Saturday, June 25, 2016

Irish Bucket List, Revisited


Four years ago, I wrote of my intention to one day visit Ireland, with a bucket list of things I hoped to do when I got there. Last month, I finally got there. Let's see how many of those items I can check off my list...

1. Tour the Guinness Brewery

Of course we visited Guiness Storehouse in Dublin. And we drank Guinness Stout and/or Smithwick's Ale everywhere we went. And we sampled several varieties of Irish whisky (or, as they call it in Ireland, "whisky.")

"Sláinte!"


2. Listen to Live Irish Music

Four years ago I made a promise that, if I made it to Ireland, I would find a pub with live music and request Finnegan's Wake in honor of my late friend David Hawthorne. I was able to fulfill that promise at a place called "The Quays," in the Temple Bar district of Dublin. The musicians, a guitar/fiddle duo named Stephen and Sharon, promised to play my request "later." If they did, we never heard it. Before they finished their set, we were obliged to leave due to the premises being overrun by rowdy, obnoxious tourists with idiotic requests for such songs as "Danny Boy" and, believe it or not, "Country Roads."

We did hear a few good songs from Stephen and Sharon before the drunks took over. And later on, at a place across from our hotel in Galway called "Tigh Fox," we had front-row seats for trad (traditional Irish music) sessions on two successive evenings.

Stephen and Sharon

Trad Session at Tigh Fox


3. Follow in the Footsteps of Leopold Bloom

It's virtually impossible to visit Dublin without stumbling across at least one of the places mentioned in James Joyce's Ulysses. We found three. The first was directly across from our hotel: the pharmacy where Leopold Bloom purchased a bar of lemon-scented soap (which he forgot to pay for). Our Gravedigger Ghost Bus tour ended at a pub just outside the gates of Glasnevin Cemetery, where Bloom attended his friend Paddy Dignam's funeral, and our Literary Pub Crawl finished at Davy Byrnes, the "moral pub" where Bloom ordered a gorgonzola sandwich and a glass of Burgundy that later caused him some intestinal distress. ("Prrprr. Must be the bur. Fff. Oo. Rrpr.")

Oh, and one more thing: I finally finished reading Ulysses in Dublin. What better place to read Joyce's tribute to his favorite city? I now understand why he wrote, "When I die, Dublin will be written in my heart."

Window of Sweny's Pharmacy

Glasnevin Cemetery

Davy Byrnes


4. Buy a Round at a Real Irish Pub

I had the perfect opportunity for this when we visited Pat Cohan's Bar in Cong, the pub featured in The Quiet Man. There was only one person in the bar besides us, so buying a round for the house would have been a real bargain. But the mood wasn't right. There just wasn't the sort of conviviality that inspires one to buy alcohol for total strangers.

However, the mood was right at Tigh Fox in Galway, where we did not buy a round for the house, but we did buy one for the musicians. I think that counts.

Pub from The Quiet Man

I could have bought a round for this guy, but it just didn't seem right.


5. Visit the Grave of William Butler Yeats

It was a beautiful, sunny day when we visited the scenic spot where, "Under bare Ben Bulben's head/In Drumcliff churchyard Yeats is laid." (As a matter of fact, the weather was beautiful nearly every day we were in Ireland, which I understand is a very rare thing.) That same day, thanks to Google Maps, we also managed to locate a small, secluded island near the shore of Lough Gill, made famous by one of Yeats' early poems:
The Lake Isle of Innisfree

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

Drumcliff Churchyard

Yeats wrote his own epitaph in the poem Under Ben Bulben.

The Lake Isle of Innisfree


So as far as my bucket list goes, I think I can safely say we nailed it. We also saw many wonderful sights that weren't on the list, including the National Leprechaun Museum, Newgrange, the Hill of Tara, Clonmacnoise, the Cliffs of Moher, an old farmhouse in the middle of nowhere that served as the principal location for one of our all-time favorite British sitcoms, Father Ted, and a shoe store in Galway that bears my family's name.

In short, we saw about as much as a person can see of Ireland in just one week—which means there are many more things we didn't see (basically anything north of Sligo or south of Clare).

I guess it's time to start making a bucket list for our next visit.

"Logues Speisialtóirí Bróg" ("Logues Shoe Specialists"), Galway

Saturday, June 18, 2016

Comfort in Mayberry


I have been sick for the past two weeks, and I have spent much of that time in my recliner: coughing up and blowing out snot, drifting in and out of consciousness, and seeking comfort in favorite movies and television programs, preferably those in black and white. For some reason, I find black-and-white television more comforting when I'm sick. Maybe the color irritates my eyes, or maybe it's just because I'm reminded of my childhood, when everything on TV was black and white.

I watched a few old movies from my DVD collection, then started watching episodes of The Twilight Zone, which was a mistake. It turns out that "another dimension, a dimension not only of sight and sound but of mind" is not a particularly comforting place to be when you're sick. Also, I know this sounds crazy, but the smoke from Rod Serling's cigarette seemed to aggravate my cough.

So I started binge-watching The Andy Griffith Show. TV Land airs twelve episodes a day: six in the morning and six in the afternoon. In between are episodes of Bonanza and Gunsmoke. I watched a couple of episodes of those shows, but I found that the Ponderosa and Dodge City were nowhere near as comforting as the fictional setting of The Andy Griffith Show, Mayberry, North Carolina. For one thing, Bonanza and Gunsmoke were in color. For another, they had a lot more gunfire. Sheriff Andy Taylor never wore a gun. Deputy Barney Fife did, but Andy only gave him one bullet, and he made him keep it buttoned up in his shirt pocket (with good reason).

Speaking of Gunsmoke, here's a bit of related trivia. It started out as a radio show, with a completely different cast. Two members of the cast of the radio show—Howard McNear, who played Doc, and Parley Baer, who played Chester—went on to become featured cast members of The Andy Griffith Show, as Floyd Lawson, Mayberry's barber, and Roy Stoner, Mayberry's cantankerous mayor.

I have always loved The Andy Griffith Show, and it was wonderful getting reacquainted with the residents of Mayberry. When I was young, my favorite episodes were those featuring Andy's bumbling blowhard deputy, Barney Fife, played brilliantly by Don Knotts. This time around, I especially enjoyed the first-season episodes featuring Elinor Donahue as Ellie Walker, Mayberry's pharmacist and Andy's first steady girlfriend. (Ellie disappeared without explanation after the first season, which is a real shame. I thought she was a lot cuter and a lot more fun than her replacement, schoolmarm Helen Crump.)

Most of all, I enjoyed the scenes between Andy and his young son Opie, played by future Academy-Award-winning film director, Ron Howard. "Ronny," as he was then known, was only six years old that first season. His scenes with Andy are so genuine and natural, you'd swear you were witnessing a real conversation between father and son. Often, Andy uses humor to teach Opie an important lesson about life, such as the time he explains feuds by telling the story of Romeo and Juliet. Just as often, Andy is the one who learns a lesson, as when Opie points out that his lying to a friend to make a trade for a pair of roller skates is no worse than Andy's "horse trading" with an antique dealer over an old cannon.

