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Entries in RoD (1)
On 12 February 2012, the flight crew of a Boeing 737 aircraft, registered VH-TJS and operated by Qantas Airways Limited, was conducting a scheduled passenger service from Sydney, New South Wales to Canberra, Australian Capital Territory. Due to scheduled maintenance the instrument landing system at Canberra was not available and the crew prepared for an alternate instrument approach that provided for lateral but not vertical flight path information. The flight was at night with rain showers and scattered cloud in the Canberra area.
Shortly after becoming established on the final approach course with the aircraft's automatic flight system engaged, the flight crew descended below the minimum safe altitude for that stage of the approach. The crew identified the deviation and levelled the aircraft until the correct descent profile was intercepted, then continued the approach and landed. No enhanced ground proximity warning system alerts were generated, as the alerting thresholds were not exceeded.
During those phases of flight when terrain clearance is unavoidably reduced, such as during departure and approach, situation awareness is particularly crucial. Any loss of vertical situation awareness increases the risk of controlled flight into terrain. This occurrence highlights the importance of crews effectively monitoring their aircraft's flight profile to ensure that descent is not continued through an intermediate step-down altitude when conducting a non-precision approach (Australian Transport safety Bureau, 2013).
Determining the correct rate of descent (RoD) or vertical speed (V/S) is a critical attribute if an aircraft is to arrive at the correct altitude and avoid excessive descent rates. Control of the vertical path uses two different methods: the step-down method and the constant descent method. Both methods assume that the aircraft is being flown in landing configuration at the final approach speed (VaPP) from the final approach fix (FAF) to the landing initiation of the missed approach.
Non Precision Approaches (NPA)
Historically non precision approaches reference ground navigation aids that exhibit a degree of inaccuracy, which is often enhanced by the poorly defined vertical path published on an approach chart; NPA charts typically provide only an assigned altitude at the FAF and the distance from the FAF to the MAP. Thus, flight crew awareness of the aircraft's vertical position versus the intended vertical path of the final approach can be quite low when executing traditional style step-down approaches.
To determine the best vertical speed to use during a non precision approach, flight crews use a number of 'back of the envelope' calculations.
Rate of Descent & Glideslope Calculations
There are several calculations that can be used determine rate of descent – some more accurate than others. Search 'determine descent rate' in Google. Some of the more commonly used rules of thumb are:
Divide your ground speed by 2, then add a zero (120 kias / 2 = 60, add 0 = 600 fpm).
Rate of descent (RoD) in ft/min should be equal to 5 times the ground speed in knots (same as above but different calculation).
To maintain a stabilized approach, add a zero to your indicated air speed and divide by two (150 kias + 0 = 1500 / 2 = 750 fpm).
To determine distance from threshold to start a 3 degree glideslope, take the height above ground level and divide by three hundred (600 ft AGL / 300 = 2 nm).
To maintain a 3 degree glideslope (ILS), multiply your ground speed by 5. The resulting number is the rate of descent to fly (110 kias x 5 + 550 fpm on 3 degree glideslope).
If the glideslope is not operational on an ILS approach with DME, multiply the distance 'to go' by 300. This will provide the height in feet above the threshold of the runway (4 nm to the threshold; multiply x 300 = 1200 ft).
Flight crews today, especially those flying in and out of busy intercity hubs, rarely execute step down approaches as computer and GPS-orientated systems have replaced traditional methods of navigation. However, as the flight into Canberra revealed, the best system may at times be inoperative or fail and it is good airmanship to understand and be able to remember one or more of the above equations.
Today's systems provide a high level of redundancy and the Boeing 737-800 NG incorporates a number of integrated aids to assist a flight crew during descent and approach. In this post some of less commonly understood aids will be discussed.
Vertical Bearing Indicator (VBI))
A method often overlooked is to use the Vertical Bearing Indicator (VBI) which is functionality available in the CDU. The VBI can calculate an accurate rate of descent to a particular spatial point. It is basically an angle calculator that provides 'live' vertical speed information based upon a desired descent angle, the current speed of the aircraft and a end location.
LEFT: CDU showing DES Page, waypoint/altitude and VBI interface (Key RSK3 & RSK4).
A flight crew enters into the VBI the final altitude that the aircraft should be at (for example, the Final Approach Fix or runway threshold). This figure is determined by consulting the appropriate approach chart for the airport. The CDU will then calculate the descent rate based on flight variables. As the aircraft descends, the VBI readout will continually update the descent rate based upon aircraft speed and rate of descent.
The flight crew can either manually fly the descent rate or use part or full automation to maintain the rate of descent. A common method is to use the Vertical Speed (V/S) function on the MCP.
It is important to underatnd that the VBI has nothing to do with VNAV. The VBI takes the raw distance between the aircraft and a selected altitude point and calculates a vertical bearing to that point. If that point is part of a route in the CDU, then the next altitude constraint will be displayed, unless the user changes this.
Accessing the VBI
Navigate to Descent page on the CDU by pressing the DES key.
At lower right hand side of the DES page you will see the following: FPA, V/B, V/S. This is the Vertical Bearing Indicator.
Key RSK3 (right line select 3) allows manual entry of a waypoint and altitude or altitude restriction. Type the waypoint and altitude separated by a / slash symbol into the scratchpad of the CDU and upload to the correct line. (for example, MHBWM/200).
The VBI provides three fields:
FPA (Flight Path Angle) is the vertical path in degrees (angle of descent) that the aircraft is currently flying.
V/B (Vertical Bearing) is the computed vertical path in degrees that the aircraft SHOULD be flying to reach the CDU waypoint or altitude restriction.
V/S (Vertical Speed) is the vertical bearing (V/B) converted into a vertical speed (RoD) for easy input into the MCP. The V/S is the vertical speed (RoD in feet per minute) required to achieve the displayed vertical bearing.
Observe the V/B. The idle descent in a B737 is roughly 3.0 degrees. Wait until the V/B moves between 2.7 and 3.0 degrees (or whatever descent angle you require based upon your approach constraints) and note the descent rate (V/S). At its simplest level, the V/S can be entered directly into the MCP and is the rate of descent required to achieve the computed vertical path..
The VBI can be used for any waypoint, fix and altitude and acts in conjunction with the AFDS.
Automation will attempt to follow the vertical bearing indicated by the CDU; for example, if a VNAV descent is activated before the Top of descent (ToD) is reached, the Flight Management System (FMS) commands a 1250 fpm descent rate until the displayed V/B is captured while maintaining VNAV connection.
The vertical bearing when the aircraft is on final approach calculates data from the Final Approach Fix (FAF) to the runway threshold.
To read an earlier post concerning the Vertical Bearing Indicator.
Other Approach Aids
Altitude Range Arc (ARA)
A handy feature often overlooked is the Altitude Range Arc (ARA). The ARA is a green coloured half semicircle which can be viewed on the Navigation Display (ND). The ARA indicates the approximate map position where the altitude, as set on the mode control panel is expected to be reached. Once the aircraft is well established on the vertical bearing (V/B) calculated by the CDU, the ARA semicircle should come to rest on the targeted waypoint.
LEFT: Altitude Range Arc and Vertical Deviation Scale and Pointer B737-800NG
Vertical Deviation Scale and Pointer (VDS)
The Vertical Deviation Scale is another feature often misunderstood. The scale can be found on the lower right hand side of the Navigation Display (ND).
