O'Neill, a storyteller in the ancient style, whose tales foreshadow McCarthy's own experiences in late-Fifties Ireland and serve as stunning testaments to the healing power of storytelling. Rather than assume heroic proportions, though, McCarthy's travels and encounters vivify the achingly human dimensions of O'Neill's stories. Reunited with Venetia and their children, McCarthy embraces his destiny as suggested in O'Neill's narratives and, ultimately, by the storyteller's own heroic life. VERDICT Set against the turbulent backdrop of the sectarian violence that would lead to the Troubles in the Sixties, this novel is a stirring showcase for Delaney's skill at mingling lyrical fiction and historical fact. It beautifully concludes the romantic trajectory set in motion in Venetia Kelly's Travelling Show and The Matchmaker of Kenmare. [See Prepub Alert, 8/21/11.]—J. Greg Matthews, Washington State Univ. Libs., Pullman
Kirkus Reviews
Irish-born novelist Delaney (Ireland, 2005, etc.) spins another charming mix of cotton-candy romance and history. When we last left Ben MacCarthy, world war, social upheaval and sometimes-requited love were thick in the air. Now, at the start of Delaney's latest, we find him across the pond, facing "a frigid Saturday in late 1956, in my struggling, depressed native land." He has a job well suited to his curious and artful mind, gathering stories from old-timers, notable among them a yarn maestro who "had, naturally, pored over the monkish volumes, but he had also heard many of his stories in the old ancestral way, in his own home." Ahem: a man who collects blarney may just commit some on his own, and McCarthy, whom we suspect of being a stand-in for Delaney himself, is a gifted practitioner of the trade. He's not quite prepared, though, for the return of his beloved Venetia, star of stage and—well, stage—who, having split the blanket in the previous volume in Delaney's saga, Venetia Kelly's Traveling Show (2010), breezes merrily back into his life. Or, better, the life of poor battered Ireland, for it's one of Ben's pals who has the task of telling him that she's turned up nearly a quarter-century later: "She's touring the country. But I'm sure you know it. And you're avoiding it." Just to rub it in, the friend adds that she's just as beautiful as ever, and lonely. Well, gents, start your storytelling engines: Ben roams up and down the old sod seeking both stories and solace, affording Delaney plenty of opportunities for his hallmark tricks of the trade, from Quiet Man–style fisticuffs to goofy asides ("If Greece may be considered the birthplace of the rhetorical question, call Ireland the country that robbed it of all meaning") and fourth-wall demolition ("The youngster who found the bodies, as I expect you've guessed, had come from the local hall"). The story line isn't exactly Ulysses, but Delaney makes the most of it to craft a light and pleasing entertainment.
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Product Details

  • ISBN-13: 9781400067855
  • Publisher: Random House Publishing Group
  • Publication date: 2/7/2012
  • Pages: 400
  • Sales rank: 1,384,719
  • Product dimensions: 6.48 (w) x 9.72 (h) x 1.32 (d)

Meet the Author

Frank Delaney
Frank Delaney is the author of the New York Times bestselling novel Ireland, as well as The Matchmaker of Kenmare, Venetia Kelly’s Traveling Show, Tipperary, Shannon, and Simple Courage: A True Story of Peril on the Sea. A former judge for the Man Booker Prize, Delaney enjoyed a prominent career in BBC broadcasting before becoming a full-time writer. Born in Tipperary, Ireland, he now lives in New York City and Connecticut.

Biography

J.R.R. Tolkien was famously inspired to write The Lord of the Rings because England did not have a mythology to call its own. Had Tolkien been born a few hundred kilometers to the west, he might have created something more akin to Frank Delaney's Ireland: A Novel.

Set in the country of Delaney's birth, Ireland is, according to Publisher's Weekly, a "sprawling, riveting read, a book of stories melding into a novel wrapped up in an Irish history text." Although the length and subject matter of Delaney's novel invites comparisons to the work of James Michener, Delaney's book aims for the heart rather than the intellect. As opposed to Michener's meticulously researched histories, Ireland is steeped in the Irish storytelling tradition, in which fact and fiction intertwine in the pursuit of a good story.

Ireland is Delaney's first novel to be released in the United States, but he has been a well-known writer and broadcaster in the United Kingdom for many years. In addition to writing seven other novels and a number of nonfiction works, he hosted a long-running and highly-rated series on BBC radio called Word of Mouth. His interest in Irish culture led him to create The Celts, a six-part BBC television series on Celtic history that is notable for giving the musical artist Enya her first popular exposure.

The seeds for Ireland were planted in early 1990, during breakfast with a literary agent and friend named Ed Ficter. Delaney loved the idea of writing an epic history of Ireland, but his busy schedule left him with little time to work on the project. Over the years, Delaney continued to meet with Ficter, and every time, Ficter would leave the conversation with, "Don't forget Ireland: A Novel." After 12 years, Ficter finally managed to wear Delaney down. He dropped his agent, signed up with Ficter, and began work on Ireland.

The basis of many of the stories in the novel were informed by Delaney's extensive travels around his home country. When Delaney was working as a bank clerk in his early 20s, he would often hitchhike around Ireland during holidays, visiting small, forgotten villages and having long conversations with the locals. It was during these travels that Delaney fell in love with Ireland and the people who live there.

Although critical response to Ireland has been highly favorable, Delaney balks when asked if this is his masterpiece. "Oh, God no," he told British bookseller The Book Place, "this is just the start of a new phase. I do want to write a series of big novels about Ireland, and this is the first of them." Fans of Delaney's magical, moving novel eagerly await the forthcoming results of this "new phase."