I suppose this is what I find most comforting about Mayberry: Andy and Opie's relationship reminds me of my relationship with my father. Like Andy Taylor, my dad was good at explaining things, good at listening, and always had time to talk to his son.

I really miss those talks.

In the wake of this week's massacre in Orlando, only the latest in a series of mass shootings that become more frequent and more deadly with every passing year, I find myself wondering what Andy might say to Opie about such a terrible event, and what my father might say to me.

I feel sure of one thing: it would be something comforting.

Saturday, May 7, 2016

Sirens of Dublin


I woke up this morning with a great idea for a video game based on James Joyce's Ulysses. I should have known that someone else already beat me to it:
James Joyce's Ulysses is one of the greatest books in literature, and it is also one of the hardest to read. Irish filmmaker Eoghan Kidney is crowdfunding a creative solution to this problem: A virtual reality video game that allows the reader to experience the book as the protagonist.
(USA Today Book Buzz, July 28, 2014)

It's no wonder I woke up thinking about Ulysses. For the past few weeks, I have been immersed in it, hoping to get through it before we visit Dublin this month. I studied excerpts of it in college, but this is the first time I ever attempted to read the whole thing. Why? Because, as the writer of the above piece pointed out, it's an incredibly difficult book to read. Some would say the only book that is more difficult is Joyce's second novel, Finnegan's Wake.

Here's an excerpt from a 1922 review of Ulysses that appeared in the New York Times:
Few intuitive, sensitive visionaries may understand and comprehend "Ulysses," James Joyce’s new and mammoth volume, without going through a course of training or instruction, but the average intelligent reader will glean little or nothing from it—even from careful perusal, one might properly say study, of it—save bewilderment and a sense of disgust. It should be companioned with a key and a glossary like the Berlitz books.
That from a contemporary literary critic, who probably understood most of Joyce's references. Now, nearly one hundred years later, readers have even less chance of comprehending Ulysses.

But it's definitely worth the effort.

It's a fascinating concept: take Homer's Odyssey, compress the story to a single day (June 16th, 1904) and a single city (Dublin), record every single thing the protagonist (for the most part, Leopold Bloom) does, says, and thinks throughout the course of that day. It should be required reading for writers, or for anyone who loves the English language. Joyce's use of language throughout Ulysses is nothing short of amazing: it is at times joyful, at times shocking, and at times playful, as in the section I am currently reading, titled "Sirens."

"Sirens" is a sumptuous free-verse poem composed of snatches of music, conversation, and especially the thoughts of Leopold Bloom as he dines with a friend at the Ormond Hotel. Here are a few examples:

Describing the flirtatious barmaids, Miss Douce and Miss Kennedy (aka "bronze" and "gold"):
Shrill, with deep laughter, after bronze in gold, they urged each other to peal after peal, ringing in changes, bronzegold goldbronze, shrilldeep, to laughter after laughter: And then laughed more. Greasy I knows. Exhausted, breathless their shaken heads they laid, braided and pinnacled by glossycombed, against the counterledge. All flushed (O!), panting, sweating (O!), all breathless.

Describing Blazes Boylan, the man Bloom suspects is headed for a liaison with his wife:
By Bachelor's walk jogjaunty jingled Blazes Boylan, bachelor, in sun, in heat, mare's glossy rump atrot, with flick of whip, on bounding tyres: sprawled, warmseated, Boylan impatience, ardentbold.

Describing the voice of Simon Dedalus, singing in the bar:
It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness...

Describing Pat, the bald and deaf waiter:
Pat is a waiter hard of his hearing. Pat is a waiter who waits while you wait. Hee hee hee hee. He waits while you wait. Hee hee. A waiter is he. Hee hee hee hee. He waits while you wait. While you wait if you wait he will wait while you wait. Hee hee hee hee. Hoh. Wait while you wait.

Describing Bloom himself, as he exits the hotel:
By rose, by satiny bosom, by the fondling hand, by slops, by empties, by popped corks, greeting in going, past eyes and maidenhair, bronze and faint gold in deepseashadow, went Bloom, soft Bloom, I feel so lonely Bloom.

The section ends with Bloom outside the hotel, his thoughts punctuated by the flatulence brought on either by the cider he had with dinner or the burgundy he imbibed earlier that day at Davy Byrne's Pub:
Seabloom, greaseabloom viewed last words. Softly. When my country takes her place among.

Prrprr.

Must be the bur.

Fff. Oo. Rrpr.

Nations of the earth. No-one behind. She's passed. Then and not till then. Tram. Kran, kran, kran. Good oppor. Coming. Krandlkrankran. I'm sure it's the burgund. Yes. One, two. Let my epitaph be. Karaaaaaaa. Written. I have.

Pprrpffrrppfff.

Done.
Imagine that in a video game.

Saturday, March 12, 2016

Wibbly-Wobbly Timey-Wimey


Brace yourselves: it’s that time again. No, I’m not talking about the anniversary of the founding of the Girl Scouts of America, although that should certainly be celebrated (preferably with lots of cookies). I’m talking about that bit of “wibbly-wobbly, timey-wimey” nonsense known as “Daylight Saving Time.” If you read my post last fall, you already know how I feel about DST. However, if you don't mind, I have a few more things I would like to say on the subject. (And if you do mind, tough. This is my blog, and I'll say what I want. So there.)

1. We're idiots.

Who do we think we are, Time Lords? Changing a clock has no effect on the number of hours of daylight in a day. Only an idiot would believe that, as someone once said, "you could cut a foot off the top of a blanket, sew it to the bottom, and have a longer blanket."

2. We’re losing an hour—of weekend.

Actually, we’re not. We’re banking an hour which, barring any unforeseen circumstances (such as a meteor the size of Texas hitting our planet), we will get back in the fall (although without interest, and what kind of deal is that?). But my point is that we’re taking that hour away from the weekend. Weekends go by too quickly as it is. If we have to lose an hour, why not lose it on Monday? (See number 1.)

3. We're torturing ourselves.

Obviously, the reason we change the clocks on the weekend is to give us a day to adjust to the change. But a day is not enough. I guarantee you that for me, time will be "out of joint" until at least the end of the month. Pets take even longer to adjust. (If you think it’s hard to explain DST to a human, try explaining it to a cat.) Why do we subject ourselves to this torture twice a year? (See number 1.)

4. We don't need to do it.

There is no good reason to change our clocks twice a year, and there are plenty of good reasons not to. More and more people are realizing that fact. A bill (AB2496) was recently introduced in the California Legislature to abolish it.

Will it pass? Probably not. (See number 1.)


Saturday, March 5, 2016

Tears and Laughter


“Two Irishmen walk into a bar…”

I wrote about Bynum Shaw’s short story class several years ago. ("The Writer Must Write"). It was one of the happiest experiences in my college career, prompting me to change my major to English and become a writer, or at least try to become one. It also inspired a love of Irish literature, when Shaw read aloud a short story that reduced everyone in class, including himself, to tears of laughter.