The VDI will be displayed when a descent and approach profile is activated in the CDU (such as when using VNAV). However, the tool can be used to aid in correct glideslope for any type of approach (RNAV, VNAV, VOR, etc). To display the VDI, an appropriate approach be selected in the CDU; however, the flight crew fly a different type of approach without VNAV engaged).
The Vertical Deviation Scale presents the aircraft's vertical deviation from the flight management computer's determined descent path (vertical bearing) within +- 400 feet. It operates in a similar way to the Glideslope Deviation Scale on the Instrument Landing System (ILS).
The VDS is a solid white-coloured vertical line with three smaller horizontal lines at the upper, lower and middle section, on which a travelling magenta-coloured diamond is superimposed. The middle horizontal line represents the aircraft's position and the travelling diamond represents the vertical bearing (V/B).
When the aircraft is within +- 400 feet of the vertical bearing the diamond will begin to move, indicating whether you are above, below or on the V/B target. When the aircraft is on target (middle horizontal line) with the indicated vertical bearing, the FMA will annunciate IDLE thrust mode followed by THR HLD as the aircraft pitches downwards to maintain the V/B.
In some literature this tool is referred to as the Vertical Track Indicator (VTI).
Vertical Development (VERT DEV)
The Vertical Development (VERT DEV) is the numerical equivalent of the vertical deviation scale and is found on the Descent Page of the CDU. The VERT DEV allows a flight crew to cross check against the VBI in addition to obtaining an accurate measurement in feet above or below the targeted vertical bearing. The VERT DEV will display HI or LO prefixed by a number which is the feet the aircraft is above or below the desired glideslope.
The Vertical Deviation Scale and pointer (VDS) will remain visible on the Navigation Display (ND) throughout the approach, and in association with the Vertical Development display on the CDU are important aids to use for Non Precision Approaches (NPA).
The traditional method of a step down approach, which was the mainstay used in the 1970s has evolved with the use of computer systems and GPS. In the 1980s RNAV (area navigation) approaches with point to point trajectories began to be used, and in the 1990s these approach procedures were further enhanced with the use of Required Navigational Performance (RNP) in which an aircraft is able to fly the RNAV approach trajectory and meet specified Actual Navigation Performance (ANP) and RNP criteria. From the 1990s onward with the advent of GPS, the method that non precision approaches are flown has allowed full implementation of the RNP concept with a high degree of accuracy.
Although the nature of non precision approaches has evolved to that of a 'precision-like' approach with a constant descent angle, their are operators that widely use these techniques, despite their flaws, weaknesses and drawbacks. Even if modern navigational concepts are used in conjunction with traditional methods, aids such as the VBI, ASR and VDI should not be overlooked. Appropriate cross checking of the data supplied by these aids provides an added safety envelope and avoids having to remember, calculate and rely on 'back of the envelope' calculations.
The flight crew landing in Canberra, Australia did not use all the available aids at their disposal. If they had, the loss of vertical situational awareness may not have occurred.
ANP - Actual Navigation Performance
ARA - Altitude Range Arc
CDU – Control Display Unit (used by the flight crew to interface the with the FMC)
FAF - Final Approach Fix
FMS – Flight Management System
FMA – Flight Mode Annunciation
FMC – Flight Management Computer (connects to two CDU units)
ILS – Instrument Landing System
KIAS - Knots Indicated Air Speed
MAP - Missed Approach Point
MCP – Mode Control Panel
ND – Navigation Display
NPA – Non Precision Approach
RoD – Rate of Descent
RNP - Required Navigation Performance
RNAV - Area Navigation
ToD – Top of Descent
V/B – Vertical Bearing
VBI – Vertical Bearing Indicator
V/S – Vertical Speed
VDS – Vertical Deviation Scale and pointer (also called Vertical Track Indicator)
VERT DEV – Vertical Development
tagged Altitude Range Arc, B737-800 Flight Simulator, CDU, FMC, FSX, Flight Simulator, Rate of Descent, RoD, VBI, Vertical Bearing Indicator, Vertical Deviation Scale and Pointer in CDU / FMC, Flight Training


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As I Lay Dying er et amerikansk metalcore-band fra San Diego i Californien dannet i 2001. Musikalsk har bandet haft indflydelse fra melodisk dødsmetal som f.eks. At the Gates. På nuværende tidspunkt har de en pladekontrakt med Metal Blade Records. Bandets navn stammer muligvis fra romanen af samme navn skrevet af William Faulkner selvom der dog ikke er nogen sammenhæng mellem bogen og bandet. For nylig vandt bandet "Ultimate Metal God" prisen fra MTV2 ved det første  årlige specialprogram "All That Rocks".

Kristendom
Bandet har tidligere i karrieren været markedsført som et kristent band, og bl.a. Lambesis har talt åbent om sin kristne livsanskuelse.  Efter Lambesis dom for medvirken til planlagt mord i maj 2014, har han udtalt, at bandets kristne image blev holdt i hævd med bl.a. pladesalg for øje.

Genreskift
Med det nye album "An Ocean Between Us" satte As I Lay Dying et nyt melodisk præg på deres musik. Deres ældre musik var til tider forudsigeligt og lidt ensartet på de forskellige albums med den gennemgående metalcore i alle de tidligere albums. Men i det nye album drages Josh Gilberts rene vokal meget mere ind over musikken og deres riffs er generelt mere tekniske og finpolerede end førhen.
Genreskiftet er meget merkant, og det er taget godt imod i metalmiljøet, hvor blandet deres sang "Nothing Left" er resulteret i en Sci-Fi inspireret musikvideo som har kørt på MTV.

Medlemmer

Nuværende medlemmer
 Tim Lambesis – Vokal (2001-)
 Jordan Mancino – Trommer (2001-)
 Phil Sgrosso – Guitar/Vokal (2003-)
 Nick Hipa – Guitar (2004-)
 Josh Gilbert – Bas, vokal (2007-)

Tidligere medlemmer
 Evan White – Guitar (2001-2003)
 Jasun Krebs – Guitar (2003)
 Clint Norris – Bas, vokal (2003-2006)

Diskografi
 Beneath the Encasing of Ashes (2001)
 As I Lay Dying/American Tragedy (delt med American Tragedy) (2002)
 Frail Words Collapse (2003)
 Shadows are Security (2005)
 A Long March: The First Recordings (2006)
 An Ocean Between Us (2007)
 The Powerless Rise (2010)
 Awakened (2012)
 Shaped by Fire (2019)

Henvisninger
 Officiel hjemmeside

Noter

Metalgrupper fra USA
Musikgrupper fra 2001

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When Hrithik's mom danced on his tunes!
There was no star-studded guest list. No city nightspot was booked either. The city cops did not have to come down and crash this party, because Hrithik Roshan had decided to be at home with his family for his 38th birthday on January 10, 2012. And the family dinner turned out to be the most exciting birthday of the actor's life. Thanks to mommy Pinky Roshan and aunt Kanchan.
Pinky and Kanchan wanted to make Hrithik's birthday special. And for that, they not only made a medley of the actor's hit dance numbers, but also danced to it. Roshan Jr. needless to say, couldn't stop smiling after this.
