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The Whereabouts of Eneas McNulty

The Whereabouts of Eneas McNulty

4.0 1
by Sebastian Barry

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Hailed by the San Francisco Chronicle as "the finest book to come out of Europe this year," The Whereabouts of Eneas McNulty is acclaimed Irish playwright Sebastian Barry's lyrical tale of a fugitive everyman.

For Eneas McNulty, a happy, innocent childhood in County Sligo in the early 1900s gives way to an Ireland wracked by violence and conflict.


Hailed by the San Francisco Chronicle as "the finest book to come out of Europe this year," The Whereabouts of Eneas McNulty is acclaimed Irish playwright Sebastian Barry's lyrical tale of a fugitive everyman.

For Eneas McNulty, a happy, innocent childhood in County Sligo in the early 1900s gives way to an Ireland wracked by violence and conflict. Unable to find work in the depressed times after World War I, Eneas joins the British-led police force, the Royal Irish Constabulary--a decision that alters the course of his life. Branded a traitor by Irish nationalists and pursued by IRA hitmen, Eneas is forced to flee his homeland, his family, and Viv, the woman he loves. His wandering terminates on the Isle of Dogs, a haven for sailors, where a lifetime of loss is redeemed by a final act of generosity. The Whereabouts of Eneas McNulty is the story of a lost man and a compelling saga that illuminates Ireland's complex history.

"From the first sentences of the book we know we are in the hands of a master storyteller." --The Wall Street Journal

"Magnificent. . . . No one who loves fiction will want to reach the end of this bewitching, penetrating, unforgettable book." --San Francisco Chronicle Book Review (front page)

"Elegant, comical, tragical, musical. It's a symphony of a novel and you'll sing along and wander with Eneas into the next century." --Frank McCourt, author of Angela's Ashes

Editorial Reviews

The Barnes & Noble Review
August 1998

In his gloriously poetic and deeply moving first novel, acclaimed playwright Sebastian Barry charts the star-crossed career of Eneas McNulty, a peripatetic Irish everyman who survives the First World War only to become a living casualty of Ireland's struggle for independence. Cast out of the political book of life and condemned "upon pain of death" to spend his days in exile, Barry's eponymous narrator travels the world from Galveston to Dunkirk, from Nigeria to the remote Isle of Dogs, hounded by IRA assassins and the irresistible siren song of his homeland.

Eneas is born with the century, a few generations too late to inherit the position and respectability of his namesake, a well-to-do Sligo butter exporter. His father sews clothing for the madmen at the local lunatic asylum and on the weekends plays music in a small dance-hall orchestra; his mother, though burdened with a secret shame, is a "dixie" of a dancer who turns jigs on the hearthstone for her son's amusement. Despite the family's pinched circumstances, Eneas escapes the brunt of the now-infamous miserable Irish Catholic childhood and grows to a gentle, if slightly oblivious, adolescence in the company of the "captain of his boyhood," Jonno Lynch.

Eneas first earns Jonno's friendship with a well-timed word of warning that allows Jonno and his wild boys to escape the wrath of the local Presbyterian rector, whose orchard they were plundering. For an all-too-brief season of mischief-making and welcome camaraderie, Eneas finds acceptance among the gang. ("No treasure in life beyond pals," hisfathertells him, words that will echo poignantly in the years to come.) But Jonno, an orphan who has spent his childhood in the cold embrace of foster care, goes "serious on the world" at a young age and gradually leaves Eneas behind as he ventures out in search of "shillings and employments." Abandoned, and feeling something of the unexplainable attraction the men of Sligo have always held for the land of France, Eneas enlists to fight in the European war. But due to his age and the lateness of his decision, the closest he ever gets to striking a blow for France is service aboard a British Merchant Navy vessel assigned to the port of Galveston, Texas.

At war's end he comes home with the thought of patching the "rip in his head where Jonno Lynch's friendship once was," but Jonno has allied himself with the republican cause and can no longer afford to be seen with any eejit simple enough to fight for the hated English. Nor can Eneas find "a niche in the world of Sligo to slot himself back into — not just a niche for living, but a niche of time itself." Desperate for work, Eneas naively worsens his position by accepting the smart black uniform of the Royal Irish Constabulary at a time when the word "royal" is as welcome on an Irish tongue as "ordure." Barry's perhaps surprisingly evenhanded portrayal of the reviled Black and Tans ("many an Irish family was reared on those wages, and many a peeler was a straightforward decent man") reflects one of the central themes of his acclaimed theatrical productions — that of "trying to tell the stories of those who had been allowed to fall into silence or over whom, for what ever reason social or political, a cloth of silence had been thrown." And Barry should know: His own great-grandfather — who served as the model for Thomas Dunne in Barry's play "The Steward of Christendom" — served in the Dublin Metropolitan Police during the Irish Rebellion.