I have recalled that moment many times since, yet I could never for the life of me recall the story’s title or the name of its author. But the Internet is a wonderful place to find things—books, music, people, all manner of information both useful and useless (some actually true)—and I finally found the story that was so hilarious it nearly caused an entire classroom to wet its collective pants. Reading it again, I was surprised at how serious the subject matter is. There is certainly nothing humorous about alcoholism or child neglect.

And yet, I laughed again.

And that is why I love Irish literature: it can either evoke tears or laughter, but at its best, it rewards us with both.

Here's the story, and if you would like to read more by Frank O'Connor, I recommend this anthology, available in paperback or for Kindle.


The Drunkard, by Frank O’Connor

It was a terrible blow to Father when Mr. Dooley on the terrace died. Mr. Dooley was a commercial traveller with two sons in the Dominicans and a car of his own, so socially he was miles ahead of us, but he had no false pride. Mr. Dooley was an intellectual, and, like all intellectuals the thing he loved best was conversation, and in his own limited way Father was a well-read man and could appreciate an intelligent talker. Mr. Dooley was remarkably intelligent. Between business acquaintances and clerical contacts, there was very little he didn’t know about what went on in town, and evening after evening he crossed the road to our gate to explain to Father the news behind the news. He had a low, palavering voice and a knowing smile, and Father would listen in astonishment, giving him a conversational lead now and again, and then stump triumphantly in to Mother with his face aglow and ask: “Do you know what Mr. Dooley is after telling me?” Ever since, when somebody has given me some bit of information off the record I have found myself on the point of asking: “Was it Mr. Dooley told you that?”

Till I actually saw him laid out in his brown shroud with the rosary beads entwined between his waxy fingers I did not take the report of his death seriously. Even then I felt there must be a catch and that some summer evening Mr. Dooley must reappear at our gate to give us a lowdown on the next world. But Father was very upset, partly because Mr. Dooley was about one age with himself, a thing that always gives a distinctly personal turn to another man’s demise; partly because now he would have no one to tell him what dirty work was behind the latest scene at the Corporation. You could count on your fingers the number of men in Blarney Lane who read the papers as Mr. Dooley did, and none of these would have overlooked the fact that Father was only a labouring man. Even Sullivan, the carpenter, a mere nobody, thought he was a cut above Father. It was certainly a solemn event.

“Half past two to the Curragh,” Father said meditatively, putting down the paper.

“But you’re not thinking of going to the funeral?” Mother asked in alarm.

“’Twould be expected,” Father said, scenting opposition. “I wouldn’t give it to say to them.”

“I think,” said Mother with suppressed emotion, “it will be as much as anyone will expect if you go to the chapel with him.”

(“Going to the chapel,” of course, was one thing, because the body was removed after work, but going to the funeral meant the loss of a half-day’s pay.)

“The people hardly know us,” she added.

“God between us and all harm,” Father replied with dignity, “we’d be glad if it was our own turn.”

To give Father his due, he was always ready to lose a half day for the sake of an old neighbour. It wasn’t so much that he liked funerals as that he was a conscientious man who did as he would be done by; and nothing could have consoled him so much for the prospect of his own death as the assurance of a worthy funeral. And, to give Mother her due, it wasn’t the half day’s pay she begrudged, badly as we could afford it.

Drink, you see, was Father’s great weakness. He could keep steady for months, even for years, at a stretch, and while he did he was as good as gold. He was first up in the morning and brought the mother a cup of tea in bed, stayed at home in the evenings and read the paper; saved money and bought himself a new blue serge suit and bowler hat. He laughed at the folly of men who, week in week out, left their hard-earned money with the publicans; and sometimes, to pass an idle hour, he took pencil and paper and calculated precisely how much he saved each week through being a teetotaller. Being a natural optimist he sometimes continued this calculation through the whole span of his prospective existence and the total was breathtaking. He would die worth hundreds.

If I had only known it, this was a bad sign; a sign he was becoming stuffed up with spiritual pride and imagining himself better than his neighbours. Sooner or later, the spiritual pride grew till it called for some form of celebration. Then he took a drink—not whisky, of course; nothing like that—just a glass of some harmless drink like lager beer. That was the end of Father. By the time he had taken the first he already realized he had made a fool of himself, took a second to forget it and a third to forget that he couldn’t forget, and at last came home reeling drunk. From this on it was “The Drunkard’s Progress,” as in the moral prints. Next day he stayed in from work with a sick head while Mother went off to make his excuses at the works, and inside a fortnight he was poor and savage and despondent again. Once he began he drank steadily through everything down to the kitchen clock. Mother and I knew all the phases and dreaded all the dangers. Funerals were one.

“I have to go to Dunphy’s to do a half-day’s work,” said Mother in distress. “Who’s to look after Larry?”

“I’ll look after Larry,” Father said graciously. “The little walk will do him good.”

There was no more to said, though we all knew I didn’t need anyone to look after me, and that I could quite well have stayed at home and looked after Sonny, but I was being attached to the party to act as a brake on Father. As a brake I had never achieved anything, but Mother still had great faith in me.

Next day, when I got home from school, Father was there before me and made a cup of tea for both of us. He was very good at tea, but too heavy in the hand for anything else; the way he cut bread was shocking. Afterwards, we went down the hill to the church, Father wearing his best blue serge and a bowler cocked to one side of his head with the least suggestion of the masher. To his great joy he discovered Peter Crowley among the mourners. Peter was another danger signal, as I knew well from certain experiences after mass on Sunday morning: a mean man, as Mother said, who only went to funerals for the free drinks he could get at them. It turned out that he hadn’t even known Mr. Dooley! But Father had a sort of contemptuous regard for him as one of the foolish people who wasted their good money in public-houses when they could be saving it. Very little of his own money Peter Crowley wasted!

It was an excellent funeral from Father’s point of view. He had it all well studied before we set off after the hearse in the afternoon sunlight.

“Five carriages!” he exclaimed. “Five carriages and sixteen covered cars! There’s one alderman, two councillors and ‘tis known how many priests. I didn’t see a funeral like this from the road since Willie Mack, the publican, died.”

“Ah, he was well liked,” said Crowley in his dusky voice.

“My goodness, don’t I know that?” snapped Father. “Wasn’t the man my best friend? Two nights before he died—only two nights—he was over telling me the goings-on about the housing contract. Them fellow in the Corporation are night and day robbers. But even I never imagined he was as well connected as that.”

Father was stepping out like a boy, pleased with everything: the other mourners, and the fine houses along Sunday’s Well. I knew the danger signals were there in full force: a sunny day, a fine funeral, and a distinguished company of clerics and public men were bringing out all the natural vanity and flightiness of Father’s character. It was with something like genuine pleasure that he saw his old friend lowered into the grave; with the sense of having performed a duty and a pleasant awareness that however much he would miss poor Mr. Dooley in the long summer evenings, it was he and not poor Mr. Dooley who would do the missing.