A source close to Hrithik informs, "The entire family was coming together for dinner. Apart from his parents Rakesh and Pinky Roshan, Hrithik's uncle Rajesh Roshan joined in with his wife and kids Ehsaan and Pashmina. Hrithik's grandparent J Om Prakash and sister Sunaina had also come over for the dinner."
But before the dinner could be laid out on the table, Hrithik was in for a surprise. "While the family was catching up before dinner, an announcement was made about a special dance number. And then Hrithik's mother and aunt walked in to dance on a special medley of his film songs," added the source.
The performance, which included songs like 'Senorita', 'Dhoom Machale' and 'Kaho Naa Pyaar Hai', lasted for twelve minutes. "Hrithik was pleasantly surprised. He did not expect to see his otherwise shy mother dancing to his songs. The family started teasing him and told him that finally they knew where he had got his dancing abilities from," informs a source.
When contacted, Hrithik's father Rakesh Roshan said, "Yes, it is true. But I would not like to elaborate on it since it was an intimate family gathering."


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Al Pacino Would Not Be an Actor Without the Actors Studio
How Do the 2022 Tony-Nominated Play Revivals Stack Up Against Previous Stagings?
Playbill Vault's Today in Theatre History: June 30
Inside the Simply Shakespeare: The Merchant of Venice Reading With Al Pacino, Geoffrey Rush, and More
Al Pacino Will Star in New Film Adaptation of King Lear
Benefits and Galas Al Pacino Hosts Screening of Dog Day Afternoon for The Actors Studio October 27
A benefit for the Studio's 75th season, the screening also includes a live interview with the Tony- and Oscar-winning star.
By Talaura Harms
The Actors Studio, the famed membership organization for actors, writers, and directors, is celebrating its 75th anniversary with a benefit screening of the 1975 film Dog Day Afternoon, hosted by its star and Studio co-president Al Pacino. The screening is held 7 PM October 27 at United Palace in uptown New York City. A live interview with Pacino will follow the film.
Based on the true story of two amateur bank robbers who tried to hold up a Brooklyn bank in 1972, Dog Day Afternoon features an Oscar-winning screenplay by Frank Pierson, under the direction of Actors Studio member Sidney Lumet. Pacino stars with the late actor John Cazale, his longtime friend and frequent acting partner. The cast also includes James Broderick, Charles Durning, and Actors Studio members Carol Kane, Penny Allen, and Sully Boyer.
"I'm glad to be a part of this event honoring The Actors Studio 75th Anniversary," said Pacino. "This incredible institution, founded by Elia Kazan, Cheryl Crawford, and Robert Lewis, followed by Lee Strasberg, has left an indelible mark on the world of film and theatre. It's where actors are given the freedom to take chances and explore their work and craft. Anyone can audition for The Actors Studio. I'm surprised more people don't know that. Once an actor becomes a member of The Actors Studio, it doesn't cost anything, it's totally free and membership is for life. It's going to be a great night at the United Palace on October 27th. I look forward to watching Dog Day Afternoon and engaging, live, with an audience of New Yorkers, some who will be seeing it for the first time and others who will be seeing it for the first time in years."
READ: Al Pacino Would Not Be an Actor Without the Actors Studio
Pacino serves as co-president alongside fellow Studio member Ellen Burstyn. Beau Gravitte is the artistic director for the New York location and Salome Jens for Los Angeles. Notable members have included Anne Bancroft, Michael Bennett, Marlon Brando, Common, Bradley Cooper, James Dean, Robert De Niro, Sally Field, Jane Fonda, Lorraine Hansberry, Dustin Hoffman, Walter Matthau, Marilyn Monroe, Paul Newman, Jack Nicholson, Sidney Poitier, Jerome Robbins, Mark Rylance, Tennessee Williams, Gene Wilder, and many more.
Tickets are available at TheActorsStudio.org.
The Actors Studio

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FR. GROESCHEL UNDER FIRE
Home/Catalyst/Features/FR. GROESCHEL UNDER FIRE
In a recent interview with the National Catholic Register, Father Benedict Groeschel hypothesized how a young person (14, 16 or 18, as he put it) could conceivably take advantage of a priest who was having a nervous breakdown. He also referred to Jerry Sandusky, the disgraced Penn State football coach, as "this poor guy." For these remarks, and related comments, he was labeled as a defender of child abuse.
The accusation is scurrilous. In the same interview, Groeschel emphatically said that priests who are sexual abusers "have to leave." His reference to Sandusky was exactly the way a priest-psychologist might be expected to speak: "poor guy" conveys sympathy for his maladies—it is not a defense of his behavior! Indeed, Groeschel asked, "Why didn't anyone say anything?"
Groeschel holds a Ph.D. in psychology from Columbia University, and has put his training to work by counseling some of the most mentally and socially challenged people in our society. In addition, he has been screening men for the priesthood for decades and has an impressive record. His service to the Church has been nothing less than heroic.
Groeschel is nearly 80 years old. A few years ago, he was almost killed in an accident that left him disabled; it has definitely taken a toll on him. When asked by the media, Bill Donohue said, "I have known him for two decades. I've read his books, listened to his tapes—on sexual abuse—and have come to know a great priest. To condemn him for one part of one interview is wholly unjust."
By Bill|2017-03-20T17:51:48-04:00October 19th, 2012|Categories: Catalyst, Features|Tags: October Issue 2012|Comments Off on FR. GROESCHEL UNDER FIRE


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Fantasy 1939: Lord Dunsany, The Story of Mona Sheehy
[This is the second of two blog posts on Dunsany's Irish Fiction; the first can be found here.]
Dunsany's Irish novel of 1939, The Story of Mona Sheehy, is one of a pair, both of which can be read as Quixotic, like the earlier Chronicles of Rodriguez. The first of these is Rory and Bran (1936), about a teenage boy and his dog who are entrusted by the boy's parents with the daunting task of driving a small herd of cattle to the local market without supervision. The boy is Rory and the dog is Bran, and their mission is rendered more challenging by the fact that the boy is widely regarded as having learning difficulties (his parents agonize for a long time over whether or not he has the 'wits' to get the cattle safe to Gurtnaroonagh, pp. 1-5). The narrator, however, is of a different opinion. He often celebrates Bran's abilities, for instance, and never even mentions till the final chapter the fact that Bran is not a human being; so he clearly does not share the view of intelligence which scorns the idiosyncrasies of eccentric or unusual thinkers. And he makes it clear from the opening pages that Rory's wits are not so much wanting as sharply focused. The boy is obsessed with the heroes of medieval romance, though his heroes are continental rather than Irish – Roland, Charlemagne, Don Quixote and Arthur of Britain; and he sets out on his adventures determined to prove a latter-day Quixote, with the dog Bran as his Sancho Panza. In this he succeeds, and in doing so offers a model of eccentric but effective dealings with the world to his fellow Irish citizens, a model designed to challenge the homogenizing processes that threaten to subdue 1930s culture to drab and sometimes deadly uniformity.
