The Library: Thin Places by Kerri ní Dochartaigh

By Marcel Krueger:

According to German writer Heinrich Böll (1917-1985) and his "Irish Journal" first published in 1957, "the people of Ireland are the only people in Europe who have never invaded other countries [...]". Since the publication of his book, this view has been the mainstream view of Ireland from Germany for decades, fuelled by countless media campaigns of Fáilte Ireland , the Irish Tourism Board: a twee, harmless island of green fields, dramatic cliffs and pubs with open fires, peopled by jolly fiddlers, naive artists and buxom ginger maidens. The dark and martial history of Ireland as a whole is often swept under the glossy rug made of postcards or Instagram reels from the "Wild Atlantic Way", or only ever mentioned if it can be commodified and packaged into something visitors can consume, like swashbuckling stories of Grace O'Neill or the conflict in Northern Ireland only made accessible through guided tours of murals and "Peace Walls". The fact that Ireland did invade other countries, its soldiers employed as mercenaries by European powers for centuries, or that its people have been slaughtering each other for a hundred years with bullets and bombs, is all glossed over. 

I hope that many people from Germany will read “Thin Places” by Kerri ní Dochartaigh, which in its complexity addresses the violence all over Ireland, and offers a way of understanding and a potential way out of the spiral of violence that engulfed the north of the island for so long. Coincidentally, the German feuilleton often uses the term Seelenstriptease, literally a “soul striptease”, for a work of art, a book, an interview, a movie that reveals deeply personal and intimate details about the creator of that work, or the subject. I don't really like the word, but it is the first I thought about when finishing Kerri's wonderful work, that this book is very much a soul, and a country, stripped bare.

The book is about many things: Brexit, place, trauma, alcoholism, grief, hope and fear, and uses the structure of memoir to follow the life of the writer: from her growing up as the child of a Catholic mother and a Protestant father in Derry/Londonderry, firebombed out of her home during the “Troubles”, the civil war in Northern Ireland between 1969 and 1998, and then moving away to Scotland and England before finally returning to her hometown in her 30s. Whereas the many excellent essay collection that have come out of Ireland in recent years, like Sinéad Gleeson's "Constellations" or Ian Maleney's “Minor Monuments” use personal stories as starting points to establish the theme of single essays, "Thin Places" is a book-length essay in itself, one that drifts of into certain themes but always circles back to the main structure of handling trauma - and failing in doing so.

This is not a book that is easy to read. Not because of the complexity of writing or the darkness it explores, but because it does not offer easy escapism, or just food for thought that makes you utter "Interesting!" and then put it aside. Many things that Kerri writes about in here are so profound and moving that I literally had to pause after a few paragraphs, put the book down and explore what her words had caused inside of me. Sometimes I got confused by the many places and (life) times the author jumps back and forth between, but then the key themes and the overall structure remain clear and always allow the reader to climb back in.   

This island on which I was born is a wild, ancient and stirring place - a place so ethereal as to take a given moment in time and bathe it in the light of something divine, a place that was eternal and holy long before those words ever had need for voicing. [...] Ireland - this ethereal and mythical island, set down in the heart of the ravenous, tumultuous Atlantic Ocean - is black, too, coal-black, as black as to be the making of the crows. Black is the colour of many of our true loves' hairs on this island but it is also the colour of sorrow and fear - of mystery and the unknown, of so much death, and of the unimaginable depths of our grief.

The book ends on a note of hope, with the image of the winter solstice and the conviction that there is always light ahead when it is darkest, but I don't think that that is necessary. Looking at the pictures coming from Northern Ireland in April 2021, it is clear that the important thing here is balance, balance in the peace process and the self. There are only ever small victories possible for all of us, and we have to fight every day so that the needle does not  tilt back to the dark side again. “Thin Places” is a deeply personal work of art and at the same time a timely portrait of the (still) hurting island of Ireland that everyone should read. Especially in Germany.  

***

Thin Places is published by Cannongate.

Marcel Krueger is the Books Editor of Elsewhere: A Journal of Place. His writing has been published in numerous places both online and in print, and he is the author of Babushka’s Journey: The Dark Road to Stalin’s Wartime Camps (I.B. Taurus, 2017) and Iceland: A Literary Guide for Travellers (I.B. Taurus, 2020). You’ll find him on twitter here.

The Library – The Motion Demon by Stefan Grabiński

Read by Marcel Krueger:

The main train station in Przemyśl looks splendid. It's Neo-baroque exterior resembles Vienna Central, and is a reminder of the time when it was one the stops on the Galician Railway of the Austro-Hungarian empire, built in 1861 and connecting Przemyśl to Vienna, Kraków and Lwów (Lviv). It was restored in 2012 and must be one of the most beautiful train stations in Poland today.

Also due to its importance as a railway hub, Przemyśl was surrounded with a large ring of forts, which were besieged by the Russian armies during World War I, and the city occupied by the Tsarist troops from March to June 1915, when the city (and the railway) was reconquered by the troops of the Emperor. 