“We’ll be making tracks before they break up,” he whispered to Crowley as the gravediggers tossed in the first shovelfuls of clay, and away he went, hopping like a goat from grassy hump to hump. The drivers, who were probably in the same state as himself, though without months of abstinence to put an edge to it, looked up hopefully.

“Are they nearly finished, Mick,” bawled one.

“All over now bar the last prayers,” trumpeted Father in the tone of one who brings news of great rejoicing.

The carriages passed us in a lather of dust several hundred yards from the public-house, and Father, whose feet gave him trouble in hot weather, quickened his pace, looking nervously over his shoulder for any sign of the main body of mourners crossing the hill. In a crowd like that a man might be kept waiting.

When we did reach the pub the carriages were drawn up outside, and solemn men in black ties were cautiously bringing out consolation to mysterious females whose hands reached out modestly from behind the drawn blinds of the coaches. Inside the pub there were only the drivers and a couple of shawly women. I felt if I was to act as a brake at all, this was the time, so I pulled Father by the coattails.

“Dadda, can’t we go home now?” I asked.

“Two minutes now,” he said, beaming affectionately. “Just a bottle of lemonade and we’ll go home.”

This was a bribe, and I knew it, but I was always a child of weak character. Father ordered lemonade and two pints. I was thirsty and swallowed my drink at once. But that wasn’t Father’s way. He had long months of abstinence behind him and an eternity of pleasure before. He took out his pipe, blew through it, filled it, and then lit it with loud pops, his eyes bulging above it. After that he deliberately turned his back on the pint, leaned one elbow on the counter in the attitude of a man who did not know there was a pint behind him, and deliberately brushed the tobacco from his palms. He had settled down for the evening. He was steadily working through all the important funerals he had ever attended. The carriages departed and the minor mourners drifted in till the pub was half full.

“Dadda,” I said, pulling his coat again, “can’t we go home now?”

“Ah, your mother won’t be in for a long time yet,” he said benevolently enough. “Run out in the road and play, can’t you?”

It struck me as very cool, the way grown-ups assumed that you could play all by yourself on a strange road. I began to get bored as I had so often been bored before. I knew Father was quite capable of lingering there till nightfall. I knew I might have to bring him home, blind drunk, down Blarney Lane, with all the old women at their doors, saying: “Mick Delaney is on it again.” I knew that my mother would be half crazy with anxiety; that next day Father wouldn’t go out to work; and before the end of the week she would be running down to the pawn with the clock under her shawl. I could never get over the lonesomeness of the kitchen without a clock.

I was still thirsty. I found if I stood on tiptoe I could just reach Father’s glass, and the idea occurred to me that it would be interesting to know what the contents were like. He had his back to it and wouldn’t notice. I took down the glass and sipped cautiously. It was a terrible disappointment. I was astonished that he could even drink such stuff. It looked as if he had never tried lemonade.

I should have advised him about lemonade but he was holding forth himself in great style. I heard him say that bands were a great addition to a funeral. He put his arms in the position of someone holding a rifle in reverse and hummed a few bars of Chopin’s Funeral March. Crowley nodded reverently. I took a longer drink and began to see that porter might have its advantages. I felt pleasantly elevated and philosophic. Father hummed a few bars of the Dead March in Saul. It was a nice pub and a very fine funeral, and I felt sure that poor Mr. Dooley in Heaven must be highly gratified. At the same time I thought they might have given him a band. As Father said, bands were a great addition.

But the wonderful thing about porter was the way it made you stand aside, or rather float aloft like a cherub rolling on a cloud, and watch yourself with your legs crossed, leaning against a bar counter, not worrying about trifles but thinking deep, serious, grown-up thoughts about life and death. Looking at yourself like that, you couldn’t help thinking after a while how funny you looked, and suddenly you got embarrassed and wanted to giggle. But by the time I had finished the pint, that phase too had passed; I found it hard to put back the glass, the counter seemed to have grown so high. Melancholia was supervening again.

“Well,” Father said reverently, reaching behind him for his drink, “God rest the poor man’s soul, wherever he is!” He stopped, looked first at the glass, and then at the people round him. “Hello,” he said in a fairly good-humoured tone, as if he were just prepared to consider it a joke, even if it was in bad taste, “who was at this?”

There was silence for a moment while the publican and the old women looked first at Father and then at his glass.

“There was no one at it, my good man,” one of the women said with a offended air. “Is it robbers you think we are?”

“Ah, there’s no one here would do a thing like that, Mick,” said the publican in a shocked tone.

“Well, someone did it,” said Father, his smile beginning to wear off.

“If they did, they were them that were nearer it,” said the woman darkly, giving me a dirty look; and at the same moment the truth began to dawn on Father. I supposed I might have looked a bit starry-eyed. He bent and shook me.

“Are you all right, Larry?” he asked in alarm.

Peter Crowley looked down at me and grinned.

“Could you beat that?” he exclaimed in a husky voice.

I could, and without difficulty. I started to get sick. Father jumped back in holy terror that I might spoil his good suit, and hastily opened the back door.

“Run! run! run!” he shouted.

I saw the sunlit wall outside with the ivy overhanging it, and ran. The intention was good but the performance was exaggerated, because I lurched right into the wall, hurting it badly, as it seemed to me. Being always very polite, I said “Pardon” before the second bout came on me. Father, still concerned for his suit, came up behind and cautiously held me while I got sick.

“That’s a good boy!” he said encouragingly. “You’ll be grand when you get that up.”

Begor, I was not grand! Grand was the last thing I was. I gave one unmerciful wail out of me as he steered me back to the pub and put me sitting on the bench near the shawlies. They drew themselves up with an offended air, still sore at the suggestion that they had drunk his pint.

“God help us!” moaned one, looking pityingly at me, “isn’t it the likes of them would be fathers?”

“Mick,” said the publican in alarm, spraying sawdust on my tracks, “that child isn’t supposed to be in here at all. You’d better take him home quick in case a bobby would see him.”

“Merciful God!” whimpered Father, raising his eyes to heaven and clapping his hands silently as he only did when distraught, “What misfortune was on me? Or what will his mother say? … If women might stop at home and look after their children themselves!” he added in a snarl for the benefit of the shawlies. “Are them carriages all gone, Bill?”

“The carriages are finished long ago, Mick,” replied the publican.

“I’ll take him home,” Father said despairingly…. “I’ll never bring you out again,” he threatened me. “Here,” he added, giving me the clean handkerchief from his breast pocket, “put that over your eye.”

The blood on the handkerchief was the first indication I got that I was cut, and instantly my temple began to throb and I set up another howl.

“Whisht, whisht, whisht!” Father said testily, steering me out the door. “One’d think you were killed. That’s nothing. We’ll wash it when we get home.”

“Steady now, old scout!” Crowley said, taking the other side of me. “You’ll be all right in a minute.”

I never met two men who knew less about the effects of drink. The first breath of fresh air and the warmth of the sun made me groggier than ever and I pitched and rolled between wind and tide till Father started to whimper again.