Ranged against Bran and Rory in their quest to get the cattle to market are a couple of tricksters, reminiscent of the fox and the cat in Collodi's Pinocchio: a cheating jockey named Fagan and a combative traveller named the O'Harrigan. Between them, these men purloin the cattle from Rory several times and promptly lose them back to him again, often through the intervention of the resourceful Bran. On Rory's side stands a nameless tinker or traveller, who claims to derive his powers from the moon and who takes the young man under his wing as a kind of apprentice, and a dreamy young girl named Oriana, whose name identifies her with the lover of the medieval hero Amadis de Gaul, so admired of Quixote. But Fagan and the O'Harrigan are as fantastical in their imaginings as Rory, Oriana and the moonstruck tinker. O'Harrigan, for instance, claims to be hereditary lord of a ruined castle overlooking a bog, which gives him in Rory's eyes 'an almost knightly status' (p. 41); while Fagan supplies Rory with the colourful, quasi-medieval clothes of a jockey and an old horse to be his Rosinante, thereby exalting him to a 'splendid position' in his own eyes, if nobody else's (p. 55). In addition, both men's inability to derive any long-term benefit from their scams renders them as Quixotic as Dunsany's young protagonist. Much more sinister is Rory's Aunt Bridget, who plots to have the other-worldly Oriana committed to the Mullingar Asylum, a genuine institution in Dunsany's own County Meath where certified lunatics could be shut away from the eyes of uneasy relatives. Shut away with them are their dreams, which resemble those conjured up by Rory's reading: dreams woven from the Irish landscape and the Irish weather, just as Mrs Marlin's dreams in The Curse of the Wise Woman were woven from the bog. In Rory's eyes, his heroes Roland, Arthur and the rest are connected with the slopes of the local mountain, Slievenamona (as Dunsany writes it in this novel). The magic that invokes them is linked to the constantly changing light and the gradual or rapid changes that take place throughout the year in response to the changing seasons. Oriana's imprisonment in Mullingar would in effect rob the landscape itself of the magic she sees in it, as does Rory. It's appropriate, then, that she should be rescued on her way to the Asylum by Rory, still in his gorgeous jockey's silks, and his fellow dreamers, the tinker, the jockey and the O'Harrigan, by this stage working together as a superpowered team like an Irish Avengers. The tinker is bound up with the landscape thanks to his belief that all roads are his property, as well as all rabbits, chickens, cows and clothes he may find by the wayside; while the O'Harrigan is part of the landscape thanks to his attachment to his ruined castle; and their collective rescue of Oriana represents a triumph for an imaginative commitment to the Irish countryside that stands in danger of being lost in the 1930s, consigned to the categories of the romantic, the useless and the impossible that blind the sceptic's eye to the haunting loveliness of the fields, bogs, mountains and woods of rural Ireland.
Rory and Bran and The Story of Mona Sheehy are often described as 'realistic' novels, but a glance at a passage or two from either of them will undermine that assumption. Rory in the first is our hero, and for him the chivalric heroes he imagines are all around him. When he sets out from home for the first time as a drover they seem to fill his house: 'He rose and dressed, and went downstairs reluctantly, for in the shadows all over his room there seemed to be lingering yet the shapes of paladins, shadows only themselves, but shadows with a brightness about them' (p. 8). Shadows, of course, form part of the landscape too, and their mystery is an integral part of what gives a landscape or a building its attraction. Later, after being swindled by the jockey and the O'Harrigan, Rory settles down to sleep beside Bran on Sleivenamona, and finds himself in a dream conversation with the lord of the paladins himself, Charlemagne of France:
[I]n the brief sleep he got […] Charlemagne came to see him, and spoke to him gravely, his huge beard grey as the skirts of the clouds that touched Slievenamona, and told him not to trouble over the loss of money or cattle, the splendours of the hills ('where we walk unseen,' he said) and the splendours of Time, 'where we walk in the sight of all men,' being enough. (p. 108)
Charlemagne here can be dismissed as a figment, his beard woven out of the beard-like clouds Rory has been immersed in as he climbed the mountain; but the words he speaks are wise, and point up the close link between what is 'unseen' and what is plainly visible to 'the sight of all men', while highlighting the illusory and transient, cloudlike nature of possessions and riches. Material and immaterial things are set side by side, and the narrator invites the reader to consider, at least, the possibility of consenting to Charlemagne's judgment that immaterial things or shadows are more worth having.
But it's Rory's encounter with the tinker that finally brings him into the orbit of a philosopher worthy of his personal vision. The tinker is from one point of view a madman, with his literally lunatic trust in the moon as a kind of generator for his waxing and waning energies. He plays on his fiddle tunes he claims to have learned at the fairy court, and he possesses a charm called the Stone of the Sea, a piece of glass in which he professes to read the future. Yet at the same time he is an acknowledged expert in the practical business of earning a living. He knows that predicting the future is a kind of sham, but knows too that folk of all kinds love to be fooled, and gives the Stone of the Sea to Rory – the certified fool – as a means of keeping himself alive when he is on the road, since the boy is clearly unsuited to the trade of drover. The tinker, then, nurtures Rory, and in the process nurtures the reader, who allows herself to be fooled for a time by Rory's adventures, even as the adventures themselves chart the grey area between self-deception and belief.
Dunsany articulates the symbiotic relationship between imagined things and solid objects in a passage that gives a clear sense of Rory's function, and of the tinker's role in helping him fulfil it:
As Rory rode away he passed the tinker's donkey, grazing the land that for the purposes of agricultural returns was always classified as bare mountain. Between him and the tinker, by the side of the road, [so] draped with a profusion of old clothing and bedding as to suggest a monument set up in those hills to Untidiness, Rory saw the donkey's cart. One might have imagined upon it the figure of Untidiness herself, hidden by all those cloths and pieces of canvas that were her full regalia. Rory as he glanced at it imagined nothing; such tawdry subjects as that were not for him; the music of the tinker's violin, the sight of the further peaks, all solemn at evening, the mist that closed high valleys against the eye and opened their golden gates to imagination, those were the things for Rory. To some extent he goes for us as an ambassador, from the world that is all around us to the world we should like to know more of; often losing himself on the way, and lost for good but for Bran; and yet a link of a sort between us and Roland. (pp. 120-1)
Advertisements for Rory and Bran and Up in the Hills, on the dustcover of Dunsany's other 'dog' book, Dean Spanley
A range of visions combine in this passage. There is Rory with his dreams; there is the tinker and his material effects, the cart and the donkey; there is the sophisticated writer who comments on both; and there is the reader who, like the writer, can enjoy all these perspectives. Each of these visions is connected to the others by the rural space they occupy, with Rory moving through it like a tutelary spirit, enabling all four visions as he goes – his own, the tinker's, the writer's, ours. The landscape that contains him is defined as valueless by the documents pertaining to agricultural returns, which mark the place where we find ourselves as waste or liminal ground, a no-man's-land standing idle between profitable patches. The tinker and his donkey make productive use of this unproductive zone, for grazing, for mending broken pans, for living in – and above all, perhaps, for appreciating, both at close quarters and at a distance (it's a good place to enjoy 'the sight of the further peaks' in, as the tinker observes). The writer, meanwhile, makes use of the tinker's cart as a source of material for his allegorical figure of Untidiness, a being that recalls the eighteenth-century passion for eccentric personifications, a passion shared by Dunsany in his earliest short stories where he used it to conjure up an ancient world full of exiled monarchs, lost cities and forgotten gods. Finally there is Rory, who is wholly committed to the world of dreams as shaped into stories by romance, where the 'high valleys' of the hills have 'golden gates' that equip them for the needs of high adventure. In ending with Rory's vision, the passage traces a continuity between the mess of the tinker's cart and the heroic deeds that preoccupy the boy; for Rory these deeds and their doers share the scene with him and us, and the scene is transfigured by them. Dunsany's description of him as an 'ambassador' between different perspectives lends him a seriousness he does not possess in the eyes of Aunt Bridget, or of the strangers who pass him by in his ridiculous outfit, shakily perched on a half-dead horse. An ambassador's status sets up Rory's imagination as something that can co-exist, if properly respected, with the other perspectives, and can even be seen as the more exalted vision, the perspective that lends the whole scene a dignity it would not otherwise have.