Good To Know

In our interview, Delaney shared some fun and fascinating insights with us:

"For a startling period of my life I reported the Troubles in Ireland for the BBC. I lived in Dublin and was called out to all sorts of incidents that, if taken together, add up to a war -- bombings, assassinations, riots, shootings, robberies, jailbreaks, kidnappings, and sieges. It was a 24/7 life, lived on the road, or so it felt, with never a still moment, never knowing what was going to happen next. I've touched on it in a novel called Desire & Pursuit, but the vast portion of the experience is still in there, somewhere in my unconscious mind; and I expect it will emerge one day."

"As an arts journalist in London, working mainly for the BBC, I interviewed hundreds if not thousands of authors. From them I gleaned a great deal of passing instruction in writing and I observed one fascinating detail: no two writers approach their work -- physically -- in the same way. Some write longhand in pencil; some have voice-trained their computers -- and in between lies the world of authorship. As for an interesting moment -- Harold Robbins emerging from his hotel bathroom for an interview with a pretty, bikinied blonde girl on each arm; talk about true to type!"

"No country impresses me as much as the USA. ‘Well, he would say that, wouldn't he?' you think -- to which I answer, 'Well, no I wouldn't.' The fact is -- if you want to know how warm Americans, are all you have to do is stand on a sidewalk and open a map. Within seconds, passers-by will gather, offering to help. If you think it happens everywhere else -- it doesn't."

"Writers have opinions -- that, in part, is why they write. Therefore they have strong likes and dislikes. I love hamburgers but hate beets. (Note: I'm using the word 'love,' not 'like.') I love baseball, hate reality shows (all that licensing of people to behave badly). I love libraries, hate noise in public spaces. I'll stop there -- this could become an endless list!"

"Interests and hobbies: Writing -- and reading about writing; renovating houses (I've done three so far); sport, in most forms; great music -- anything from harmonica to harpsichord. In fact, I'd have to struggle to find a subject in which I can't get some kind of interested pulse started."

"Favorite ways to unwind: I like to sprawl in front of the television -- but it has to be good! Good political comment, good drama, good documentary, good drama. One of the mysteries of life is why television is so frequently so bad -- it doesn't have to be, and many have proven that fact. I also like gardening and general pottering and organizing things and walking -- all of these give me good thinking time."

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    1. Also Known As:
      Francis Bryan
    2. Hometown:
      New York, New York, and Kent, Connecticut
    1. Date of Birth:
      October 24, 1941
    2. Place of Birth:
      Tipperary, Republic of Ireland
    1. Education:
      Thomastown National School 1947-54; The Abbey School, Tipperary, 1954-60; Rosse College, Dublin, 1960
    2. Website:

Read an Excerpt

1

He comes back to my mind when I smell wood smoke. We had a clear and crisp October that year, and a simple white plume of smoke rose through the trees from his fairy-tale chimney. The long, quiet lane ended at his gate. My nose wrinkled as I climbed out of the car. Applewood? Not sweet enough. Beech? Possibly, from the old mansion demesne across the road. Could it be elm? Twenty years later it would be, as the elms died everywhere.

A white fence protected his small yard and its long rectangles of grass. He had a yellow garden bench and rosebushes, pruned to austerity. Around the side of the house I counted one, two, three fruit trees. If, on a calendar, a tourist brochure, or a postcard, you saw such a scene, with the golden roof of thatched and smocked straw, a pleased smile would cross your mind.

Not a sound to be heard, not a dog nor a bird. My breathing went short and shallow, and I swallowed, trying to manage my anticipation. Somebody had polished the door knocker so brilliantly that my fingers smudged the gleaming brass.

They said that he was eighty. Maybe he was, but when he opened the door our eyes came exactly level, and I was six feet three and a half inches. He shook hands as though closing a deal, and I was so thrilled to meet him at long last that my mouth turned dry as paper.

“Do you know anything about houses like this?” he asked as he led me into the wide old kitchen.

I knew everything about the house, I knew everything about him—but I wanted to hear it in his words, his voice.

“It feels nicely old,” I ventured.

He laughed. “Hah! ‘Nicely old’—I’ll borrow that.” Then, with some care, he turned to survey me, inclined his head a little, and smiled at me as though I were his beloved son. “I’m very pleased to meet you at last.”

I said, “I’m more than pleased to meet you, sir.”

He waved a hand, taking in the wide fireplace, the rafters, the room.

“This was what they called a ‘strong farmer’s’ house. Now with ‘all the modern conveniences,’ as they say. I suppose you know what a strong farmer was?”

“Wasn’t it somebody who supported his family from what he produced on his farm?”

“The very man,” he said.

He showed me the walls—two feet thick: “They keep in the heat for the winter, and they keep out the heat of the summer—those boys knew how to build. And look, I can put wide things on the windowsills.” He lifted a great bowl of jade, glinting with dragons. “Feel the weight of that. I carried it all the way back from Ceylon in 1936.”

Looking up, he stretched an arm and patted a beam.

“Did you know that people used to hide weapons in their thatch?” He had a habit of nodding when he made a statement, as though agreeing with himself.

Such endearing pride: he drew my attention to everything—the floor of huge flagstones, shaped by a local stonemason; the handmade chairs from a neighboring carpenter, who had also built the long table dominating the middle of the room. He rubbed it with his hand. “In the original they’d have used a timber called white deal. I had to settle for pine.”

“When did you buy the place?” I asked.

“Twenty-eight years, two months, and four days ago. When I finally came in off the road.” He surveyed the walls. “There was only the shell here. It was burned out by the redcoats in 1848—there was that bit of a rebellion that year, and evictions everywhere. When I bought it you could still see the black streaks at the top of the walls where they’d burned out the straw on the roof.”

He gave me the tour—but let me cut this short and give you the essential fact. This man, regarded (and jealously guarded) by the Folklore Commission as the most powerful remaining storyteller in the country, and possibly in the world, had restored fully an old farmhouse of considerable proportions. The conservationists, while allowing for the modern plumbing and electricity, had applauded him. “An elegant and authentic reconstruction,” they’d said, “solid, proud, and wholeheartedly traditional.” And that’s what I mean by “the essential fact”: the house was the man, and the man was the house.

