It is January 5, 1976 at the end of a work day, and sixteen men are in a red minibus on their way home from the Glenane textile factory Four of them get out at Whitecross. and the van continues on to Bessbrook. The craic turns to football and whether Manchester United or Liverpool will make it to the top of the First Division, but it is tempered by what happened the day before when six local Catholics were murdered, ripping apart the Reavey and O’Dowd famlies. Naturally, the men aren’t surprised when they spot the red lamp swinging up ahead near the Kingsmills crossroads. Increased security would be expected following yesterday’s murders – and this is South Armagh – “bandit country.”
What words work for what happens next? The men are ordered out of the van by gunmen in combat jackets who have been waiting for them in the hedges. This is not a British Army checkpoint. The workers are told to line up and put their hands on the roof of the van. They are asked to state their religion – Protestant or Catholic. There is only one Catholic among them, Richard Hughes, and when he is asked to identify himself, his Protestant workmates are terrified. In their dread, in their desire to protect him, they cover his hands with theirs.
It is this moment that is forever lodged in the corner of my heart that never left Northern Ireland. It is this moment – this split second of humanity – that Seamus Heaney recollects in his 1995 Nobel lecture
One of the most harrowing moments in the whole history of the harrowing of the heart in Northern Ireland came when a minibus full of workers being driven home one January evening in 1976 was held up by armed and masked men and the occupants of the van ordered at gunpoint to line up at the side of the road. Then one of the masked executioners said to them, “Any Catholics among you, step out here”. As it happened, this particular group, with one exception, were all Protestants, so the presumption must have been that the masked men were Protestant paramilitaries about to carry out a tit-for-tat sectarian killing of the Catholic as the odd man out, the one who would have been presumed to be in sympathy with the IRA and all its actions. It was a terrible moment for him, caught between dread and witness, but he did make a motion to step forward. Then, the story goes, in that split second of decision, and in the relative cover of the winter evening darkness, he felt the hand of the Protestant worker next to him take his hand and squeeze it in a signal that said no, don’t move, we’ll not betray you, nobody need know what faith or party you belong to. All in vain, however, for the man stepped out of the line; but instead of finding a gun at his temple, he was thrown backward and away as the gunmen opened fire on those remaining in the line, for these were not Protestant terrorists, but members, presumably, of the Provisional IRA
All in vain. In less than a minute, ten of the men are gunned down and left to die on the side of a road slippery with rain and blood. Tit-for-tat.
Forty years later, the sole survivor, Alan Black, seeks no revenge. A survivor – and a witness – he is often stuck in those moments when, shot 18 times, he was left for dead. Every January, he finds himself going “into countdown mode — I look at the calendar and at the clock and think to myself ‘the boys have only five days or five hours or five minutes to live’, right up to the time of the ambush.” He seeks acknowledgement and justice for the boys and their families. He seeks answers that may never come.
These men are known to me only through the tiniest details from a Belfast Telegraph article written a decade ago “Joseph Lemmon, whose wife was standing over their tea as he died; Reginald Chapman, a Sunday school teacher who played football for Newry Town; his younger brother Walter Chapman; Kenneth Worton, whose youngest daughter had not even started school; James McWhirter, who belonged to the local Orange lodge; Robert Chambers, still a teenager and living with his parents; James McConville, who was planning to train as a missionary; John Bryans, a widower who left two children orphaned; and Robert Freeburn, who was also a father of two. The van driver, Robert Walker, came from near Glenanne.”
The answers may never come, nor justice. As Susan McCay reminds us “The absence of reconciliation has never been more starkly apparent, and as usual, those most hurt in the past are hurt again.” But what also remains for us and what belongs to us, is humanity and courage on the side of a country road in South Armagh forty years ago. We would do well to hold on to it.
The birth of the future we desire is surely in the contraction which that terrified Catholic felt on the roadside when another hand gripped his hand, not in the gunfire that followed, so absolute and so desolate, if also so much a part of the music of what happens.
Terri Hooley has decided to close down the Good Vibrations record shop on June 13th. This one’s for him – again.