For months the only police action that occupies Eneas is the daily carting away of the bodies offered upon the altar of Irish independence. But after witnessing the cold-blooded murder of a fellow officer and being implicated in the savage reprisals carried out by the hated Auxiliary Force, Eneas is cashiered from the RIC for his own health. Back home in Sligo, the IRA sends none other than Jonno Lynch to give Eneas the opportunity to clear his name. All that is required of him is one simple act of murder, a token of good faith, the fabled opportunity to die for Ireland. "This is a grand thing," Jonno tells him, "this is like Cuchullain and the like, you know, and Ferdia, and fighting, and Ireland, and freedom." Eneas, now an old man at the age of 22, declines this honor, though the alternative is banishment upon pain of death. If murder is the price of citizenship in the new Irish state, then he is truly a man without a country. In a prescient moment, Eneas understands that "surely, just the same as England, this useless war will take away all the good young men, or the hardiest, and leave only the astutest killers. Those that have stalked most expertly, murdered most adroitly, the very dancing men of murder."

Eneas's long years of exile begin with a stint on a North Sea fishing trawler; then, with the onset of the Second World War, he is given a second chance to fight for France. Miraculously delivered from the maelstrom on the beach at Dunkirk, he passes the rest of the war in the ruined vineyards of an addled old Frenchman, literally harvesting the grapes of wrath. A brief visit to Sligo at war's end is sufficient to confirm that his death sentence still stands, and once again, Eneas sets out just ahead of the dire men in the long black coats, this time to dig irrigation ditches in Nigeria. There he meets a kindred soul in Harcourt, the son of a blind piano tuner and a man of education and cultivated tastes. During the war, Harcourt was stationed in Dublin as part of British military intelligence. But upon his return to his native Nigeria he finds that Lagos, too, is full of men who want "that big thing you have in your sweet country, and I'm talking about independence. And those sort of men don't like my father's sort and they don't like me. Death-threats are all the fashion in Lagos, let me tell you."

Lagos, Sligo — Harcourt casually remarks that they are simply permutations of the same word — a coincidence, perhaps, but ominous nonetheless. Whether in the Balkan states or Ireland, Nigeria or Southeast Asia, the old colonial regimes are toppling in a worldwide convulsion of nationalism. The reader gets the distinct impression that Barry has weighed the human cost of modern nation-building in the balance and found it a poor bargain. Ultimately, nations, states, and political factions have no demarcation in Eneas's atlas of the heart; human relationships, such as the lifelong friendship Eneas forms with Harcourt, are all that constitutes "home."