Fantasy, then, in this mimetic novel, has what might be described as a material function. It makes things happen, unlike poetry – at least, unlike poetry as described in Auden's three-part elegy on Dunsany's friend Yeats, which was published in February 1939. Auden's famously ambiguous statement occurs in the middle section of his elegy:
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its saying where executives
Would never want to tamper; it flows south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
Auden's poetry, as wielded by Yeats, here both 'makes nothing happen' and represents 'a way of happening' – which suggests that the nothing it spoke of earlier happens after all, in places overlooked by the executives, liminal places like rural valleys, raw towns and 'ranches of isolation'. Dunsany's fantasy has this in common with Auden's poetry: its ambiguous effectiveness. Rory's rescue of Oriana, for instance, does not 'really' happen, in the sense that it is a fictional episode invented by Dunsany, which is itself invested in the book with the glamour of romance by a teenage boy's overactive imagination. But the rescue is brought to life by the writer's account of it; and it is the first practical thing Rory does in the book which is an unqualified success, marking the moment when he discovers the trick of surviving, despite his dreams, in the rural valley where he was born. In addition, the episode involves chivalric heroism, in that four self-appointed knights errant (the tinker, the jockey, the trickster and the boy) successfully free a young woman from her draconian oppressors. And Rory's eventual marriage to Oriana seals his tale as a chivalric romance, rather than a tragicomedy like that of his closest literary relative, Quixote. The couple then bequeath romance to future generations in the form of their children, one of whom (we're told) 'took a prominent part in Irish politics' and had the distinction of getting a bill passed which identified the Phoenix – that 'most national of Irish birds' – as a protected species (pp. 320-1). The Irish imagination, in other words, as embodied in Rory, Oriana and their descendants, is alive and well in the institutions of the Free State, Dunsany suggests, thriving even in its highest executive body, the Dáil. And it makes things happen by leaving its mark on the landscape as well as the law.
The Phoenix Monument, Dublin
The Phoenix is not in fact the 'most national of Irish birds', though as Dunsany points out there have been monuments erected to it in Ireland – most notably the Phoenix Column in Dublin's famous Phoenix Park. Ironically, the Phoenix Column was erected by an Englishman, the Earl of Chesterfield, and represents a name for the park that stems from a mishearing of the Irish 'fionn uisce', meaning 'clear water'. Rory's heroes, too, are for the most part not Irish – though when he has a vision of the drovers at Gurtnaroonagh as mythical heroes he sees Finn and Cuchulain among them (pp. 172 and 177). By mingling these Irish demi-gods with French, Spanish and British heroes (Rory thinks of Arthur as King of Little Britain, that is, Brittany) Dunsany frees the young man's dreams from nationalist politics, attaching them instead to the material spaces and solid objects – constantly changing in Ireland's weather – which furnish the needs of all political parties, regardless of their members' conflicting visions of the nation's future.
If Rory and Bran presents us with a quasi-fantastic, secluded Ireland beyond the reach of party politics, its companion piece, The Story of Mona Sheehy, puts that Ireland in dialogue with the other land of Dunsany's dreams: England, where both books were originally published. Dunsany grew up at his family's homes in Kent and London as well as County Meath. Kent provided him with the setting for his novel The Blessing of Pan (1928), in which he shut away part of the county in a permanent state of pagan preservation, shielded for ever from the toxic developments (as he saw them) of industrialization. The Story of Mona Sheehy, on the other hand, represents his dream Ireland as existing at the edge of the damaging dreams of free market capitalism, teetering on the brink of being overwhelmed by them, in a drastic reversal of the overwhelming of Erl by the dreams of Elfland. The quest of the novel is to find a way of coexisting with modernity without succumbing to it, of living in a world that acknowledges the metropolitan wonders of London while at the same time allowing rural Ireland to maintain its independence from the British capital, preserving the particular wonders of its culture and landscape against the depredations of social and technological change. Change takes place in it, of course, and is not represented as an unqualified evil, as it sometimes is in the work of Tolkien; but Dunsany protects his rural Irish community from the worst excesses of twentieth-century progress, preserving it in a kind of imaginative neutrality that anticipates Ireland's real-life neutrality in the Second World War.
At the heart of the novel is a distinction between the idea of choice, which is the motor that drives the capitalist economy, and inclusivity, which Dunsany sees as the defining feature of his dream Ireland. Capitalism urges its subjects to make frequent selective decisions: between commodities, between homes and jobs, between winning and losing (in a horserace or a financial speculation), between high social status and obscurity. Dunsany's dream Ireland, by contrast, is resistant to hard and fast choices, preferring to permit its inhabitants to harbour two or more points of view simultaneously and hold them in a delicate but stable equipoise as they go about their daily business. In 1939, such inclusivity was threatened on all sides, in Ireland as much as in totalitarian states elsewhere in Europe. As a result Dunsany's book is in effect a political project, despite its explicit resistance to party politics, since it is concerned to stress what unifies his country, as against the divisive forces that could dismantle Irish culture (as he sees it) in perpetuity. In The Story of Mona Sheehy Ireland becomes a Quixotic nation, nurturing the dreams of its inhabitants in the face of unimaginative governments – including its own – and the looming threat of global war.
Cathleen Ni Houlihan on stage
Inclusivity in this book is exemplified by the young protagonist, who for the first time in Dunsany's novels is a woman (or rather a teenage girl). Having a female protagonist could itself be seen as a political act on the part of an Irish writer in the 1930s, given that Ireland had been figured as female since at least the time of Cathleen Ni Houlihan (1902), the influential one-act play by Yeats and Lady Gregory. In the play, a wandering old woman is revealed as the personification of Ireland in the final scene. Her homelessness and frailty designates the state of the country under British rule, while her eventual transformation into a strong young girl 'with the walk of a queen' represents what the liberated country might eventually become. Mona Sheehy's link with the Queen of the Shee, which is enshrined in her unusual surname, marks her out as a potential avatar for the regal younger version of Cathleen. She was even born around the time of the play's first performance, since we are told that she turns sixteen in the year the Great War comes to an end.[1] At the same time, her link with the Shee marks her out as a threat to the community, since the Queen of those troublesome people can be as dangerous as she is beautiful, bringing ruin on persons or populations who invoke her name without due caution. Mona's status as a source of both local pride and occasional terror confirms her as the embodiment of Ireland, and in particular of Ireland's capacity for accommodating several contradictory points of view at once, the quality for which Dunsany most loves his imagined country.