I rarely watch movies when I’m flying, but on the plane from Chicago to Dublin two Novembers ago, perusing my options for in-flight entertainment, I paused when I heard the unmistakable hiss that comes after a stylus is dropped right in the groove, and a Northern Ireland accent infused with Woodbine cigarettes:
“Once upon a time in the city of Belfast, there lived a boy named Terri . . .”
Terri Hooley.
Where do I begin, and what can I say that hasn’t already been said about him? In 1977, he opened his own record shop, “Good Vibrations” on Great Victoria Street in Belfast. The next year, under his own record label of the same name, he released “Teenage Kicks” by a relatively unheard-of Derry band, “The Undertones.” I bought the single and played it relentlessly. It was 1978. It was Northern Ireland, where, when our kitchen windows rattled, we stopped what we were doing to wonder aloud if a bomb had exploded not too far away, and from where we wanted to escape, to a different neighborhood and for “teenage kicks all through the night.”
This may seem neither remarkable nor the stuff of a movie except Terri Hooley reopened “Good Vibes” on the most bombed street in Europe, just two years after what came to be known as “the day the music died” in Northern Ireland. Watching Richard Dormer’s brilliant portrayal of him in Good Vibrations, I was a teenager again, fingering through the sleeves of vinyl records in Ronnie Millar’s Pop-In record shop in Antrim, my hometown, knowing that Ronnie knew what I’d like, and if I asked, he would play it on the record player behind the counter for everyone in the shop to hear. As soon as the needle hit the groove, no one would have guessed that our little country was in the grip of The Troubles.
There were moments on that flight back home when I wanted to jump out of my aisle seat and cheer for Terri Hooley, for Punk Rock, for everyone who ever bought a record from a smoke-filled shop just down the street from the most bombed hotel in Europe, and for every musician who ever played in Northern Ireland. I understood again – and more clearly – what Joe Strummer of The Clash was talking about when he said:
When punk rock ruled over Ulster, nobody ever had more excitement and fun. Between the bombings and shootings, the religious hatred and the settling of old scores, punk gave everybody a chance to live for one glorious burning moment.
But when the movie ended and my remembering began, I wept for all that my Northern Ireland had lost between those bombings and shootings. I felt guilty for having left it behind when perhaps the better thing – the best thing – would have been to stay – stay and strive to see far beyond the images that flickered on our TV screens at six o’clock every night. Every single night.
Unlike Terri Hooley, I fled.
Ironic then, that I am shocked when some of my American friends still refuse to visit Belfast while vacationing in Ireland. They don’t think it’s safe. “But it’s a great city!” I tell them. “The best in the world! And the Antrim Coast is stunningly beautiful.” I urge them to take the train from Belfast to Dublin, to enjoy the full Irish breakfast on the journey. In my enthusiasm, I somehow forget about all those times my brother had to get off the Belfast to Dublin train and take the bus because of the threat of a bomb on the line. I wonder now what must it have been like for Terri Hooley trying to convince bands to play in Northern Ireland in the 1970s when musicians were afraid to come because of the terrible thing that had happened in the summer of my twelfth year.
In the early hours of July 31, 1975, five members of The Miami Showband, one of the most popular bands in the country, were traveling home from a gig at the Castle Ballroom in Banbridge. The sixth member, drummer, Ray Millar, had gone home to Antrim instead to stay with family. On a narrow country road outside Newry, they were flagged down by a group of uniformed men at what appeared to be a routine UDR (Ulster Defense Regiment) army checkpoint. Like the rest of us, I’m sure they were only mildly annoyed by it, until they were ordered to get out of their vehicle and stand by the roadside while the soldiers checked the back of the van.
I don’t know if, while standing on the side of the road, The Miami Showband realized that this was not an army checkpoint and that they were instead the victims of a vicious ambush carried out by members of the paramilitary Ulster Volunteer Force (UVF). As they waited, two of the UVF men – later revealed as members of the Ulster Defense Regiment – planted a bomb in the back of the band’s van. The bomb exploded prematurely, killing both, and in the chaos that followed, the remaining UVF members opened fire, killing three of the band members.