“God Almighty, and the whole road out! What misfortune was on me didn’t stop at my work! Can’t you walk straight?”

I couldn’t. I saw plain enough that, coaxed by the sunlight, every woman old and young in Blarney Lane was leaning over her half-door or sitting on her doorstep. They all stopped gabbling to gape at the strange spectacle of two sober, middle-aged men bringing home a drunken small boy with a cut over his eye. Father, torn between the shamefast desire to get me home as quick as he could, and the neighbourly need to explain that it wasn’t his fault, finally halted outside Mrs. Roche’s. There was a gang of old women outside a door at the opposite side of the road. I didn’t like the look of them from the first. They seemed altogether too interested in me. I leaned against the wall of Mrs. Roche’s cottage with my hands in my trousers pockets, thinking mournfully of poor Mr. Dooley in his cold grave on the Curragh, who would never walk down the road again, and, with great feeling, I began to sing a favourite song of Father’s.

Though lost to Mononia and cold in the grave
He returns to Kincora no more.

“Wisha, the poor child!” Mrs. Roche said. “Haven’t he a lovely voice, God bless him!”

That was what I thought myself, so I was the more surprised when Father said “Whisht!” and raised a threatening finger at me. He didn’t seem to realize the appropriateness of the song, so I sang louder than ever.

“Whisht, I tell you!” he snapped, and then tried to work up a smile for Mrs. Roche’s benefit. “We’re nearly home now. I’ll carry you the rest of the way.”

But, drunk and all as I was, I knew better than to be carried home ignominiously like that.

“Now,” I said severely, “can’t you leave me alone? I can walk all right. “Tis only my head. All I want is a rest.”

“But you can rest at home in bed,” he said viciously, trying to pick me up, and I knew by the flush on his face that he was very vexed.

“Ah, Jasus,” I said crossly, “what do I want to go home for? Why the hell can’t you leave me alone?”

For some reason the gang of old women at the other side of the road thought this very funny. They nearly split their sides over it. A gassy fury began to expand in me at the thought that a fellow couldn’t have a drop taken without the whole neighbourhood coming out to make game of him.

“Who are ye laughing at?” I shouted, clenching my fists at them. “I’ll make ye laugh at the other side of yeer faces if ye don’t let me pass.”

They seemed to think this funnier still; I had never seen such ill-mannered people.

“Go away, ye bloody bitches!” I said.

“Whisht, whisht, whisht, I tell you!” snarled Father, abandoning all pretence of amusement and dragging me along behind him by the hand. I was maddened by the women’s shrieks of laughter. I was maddened by Father’s bullying. I tried to dig in my heels but he was too powerful for me, and I could only see the women by looking back over my shoulder.

“Take care or I’ll come back and show ye!” I shouted. “I’ll teach ye to let decent people pass. Fitter for ye to stop at home and wash yeer dirty faces.”

“Twill be all over the road,” whimpered Father. “Never again, never again, not if I lived to be a thousand!”

To this day I don’t know whether he was forswearing me or the drink. By way of a song suitable to my heroic mood I bawled “The Boys of Wexford,” as he dragged me in home. Crowley, knowing he was not safe, made off and Father undressed me and put me to bed. I couldn’t sleep because of the whirling in my head. It was very unpleasant, and I got sick again. Father came in with a wet cloth and mopped up after me. I lay in a fever, listening to him chopping sticks to start a fire. After that I heard him lay the table.

Suddenly the front door banged open and Mother stormed in with Sonny in her arms, not her usual gentle, timid self, but a wild, raging woman. It was clear that she had heard it all from the neighbours.

“Mick Delaney,” she cried hysterically, “what did you do to my son?”

“Whisht, woman, whisht, whisht!” he hissed, dancing from one foot to the other. “Do you want the whole road to hear?”

“Ah,” she said with a horrifying laugh, “the road knows all about it by this time. The road knows the way you filled your unfortunate innocent child with drink to make sport for you and that other rotten, filthy brute.”

“But I gave him no drink,” he shouted, aghast at the horrifying interpretation the neighbours had chosen to give his misfortune. “He took it while my back was turned. What the hell do you think I am?”

“Ah,” she replied bitterly, “everyone knows what you are now. God forgive you, wasting our hard-earned few ha’pence on drink, and bringing up your child to be a drunken corner-boy like yourself.”

Then she swept into the bedroom and threw herself on her knees by the bed. She moaned when she saw the gash over my eye. In the kitchen Sonny set up a loud bawl on his own, and a moment later Father appeared in the bedroom door with his cap over his eyes, wearing an expression of the most intense self-pity.

“That’s a nice way to talk to me after all I went through,” he whined. “That’s a nice accusation, that I was drinking. Not one drop of drink crossed my lips the whole day. How could it when he drank it all? I’m the one that ought to be pitied, with my day ruined on me, and I after being made a show for the whole road.”

But the next morning, when he got up and went out quietly to work with his dinner-basket, Mother threw herself at me in the bed and kissed me. It seemed it was all my doing, and I was being given a holiday till my eye got better.

“My brave little man!” she said with her eyes shining. “It was God did it you were there. You were his guardian angel.”


Saturday, February 27, 2016

An Irish Fairy Tale


My favorite fairy tale comes from The Celtic Twilight, by W. B. Yeats, a book I read many years ago for a college course on "Folklore in Literature." In a chapter titled, “Dreams That Have No Moral,” Yeats relates the following story, “just as it was told” by an old man in an Irish workhouse. He describes it as “one of those old rambling moralless tales, which are the delight of the poor and the hard driven, wherever life is left in its natural simplicity.”

If you are looking for leprechauns, you won't find them in this story. What you will find is a crazy quilt of familiar fairy tale themes, imbued with distinctively Irish whimsy. It's not the sort of story that Disney would ever do, but I would love to see what Tim Burton might make of it.



There was a king one time who was very much put out because he had no son, and he went at last to consult his chief adviser. And the chief adviser said, 'It's easy enough managed if you do as I tell you. Let you send some one,' says he, 'to such a place to catch a fish. And when the fish is brought in, give it to the queen, your wife, to eat.'

So the king sent as he was told, and the fish was caught and brought in, and he gave it to the cook, and bade her put it before the fire, but to be careful with it, and not to let any blob or blister rise on it. But it is impossible to cook a fish before the fire without the skin of it rising in some place or other, and so there came a blob on the skin, and the cook put her finger on it to smooth it down, and then she put her finger into her mouth to cool it, and so she got a taste of the fish. And then it was sent up to the queen, and she ate it, and what was left of it was thrown out into the yard, and there was a mare in the yard and a greyhound, and they ate the bits that were thrown out.

And before a year was out, the queen had a young son, and the cook had a young son, and the mare had two foals, and the greyhound had two pups.

And the two young sons were sent out for a while to some place to be cared, and when they came back they were so much like one another no person could know which was the queen's son and which was the cook's. And the queen was vexed at that, and she went to the chief adviser and said, 'Tell me some way that I can know which is my own son, for I don't like to be giving the same eating and drinking to the cook's son as to my own.' 'It is easy to know that,' said the chief adviser, 'if you will do as I tell you. Go you outside, and stand at the door they will be coming in by, and when they see you, your own son will bow his head, but the cook's son will only laugh.'