Throughout World War I a tall and thin, sickly looking gentleman with a nice moustache was frequenting the main station. He was no soldier or employee of the railways, but instead kept taking notes. Nevertheless, he even had a special permit from railway authorities to visit restricted areas of the station normally off limits for civilians. He worked as a teacher, and later his pupils would recall seeing him often on the viaduct over the rail tracks. 

This was Stefan Grabiński (1887 - 1936) a writer who has been called the 'Polish Edgar Allan Poe', and his work was one of the precursors of fantasy fiction in Poland. Stefan graduated from University in Lwów (Lviv), and then worked as a teacher of Polish in the city and later in Przemyśl. He also had a weak constitution, suffering from severe tuberculosis over many years. Throughout his time working as a teacher, he wrote novels, plays, and short stories, and also published articles and stories in newspapers and magazines. A collection of short stories, Exceptions: In the Dark of Faith (Z Wyjątków. W Pomrokach Wiary), written under the pen name Stefan Żalny, was self-published in 1909, and a second collection of short stories, On the Hill of Roses (Na Wzgórzu Róż), followed 9 years later. The book that however firmly established Stefan as an author of the fantastic in Poland of the interwar years was his short story collection The Motion Demon (Demon Ruchu) that was published in 1919. 

It is this collection that I read with delight during the travel- and train-less lockdown we are still undergoing here in the Republic of Ireland where I live. Published in paperback by the NoHo Press in 2014 with a fantastic cover illustration based on a lithograph by Margit Schwarcz from 1931, this is a wonderful small book and, despite the fact that it is a hundred years old, essential rail reading. Stefan's stories are firmly rooted in the reality of train travel as he saw it in the early 20th century, but then - as told by a potentially unreliable narrator - there is always an added layer of madness and horror which might either be psychological or truly supernatural. There are no speaking ravens or tentacled ancient gods in these stories, but instead railway catastrophes caused by phantom trains, lunatic railwaymen and train demons that might only exist in the minds of the protagonists. He displays both a fascination of the speed of trains and in the secret world of railway- and signalmen that travellers normally do not see, and at the same time weaves in a luddite criticism of travelling too fast that would not go amiss in today's slow travel movement. Mirosław Lipiński has finely translated Stefan's sumptuous prose for the English edition, exemplified by the first paragraph of the title story:

“The express Continental from Paris to Madrid rushed with all the force its pistons could muster. The hour was already late, the middle of the night; the weather was wet, showery. The beating rain lashed at the brightly lit windows and was scattered on the glass in teary beads. Bathed in the downpour, the coaches glittered under roadside lamp-posts like wet armour, spewing sprightly water from their mouldings. A hollow groan issued forth into space from their black bodies, a confused chatter of wheels, jostling buffers, merciless tramped trails. Frenzied in its run, the chain of coaches awakened sleeping echoes in the quiet night, enticed dead voices along the woods, revived slumbering ponds. Some type of heavy, drowsy eyelids were raised, some large eyes opened in consternation, and so they remained in momentary fright. And the train sped on in a strong wind, in a dance of startled air, while smoke and soot clung lazily to its rear; the train rushed breathlessly on, hurling behind it the blood-red memory of sparks and coal refuse…”

Stefan remained in Przemyśl and near its station until 1931. He had to leave the teaching profession because of worsening health in 1927, and as his tuberculosis worsened he was forced to spend more for treatment. He nevertheless kept on writing and publishing, again mostly focussing on supernatural, psychological short stories, with a lesser focus on rail travel though: the collections Pilgrim’s Madness (Szalony Pątnik, 1920), An Incredible Story (Niesamowita Opowieść) and The Book of Fire (Księga Ognia, 1922) were followed by his longest prose work, Passion (Namiętność), which was published in 1930 and inspired by a trip to Italy. 

In 1931, he settled in the resort and spa town of Brzuchowice (now Briukhovychi) where, despite some recent financial return for his writings, he increasingly fell into obscurity and was abandoned by most of his friends. In 1936, he died in utter poverty and isolation in Lwów (Lviv) and is buried there. His life and work was mostly forgotten for the next 70 years but in recent times, also due to the tireless efforts of his translator Mirosław Lipiński, has been discovered as an important part of the literary canon of Poland and translated into German, Italian and Japanese as well. Stefan Grabiński is now regarded as one of the first of his countrymen who found both horror and delight in the quotidian of his time, in places where other writers never bothered - or dared - to look. The Motion Demon is a wonderful and flavourful book with a slight hint of madness that I can't wait to take with me on the rails once I can travel again.

***

The Motion Demon is published by NoHo Press

Marcel Krueger is the Books Editor of Elsewhere: A Journal of Place. His writing has been published in numerous places both online and in print, and he is the author of Babushka’s Journey: The Dark Road to Stalin’s Wartime Camps (I.B. Taurus, 2017) and Iceland: A Literary Guide for Travellers (I.B. Taurus, 2020). You’ll find him on twitter here.