There were reports that the handsome young lead singer, Fran O’Toole, was shot 22 times in the face. Lying on his back on the ground, he was utterly vulnerable to men who showed no mercy in spite of his pleas. Brian McCoy, shot nine times, was the first to die at the scene. Tony Geraghty was shot in the back – four times. Des McAlea and Stephen Travers survived the blast from the explosion that flung both of them into the night air. Des McAlea suffered minor injuries and somehow escaped into the night; Stephen Travers was seriously wounded, and survived by pretending to be dead. Later, he recalled the gunman kicking the four bodies to ensure they were all dead.
Sitting here at my computer, almost forty years later, the shock and revulsion returns, the fear we felt as details of the massacre unfolded in our newspapers and on the radio later that morning. I remember my mother shaking her head in utter disbelief. It was unimaginable – these young men, Catholics and Protestants, darlings of the show band scene, in their prime and adored by thousands of fans north and south of the border, slaughtered in the muck on a country road. Why?
Perhaps we had been in a kind of denial that musicians were somehow immune, perhaps because we saw in the Miami Showband what could be, its members and its audiences crossing all social, religious, and political boundaries. But what happened to The Miami Showband left no doubt that musicians were just as much of a target as anyone else.
Some years later, in his address to The Hague Stephen Travers defined his band as “a blueprint for social, religious, and political harmony.” I imagine Terri Hooley had been working on a similar blueprint, the odds against him. In the years following the Miami Showband massacre, musicians were afraid. Some people thought Northern Ireland’s musical life was over. Performers from the UK mainland were too scared to risk their safety, and with this increased risk, performing in Northern Ireland became wildly expensive, the cost of insurance premiums soaring given the real threat of hi-jackings and bombings.
Northern Ireland was a “no go” area.
Just three years after the slaughter of those young musicians on what became known as “the day the music died,” in Northern Ireland, I was shaken to my core – again – by the inhumanity of some people in my country. It was February 18, 1978, and what happened in the restaurant of the La Mon House Hotel in Gransha, outside Belfast, will forever stay with me.
La Mon House was packed that evening with over 400 people, some there for the annual Irish Collie Club dinner dance. By the end of the night, 12 of those people – including children – were dead, and numerous others seriously injured. The next day, the Provisional IRA admitted responsibility for the attack and for their inadequate nine-minute warning. With cold-blooded premeditation, the IRA had used a meat-hook to attach the deadly bomb to one of the restaurant’s window sills, and the bomb was connected to four canisters of petrol, each filled with home made napalm, a mixture of sugar and petrol, intended to stick to whatever or whomever its flames touched. I remember watching the TV coverage and listening as a reporter described what happened after the blast – the enormous fireball, some 60 by 40 feet, unrelenting in its ferocity, roared through the Peacock restaurant, engulfing the people in its path in flames and burning many of them beyond recognition.
Almost forty years later and on the other side of the world, I am haunted by a widely disseminated image of the charred remains of someone who died in that horrific explosion.
How could anyone look at that image and look away, unchanged?
I looked at that image – time and again – and still I was not brave enough to stay and do the hard work. To abide.
A lot of my friends passed away. I thought I was going to be the only one left; it was a horrible time, but the idea of leaving Belfast made me feel like a traitor.
Punk Rock was perfect for Terri. He had an alternative vision for Belfast and its young people, perhaps inspiring Stiff Little Fingers’ “Alternative Ulster.” He was more interested in owning a record shop where kids, Catholic and Protestant, could come together and talk about music – buy a record. He had no interest in standing on either side of the sectarian divide. For the young people who came to Good Vibes, he wanted another option, another kind of country where a kid would be more interested in picking up a guitar than building a bomb. He was fearless in the pursuit of such a place.
Naturally, Terri Hooley loved “The Undertones.” So did I. They were from Derry, and they knew about “The Troubles,” living and breathing it every day of their lives. They chose not to sing about it. Why would they? If anyone needed an escape, they did. So instead, they sang about the everyday things that mattered to them – and to me – in 1978 – about “teenage kicks.” It was unfettered escapism, and it may well have saved many of us from going down a darker road.