He stood with his back to the fire. “So I’m to be yours now, am I?” he said. “How’s James doing?”

“I believe he’s holding on.”

Mixed feelings were always going to leak into this visit. For years, my superior, my mentor, otherwise so good to me, had kept this man for himself, and I had not been allowed to visit him, write to him, have anything to do with him. But now my mentor had bequeathed him to me because he himself, the inimitable James Clare, lay silent and still in Dublin, his lungs closing down day by day to emphysema. That morning I had made a note in my journal: I think that James will die soon.

“He won’t hold on long,” said Mr. O’Neill—full name, John Jacob Farrell O’Neill. “What color do you think Death’s face will be when it comes for James?”

“Gray,” I said, without thinking, “It’ll be gray.” I knew that color. From the war.

“That’s what I think, too.” He nodded, and turned his head around to look into the fire. When he turned back he said, “Then you’ll be ready.”

My mind asked, Ready for what?

Even though I didn’t speak the question, he answered it.

“Ready for everything.”

He couldn’t have known what “everything” would come to mean—or could he?

2

I wasn’t ready for anything—and in particular, not for the events of the next day, when I halted for a pub sandwich in the little town of Urlingford.

It was the siesta time, and raining. Nothing should have been happening, and nothing was. Using no energy, I eavesdropped on the silence around me, punctuated by snatches of idle conversation.

“They say she will.” This came out of the blue from an old coot at the bar, his nose hooked as Punch’s.

“I bet she won’t,” said his drinking companion.

“She told Midge Corcoran,” said the barman, “that all he wants to do is look at her.”

“God, then he’s paying dear for that,” said Punch, whose pal had wide-open nostrils like little gun barrels.

The pal said, “There’s fifty-two years between them.”

To which Ted, the fat and fatuous barman, said, “One for every week of the year.”

I knew these people well—not as individuals, but as a culture. Filthy old cords, worse boots, scant hygiene, no (you can bet on it) underwear. Every day of the week I saw men like them. Sitting at some bar everywhere, gossiping like knitters, stitching and bitching. Doing no work because there was no work, rarely a job that one could call a decent hire. Just sitting there talking. Talking, talking, talking. Or being silent. Silent in the hatred of their lives was what I’d always figured, until I realized that their emotions stood at zero. Their needles flickered only for sport or gossip.

In their faces I could see the blue veins of perdition, lines on a map of the country. That’s why I listened but kept my distance: I didn’t want to be infected with their ruin or catch their low-rent banality. Shallow as a saucer, they had no value to me in terms of what I collected.

Yet they caused some affect. For no reason that I could identify, I felt my chest tighten, and I heard the question in my mind: What’s making you anxious?

Ted the barman had a smarm to him, aiming to please everyone. In the past, before I’d mellowed down, I’d have needled him, picked a fight. The frosted glass panel beside me hadn’t been cleaned in a generation.

Most Irish pubs had a snug, a little room shuttered from the world, open only to the barman, where, typically, ladies were supposed to do their drinking because it was too indelicate for them to be seen in the public bar. Thus, I often found the snug a useful place to sit and listen.

My anxiety climbed. I fought a pricking of my thumbs and turned my ears inward. A frigid Saturday in late 1956, in my struggling, depressed native land.

Silence fell. We had a cough or two, a clink from a glass, a match being struck to light a cigarette. The rain no longer lashed the window. Weak sunlight spread a mild and yellow fire on the roofs of the houses across the street. With a clang of a latch rudely lifted, the pub’s front door burst open. Jimmy Bermingham flew in, landed, and came straight toward me. Thus began the most dreadful part of my life.

3

Once upon a time, and it was a long time ago, when boys were boys, and girls were girls, and bears combed the fur on their coats, and the soldiers of the north carried spears of ice, and giant frogs who spoke in rhymes ruled our hemisphere, there lived a man who had a love as noble as the mountains, and as deep as the deep blue sea.

The story John Jacob Farrell O’Neill told me on that night of my first heady visit to him took so long that we didn’t part until three o’clock in the morning. With the comfort of the chair by the fireplace, and the logs he kept heaping on the broad orange flames, I felt so safe.

“What’s that you’re burning?” I asked.

“Believe it or not,” he said, “cherry. For the aroma. I had an old cherry tree out the back—I tried for years to save it, but it wanted to go. And do you know what? When they took it to the sawmill they found a musket ball in the heart of the wood.”

From the mantelpiece he took down a small white dish, in which, like a little iron eye, rested the old musket ball. We marveled together.

He cooked for me. From a pot hanging over the fire he produced an excellent meal of lamb stew, with onions and carrots and potatoes. He moved around his large kitchen with the agility of a girl. The silver watch chain on his vest caught the light from the fire.

His various tics interested me. I’ve mentioned the nodding, though he didn’t nod after everything he said, and soon it calmed down—perhaps it was a shyness response. Now and then he fiddled with his breast-pocket handkerchief, rebunching it. When listening to me (not that I spoke much), he pursed his lips into a small bow.

I looked at him, thinking, but not saying, I wonder if he has always cooked, if he never married? And he said, “I’ve always cooked. You can’t have a wife if you spend your life on the road—’twould be unfair to a woman. So I never married.”

Here’s a note I made that night: Such a practiced voice, educated by the universe, every word clear and warm. But—he’s an uncanny man. Don’t yet know how or why.

James Clare had said to me: It all comes together in this fellow. He’s the culmination.

This is what James meant: in his years and mine, traveling as collectors for the Irish Folklore Commission, James and I had heard all kinds of things: herbal cures, rambling ballads, family curses, jigs and reels played on fiddles and pipes, nonsense verse, riddles and recitations—and, above all, stories. Call them legends, call them fragments of mythology, call them, simply, “lore”; they had become my staple diet.