Thomas Flanagan
...a wonderfully strange book by a fine writer—too ambitious, perhaps, at times too portentous about history and Ireland, but in these times ambition is too rare to require apology.
New York Review of Books
Aoibheann Sweeney
. . .Barry's sweet, lyrical pitch never falters; the novel has a bold measure of old-fashioned blessedness. . . .Barry vividly creates Eneas' warm humanity. . . .[his] happy childhood provides a momentary glimpse at the stark, troubling contours of Ireland's somber history.
New York Times Book Review
Publishers Weekly - Publisher's Weekly
Known in England as a playwright ('The Steward of Christendom'), novelist and poet, Barry brings all the attendant skills to this stunning novel, with its evergreen theme of the parallels between a personal life and the political life of a country -- in this case the fiery history of 20th century Ireland. Eneas McNulty is born in 1900 in Sligo, the eldest child of a dancing mother and a musician father. By the age of 10, he has forged a magnetic bond with his chum Jonno Lynch, an orphan and Eneas' lifelong opposite. WWI is the pivotal event in Eneas' life; he loses his footing and never regains it. Driven by a vague dream of fighting in French fields, he enlists in the British Merchant Navy and finds himself in Galveston, Texas, hauling machine parts. He returns home to find post-war Ireland in political turmoil and economic dire straits. Jonno, who has devoted himself to the 'world of shillings and employment,' won't acknowledge Eneas because of his connection to the British. After a jobless year, he signs up with the Royal Irish Constabulary, which cements the community's conviction that he's a British loyalist. To take his name off the 'black list,' Jonno and his crowd demand that Eneas become an assassin against the RIC. While Eneas doesn't fear his own death, he can't kill anyone else. And so his permanent exile begins. He works as a herring fisherman in the North Atlantic, joins the British army for WWII, digs a canal in Nigeria, opens a hotel for homeless veterans in London's Isle of Dogs. Eneas is in many ways an Everyman in this century of the migrant and the dispossessed, but Barry is careful to intersperse flashes of humor as well as moments of bone-deep longing in his protagonist's bleak odyssey. Work and the rare moments of fellow-feeling it produces are Eneas' solace as even his memories of home are salted with the menace of the men who've vowed to hunt him down. Barry's lyric prose, astute use of detail and poignant insight are a fit match for his tragic theme of an innocent buffeted by history.
Library Journal
Irish author Barry, perhaps best known on this side of the Atlantic as a playwright, brings beautiful and poetic language to bear on a painful and unsettling part of Irish history. Eneas McNulty, a Sligoman, sets out at a tender age to save France at the outbreak of World War I. After spending the war with the British Merchant Navy, he returns to Sligo, joining the Royal Irish Constabulary at a time when Ireland has begun to fight for independence. Eneas is tragically apolitical, but his presence in the Constabulary is noted by Sligo rebels and in particular by his boyhood friend Jonno Lynch. He is offered a chance to remove himself from the rebels' blacklist but at the price of becoming an assassin. When he refuses, he must flee, and so begins his life of wandering--through England, France, and Africa. His thoughts of home never desert him, but neither does the specter of the men in dark coats who have placed him under a death sentence..-- Dianna Moeller, WLN, Lacey, Washington
Aoibheann Sweeney
. . .Barry's sweet, lyrical pitch never falters; the novel has a bold measure of old-fashioned blessedness. . . .Barry vividly creates Eneas' warm humanity. . . .[his] happy childhood provides a momentary glimpse at the stark, troubling contours of Ireland's somber history. -- The New York Times Book Review
The New Yorker
The eponymous hero of this novel is an Irish odd man out. Born into pinched, eccentric circumstances in Sligo, at the turn of the century, Eneas innocently enlists in the Royal Irish Constabulary during the Troubles and becomes a marked man for life. Pursued by his best friend turned I.R.A. enforcer, he finds nomadic work as a herring fisherman in Scotland, a volunteer soldier at the retreat through Dunkirk, a canal digger in postcolonial Nigeria, and, finally, as the proprietor of a doss-house for homeless men on the Isle of Dogs. Although Eneas will leave no trace on the record of the century, he grown into an unforgettable Everyman, thanks to Barry's fine bardic voice, which is tinctured with humor and compassion.
Kirkus Reviews
Another Irishman's reimagining of classical epics some 75 years after Joyce's Ulysses gives impressive depth and pathos to this first novel from the versatile writer best known for his recent play 'The Steward of Christendom.' Barry's eponymous hero is 'exiled' from his home in Sligo when a passion for the culture of his beloved France inspires him to enlist in the British Merchant Navy (in 1916). But Eneas is shipped instead to Galveston, Texas, and his disillusionment increases when he returns to Sligo to a traitor's welcome. Making matters worse, he joins the Royal Irish Constabulary and is subsequently marked for execution by his homeland's revolutionaries, one of whom—his boyhood friend Jonno Lynch—dedicates himself to pursuing the vagrant Eneas. The elusive wanderer's travels then take him to England, France at last (where he literally labors in vineyards), furtively back home to visit his subdued (though still loving) parents and sister Teasy (now a cloistered nun), and, most interestingly, to Nigeria as another World War looms. But Lagos, as Eneas ruefully notes, a near anagram of Sligo is also haunted by 'Deathly, killing, seducing politics,' though there is the lifelong friendship Eneas forms with Harcourt, an epileptic native Nigerian with whom he'll eventually be reunited when at last, in his 70th year, he returns to Sligo to await the carrying-out of the sentence pronounced on him decades before.