Glam rock, punk rock, reggae, blues, pop, classical – my musical education encompassed all of these and more. There were piano lessons, violin lessons, orchestra, choir, but the music lessons that stayed with me I learned in Ronnie Millar’s Pop-In record shop, in vinyl.
I spent hours in the Pop-In, flipping through LP after LP, and walking up to the counter with three or four, knowing I would have to whittle my selection down to one. My school dinner money could only buy so much. I loved the ritual behind buying a new record. It began with carefully opening the album to see if the song lyrics were inside, or a booklet of photographs, or liner notes that would fold out into a full-size poster that would end up on my bedroom wall. I handled my records with care – as did Ronnie. And he would always add a clear plastic cover to protect the album art.
In those days, we had three TV channels from which to choose, no Internet, and no smart phone, so I spent a lot of time in my room, reading and listening to music. Still, I remember watching the Mork and Mindy show, and noticing that hanging on Mindy’s apartment wall was the cover of Jackson Browne’s “Running on Empty” album.
Naturally, when I went to college in Belfast, living away from home for the first time, the “Running on Empty” cover hung on my wall too.
There was nothing better than opening an album to find a paper sleeve inside that folded out into a full-size poster, like that of Springsteen’s “Born to Run.” That made it on to my wall as well.
And then there was the ritual of playing the record – and some records, like “Born to Run” or Steely Dan’s “Aja” should only be listened to on vinyl.
It requires some effort. First, you have to actually get up, look through your stack of LPs to find the one you want, remove it carefully from the paper cover, place it on the turntable, drop the stylus right in the groove, sit down again, listen. Then you have to get up again and turn over the LP to hear Side Two. It’s a major investment of time. There’s waiting involved. Shuffling music on an iTunes playlist requires no real commitment at all.
With vinyl, it was important to have the right hi-fi system. The first significant and most important purchase of my life was the system I bought in 1983 (feeling flush with my university grant check). I remember enlisting the assistance of an engineering student who lived across the road from me, a few doors down from the Lyric Theater on Ridgeway Street. He didn’t go out much, but he loved music. A purist who would never have watched Top of the Pops but would never have missed the Old Grey Whistle Test, he conducted his research the way we did pre-Internet and found the perfect component system for me – a separate receiver, cassette deck, and a turntable with a little strobe light, and some fairly impressive speakers.
What he knew then – and I knew it too – is what the 21st century late-adopters of vinyl are discovering – there is no better way to listen to music than on a record than with all the pops and crackles, the anticipation before dropping the needle right in the groove, and the audible drawing of breath, the hiss before the first syllable is sung. Yes. I was experienced.
When I came home to Antrim on the weekends, I’d make a point of visiting Ronnie Millar’s shop. By that time the Pop In had moved from its original location by Pogue’s Entry and into the shopping center. And by that time, Ronnie Millar knew what I liked which meant he knew what else I would like. One of the things I remember about him is that he paid attention to his customers and quickly figured out the music they liked– even if he passed judgment on their taste,like the day he asked “Why do you want to buy that rubbish?” when Dennis Ceary from the Dublin Road picked up “Never Mind the Bollocks” by the Sex Pistols.
It hadn’t taken him too long to figure out what I liked. I’d spent hours in there during which he would play something he knew I didn’t know (because, let’s face it, he knew the contents of my entire LP collection and probably everyone else’s in Antrim). And he knew I’d buy it – a perfect profit cycle. Every once in a while, I’d stump him by asking if he could get a record he hadn’t heard of – but not very often. Even though I could have probably found it during the week in ‘Caroline Records’ or Terri Hooley’s ‘Good Vibrations’ in Belfast, it wasn’t the same as going home to Antrim to ask Ronnie to get it for me.
I don’t know when I found out that Ronnie’s brother was the drummer in The Miami Showband, but I have often wondered about the impact of that horrible night on a man who loved and sold music for a living.
All those years when I was collecting vinyl, it didn’t matter when I didn’t have a boyfriend or had nowhere to go on a Friday night. Even when I had convinced myself I would be “left on the shelf,” it didn’t seem that bad given the company I was keeping – Bruce Springsteen, Bob Dylan, Van Morrison, Lou Reed, The Eagles, Fleetwood Mac, Janis Joplin, John Cougar, and The Horslips. The music made everything better, and one of my fondest memories is of sitting in my bedroom on a Friday night with our dog almost hypnotized watching Joan Armatrading’s “Love and Affection” spin around on the turntable.