Some descended from family traditions—a handed-down account, say, of a row over an inheritance. (Such tales, a few generations old, customarily began with the droll comment “Where there’s a Will, there’s a lawsuit.”) Others, probably most of the stories I collected, came from the deep and ancient past, from prehistory.

Frequently they had fused, and I’d heard many contemporary versions of tales first scribed by holy men of the fifth, sixth, and seventh centuries. These clerics had been taught to write so that they could copy psalms and church doctrine, but they hadn’t been able to resist preserving the ancient stories they’d heard around their childhood firesides. (And perhaps they’d even invented a few.) Those epics became the basis of our literature in Ireland.

Most of the storytellers I’d visited hadn’t known or fussed over the provenance of their tales; they cared only for the telling. My man, though, had spent a lifetime drinking from all the fountains. He had, naturally, pored over the monkish volumes, but he had also heard many of his stories in the old ancestral way, in his own home.

Furthermore, he truly did have tales from everywhere: material picked up during his travels in Burma, or Peru, from old men in Australia, or anecdotes of local history told to him here and there across the world.

Most exciting of all to me, I had always heard that he was from a mold cast in Ireland before the Romans had an empire. Meaning that John Jacob Farrell O’Neill was a fireside storyteller in the “old style”—he narrated in the ancient way: his voice orotund, his words full of ornament and color. He was a true, performing descendant of the bards who had entertained kings and chieftains long before Christ was born.

For that, and all the other reasons I’ve listed, he was, indeed, “the culmination.”

4

Children, you have asked for this final account of my life, and eagerly I give it to you. As you already know the terms of my Will—“I leave everything I possess to my beloved twins, Ben and Louise”—therefore we can, I suppose, call this a Last Testament. There’s no fear in me that I shan’t live long enough to finish it; I have more than enough energy.

In advance I ask your forgiveness for a somewhat jagged beginning to this, the final phase of my confessio. Yes, my tongue is in my cheek as I use that pompous old medieval term, but I think you’ll come to see why I chose it, and I think, I hope, you’ll also come to understand this early jaggedness you might feel; it is deliberate—because this is a sharp-edged and dark side of my life that I have to tell.

Already you know the essence of your father’s story, and that of Venetia, your dear mother, but there’s so much that you don’t know. For instance, John Jacob O’Neill: I placed him at the very beginning of this account. The reasons, as we go along, will become plain to you.

If you ask why I’ve never mentioned him in our conversations, I’ll confess the selfish truth. I feared that were I to share him—with anybody—I’d have dissipated his power over me. Even after my involvement with him had long ceased, I was afraid that I might lose the spirit of him in me, like those legends where the magic figure must disappear before dawn. And I was the mortal in that legend; in my middle years he put the final shape to my life.

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  • Posted February 8, 2012

    Delaney is one of the last great Irish storytellers.

    There is nothing I like better than settling down with a good book. You know, the kind that not only has a great plot, but likable characters and good prose; one that will sweep you away to far off lands or time gone by. If you like this type of book then I highly suggest you read Frank Delaney’s The Last Storyteller.
    The book is the last of his Irish historical fiction and in my mind the best. Delaney interweaves Irish mythology into a story set in the turbulent 1950’s Ireland. He goes back and forth, as all good storytellers do, taking his readers with him.

    The book jacket suggests the book is about Ben, a collector of stories who finds himself caught up with rebellious gunrunners all the while trying to find his former wife and love his life the actress Venetia Kelly. If this name sounds familiar it is because she is the subject of Delaney’s previous book Venetia Kelly’s Traveling Show. Yet the book is much more than this, it is a wonderful collection of mythology that Delaney says he either collected or made up himself. You cannot tell which is which.

    How to describe Delaney’s use of prose? This always eludes me when I am trying to convince someone to read one of his books. He is an author who can, in a few short words, describe a scene that would take others paragraphs. One of my favorite quotes from the book is from Ben as he sits in an Irish pub, “Using no energy, I eavesdropped on the silence around me, punctuated by snatches of idle conversation”. This is the type of style Delaney is famous for and why I continue to read his work.

    If you ever sat at the feet of a great storyteller and were awed by his ability to hook you in and keep you, then I highly recommend The Last storyteller.

    8 out of 8 people found this review helpful.

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  • Posted February 23, 2012

    A worthwhile read

    The Last Storyteller by Frank Delaney tells the story of Ben MacCarthy, by occupation a collector of Irish stories and lore. He travels the countryside, visiting the storytellers and recording the stories. As he travels he manages to also collect a poor, young girl fleeing her abusive family; a gunrunner for the IRA; and his much abused and beaten one-time wife. The supporting characters of this unlikely cast help fill in the rest of Ben's story. The chapters are very short, often only a page or two long, which makes the reading go fast. I think I was up to about the third chapter when I realized I was hearing the story in my mind, being told in an Irish accent. The dialogue is not written in dialect but the feel of the words; the cadence of the story is written as if being told by a master storyteller. Although I was rather lost for the first few chapters, soon the story drew me in and I found myself transported to the troubled Irish countryside of 1956. Despite the troubled times, and troubled people, that populate The Last Storyteller, it is not a dark or depressing novel. It was easy to become Ben's friend through the reading and adopt his accepting attitude. Sometimes he came off as a bit of a doormat but a loveable doormat, and he always managed to redeem himself. As Marian Killeen said "Ben had the greatest gift of loving." (pg 383) which, in turn, made him eminently loveable. The Last Storyteller gives the reader an understanding of this turbulant time in Ireland's history all wrapped up in lovely adventure. A very worthwhile read.

    2 out of 2 people found this review helpful.