Like Ireland, too, Mona's identity is under debate from the day of her birth. Is she or is she not the descendant of a supernatural entity, as her name suggests? Her neighbours in the village of Athroonagh think she is, and for the most part she agrees with them. The narrator, meanwhile, knows she is not, and lays out the evidence against her fairy origins with exemplary thoroughness in the opening chapter. Yet he also clearly delights in the villagers' readiness to accommodate fairies in their world view – against all the resources of reason and science – as a metaphor (among other things) for everything that can't be measured or articulated. Throughout the book, belief in Mona's supernatural origins competes with disbelief, in her mind and the minds of others, without either position winning a final victory. And although in the closing chapter her mortal birth seems to have been confirmed, there remains a lingering uncertainty over the sources of her beauty, so that the victory remains as ambiguous as Auden's claim that poetry makes nothing happen. As one experienced traveller puts it on the final page: 'I've seen such beauty before, but nowhere in this world' (p. 334). As a result, the air of mystery about Mona is never dispelled, and can be bequeathed at the end of the book to her Irish descendants, a guarantee that they will go on accommodating multiple perspectives in the face of the laws of governments, scientists, lawyers and Church authorities in time to come.
Mona's ambiguous origins stand at odds, in fact, with rigid rules of all kinds. The few details we are given about the circumstances of her birth point towards a trespass against the laws of the Church, in that she's clearly illegitimate. But they also hint at a potential infringement of one of the more draconian laws passed by the contemporary Irish government: its right to censor printed texts, as asserted in the Censorship of Publications Act, 1929. Representing explicit sexual acts could get a book banned in 1930s Ireland, and Dunsany is surely playing a game with the censors' prudishness in the prevarications over Mona's conception that open the novel. The book begins with a question of sex, as two priests engage in an urgent debate over whether or not the five-year-old Mona is a 'mortal child' – in other words, whether she is human. In the opening sentence, the older priest asserts unequivocally that she is: 'I never saw a more mortal child' (p. 1), and he repeats the assertion in the final sentence of the book, at Mona's wedding (p. 334). But in between, the joke is that this assertion can coexist in Ireland with a conviction that the girl could indeed be immortal, whatever the Church asserts or the priests conclude among themselves. And the priests' concern with the child's mortality or humanness seems in any case to erase from their minds the mortal sin committed at her conception – the sin that would have been of overriding concern to the government censors. Institutions may have rigid views about the boundaries of legitimacy, but mortals do not, and Mona's presence in the Athroonagh community serves as a focus for all the ambiguities and plural standards its members embrace on a daily basis.
Indeed, the uncertainty surrounding Mona's conception helps to cement her status as a representative or 'ambassador' for her community. No one knows for sure who her mother is – and even if she were confirmed to be the fairy queen the doubt would remain, since no one is entirely sure what a fairy is. As it happens there is also doubt over her father's identity, the choice being between a peasant farmer called Dennis O'Flanagan and a self-serving upper-class entrepreneur called Peevers (and one might add to these two Father Kinnehy, the young parish priest of Athroonagh, who is her spiritual father). In the end, no choice is made as to which of these two paternities is more probable, and both men have a hand in her upbringing, which leads to a series of complications which cannot be resolved until Mona's fate is finally placed in her own hands. The girl's illegitimacy, then, implicates the whole of Athroonagh and its environs in her making, from the local dignitaries Lady Gurtrim and her husband to the gossips Mrs Ryan and Mrs O'Kelly, who assume a kind of authority over the child on behalf of the local community, the tinker couple who adopt her when she runs away from home, and the mysterious tramp who seems to have strange insights into the minds of both young Mona and Lady Gurtrim. Mona's presence looms over her neighbours like the mountain Slieve-na-mona from which her first name was taken – the mountain that also happens to be the place of her conception. This means that the novel from beginning to end is dominated by an illicit act of sex, in defiance of the government ban on explicit treatment of this topic in Irish fiction. None of the events in it would have happened if Mona had been born within the pale of legitimacy. In other words, the book itself is illegitimate, and celebrates illegitimacy as a kind of counter to the various forms of tyranny that threaten to constrain the actions of Mona – and by extension of the local and national populations she represents – both in the novel and in the world of the 1930s.
Unlike the Irish censors or the higher Church authorities, the priests who discuss Mona's birth in the opening chapter are flexible enough to recognize that there is more than one way of representing the act of sex. Refreshingly pragmatic about how their parishioners see the truth, they refuse in the end to take an absolutist stance on the question of Mona's parentage. Having concluded that both her father and mother were human, they decide not to communicate this conclusion to their parishioners, for the simple reason that the people of Athroonagh would refuse to believe it if they did: 'And it's best for us not to be telling them things they would disbelieve,' as the older priest puts it, because 'You don't know where they would stop' (p. 2). The clergy, then, keep their opinions about Mona to themselves, in deference to the villagers' reluctance to forfeit any one of their many rival and often contradictory convictions at the behest of those in charge. And the novel's narrator takes a similar stance. Although he shares the priests' opinion on the girl's mortality, he also shares their understanding and sympathy for the villagers' perspective. This is borne out by the bipartite structure of the opening chapter, which begins with the priests' discussion of Mona's parentage and goes on to describe the night of her conception. Just as the discussion ends inconclusively, despite the priests' clear statement of their views, so too does the story of that night somehow end up simultaneously supporting both the view that Mona is mortal and the perception that there is something magical about her. This is because the narrator describes the facts with some precision, while at the same time investing them with a magical air that fully explains, even while it doesn't endorse, the villagers' conviction that supernatural forces were at work on the night in question. He gives us what he calls the 'story' of Mona's birth (p. 2), and in the process places the telling of stories, and the various levels of belief invested in them, at the centre of this novel, which is itself a Story.
The Fairy Queen by Henry Fuseli, illustrating Spenser's 16th-century Irish epic, The Faerie Queene
The atmosphere and location of the 'story' are wholly magical, however unmagical the processes involved. A local dignitary, Lady Gurtrim, is on her way home from an unsatisfactory ball, and is therefore dressed in her finest clothes, with a tiara on her head fit for a queen. She stops her coach on the slopes of Slieve-na-mona, a mountain traditionally linked to the fairies, and steps out for a moment to take the air. She dances dreamily on the slopes, enjoying the movement she did not get the chance to enjoy at the party, to which her dancing partner and adulterous lover, the contemptible Peevers, failed to show up. A local farmer chances by, takes her for the Queen of the Fairies, and proceeds to dance with her by starlight – after which they 'dance' together in a different way. Lady Gurtrim knows full well that the farmer believes her to be a fairy, and knows of course that the young man is mistaken; yet at the same time his mistake seems wholly reasonable to her, since 'she was the daughter of a squireen in lonely hills in Kilkenny, and had never quite made out, from the various tales of her childhood, what actually haunted the hills and what did not' (p. 5). She therefore plays the role of the Queen of the Fairies with the authenticity of someone who really believes there might be such a person. For the Church authorities, there are ordinary mortals and supernatural beings, but a person (apart from Christ) cannot be both. For governments, there are those who adhere to the laws and those who break them, but you can't do both in the selfsame act. But for the priests and people of Athroonagh, a girl can somehow be both mortal and immortal, both illegitimate and of high ancestry, both a Christian child and a pagan, both magical and mundane, both on the margins of the community and at the centre of it; and it's this capacity to sustain a simultaneous belief in two or more incompatible systems that makes these people so well worth celebrating at a time of dictatorship and mechanised conflict.