By the late 1980s, I began making cassettes – mix tapes – hundreds of them. Making a mix tape was a labor of love – there was none of this easy downloading, dragging and dropping of music into an iTunes library. No. A mixed tape required hours and hours of opening albums, choosing just the right song, making sure the needle was clean, then dropping it in the groove, and making sure to press record and pause at exactly the right time. And then you’d give it to some boy or girl, hoping the tunes said what you could not. (Or maybe that was just me.) Then you’d wait for feedback.Those were the days of delayed gratification, and I miss them.
If you don’t know Native American poet and author, Sherman Alexie, you really should. He knew a thing or two about the mix tape, as he writes in this “Ode”
Ode to a Mix Tape
These days, it’s too easy to make mix tapes.
CD burners, iPods, and iTunes
Have taken the place
Of vinyl and cassette. And, soon
Enough, clever introverts will create
Quicker point-and-click ways to declare
One’s love, lust, friendship, and favor.
But I miss the labor
Of making old school mix tapes— the mid air
Acrobatics of recording one song
At a time. It sometimes took days
To play, choose, pause,
Ponder, record, replay, erase,
And replace. But there was no magic wand.
It was blue-collar work. A great mix tape
Was sculpture designed to seduce
And let the hounds loose.
A great mix tape was a three-chord parade
Led by the first song, something bold and brave,
A heat-seeker like Prince with “Cream,”
Or “Let’s Get It on,” by Marvin Gaye.
The next song was always Patsy Cline’s “Sweet Dreams,”
or something by Hank. But O, the last track
Was the vessel that contained
The most devotion and pain
And made promises that you couldn’t take back.
~ a labor of love.
My plan in November 2013 was to go through all the boxes of vinyl stored in the roof-space of my parent’s house in County Derry. Inspired by a very cool record shop I’d discovered during my week in Dublin, I was going to bring back to my Phoenix home, my favorite albums – the soundtrack of my youth in Northern Ireland. My plan was to resurrect the turntable that was part of the stereo system my husband bought for me the year we met.
Back then, I was living alone in an apartment in Phoenix, and he surprised me with it. It had the tape deck, CD player, and, the trusty turntable – although by that time, nobody was buying vinyl. Still, I must have believed it would make a comeback, because I held onto it. It’s in a cupboard along with other things of sentimental value. He kept asking me why I just didn’t get rid of it, but he knew I wouldn’t. I couldn’t. And I cannot.
Ken would have loved to see me break out that turntable to play his favorite Lou Reed album. But life barged in, the way it always does, when I was busy making other plans for us, and he never got to see me resurrect the turntable. How I would have liked just one more spin.
Unlike the evanescence of music afloat in a virtual cloud, vinyl records give us something to hold on to, something solid that represents a spot of time in our lives. This isn’t just nostalgia for my youth, it’s more than that. It’s a reminder that good things were and still are worth waiting for. Like peace – in Northern Ireland.
In the Fall of 2012, I enrolled in a college photography class, something I had been meaning to do for the previous three decades. I just never got around to it before, what with all my busy-ness and so much time spent bemoaning the pace of life as a woman trying to play equally well the roles of mother, wife, daughter, sister, best friend, teacher and waiting patiently for Tom Petty to show up on my doorstep to ask if I would please be one of his Heartbreakers.
I loved the photography instructor. A Nikon gal like me, she also had breast cancer and neither time nor patience for pink ribbons. Less technician than artist, she had a penchant for Photoshop and its post-processing capabilities that she knew would made us look competent. Her dead-pan dead-on sense of what was important inspired me to do my homework and never to miss a class. Even as she bristled at our predictable photographs shot straight-on, she would remind us, with a sigh, that “photography is just light” – it’s just light, and we just needed to find it. It was “writing with light.” I saw magic in it, and I wanted to be good at it, to take the kinds of photographs Amyn Nasser talks about:
I believe in the photographer’s magic — the ability to stir the soul with light and shape and color. To create grand visual moments out of small and simple things, and to infuse big and complicated subjects with unpretentious elegance. He respects classic disciplines, while at the same time insists on being fast, modern and wild.