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  • Posted February 11, 2012

    The Master Seanchai

    On the pages of “The Last Storyteller”, Ben MacCarthy, plays a multitude of roles and touches a vast number of lives. Set in the troubled Ireland of the 1950s, a time of IRA insurgency and government crackdown, Ben is the son of parents who embarrass him, annoy him, disappoint him, and whom he must reconcile to each other, all while their mutual love never flags and the unwilling accomplice in an IRA action and subject of a police search. Ben is the husband and lover of Venetia, the entertainer whose life he shares with others but whom he never stops seeking or loving. Ben is the protégé of James Clare, his mentor at the Irish Folklore Commission, who taught him how to collect and record stories and told him that “”There’s no story, no matter how ancient, as important as one’s own.” Ben is the attentive student of John Jacob Farrell O’Neill, the consummate Irish storyteller, the seanchai and it is from O’Neill that Ben will learn his craft. Finally, Ben is father to Ben and Louise, the children whom he got to know and to whom this book is his confessio and apologia.

    “The Last Storyteller” is less of a book and more of a story. It is a story of a modern seanchai, Frank Delaney, a master of his craft and a magician with language. It is a story that takes the reader back to an Ireland of the past that is less idyllic but just as charming as we envision and into a life just as complex and just as enthralling as the land in which it is lived. In my reading I tend toward history and biography and rarely read novels. After a book like “The Last Storyteller” I think that I should pick up novels more often.

    1 out of 1 people found this review helpful.

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  • Posted February 9, 2012

    Spellbinding Tale of Love, Loss, Joy, Danger

    Frank Delaney’s latest novel, THE LAST STORYTELLER A NOVEL OF IRELAND is a book to be savored, an unforgettable story of love, joy, loss, danger. THE LAST STORYTELLER is a history of Ireland told in bits and broken pieces, bitter fact, story, and myth. I read it through once, then flipped back and forth, re-reading underlined passages, all the while basking in its spell. For make no mistake, Delaney is a prodigious weaver of words.

    It is 1956 and Ireland is again in upheaval, the nation, downtrodden. The mood is deep as Ben MacCarthy returns to the land of his birth in search of his love, the actress and mother of his twins, Venetia Kelly. While Ben searches for Venetia, he quests for truth, finds and helps his friends, learns the art of storytelling.

    Ben’s journey takes him from town to town, from pub to pub, through danger and gun running, to Limerick, through floods, to Dublin. The Shannon overflows; the stories do, too. Scenes explode with action and meaning. At times we think Ben succeeds in his quest only to have La Belle Dame flee. Forever?

    What better way to understand oneself, especially in times extreme, but through story? And it is through the telling of tales that meaning exists for Ben MacCarthy, not just in the words, but more importantly, in the poetry of his spoken story. As the author spins the story, the reader is caught up, fascinated. And the story becomes, in some inexplicable way, our story, too.

    Each reader will have her favorites, and for me this book is packed with poignant scenes, flesh and blood characters, major and minor—Randall Duff, “head like a hawk, eyes of fire,” Marian Killeen with her “complexion of cream linen,” John Jacob O’Neill, the sometime baker who “sifted, letting it flow like powdered fog through his fingers,” James Clare, and, of course, Gentleman James Stirling, the villain we love to hate.

    Do something memorable for yourself today: read this book.

    1 out of 1 people found this review helpful.

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  • Posted February 7, 2012

    Frank Delaney, at his best!

    The Last Storyteller Frank Delaney What is a “Seanchai”? A Seanchai is an Irish storyteller, a bard, someone who maintains and relates Irish history verbally and by memory. Irish history has been passed on by these Seanchaithe traveling from village to village, telling their stories in the living rooms and kitchens of the rural Irish people for centuries. Ben McCarthy is an Irish story collector, employed by the Irish Folklore Commission traveling and collecting stories throughout the Irish countryside. Ben’s mentor, James Clare (another story collector), bequeathed his most precious resource to Ben while on his deathbed. John Jacob Farrell O’Neill was known as the most powerful remaining storyteller in Ireland (possibly the world), the last great Seanchai. Up until James Clare passed him onto Ben, James had jealously guarded John Jacob as his own. Now Mr. Delaney begins to weave a story of Ben McCarthy’s life while paralleling this journey with Irish stories told by John Jacob in the best of Irish traditions. Ben falls in love, marries his love, loses her, finds her again, skirts dangers with the IRA, arranges for the murders of 3 men, condemns himself for his actions and begins a path to redemption. This is but a short list of the travels and travails of Ben McCarthy. The reader is exposed to an intimate view of Ireland in the 1950’s, the hard lives of the Irish in the rural countryside, the violence and the subterfuge caused by the conflict between the IRA and the English. These narratives are full of Ben’s introspections as he faces one hurdle after another. My contention would be that it is near impossible for any human being to read this book and not be able to relate on many levels with Ben and his troubles. Not only can you relate, you learn more about yourself while enjoying the journey and you understand why these Irish folks looked forward to the visits of the Seanchai. In “The Last Storyteller”, Mr. Delaney has written a multi-dimensional novel that is enjoyed from several perspectives. Follow Ben’s journey while he is transformed into the next great Seanchai with the help of John Jacob O’Neill.

    1 out of 1 people found this review helpful.

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  • Posted February 7, 2012

    Fantastic conclusion!

    There were some notable things lacking in Frank Delaney’s The Matchmaker of Kenmare, which surprised me, because Delaney is capable of writing, and had already written a nearly perfect novel (Ireland). What I didn’t know back then, is that Delaney was holding back. He was saving the big punches for his newest book,the final in the Ben McCarthy trilogy, The Last Storyteller. This novel, like Ireland, is everything an Irish novel should be. It’s funny at times, tragic at times and always a tiny bit epic (can something be a tiny bit epic?). It is full of the Irish legends and folktales that were so noticeably lacking in the last book. Those who enjoyed the first two Ben McCarthy books, will be very pleased with the final installment. The only negative feeling I took away from the book, was a little bit of sadness that Ben’s story had to end.