Eneas' story, which climaxes with a surprising fulfillment of the violent fate he has long expected, is crowned by a complex and honestly earned vision of 'redemption.' And Barry tells it in a gorgeous, mellifluous rush of passionate language that often alludesspecifically to Virgil's Aeneid (it's especially tempting to view Harcourt as a male counterpart of Aeneas' beloved Carthaginian queen Dido) while accommodating both magnificent invective ('You low dog on all fours, you poor fighting pup with your tail bitten off by a tinker at birth') and sorrowfully lyrical meditations on the ruin of Eneas' country and people. One of the best novels out of Ireland in many a year.

From the Publisher
"It's a symphony of a novel, and you'll sing along and wander with Eneas McNulty into the next century."—Frank McCourt, author of Angela's Ashes

"Magnificent...No one who loves fiction will want to reach the end of this bewitching, penetrating, unforgettable book."—San Francisco Chronicle Book Review

"The story that emerges through Barry's lens is so cohesive, so gracefully rendered, that his words have the stony allur eof the Irish poetes and the lyrical pull of an epic storyteller...A beautiful story."—The Boston Globe 

"From the first sentences of the book we know we are in the hands of a master storyteller with important things to say about history and the individual's role in it. Eneas's gripping and tragic story serves as a reminder of the fine line that exists between hero and murderer, politician and criminal."—The Wall Street Journal

"Barry's language is honed to an impressive edge... There's not an ill-wrought sentence here, and most of them glitter and spin off the page with the kind of impact that begs for them to be read aloud."—The Cleveland Plain Dealer

"Sebastian Barry uses the language with great imagination but never overwrites. This book is a wonderful gift, in every sense."—The Washington Post 

"Barry endows Eneas with so much gentleness that we can't help caring about him...Above all, it is the splendor of the writing that rivets our attention. Barry is a spellbinder in the great Irish tradition."—New York Newsday

"Barry brings beautiful and poetic language to bear on a painful and unsettling part of Irish history...A surprising and emotional novel; high recommended."—Library Journal 

Product Details

Penguin Group (USA) Incorporated
Publication date:
Product dimensions:
5.78(w) x 8.78(h) x 1.04(d)

Read an Excerpt

Chapter One

IN THE MIDDLE OF the lonesome town, at the back of John Street, in the third house from the end, there is a little room. For this small bracket in the long paragraph of the street's history, it belongs to Eneas McNulty. All about him the century has just begun, a century some of which he will endure, but none of which will belong to him. There are all the broken continents of the earth, there is the town park named after Father Moran, with its forlorn roses -- all equal to Eneas at five, and nothing his own, but that temporary little room. The dark linoleum curls at the edge where it meets the dark wall. There is a pewter jug on the bedside table that likes to hoard the sun and moon on its curve. There is a tall skinny wardrobe with an ancient hatbox on top, dusty, with or without a hat, he does not know. A room perfectly attuned to him, perfectly tempered, with the long spinning of time perfect and patterned in the bright windowframe, the sleeping of sunlight on the dirty leaves of the maple, the wars of the sparrows and the blue tits for the net of suet his mother ties in the tree, the angry rain that puts its narrow fingers in through the putty, the powerful sudden seaside snow that never sits, the lurch of the dark and the utter merriment of mornings.

    At twilight his father stands beside him at the window, a low man in his black clothes and his white skin pale and damp like a dandelion under a stone. He is showing Eneas the ruins of the Lungey House at the end of the yard, an old jumble of walls and gaps, with brickwork about the empty windows, the rest granite and bluer shale.

    `Never forget the people that went in and out of that place in their time,' says Tom his father, `because, Eneas, they were your own people, and wore the better clothes and were respected. They had plentiful carriages and were respected. People with your own face' -- and his father's neat fingertips touch the top of his head -- `that sent butter down the fiver and out into the wide ocean to Spain and Portugal where cows are scarce.'

    Their own circumstances are pinched, that's the truth. Tom rises with the lark if there ever were a lark in John Street and off he goes with a dapper air to the lunatic asylum to stitch suits for the madmen. That is his father's work. And his mother too once entered there each day, to be a seamstress to the distressed women. And that was how they met, over their needles and thread, and Eneas is the fruit of their union. A sort of child thrown together out of oddments, lanky, only later to find good muscles pile on his bones, but weak at five.