So she did that, and when her own son bowed his head, her servants put a mark on him that she would know him again. And when they were all sitting at their dinner after that, she said to Jack, that was the cook's son, 'It is time for you to go away out of this, for you are not my son.' And her own son, that we will call Bill, said, 'Do not send him away, are we not brothers?' But Jack said, 'I would have been long ago out of this house if I knew it was not my own father and mother owned it.' And for all Bill could say to him, he would not stop. But before he went, they were by the well that was in the garden, and he said to Bill, 'If harm ever happens to me, that water on the top of the well will be blood, and the water below will be honey.'

Then he took one of the pups, and one of the two horses, that was foaled after the mare eating the fish, and the wind that was after him could not catch him, and he caught the wind that was before him. And he went on till he came to a weaver's house, and he asked him for a lodging, and he gave it to him. And then he went on till he came to a king's house, and he sent in at the door to ask, 'Did he want a servant?' 'All I want,' said the king, 'is a boy that will drive out the cows to the field every morning, and bring them in at night to be milked.' 'I will do that for you,' said Jack; so the king engaged him.

In the morning Jack was sent out with the four-and-twenty cows, and the place he was told to drive them to had not a blade of grass in it for them, but was full of stones. So Jack looked about for some place where there would be better grass, and after a while he saw a field with good green grass in it, and it belonging to a giant. So he knocked down a bit of the wall and drove them in, and he went up himself into an apple-tree and began to eat the apples. Then the giant came into the field. 'Fee-faw-fum,' says he, 'I smell the blood of an Irishman. I see you where you are, up in the tree,' he said; 'you are too big for one mouthful, and too small for two mouthfuls, and I don't know what I'll do with you if I don't grind you up and make snuff for my nose.' 'As you are strong, be merciful,' says Jack up in the tree. 'Come down out of that, you little dwarf,' said the giant, 'or I'll tear you and the tree asunder.' So Jack came down. 'Would you sooner be driving red-hot knives into one another's hearts,' said the giant, 'or would you sooner be fighting one another on red-hot flags?' 'Fighting on red-hot flags is what I'm used to at home,' said Jack, 'and your dirty feet will be sinking in them and my feet will be rising.' So then they began the fight. The ground that was hard they made soft, and the ground that was soft they made hard, and they made spring wells come up through the green flags. They were like that all through the day, no one getting the upper hand of the other, and at last a little bird came and sat on the bush and said to Jack, 'If you don't make an end of him by sunset, he'll make an end of you.' Then Jack put out his strength, and he brought the giant down on his knees. 'Give me my life,' says the giant, 'and I'll give you the three best gifts.' 'What are those?' said Jack. 'A sword that nothing can stand against, and a suit that when you put it on, you will see everybody, and nobody will see you, and a pair of shoes that will make you ran faster than the wind blows.' 'Where are they to be found?' said Jack. 'In that red door you see there in the hill.' So Jack went and got them out. 'Where will I try the sword?' says he. 'Try it on that ugly black stump of a tree,' says the giant. 'I see nothing blacker or uglier than your own head,' says Jack. And with that he made one stroke, and cut off the giant's head that it went into the air, and he caught it on the sword as it was coming down, and made two halves of it. 'It is well for you I did not join the body again,' said the head, 'or you would have never been able to strike it off again.' 'I did not give you the chance of that,' said Jack. And he brought away the great suit with him.

So he brought the cows home at evening, and every one wondered at all the milk they gave that night. And when the king was sitting at dinner with the princess, his daughter, and the rest, he said, 'I think I only hear two roars from beyond to-night in place of three.'

The next morning Jack went out again with the cows, and he saw another field full of grass, and he knocked down the wall and let the cows in. All happened the same as the day before, but the giant that came this time had two heads, and they fought together, and the little bird came and spoke to Jack as before. And when Jack had brought the giant down, he said, 'Give me my life, and I'll give you the best thing I have.' 'What is that?' says Jack. 'It's a suit that you can put on, and you will see every one but no one can see you.' 'Where is it?' said Jack. 'It's inside that little red door at the side of the hill.' So Jack went and brought out the suit. And then he cut off the giant's two heads, and caught them coming down and made four halves of them. And they said it was well for him he had not given them time to join the body.

That night when the cows came home they gave so much milk that all the vessels that could be found were filled up.

The next morning Jack went out again, and all happened as before, and the giant this time had four heads, and Jack made eight halves of them. And the giant had told him to go to a little blue door in the side of the hill, and there he got a pair of shoes that when you put them on would go faster than the wind.

That night the cows gave so much milk that there were not vessels enough to hold it, and it was given to tenants and to poor people passing the road, and the rest was thrown out at the windows. I was passing that way myself, and I got a drink of it.

That night the king said to Jack, 'Why is it the cows are giving so much milk these days? Are you bringing them to any other grass?' 'I am not,' said Jack, 'but I have a good stick, and whenever they would stop still or lie down, I give them blows of it, that they jump and leap over walls and stones and ditches; that's the way to make cows give plenty of milk.'

And that night at the dinner, the king said, 'I hear no roars at all.'

The next morning, the king and the princess were watching at the window to see what would Jack do when he got to the field. And Jack knew they were there, and he got a stick, and began to batter the cows, that they went leaping and jumping over stones, and walls, and ditches. 'There is no lie in what Jack said,' said the king then.

Now there was a great serpent at that time used to come every seven years, and he had to get a king’s daughter to eat, unless she would have some good man to fight for her. And it was the princess at the place Jack was had to be given to it that time, and the king had been feeding a bully underground for seven years, and you may believe he got the best of everything, to be ready to fight it.

And when the time came, the princess went out, and the bully with her down to the shore, and when they got there what did he do, but to tie the princess to a tree, the way the serpent would be able to swallow her easy with no delay, and he himself went and hid up in an ivy-tree. And Jack knew what was going on, for the princess had told him about it, and had asked would he help her, but he said he would not. But he came out now, and he put on the suit he had taken from the first giant, and he came by the place the princess was, but she didn't know him. 'Is that right for a princess to be tied to a tree?' said Jack. 'It is not, indeed,' said she, and she told him what had happened, and how the serpent was coming to take her. 'If you will let me sleep for awhile with my head in your lap,' said Jack, 'you could wake me when it is coming.' So he did that, and she awakened him when she saw the serpent coming, and Jack got up and fought with it, and drove it back into the sea. And then he cut the rope that fastened her, and he went away. The bully came down then out of the tree, and he brought the princess to where the king was, and he said, 'I got a friend of mine to come and fight the serpent to-day, where I was a little timorous after being so long shut up underground, but I'll do the fighting myself to-morrow.'