As it turns out, there are many ways in which the people of Athroonagh can sustain their existence in a liminal place between radically different worlds. If their priests can achieve a delicate balance between two incompatible convictions, so too can those bastions of the law the members of the Royal Irish Constabulary. When interrogated several chapters later on Mona's identity, the police sergeant at Athroonagh refuses to be drawn on 'religion and politics', but will still affirm that he has 'seen strange things in the course of [his] duties' (p. 79), which means that she may or may not be what people think she is: a child of the Shee. The sergeant's views are at once endorsed by his traditional enemy, a passing tramp; and the postmistress adds that the existence of fairies may be a wonder, but so too is that scientific miracle the telegraph, 'a thing that can talk from the ends of the earth' (p. 80); and after its invention how can anyone question the validity of other kinds of miracles? The schoolmaster, meanwhile – whose task it is to instil immutable truths in his young charges, and who is instructed by the priest to treat Mona like an ordinary human being – is outraged by the daft pretence that has thus been forced upon him, since he considers it a 'silly game […] to treat one who came of those mighty forces that roamed the mountain at night, and sometimes shrilled with great voices between the roof and the stars, as a common and mortal child' (p. 19). As these instances of parallel convictions multiply, Athroonagh begins to look like the most capacious of receptacles for the conflicting paradoxes of twentieth-century existence, a receptacle rendered potent by its unlimited credulity – or to put it another way, by its unusually rich capacity for belief.
The local gamekeeper, too, finds himself torn between contradictory positions. His task is to police the boundaries between public land and private property, but when confronted by Mona Sheehy at twilight he finds himself unable to deny her access to the woods he guards. When she points out that last time they met in the woods he chased her home, he tells her:
'Ah, sure I have my duty to do by day […] but I don't forget the ancient powers for that, nor the children of them. And, begob, when the moon's like that and the woods are still, sure Ireland isn't any longer under the Government then. It's under the power of Her Majesty that does be reigning behind Slieve-na-mona. Doesn't even my dog know it?' (p. 30).
The gamekeeper's conflicted state of mind has a political dimension, as this speech suggests. One queen can displace another quite easily in his imagination, and his affiliation to political movements can change just as easily, despite his insistence that Mona needs to choose between being a mortal girl and the child of a fairy. 'It's either the top of Slieve-na-mona looking down on the centuries,' he pronounces, 'or else it's our bits of houses and our human ways and the sins we sin and the hopes we have. It can't be both' (p. 31). But the choices available to the gamekeeper seem less fixed than this pronouncement tends to suggest, shifting in response to the time of day, the shifting seasons, the changing weather. 'In that light and at that hour,' Dunsany assures us,
he would himself have enlisted as one of the bodyguard of the Queen of the Shee, had he been asked to do so by any supernatural power coming from Slieve-na-Mona. And at another hour he would have joined the Fenians, and maybe died in prison for doing it. And in another light and at some other hour he might have enlisted in the Brigade of Guards, being the right height for them, and would have carried into old age tales of their battles as well as tales of the Shee.
At different times of day, Dunsany suggests, the convictions of the Fenians and those of the Unionists might take the upper hand in the gamekeeper's personality, though both seem equally compatible with 'tales of the Shee'. The borders set by political parties are always moving in Ireland, like the borders of Elfland in Dunsany's most famous novel, and affiliates of opposing Irish parties have more that unites them than divides them in Dunsany's fiction.
The borders of the country were shifting too, of course, around the time when the novel is set – 1919 to 1920 – and at the end of the novel the police sergeant, despite all his efforts to steer clear of religion and politics, is forced to hurry over the border to the newly-established Northern Ireland to avoid paying a heavy price for his membership of an imperialist police force. Making a choice of any kind, it would seem, gets you involved in politics, so that avoiding choices, too, could be a political decision, a means of steering carefully between the deadly shoals of opposing factions.
The borders between purportedly distinct populations of Athroonagh are highly permeable. The villagers live in a symbiotic relationship with the people who live without houses, the traveler or tinker community, who mend their pots, supply their gambling needs, and provide them with false coins when the need arises. The tinkers' capacity for crossing borders and breaching limits is merely an extension of the villagers' refusal to be contained within the boundaries of legitimacy. Property laws are largely irrelevant to the tinkers – except where it comes to donkeys (p. 139) – and they treat the whole of Ireland as their household, with all its contents available for them to use at their pleasure, including chickens, rabbits, cows and crops, regardless of legal ownership. The same is true (though to a lesser extent) of the villagers, which is why there's a need for a gamekeeper in Athroonagh. And while the tinkers have no interest in property, they are also willing (Dunsany suggests) to stake an exclusive claim to the possession of certain individuals, such as Mona Sheehy once she has been cast out by the village community. The two populations may be distinguished by different customs, but they have more in common than either population is willing to concede, and the whole structure of Dunsany's book has been devised to draw this out.
The tinkers' criminal activities, too, are coterminous with the secret crimes of the villagers. In Rory and Bran the only tinker was a friendly visionary; but in Mona Sheehy Dunsany represents the tinker community as dangerously as well as delightfully anarchic. Murders, rapes and abductions can be committed among them with impunity, and they have an unsettling habit of stowing dead bodies in the false bottoms of their carts along with the other doubtfully legal goods they carry. Yet the tinkers' relative lawlessness is never judged, either by the tinkers themselves, the people of Athroonagh or the narrator. This is partly because they exist on a continuum between the fantastic and the real, a mobile state of being that involves radical moral shifts as well as geographical ones; it's inevitable, then, that they should share the dangerous aspects of the fairies they dream of, as well as their knowledge, musicality, charm, and appreciation of mortal beauty such as Mona's. In addition, the tinkers' crimes are committed with equal enthusiasm by the villagers. The gamekeeper's son, young Peter, commits a murder for Mona's sake, killing a tinker who plans to rape her; and Mona's living body is disposed of repeatedly by other people than the tinkers in the course of the novel – from the villagers, who cast her out of the village as a danger to it, to Lady Gurtrim's lover Peevers, who sends her to London for purposes of his own, to Mona's 'true' father Dennis O'Flanagan and his sister, who forbid her to marry the young man she loves – without considering the girl's own wishes. Like Mona herself, then, the tinkers could be said to represent the state of continuous fluctuation which is the atmosphere of Athroonagh, and Dunsany celebrates them because they represent the reverse of the rigid lines that separate state from state and right from wrong in the minds of less inclusive populations.
Like the gamekeeper at Athroonagh, the tinkers' identity fluctuates depending on the time of day and their state of mind. As the wise woman tinker Mrs Joyce tells Mona at one point, the young men of her community can be 'a bit wicked sometimes', especially after one of them has killed another in a fight; and on such occasions the wickedness persists 'until anything happens to make them forget about it' (pp. 164-5). Even in this, though, they are little different from the villagers. After killing the tinker who wishes to rape Mona – bashing his head in with his shillelagh in a fair but illegal fight – the gamekeeper's son, young Peter, flees to the hills for a while until the fuss about the death has died down, where he joins the IRA, 'a band of young men that drilled at night […] and carried a rifle with them' (p. 256). But he soon returns to his work as a gamekeeper's assistant for a local landowner, Lord Harahanstown – presumably one of the members of the Anglo-Irish aristocracy that the IRA has sworn to drive out. Peter's political commitments change with the changing weather, as his father's do, and his opinions about Mona – whom he loves and courts – change likewise as the weather changes, growing uneasy about her fairy blood when the day grows dark. Peter's fight with the tinker, in other words, is governed by non-legalistic rules both parties abide by, and the tinkers are as careful to conceal the evidence of Peter's act of murder as they were to conceal the murder committed by a member of their own community in a fight over Mona the night before.