    1 out of 1 people found this review helpful.

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  • Posted February 7, 2012

    ¿I ceased to exist in my body, because as he rose to the high and wild climax of his story, my spirit ascended with him¿

    In this new chapter of Ben’s life, Delaney's intense narrative takes the reader into a splendid atmosphere of opposites: history and myth, violence and poetry, exhilaration and excruciating pain. It is time for Ben MacCarthy to face his past and defeat his worst enemy: his own pusillanimity. Every single aspect and person he comes into contact with seems to be telling him so, yet he remains a coward. But how can he risk rejection again, when life seems to be uncontrollably happening to him, and not at all in a pleasant way? His mentor is gone, the Irish Republican Army is rising, his parents are selling his childhood home and Venetia is back to Ireland. Regardless of The Last Storyteller being a sequence, it works perfectly as a standalone. Any relevant information about Ben’s past is sprinkled about, always in perfect harmony with the passage it is part of, thus enabling a new reader to enjoy the book without missing some of the details that make it wonderful. The Last Storyteller takes place in 1957, about ten years after the events of “The Matchmaker of Kenmare”, in an Ireland divided between those grateful for the independence gained by the south counties and those angered that part of the island is still under the English power. Ben is dragged into the fray by Jimmy Bermingham, a sort of friend one has to be really, really trusting to make and even more understanding to keep. Ironically, it is also through Jimmy that Ben comes to know Marian Killeen, a single, rich woman who plays a vital role in Ben’s decision to take Venetia back from Gentleman Jack. It goes without saying that tales of Ireland’s past are part of each chapter, but this time such tales are more than a background to paint Ben’s job. They seem to illustrate what Ben is about to witness taking place, either in a secluded village in the countryside or with nation-wide repercussions. Such tales complement the narrative beautifully and reminded me of why I fell in love with Delaney’s Ireland so many years ago. The recurring characters show a natural development from the first two instalments, and it is no surprise how much this is more prominent in Ben and Venetia. He is more mature, more obstinate, and less wimpy. She is more reclusive, more fragile, dealing with emotional scars accumulated during 25 years hoping Ben would come to her rescue. When he finally does, she struggles to overcome what has been ingrained in her soul: lack of confidence and trust. A highly delightful addition is the introduction of Ben and Venetia’s twins. Ben and Louise bring a gentle shift in the characters’ dynamics, not to mention it provided Ben with a new and definite quality of self-assurance. On the other hand, Marian Killeen has an important part to play and she comes out as independent and ahead of her time in some ways. However, I could not make myself like her. All in all, it is an enchanting book. Not only is it recommended to readers who appreciate a bardic storytelling but also to those who can relish the writer’s choice of words and their impact on the whole. The title fits Delaney himself and more than once I found myself wondering what aspects of his own life can be found between the lines. I make Delaney’s words mine by describing my experience reading The Last Storyteller: “I ceased to exist in my body, because as he rose to the high and wild climax of his story, my spirit ascended with him”.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 3, 2013

    True Revenge---Chapter 4---Classes

    The room was bright. I held up my hand to shield my eyes. A shadow was approaching me. "This is her?" A dissaproving male voice sounded. "Yes. It is." That sounded like lion. "Eowyn!?" A disbelieving voice followed. Was that Shadow? Shadow is known as the secret. I only heard him speak once before. But Amber apparently heard him talking to his friend that he wouldnt go to the end year ceremony last year because he was set to sit by me. He was scared to sit by me! Serious crush, dude. These thoughts only take a second to go through my mind before i hear new footsteps. "Moon!" Aarons vioce sounds. "Aaron." I say angrily. "Mind turning down the lights." I hear laughter. "You try." How?! I could barely see and the light was getting brighter. I felt it burning me."Seriously!" I hear another laugh before i let out a scream of pain, my eyes burning. The lights flash then then shatter. Sparks rained down. Aaron was staring at me disbelievingly. Lion walked over with Shadow and someone else. Shadow was staring and lion was grinning. The other man looked thoughtful. "My names snake." I nod. "Your real?" The typicall response. Wanring to know the real name. He smirks. "You have no reason to know. But it's Ether." I nod. "Eether" I repeat. He nods. "One e, but i guess there isnt a spelling test." I nod and the bell rings. The door opens and a student, grass i believe, pokes his head in. I dip my head to the teachers and run out.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 10, 2013

    Our last hope

    The days were falling and so was I. Never to see my family again. In war. I am Kino. 25 year old native american. I left my mother and father 4 years ago and we were attack jus last night. I was wounded and hurt and if i kept fighting i would die. As i fought the man in front of me i looked over to see my old freind Cyota being stabbed multiple times. As i looked for the half secind i was stuck again in the gut. I fell to the ground unable to fight anymore. I was barley able to make out the first word. " I surrender." I managed to choke out. Our leader told us it is better to die than surrender but i would not agree. I was hit in the head and knocked out....... i woke up to see i was surrounded by darkeness. I was laying on the floor in the back of a moving truck. I heard us stop and the door opened. I felt blinded by th light that was right in front of me. " do what u told you" a man in blue uniform said. Five men were also captured. One was Cyota. I did not know the others. Six of the people whi captured us came out. One if our men jumped out of the back of the truck and tackle one of the other people. He was tazed and quickly push on the ground. He took all of us out of the truck and pushed us down. I was tensing up and i was sweating heavily. I looked at all the men including my own. Onec i got to the last man of the other side of the war, i realized it wasnt a man. She looked at me and must have seen me nurvous because she gave me a "calm down" face. Then Cyota was taken ti the other side of the truck where we coyld nit see him. I was what seemed like 30 minutes when they came back. They took me next. They had a little chair and pushed me in it. One man held my arm out and the other injected some type of liquid in me. They put on gloves. " what i tht for?" I asked " the injection?" I waited for an answer. " so u wont feel pain. " one man said.... ( end of prolodge. I am not being offensive to any race cuz i live them both. I makeing the story of what i have heard in other storys. )

    0 out of 2 people found this review helpful.