The next day they went out again, and the same thing happened, the bully tied up the princess where the serpent could come at her fair and easy, and went up himself to hide in the ivy-tree. Then Jack put on the suit he had taken from the second giant, and he walked out, and the princess did not know him, but she told him all that had happened yesterday, and how some young gentleman she did not know had come and saved her. So Jack asked might he lie down and take a sleep with his head in her lap, the way she could awake him. And all happened the same way as the day before. And the bully gave her up to the king, and said he had brought another of his friends to fight for her that day.

The next day she was brought down to the shore as before, and a great many people gathered to see the serpent that was coming to bring the king's daughter away. And Jack brought out the suit of clothes he had brought away from the third giant, and she did not know him, and they talked as before. But when he was asleep this time, she thought she would make sure of being able to find him again, and she took out her scissors and cut off a piece of his hair, and made a little packet of it and put it away. And she did another thing, she took off one of the shoes that was on his feet.

And when she saw the serpent coming she woke him, and he said, 'This time I will put the serpent in a way that he will eat no more king's daughters.' So he took out the sword he had got from the giant, and he put it in at the back of the serpent's neck, the way blood and water came spouting out that went for fifty miles inland, and made an end of him. And then he made off, and no one saw what way he went, and the bully brought the princess to the king, and claimed to have saved her, and it is he who was made much of, and was the right-hand man after that.

But when the feast was made ready for the wedding, the princess took out the bit of hair she had, and she said she would marry no one but the man whose hair would match that, and she showed the shoe and said that she would marry no one whose foot would not fit that shoe as well. And the bully tried to put on the shoe, but so much as his toe would not go into it, and as to his hair, it didn't match at all to the bit of hair she had cut from the man that saved her.

So then the king gave a great ball, to bring all the chief men of the country together to try would the shoe fit any of them. And they were all going to carpenters and joiners getting bits of their feet cut off to try could they wear the shoe, but it was no use, not one of them could get it on.

Then the king went to his chief adviser and asked what could he do. And the chief adviser bade him to give another ball, and this time he said, 'Give it to poor as well as rich.'

So the ball was given, and many came flocking to it, but the shoe would not fit any one of them. And the chief adviser said, 'Is every one here that belongs to the house?' 'They are all here,' said the king, 'except the boy that minds the cows, and I would not like him to be coming up here.'

Jack was below in the yard at the time, and he heard what the king said, and he was very angry, and he went and got his sword and came running up the stairs to strike off the king's head, but the man that kept the gate met him on the stairs before he could get to the king, and quieted him down, and when he got to the top of the stairs and the princess saw him, she gave a cry and ran into his arms. And they tried the shoe and it fitted him, and his hair matched to the piece that had been cut off. So then they were married, and a great feast was given for three days and three nights.

And at the end of that time, one morning there came a deer outside the window, with bells on it, and they ringing. And it called out, 'Here is the hunt, where is the huntsman and the hound?' So when Jack heard that he got up and took his horse and his hound and went hunting the deer. When it was in the hollow he was on the hill, and when it was on the hill he was in the hollow, and that went on all through the day, and when night fell it went into a wood. And Jack went into the wood after it, and all he could see was a mud-wall cabin, and he went in, and there he saw an old woman, about two hundred years old, and she sitting over the fire. 'Did you see a deer pass this way?' says Jack. 'I did not,' says she, 'but it's too late now for you to be following a deer, let you stop the night here.' 'What will I do with my horse and my hound?' said Jack. 'Here are two ribs of hair,' says she, 'and let you tie them up with them.' So Jack went out and tied up the horse and the hound, and when he came in again the old woman said, 'You killed my three sons, and I'm going to kill you now,' and she put on a pair of boxing-gloves, each one of them nine stone weight, and the nails in them fifteen inches long. Then they began to fight, and Jack was getting the worst of it. 'Help, hound!' he cried out, then 'Squeeze hair,' cried out the old woman, and the rib of hair that was about the hound's neck squeezed him to death. 'Help, horse!' Jack called out, then, 'Squeeze hair,' called out the old woman, and the rib of hair that was about the horse's neck began to tighten and squeeze him to death. Then the old woman made an end of Jack and threw him outside the door.

To go back now to Bill. He was out in the garden one day, and he took a look at the well, and what did he see but the water at the top was blood, and what was underneath was honey. So he went into the house again, and he said to his mother, 'I will never eat a second meal at the same table, or sleep a second night in the same bed, till I know what is happening to Jack.'

So he took the other horse and hound then, and set off, over the hills where cock never crows and horn never sounds, and the devil never blows his bugle. And at last he came to the weaver's house, and when he went in, the weaver says, 'You are welcome, and I can give you better treatment than I did the last time you came in to me,' for she thought it was Jack who was there, they were so much like one another. 'That is good,' said Bill to himself, 'my brother has been here.' And he gave the weaver the full of a basin of gold in the morning before he left.

Then he went on till he came to the king's house, and when he was at the door the princess came running down the stairs, and said, 'Welcome to you back again.' And all the people said, 'It is a wonder you have gone hunting three days after your marriage, and to stop so long away.' So he stopped that night with the princess, and she thought it was her own husband all the time.

And in the morning the deer came, and bells ringing on her, under the windows, and called out, 'The hunt is here, where are the huntsmen and the hounds?' Then Bill got up and got his horse and his hound, and followed her over hills and hollows till they came to the wood, and there he saw nothing but the mud-wall cabin and the old woman sitting by the fire, and she bade him stop the night there, and gave him two ribs of hair to tie his horse and his hound with. But Bill was wittier than Jack was, and before he went out, he threw the ribs of hair into the fire secretly. When he came in the old woman said, 'Your brother killed my three sons, and I killed him, and I'll kill you along with him.' And she put her gloves on, and they began the fight, and then Bill called out, 'Help, horse.' 'Squeeze hair,' called the old woman; 'I can't squeeze, I'm in the fire,' said the hair. And the horse came in and gave her a blow of his hoof. 'Help, hound,' said Bill then. 'Squeeze, hair,' said the old woman; 'I can't, I'm in the fire,' said the second hair. Then the hound put his teeth in her, and Bill brought her down, and she cried for mercy. 'Give me my life,' she said, 'and I'll tell you where you'll get your brother again, and his hound and horse.' 'Where's that?' said Bill. 'Do you see that rod over the fire?' said she; 'take it down and go outside the door where you'll see three green stones, and strike them with the rod, for they are your brother, and his horse and hound, and they'll come to life again.' 'I will, but I'll make a green stone of you first,' said Bill, and he cut off her head with his sword.

Then he went out and struck the stones, and sure enough there were Jack, and his horse and hound, alive and well. And they began striking other stones around, and men came from them, that had been turned to stones, hundreds and thousands of them.

Then they set out for home, but on the way they had some dispute or some argument together, for Jack was not well pleased to hear he had spent the night with his wife, and Bill got angry, and he struck Jack with the rod, and turned him to a green stone. And he went home, but the princess saw he had something on his mind, and he said then, 'I have killed my brother.' And he went back then and brought him to life, and they lived happy ever after, and they had children by the basketful, and threw them out by the shovelful. I was passing one time myself, and they called me in and gave me a cup of tea.