    He does not believe so much in the old butter exporters but he believes in the black rooks, craws his mother says they are but he does not think she is right, that call the Lungey House their home and screech and bawl like winged babes in the old sycamores above the Presbyterian graves. An old sycamore is a lovely thing with the bark gone to elephants, as ruckled and rough as elephants. He believes in the gangs of wallflowers that take over each summer, and on a rare day in the wild kids that go along the walltops heading for the orchard of the minister. He believes in those children and some day they will call to him and he will follow. Some day he will be famous for his friendships or so he believes. No treasure in life beyond pals, his father decrees. He will be heroic and carry the round red apples off into the town in his best gansey, that his grandma Mrs Byrne created -- created, says his mother -- out of an exhausted shawl, and the people of Sligo will admire him for it, the boys of Sligo anyhow.

    He sees the wild boys go by the house too, at the front, his own thin and narrow house on John Street and he longs, he longs to open the door and fight them and win his place among them, but he is lanky and weak as yet. The day of strength has not yet come. But it will. He likes the soft face of the leader boy that is called Jonno. He hears the other boys calling Jonno's name in the dusk of the autumn when the apples are ripe and the minister not guarding his possession. He longs to call out Jonno's name through the dusk and be one among many, with torn ganseys and trousers too big, all hand-me-downs from their brothers.

    Those days will dawn he devoutly believes and he practises his fighting in the back parlour with the dog Tam. He wrestles with Tam beside the autumn fire and his mother laughs and urges him on. She lifts her black skirts and dances suddenly on the hearth, throwing back her little head, and dances, and Tam goes spark crazy and jumps almost over her head. And the lamb stew boils on the stove with a slightly evil air, mutton really, and Tam is hoarse from barking now, and Eneas is not truly the victor yet.

    His mother is a dixie, a lovely dancer, she bangs her shoes on the big black stone of the hearth, where the Spanish gold is buried snugly. The Spanish ran around Ireland in a filthy storm in lovely ships and fetched up among McNultys who ate them, his mother says. The hearth, that is where she tells him that story and all the stories, and dances for him. She is as daft as the dog, he knows. She put dresses on the lunatic women. And the old dames half dead in the beds, lying doggo for decades and decades, in turn, in thanks, in sisterhood, put little seams of daftness into her, little cross-stitches and patterns. She sat under the early windowlight stitching in her youth, in the asylum, before his father stole her away. Isn't she dour too, a deal of the time, dour as a fallen loaf in a cold oven, a disappointed loaf? But when the spirit strikes her, fires through her, when some surge of delight infects her, up go the skirts and out the short legs and there is dancing to beat the band.

    Tom is often gone for days over to Bundoran or such places with his little orchestra and he plays for the holiday folk and the townspeople letting off steam after the long weeks of work. He plays waltzes, polkas and foxtrots and lately he has been giving them a touch of the new music, the ragtime and the like, that the Negramen of famed America play, because there is a call for it, a call. His father gets in the music in exciting batches, it comes from New York and Galveston, passing the Azores through the light-filled summer storms, the music purposefully silent in the little folded books, waiting for landfall on the Garravogue, waiting for Tom McNulty. But he has the older music too, and the Irish, so you might get a touch of Carolan, Strauss and New Orleans' finest in the one night in the lobby say of the Grand at Bundoran. He goes off winter evenings with his piccolo, his violin, his wooden flutes and oftentimes his cello, and he is not heard of till Monday. He might come in Monday itself early, five or six, long before the milkman's cart, and have a few mugs of strong tea, and then be gone up to the asylum as right as rain as if he had spent Saturday and Sunday in his doss.

    `And how is it, Pappy, that you're not weary?' Eneas asks him, the pair of them sitting together at the scrubbed kitchen table, the loud clock hurrying on above the stove. Eneas's own eyes are heavy as bullets. He looks in astonishment at his father, with the brightened face and the drumming hand beside the mug, and the neat feet tapping the floor beneath, his smiles cracking his face like a rip in a cloth. And Eneas rose from his tight sheets because he can never resist the lure of his father's noises below him, but he is nevertheless pole-axed with tiredness.

    `Life, Eneas, life keeps me awake -- don't it you? Here, boy, let me play you a tune I was given last night, by Tom Mangan of Enniscrone ...' And he's reaching again for the tin whistle.

    Eneas likes that father of his. He has a rake of friends. There is fellas calling for him all hours. Fellas that want to give him that jig out of North Sligo maybe, for a Yank come home that wants to hear it the one more time. Or now and then a wedding arrangement is made on the doorstep, and Eneas's father Tom will play you through the streets of Sligo, from your house to the church and back again, if you have but twelve bob and three shots of Scotch. His great ambition is to have his dancing hall in the fabulous glooms of Strandhill.