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  • Posted November 2, 2012

    more from this reviewer

    Frank Delaney' s Best

    I have read all of Frank Delaney's books and have enjoyed each one. I have followed the adventures of Ben McCarthy and Ventia Kelly throughout them. Although I am sorry to see their adventures come to an end, I am pleased to have closure regarding their lives and greatly appreciate the outcome. I eagerly await the next of his books. He is a superb author!

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  • Posted May 9, 2012

    HIGHLY RECOMMENDED!

    Frank Delany's books are some of my favorite. He is a great story teller!

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  • Posted April 28, 2012

    Neutral on this one

    Slow going, I usually read a book quickly but this one just could not keep me reading. Picked up at the end but I can not really recommend it.

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  • Posted April 13, 2012

    more from this reviewer

    The Last Storyteller is the third and final installment in the s

    The Last Storyteller is the third and final installment in the story of Ben McCarthy and his estranged, Venetia Kelly. The trilogy began with Venetia Kelly’s Travelling Show which was followed by The Matchmaker of Kenmare. Spanning two decades, through these novels, Frank Delaney has given readers a glimpse of Ireland and its rich culture.

    In this ambitious epic, Ben McCarthy is the main character. Venetia, his estranged wife, plays a larger role in this final book. The brilliance of this book and the talent of the author lies in the author’s ability to cover the larger scope of Ireland’s history such as the IRA and poverty while never losing sight of Ben whose own personal adversities evolve as the story progresses and the reader comes to understand his pain, his losses, and motivations.

    Although I encourage you to read all three of these intriguing novels, each one can stand alone because the author provides a complete background of the story so far at the start of each book. As I read through the stories, Ben MacCarthy, and the journey and adventures in his life, began to feel real to me. The Last Storyteller closes the trilogy with a completely satisfying ending.

    Frank Delaney is a master storyteller himself. His passion for Irish history is evident on each page that is intermingled with politics, adversity, and plenty of conflict. Never boring, always entertaining, and forever poignant, this was a trilogy on a grand scale. A highly recommended trilogy indeed!

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  • Posted March 25, 2012

    What a delightful read this was! It is a constantly moving stor

    What a delightful read this was! It is a constantly moving story that is wonderfully told by a master storyteller.

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  • Posted March 17, 2012

    At a fairly late point in The Last Storyteller , the pro

    At a fairly late point in <i>The Last Storyteller ,</i>
    the protagonist Ben McCarthy says that, in times of acute pain and fear, people needed &quot;something other than their norms.&quot; By this, he was referring to the power of stories to heal and unite people: &quot;At one stride we had returned to a kind of spiritual paganism, an intense humanism almost, a reaching for primitive beliefs in the power of the human spirit to learn how to heal itself.&quot; (337) This is, at heart, what <i>The Last Storyteller </i>
    is about: the power of stories to unite and heal.

    The novel is the last in a trilogy that follows <i>The Matchmaker of Kenmare </i>
    and <i>Venetia Kelly's Traveling Show, </i>
    and although there are hints of a prior story in <i>The Last Storyteller</i>
    --Ben's father's relationship with Venetia, and Venetia's abduction are all key to the plot of <i>The Last Storyteller</i>
    -- enough backstory is revealed for this novel to work as a standalone read. This is partly due to the way in which <i>The Last Storyteller</i>
    incorporates the rich backdrop of Ireland in the 1950s at the official start of &quot;the troubles&quot;. This helps put the very personal events of Ben's life into an historical context.

    Ben himself is a perfect character, as <i>seancha&iacute; </i>
    John Jacob O'Neill puts it, &quot;a weak character who grows strong, because the best legends are those where we learn how to overcome what besets us.&quot; His character arc is revealed in narrative epistle as confession, self-revelation growing through the story of his life which he is telling and mythologising. Though he has his own backstory that is slowly drawn into the thread of his new story, Ben is instantly credible through self-deprecation and honesty as he reveals what he's lost and the pain, love and longing that motivates him. The descriptions he provides are detailed and poetic, such as this depiction of his dying mentor James Clare:

    <blockquote>The skin on his face had become rice paper. Thin lines I had never seen before ran down his cheekbones, small, ice-blue veins. His hair, dense as scrub, stood up, as uncombed as ever. Against the pallor of the skin, the insides of his nostrils seemed almost to glow red. And I saw, not for the first time, his deerline eyelashes. (100)</blockquote>


    The story is so quiet and full of sensation and observation that it's almost possible to forget how broad the landscape is that it covers as famine and poverty, IRA rebellion and government brutality divides the island through violence and anger. Ben too has reasons to be wretched through his desperate love story, however, the story is delivered after the fact, with a detached distant narrative, and like William Butler Yeat's Chinaman in &quot;Lapis Lazuli&quot;, Ben's delivery remains Buddistically detached and warm. Throughout the story's progression, internal and external perception work seamlessly, focusing on the characters emotion through the details of each scene rather than on the external action:

    <blockquote>The piper ceased. Voices rose and fell in the muttered and stuttered litanies of obsequy. Some of the prayers ran away with the breeze. Dipping a round-knobbed silver pestle into a small silver bucket, the priest scattered holy water on the coffin. Now the loss began to bite. (105)</blockquote>


    Each line that makes up <i>The Last Storyteller </i>
    is tight, poetic, and so delicately dense that I suspect I could go through the short chapters with the same careful attention that Delaney is showing James Joyce in his Re:Joyce unpacking of<i> Ulysses, </i>
    and continually find new references and rhythms. Beyond the immediacy of Ben and Venetia's story, the IRA and Jimmy Bermingham's story, or the story of obsession around Elma and Dan Barry, and there are other tales too. There are the legends and stories that underpin every modern story and all of our lives. There is Malachi and Finn MacCool, King Billy, Diarmuid, the proud king who lived on an island off the coast of Munster, and many more tales that move smoothly around the globe and backwards and forwards in time.