Saturday, February 13, 2016

Music to Read James Bond By


Lately I've been going through all of my old LPs, which have been in boxes in the garage since we moved into our house thirteen years ago (and before that were in boxes in the garage of our townhouse since we moved to California twenty years ago). I used to have a very large and eclectic record collection. I gave away a good portion of it, but there were some records I just couldn't bear to part with, like this one:



It's an odd record, but it will always have a special place in my heart, and I wanted to share it. Since it doesn't do much good to tell someone about music unless they can hear it, I figured I would find the album on YouTube and link to it. You can find anything on YouTube, right? Wrong. I could not find Music to Read James Bond By (although oddly enough, I could find Music to Read James Bond By Volume Two).

I discovered the reason when I made my own video and tried to post it. YouTube immediately identified each of the music tracks and informed me that two of the songs had to be removed due to copyright infringement (which was a bummer, but demonstrated some pretty impressive programming on YouTube’s part). I remade the video, substituting different versions of the two offending songs from another favorite album, The Music of John Barry.

Now if I did everything right (and there is no reason to suppose I did), you should be able to click on the play button below and listen to the music from Music to Read James Bond By (well, most of it) while you read about Music to Read James Bond By.


Did it work? Good! First, a little background:

It's 1965. Ian Fleming's final James Bond novel, The Man with the Golden Gun, will be published posthumously this year, Fleming having died the year before. Only three Bond movies have been released: Dr. No, From Russia with Love, and Goldfinger. Eight of the twelve tracks on MtRJBB are from those movies: either original soundtracks or covers by UA artists. The other four tracks are original music, composed just for the album—to quote the liner notes, "music in the James Bond mood." We'll see about that.

One more thing: this album was my introduction to James Bond. I was ten years old in 1965—it would be at least two years before I saw my first Bond film or read my first Bond novel—but my aunts had this album, and I was obsessed with it (and not just because of the picture of the naked girl on the cover). I loved the music, and years later I found my own copy in the bargain bin of a record store in Chicago.

Here are the tracks:

The James Bond Theme (Ferrante & Teicher)

This is the iconic theme that has been used in every James Bond film since the beginning. Monty Norman composed it, but it's John Barry's arrangement that makes the song. I have the original Dr. No soundtrack LP, and this song isn't even on it. The "James Bond Theme" on that album sounds like surf music from a beach movie. For years I wondered why, and I finally found the answer. (And if you want to know what the original theme sounds like, here's a variation of it from the original soundtrack, called "Twisting with James.")

This version is not bad. It's by Ferrante and Teicher, a piano duo who were popular in the 1960's for their covers of movie themes, show tunes, and light classical music.

007 (John Barry)

John Barry composed the "007" theme for From Russia with Love, and he used it again in Thunderball and Diamonds Are Forever. After the "James Bond Theme," it’s probably the second most iconic piece of Bond music. It’s also one of the tracks YouTube forced me to remove. MtRJBB includes the original soundtrack version from From Russia with Love. The version I substituted, from The Music of John Barry, is not exactly the same, but it's pretty close.

Underneath The Mango Tree (The La Playas)

A calypso-style song composed by Monty Norman for Dr. No. In the movie, you hear it over and over again, ad nauseum, because Jamaica. I could find no information about "The La Playas," but "La Playa" is Spanish for "the beach," so I guess their name translates to "The The Beaches."

Black On Pink (Sir Julian)

This is the first piece of original music on the album, and it's not bad. The title comes from a chapter in From Russia with Love (Fleming wrote some great chapter titles), and it's the sort of bluesy, sleazy jazz you could imagine playing in the background at a bar where Bond picks up a beautiful woman who, after sleeping with him, will either a) be rescued by him, b) fail to be rescued by him, or c) try to kill him. "Sir Julian" was actually Julian Gold and not, I am sorry to say, a real knight.

Goldfinger (Perez Prado)

Okay, here's where MtRJBB starts to get a little weird. A mambo version of the Goldfinger theme? Goldfinger had just been released, and the theme was very popular. So was mambo, so why not? Perez Prado is the composer of such well-known and imaginatively-titled pieces as "Mambo No. 5" and "Mambo No. 8."

Living It Up (The Leasebreakers)

And here's where it gets really weird. The title comes from a chapter in Goldfinger, but that's the only thing that says "Bond" about this piece. I can't find any information on "The Leasebreakers," but they sound like the Dixieland band that plays at Disneyland, complete with banjo. "Music in the James Bond mood?" One can only imagine that a horrible mistake was made.

From Russia with Love (Al Caiola)

I have nothing negative to say about this arrangement of John Barry's theme from From Russia with Love by Al Caiola, a popular guitarist of the era. Groovy.

Jamaica Jump Up (Monty Norman)

"All the people go Jump Up!" Another Monty Norman song from Dr. No, which was set in Jamaica and was actually filmed there. (Side note: I visited Jamaica with my family in the 60's, and I can assure you that none of the people were going "Jump Up.")

Goldfinger (Shirley Bassey)

Arguably the best Bond song of all time, certainly the best song on this album, and Shirley Bassey's only big hit this side of the pond. Of course, it’s also the other track YouTube forced me to remove. I’ve substituted the instrumental version from The Music of John Barry, but if you’ve never heard it, you really should listen to the vocal version. Here’s a link to a video that YouTube has not taken down—yet.

Golden Girl (LeRoy Holmes)

This original piece sounds like stripper music to me—a little weird but I will allow it, as I'm sure James Bond has been to a strip club or two. LeRoy Holmes was a composer and arranger who worked with lots of band leaders and singers—including Shirley Bassey, which is probably how he got this job. He composed all of the original music on the album.

Girl Trouble (John Barry)

An excerpt from John Barry's soundtrack to From Russia with Love, for a scene in which Bond is forced to watch two Gypsy girls tear each other's clothes off. It's tough to be a spy.

The Elegant Venus (Dick Ruedebusch)

The last song on the album is also the last piece of original music “in the James Bond mood.” Its title is taken from a chapter in Dr. No, and has a dual meaning: it refers to the common name of the shellfish Honeychile Ryder is collecting when Bond finds her on Crab Key; it also refers to Honey herself, whose appearance on the beach reminds Bond of Botticelli's painting, "The Birth of Venus." Ursula Andress portrayed Honey in the movie, and if any music says "Ursula Andress in a bikini," this brassy big-band number does. According to Wikipedia, "Richard Lowell Roudebush (January 18, 1918 - January 28, 1995) was a U.S. Representative from Indiana…" No, wait. I'm sorry. That's Dick Roudebush. There is no Wikipedia entry for Dick Ruedebusch. I think he was a trumpeter.

I will end with a quote from the MtRJBB liner notes: "The truly avid James Bond fan will perhaps cleverly take a tip from his idol, 007, and embellish the novel and this exciting music with a tasty martini, gently stirred and not shaken. Now settle back and enjoy a delightful evening."