Determined that we would create such moments in our often pedestrian pictures, she assigned as homework the week of Thanksgiving, a “prepositional scavenger hunt” that required us to shoot from various angles – against, across, beyond, beneath, around, behind, below, between, inside, outside, on top of, toward, through, and upon. And so it was that I found myself wandering the grounds of the Arizona State Capitol on a Thanksgiving afternoon, eventually sitting below a canopy of shimmering green and pink. I don’t know how long I sat there, just thinking, but it was long enough for prepositions and perspectives to give way to gratitude and grace – Amazing Grace – and thoughts of Van Morrison in full flow at The Hollywood Bowl, mystifying us (the way he does when he forgets to be a grumpy old man) with Astral Weeks/I Believe I have Transcended, a song he once described as “one where you can see the light at the end of the tunnel.”
In the spirit of today’s holiday, I could maybe say that Thanksgiving had something to do with my moment of transcendence looking up at the shimmering leaves, but that would not have been true. Even after living in America for over twenty years, the celebration of Thanksgiving does not come naturally to me. It amuses me still that some of my American friends are surprised when I tell them there is no such holiday in Ireland. Christmas is the holiday that warms us, so I know whereof she speaks when Carole Coleman, an Irish woman living in America, apologizes to her American family and friends,
. . . we will be doing the turkey thing all over again five weeks from now.
Looking up and losing track of time that November afternoon, I think I found my footing once more. I may even have found the kind of gratitude Annie Lamott describes in her Help, Thanks, Wow: The Three Essential Prayers:
Thanks is the prayer of relief that help was on the way, that either the cavalry arrived, or that the plates of the earth shifted and that somehow, you got your sense of humor back, or you avoided the car that was right in front of you that you looked about to hit.
And so it could be the pettiest, dumbest thing, but it could also be that you get the phone call that the diagnosis was much, much, much better than you had been fearing. And you say the full prayer, and its entirety, is: Thank you, thank you, thank you, thank you, thank you. But for reasons of brevity, I just refer to it as Thanks. It’s amazement and relief that you caught a break, that your family caught a break, that you didn’t have any reason to believe that things were really going to be OK, and then they were and you just can’t help but say thank you.
Remembrance helps us to learn about our shared history, that includes people across faith and ethnic backgrounds. There’s no point in a shared history if we forget about it.
An October 2012 YouGov poll commissioned by British Future, a non-partisan Think Tank dedicated to exploring national identity, the very crux of who we are, reveals that less than half of respondents aged 16 to 24 can identify 1914 as the year World War I broke out. More than half are unaware of the contributions of other countries to the British war effort. Australia, Kenya, India, Canada . . . all sent men, money, and munitions. In fact, during World War I, over 1.3 million Indian soldiers volunteered to fight. In World War II, that number doubled, but over the past century, we appear to have lost sight of what Shiraz Maher describes as a “remarkable template of civic cooperation . . . between different races and religions, united by common purpose.” It has disappeared in history.
Today marks the centenary of the outbreak of the First World War and brings with it an opportunity for remembrance beyond mere commemoration, an opportunity to consider the poppy, worn proudly by my grandfather who fought The Great War, as a symbol of remembrance. It would never have occurred to him that the poppy pinned to his lapel might cause offense to anyone in Ireland. Lest we forget, the Irish died in the trenches along with the British. But the poppy – like the shamrock, the pink ribbon, the wedding ring, the star-spangled banner – is a contentious and complex symbol, and the debate still roars over whether or not it should be worn in Ireland. For some, it represents British imperialism, and wearing it is akin to endorsing and glorifying British soldiers who, on a Sunday in 1972, during a Civil Rights march in the Bogside of Derry, shot into a crowd of unarmed and peaceful civilians, killing thirteen of them.