    Doesn't he rent a garden over in Finisklin, just under Midleton's hazel woods that used to be coppiced, but have been left to chance now with the coming in of foreign timber? There's more muck comes up the Garravogue in ships than goes down in the dredgers, his father avers. His garden is the mighty spot. It was a big square of wild grasses and meadow-rue and heart's-ease, eyebright and strawberry clovers till Tom went in there with his spades and his plans done out on rasher paper and dug the whole thing. And it isn't long while you're digging till it's dug though you might think it would take an age, just looking at it first, the peaceful neglect of the place with the sombre old walls and the locked iron door that used to lead into Midleton's. He put seventeen cartloads of dung into the black soil the first year till he had his compost going off the vegetable peels and the leavings of tea. Eneas played the while on the little space of grass that was left for his sole use, and his father dug till nightfall and the sprinkle of Sligo stars came out above their heads. The minute, the second he ates a bit of clay he is heartily smacked for it -- so he keeps to the patch of grass after that playing with a handy weeding trowel and maybe truth to tell giving the isolated sniff despite himself. Over the seasons ensuing his father sets in a mighty system of paths with sacks of cinders bought from the laundry, from fuel that had done the convent's water heaters. He rakes them out and his son Eneas trots along the paths gratefully, not in any way eating the alluring cinders. In go the hollyhocks and the peonies and the hebes and the blue hydrangeas, in splendid great rows, and the sweet pea along Midleton's wall and he has a few young pear trees in a warm and windless corner. One spring at last after much asking a fella comes up from the lake with big flat stones worn by the lapping of waves and there are five steps down from the pears in the passing of an afternoon. That is a great day for the garden.

    At night he is brought back to the little back bedroom with the dark blue linoleum through the nuns' field gone dark with a pitch darkness that no child could like, hand in hand they go, gaining the little house at last, and enjoying the spot of supper in the lamplit parlour at first, and then away up to bed like a ghost, his mother after scrubbing at his nails fiercely, as tired and contented as humankind may be.

    These are the ancient days when his father plays the piccolo and his mother dances for him and he sits on the hearthstone smiling crazily at them, smiling, smiling, his face opened by that smile, such an honest happy smile, cracking his face like a miniature of his father's, generous, amazed. When in truth the world is simple with pleasure, and precise, and he hears the boys calling Jonno in the dusk and thinks of the apples going off in the ganseys as the light fails in the arms of the sycamores.

Meet the Author

Sebastian Barry was born in Dublin in 1955. His plays include Boss Grady's Boys (1988), The Steward of Christendom (1995), Our Lady of Sligo (1998), The Pride of Parnell Street (2007), and Dallas Sweetman (2008). Among his novels are The Whereabouts of Eneas McNulty (1998), Annie Dunne (2002) and A Long Long Way (2005), the latter shortlisted for the Man Booker Prize. His poetry includes The Water-Colourist (1982), Fanny Hawke Goes to the Mainland Forever (1989) and The Pinkening Boy (2005). His awards include the Irish-America Fund Literary Award, The Christopher Ewart-Biggs Prize, the London Critics Circle Award, The Kerry Group Irish Fiction Prize, and Costa Awards for Best Novel and Book of the Year. He lives in Wicklow with his wife Ali, and three children, Merlin, Coral, and Tobias.

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The Whereabouts of Eneas McNulty 4 out of 5 based on 0 ratings. 1 reviews.
erin56 More than 1 year ago
If you know the Sherlock Holmes story "Valley of Fear" you will think that you understand the dilemma of Eneas McNulty, who is sentenced to death by members of a ultra-nationalist group in his hometown of Sligo. But Conan Doyle sees the Irish as temperamentally prone to violence. Barry understands the traumas of Irish history more clearly and more compassionately. His writing style, which uses third person narration, follows the thoughts and feelings of his protagonist as he struggles to comprehend the life seemingly dealt to him by some evil genius. Despite his suffering, Eneas is wonderful character, honest, humane, ultimately wise. As in his other books, Barry connects the plight of the Irish to those of other colonials allied or resisting British rule. Here our wandering Irishman bonds with men inhabiting the bars of Galveston, the fishing boats off the coast of Scotland, and the canal digging operations of Nigeria. His adventures only intensify his desire for a wife and a home. Eneas's journey challenges any easy definition of home and country, self and other. It is existentialism with a heart--a story for our times.