    <i>The Last Storyteller</i>
    is a novel about the power of stories and about how they convey meaning and immortality to our lives. At one point Ben McCarthy is told that to tell a good story you need to use language with accuracy and elegance. Certainly this is what Frank Delaney does in <i>The Last Storyteller. </i>
    Delaney's linguistic toolbox is as well honed and polished as Ben's becomes and this, his own story, is one that will resonate with the reader well beyond the pages of the book.

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  • Posted February 15, 2012

    more from this reviewer

    An Enchanting Read-Wonderfully Written

    The Last Storyteller was a very well written story about love and life. Frank Delaney's main character is very likable and real, and about as far from one-dimensional as one can be. Stil while the storytelling is grand and the language of the book is elegantly beautiful, my favorite thing would have to be the stories within the story that are told by either John Jacob Farrel O'Neill or Ben MacCarthy himself. They were among my favorite parts of the book, and probably the most elegant of all the writings.

    While The Last Storyteller is part of a three-book "series", and I almost always insist on reading collections of related books from the first-the last or most recent. The Last Storyteller, however, truly does stand on its own- although I admit that I would like to read the other two books just because my interest has been peaked. While The Last Storyteller is fiction, it is so very easy to forget that when reading it- the story is told that well and that realistically. The characters are all enchanting and fascinating- I have to say by far I loved John Jacob Farrel O'Neill. Whether you love the written language and the beauty of words, enjoy folklore from days past, or just enjoy reading a good love story, The Last Storyteller will satisfy a lot of different tastes-there's even murder and political tension all throughout it.

    This book was provided for me by the publisher at no charge, nor was I given compensation
    of any kind for this review. This review only reflects my personal opinion.

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  • Posted February 12, 2012

    Highly Recommend

    Imagine spending an evening at an intimate dinner party where the food and the company are so magnificent that when you return home for the evening all you can do is slip off your shoes, find the nearest chair and sit staring into space mouthing to yourself the various parts of the evening and conversation that struck you at your core. That’s what this book has done for me.
    Frank Delaney was born in Tipperary, Ireland and has been a BBC Broadcaster, a former judge of the Booker Prize, and has published several novels that are part of a series that concludes here in his latest novel, The Last Storyteller. Frank Delaney currently resides in Connecticut and New York, and can be found on Facebook, Twitter, and his own web-site where he also provides a regular podcast about James Joyce’s Ulysses.
    The Last Storyteller is the final conclusion of the main character, Ben MacCarthy’s, life. The first two novels, Venetia Kelly’s Traveling Show and The Matchmaker of Kenmare introduce you to Ben MacCarthy and the love of his life, Venetia Kelly. I have not yet read these two preceding novels but certainly will be hunting them up now that I’ve had the great fortune of reading its third which can stand alone, but has made me thirsty for more.
    Ben MacCarthy’s life in 1956 is tumultuous. As he collects stories for the Folklore Commission, he encounters less than savory characters along the way and is swept unexpectedly into the rising tide of violence sweeping Ireland at this time. In addition, the love of his life has returned from the United States as part of a traveling show titled, “Gentleman Jack and his Friend,” which is of course headed by no such gentleman at all: Jack Stirling. To further complicate Ben’s life, his twin children whom he has never met are in tow of this traveling show. Ben battles his feelings of fear and regret as he must now decide how to rescue his beloved wife, after he had abandoned his chance years ago.
    Frank Delaney’s novel weaves in characters that will take your breath away, especially John Jacob O’Neill, a most wonderful storyteller and a gentleman to the core whose stories seem to predict Ben’s future each time Ben drops in for a visit. Jimmy Bermingham, a rabble-rouser, brings unwanted excitement into Ben’s otherwise sedate life on the road. Finally, Venetia Kelly’s appearances and disappearances in the novel are maddening in their enticement and brevity. Venetia is as mysterious a woman as they come, her thoughts veiled from the audience as well as from Ben, their marriage as long and bumpy a road as you could ever anticipate and yet the tenderness and devotion through the years brings relief to the reader.
    What I love most about the novel is that the main character is not presented as a neat and tidy hero that follows a steady climb upwards through difficulties. Ben advances and retreats in many battles within him and with others just as all true humans do. He is doggedly stubborn in the worst ways, slow to move his feet towards doing the right thing, and blunders into the wrong hands when searching for help. Ben’s saving grace is his connection to the ultimate storyteller, John Jacob O’Neill, who takes him under his wing and brings order and wisdom to his life. As a result, Ben is able to bring about the desired means to his own life and finds the words to tell his own ultimate story.
    I highly recommend this book to anyone who loves Ireland, folklore, and especially those who underst

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  • Posted February 11, 2012

    Who is the greatest storyteller of all?

    I received an advance copy of this book. I loved this book, the third and final part of the trilogy. We get to see how the story of Ben and Venitia ends. Frank Delaney sweeps you up in this final book and does not let you go or disappoint. I ask you....who is the greatest storyteller? Most definitely...Frank Delaney. You get my vote Mr. Delaney. You just keep getting better with time. Congratulations on a job well done...a book well-written...a story well told. I look forward to your next novel, another masterpiece!

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 20, 2012

    No text was provided for this review.

  • Anonymous

    Posted March 9, 2012

    No text was provided for this review.

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