Twenty seven years ago, on the night of the Enniskillen bombing, far from home at the McNicholls Arena in Denver, U2 took to the stage with this:
“Well here we are, the Irish in America.
The Irish have been coming to America for years Going back to the Great Famine, When the Irish were on the run from starvation And a British government that couldn’t care less
Right up to today you know, There are more Irish immigrants here in America today than ever Some illegal, some legal A lot of them are just running from high unemployment.
Some run from the troubles in Northern Ireland From the hatred of the H-blocks and torture. Others from wild acts of terrorism Like we had today in a town called Enniskillen Where 11 people lie dead many more injured On a Sunday Bloody Sunday …”
https://youtu.be/4xwDK36_REA
In the middle of the song, sick of the killing, Bono had this to say. I consider it a seminal moment in the history of rock ‘n’ roll, in my own history, and it rings in my ears on this Remembrance Sunday:
And let me tell you something . . . I’ve had enough of Irish Americans who haven’t been back to their country in twenty or thirty years come up to me and talk about the resistance, the revolution back home…and the glory of the revolution…and the glory of dying for the revolution. Fuck the revolution! They don’t talk about the glory of killing for the revolution. What’s the glory in taking a man from his bed and gunning him down in front of his wife and his children? Where’s the glory in that?
Where’s the glory in bombing a Remembrance Day parade of old age pensioners, their medals taken out and polished up for the day. Where’s the glory in that? To leave them dying or crippled for life or dead under the rubble of the revolution, that the majority of the people in my country don’t want. Sing ‘No More!’
A decade later, he sang the song again, turning it into a prayer for Omagh, where the Real IRA loaded a non-descript car with 500 pounds of explosives, parked it in the middle of the little market town, where it exploded, killing twenty-nine people and injuring hundreds. I will never forget the Omagh bombing. It happened during my daughter’s first trip to Ireland. Not quite eight months old, she was the surprise for my mother’s 60th birthday party. I remember that night holding her tight while watching the news in my parent’s house, the accounts from witnesses who were devastated by the blood that flowed in the gutters, the pieces of people on the street: “Nothing could have prepared me for what I saw. People were lying on the floor with limbs missing and there was blood all over the place. People were crying for help and looking for something to kill the pain. Other people were crying out looking for relatives. You could not really be trained for what you had seen unless you were trained in Vietnam or somewhere like that” recalls one of the volunteer nuns on the scene at Tyrone County Hospital. A war-zone. A killing field.
The Omagh list of dead “reads like a microcosm of Troubles deaths, and left no section of Irish life untouched. The town they attacked is roughly 60:40 Catholic:Protestant, and the dead consisted of Protestants, Catholics, a Mormon and two Spanish visitors. They killed young, old and middle-aged, fathers, mothers, sons, daughters and grannies. They killed republicans and unionists, including a prominent local member of the Ulster Unionist Party. They killed people from the backbone of the Gaelic Athletic Association (GAA). They killed unborn twins, bright students, cheery shop assistants and many young people. They killed three children from the Irish Republic who were up north on a day trip. Everyone they killed was a civilian. The toll of death was thus both extraordinarily high and extraordinarily comprehensive.”
How could Omagh happen after Enniskillen, where twenty-seven years ago, at 10.43AM the IRA detonated a bomb without warning, killing eleven ordinary people and injuring sixty:
I don’t think there’s a family or community or a parish anywhere in Ireland that wasn’t touched by the great wars that didn’t have family members, members of the community who lost lives or who suffered in those wars. This is part of our shared history and I wanted, and the Irish government wanted to be part of sharing that remembrance.
But every newspaper story was more about the fact that Mr. Kenny did not wear a poppy, the wreath of green laurel he laid for the Irish government, incongruous among the crimson poppies.
Today, for the first time in sixty years, Ireland takes part in the Remembrance Day ceremony at the Cenotaph in London, with Irish ambassador to Britain, Dan Mulhall, placing a wreath of green among the wreaths of poppies.
Lest we forget that war is not over, security is tight in the United Kingdom on this Remembrance Day, with the threat of a terrorist attacks weighing heavily following the recent arrest of four men allegedly planning a series of attacks with today’s ceremony in Whitehall a possible target,
My grandfather died on June 22, 1977, a decade before the Enniskillen bombing. Had he been alive, I imagine he would have been wearing his suit, medals and poppy attached to the lapels, not unlike those pensioners at the Enniskillen Cenotaph. Granda never forgot the wars. He made sure I remembered too.
Because of Granda, I have always known that “the war to end all wars” ended in 1918, on the eleventh hour of the eleventh day of the eleventh month. He told me so many times on our walks down the Moss Road. At just 25, he had been part of that “template of civic cooperation.” Private James McFadden, No. 15823, he enlisted as a volunteer soldier with the Royal Inniskilling Fusiliers. Following his training at Finner Camp in County Donegal, he was shipped off to France, where he fought, scared yet brave, in the Battle of the Somme and at Passchendaele. For untold miles, he crept through the muck, weary, thirsty, lost, and far from home. One of too few who survived the battle at Passchendaele, Granda carried to safety another soldier, Sammy Campbell, who hailed from The Upperlands, a village outside Maghera. Granda told my mother the story many times. Too, he told of the hunger that drove him to steal chickens from a French farm, of the thirst and weariness that almost broke him.
Private James McFadden
My grandfather did not belong in the muck. He belonged on the banks of the Moyola River, fishing, or cutting turf at The Moss. All these years later, it saddens me to picture him far away from the bluebells and foxgloves that once lined winding lanes to houses along the Broagh road. By the time I was doing O-level English, learning by heart much of Wilfred Owen’s “Dulce et Decorum est,” I had already committed to memory my grandfather’s own story of the “war and the pity of war,” fought on faraway fields, in particular, of a dark evening that found him and his brothers in arms, afraid, parched with thirst, their billy cans empty. Crawling on their bellies through a field somewhere in France, I imagine they felt something close to euphoria when they came upon the stream, followed by a horror that would haunt Granda into old age. I shudder to think of him cupping the water in his hands, bringing it up to his face, then noticing it was tinged with red. Flowing in the foreign water was also the blood of a young German soldier who had died not too far away. Phlegmatic, my grandfather recounted those details in a voice I can still hear. I can see his beautiful eyes, twinkling the same blue as mine, his checked shirt, and the tweed cap he twirled in the fingers of his left hand.
I remember how Granda liked his tea, with only a drop of milk and two spoonfuls of sugar. Increasing the odds that it would be strong, his was always the last cup poured from the pot. Often with two Rich Tea biscuits impossibly balanced upon a saucer, the delicate china cup somehow belonged in his elegant hand. To cool his tea, and to my great amusement, Granda sometimes poured it into the saucer from which he subsequently drank with a little slurp. He wore cable-pattern vests my aunt had knit for him pulled over his signature checked shirts – his favorite was red and white. My mother is convinced those checked shirts were his way of remembering what he wore, how we was, as a young immigrant in America. The timing seems right, given the rise to popularity of Pendleton plaid shirts before World War II. My mother also tells me that the plain blue shirt he wore to my grandmother’s funeral seemed as out-of-place as he must have felt in a world without her.
Before his world changed, Granda and I spent part of so many Sundays on long walks. At the top of the lane, we always stopped and looked right, looked left, looked right again, before turning left towards the Moss Road, along which gypsies were occasionally encamped. Sometimes, as a treat for me, he carried barley sugar sweets deep in his pockets. He taught me to look out for nettles and the big broad docken leaves that were supposed to soothe their sting.
As a girl, my mother had been sent by my grandmother, down this same road, to deliver sandwiches and flasks of tea to her father and the other turf cutters. I often wonder what they would have made of the young Seamus Heaney who lived just down the road and often sped by on his bicycle, red hair blowing in the wind. Could they ever have imagined the smallness of their world enlarged for global audiences through “Digging” and other poems that pulled taut the stuff of life and those who lived it within and beyond the banks of the Moyola River:
“My grandfather could cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, digging down and down
For the good turf.”
And so on this Remembrance Sunday, I am remembering Heaney and my grandfather and the rhythm of so many lives changed by war.
They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years contemn.
At the going down of the sun and in the morning
We will remember them.