The tinkers exist on a continuum of belief that runs between the fairies at one end and the police at the other, between anarchy and the long arm of the law; and they maintain an ambiguous understanding with the people at both ends of that continuum. The tinker Joyce, for instance, who takes in Mona when she runs away from Athroonagh, asks her to deliver a message to her mother, the Queen of the Fairies, apologising for his obtuseness in failing to understand her messages throughout his lifetime (pp. 48-50). He does his best to do the Queen's will, he explains, but was left by his negligent mother with an imperfect knowledge of the many distinctive languages fairies speak. Meanwhile he and his fellow tinkers have their own distinctive way of talking to the police, a form of language designed to delay their investigations for as long as possible through repeated calls for clarification, before eventually sending them off in the wrong direction. The fairies, of course, must be similarly misdirected – no one must name them openly, for fear of attracting their attention ('Will you not speak that name,' Mrs Joyce tells Mona when she mentions her putative mother, 'and bring bad luck down on the tinkers', p. 140). But this in turn is an extension of the unwritten rules for conversation in Dunsany's Ireland. Questions from anyone in that country will be met with prevarications, indicative of productive indecision or two-mindedness as much as of a desire to mislead. The tinkers' discourse is riddled with circumlocutions: 'I'm not saying they're not right' (p. 175), 'I'm not saying you will' (p. 49), 'I'm not saying I saw either, nor I'm not saying I didn't' (p. 171), 'I wouldn't say it was […] nor I wouldn't say it wasn't' (p. 185). And in using this roundabout way of speaking the tinkers simply take the ways of Athroonagh to a new level. The gamekeeper, for example, shares their liking for circuitous sentences: 'I'm not saying who's immortal and who's not', he tells his son with reference to Mona (p. 73), and does so 'with an Irishman's anxiety not to be definite'. Even the most opinionated villagers reserve the right to change their minds at a moment's notice. The gossips Mrs Ryan and Mrs O'Kelly do so multiple times in the course of the novel, on one occasion pronouncing the doom that expels poor Mona from the village, on another affirming with equal certainty the rightness and necessity of her return; first denying her the right to marry Peter, then implicitly confirming that the same marriage is entirely appropriate by attending the wedding, and spending the ceremony in making careful comparisons with all the other weddings they have seen in their lifetimes, 'drawing a moral from any differences that were observed' (p. 333). Any statement made by the villagers or the tinkers, then, is constructed in such a way as to enable them to retract its assertions whenever necessary, in response to the changing contours of the political, social or emotional landscape.
Mullingar Asylum (St Loman's Hospital)
The continuum of belief, supported by flexible forms of discourse, finds a counterpart in the invisible map of Ireland constructed by the movements of the tinkers around the country. In Rory and Bran, the madhouse at Mullingar was a destination reserved for tinkers who could no longer disguise their insane dependence on the moon, or young women who show too much faith in the wild romantic dreams of mad young men. In The Story of Mona Sheehy it has become a regular stop on the tinkers' route from town to town – though it also remains an institution for the incarceration of crazy tramps (p. 263). The Joyces tell Mona that their annual wanderings take them 'along the roads between Galway and Mullingar' (p. 49), or 'between Dublin and Mullingar' (p. 50), naming points at the extreme West and East of Ireland in relation to the town that contains the asylum, roughly in the middle. Distances are variable – somewhere 'not far' might be a week away or more, as a donkey goes (p. 145), while the mysterious tramp who crops up periodically through the novel claims to have travelled through the whole world 'and other places besides' (p. 79). For the Joyces and the tramp, space is as relative as the truth, since the whole of the outdoors is their living room, the side of a road their kitchen, the ground their bed.
Science is present in Mona Sheehy as it is not in Rory and Bran, but Dunsany invests it with magical qualities, using similar techniques to the ones he used to enchant the night of Mona's conception. Mona's banishment from Athroonagh occurs on the night when she goes to the mountain to find her supernatural mother, which happens also to be the night when the Northern Lights appear in the sky. The villagers assume that these strange celestial lights are manifestations of her mother's wrath, and drive Mona away to ensure that the consequences of that wrath will not be visited on their community. When the bishops hears of her banishment he sends the villagers a detailed scientific explanation of the meteorological conditions that produce the aurora borealis: 'they are of the nature of an electrical meteor appearing most frequently in high latitudes in the form of luminous clouds, arches and rays, of which the latter sometimes meet at a point near the zenith' (p. 158). But the bishop's explanation itself becomes for the villagers a magic spell of tremendous power against the fairies: 'Bits of that letter are quoted in Athroonagh to this day,' Dunsany tells us, 'and many a frightened man hearing steps behind him at night has muttered to himself "or in other words to the curves of the magnetic force," and found that the sound of the steps would disappear' (p. 159). Science has its place on the same continuum that links the fairies to the police, and a scientific publication can become a spell in Athroonagh as easy as blinking.
Mona's earthly mother is linked with science, just as her supernatural mother is, in this case through her love of cars. The car is a machine whose movements are restricted by the narrow limits of the tarmacked roads along which it travels, as well as the capacities of its engine. Yet it too is invested with magic by the villagers and travellers it passes after dark:
And the hum of a large car disturbed the night, and the radiant light called more trees out of the darkness to show their midday greenery for a moment. The golden flood swept rapidly over the hedges and a huge car went by, and ashes and scraps of paper from the Joyces' fire ran after it, and the light and the noise were swallowed up by the dark and silent night. It was Lady Gurtrim taking her great car to the coast. (p. 267)
For the Joyces who watch as the car sweeps by, it is as supernatural an event as Lady Gurtrim dancing in the moonlight seemed to the farmer Dennis O'Flanagan more than sixteen years before. At the same time, for Lady Gurtrim her machine is a strictly private obsession, something that cuts her off from the dreams and stories of her neighbours, and prevents her from participating in their generously inclusive systems of belief. She is as narrowly focused on her driving as her 'great car' is narrowly constrained and bounded by the road; when sitting at the wheel of her Grostyn-Dhobler she has no eyes or ears or thought for anything else. So it seems appropriate that her obsession with driving should bring about her death, since it divorces her from the community she is part of – the people of Athroonagh, her unacknowledged daughter, her kindly husband. Her car, in fact, cuts her off from life long before it kills her; it's a symbol of her 'selfish' conduct (p. 284), as she acknowledges in the split second before she dies.
Mercedes-Benz W 154, 1939
In Rory and Bran, Lord Dunsany indulged himself in painting a picture of the class to which he belonged – the Irish aristocracy – as an extension of the country's landscape and an integral part of its ancient culture. When travelling with the moon-worshipping tinker, Rory learns from him that a certain local landowner is a generous patron of travelling folk, and will provide them with a character reference with heartwarming ease. Sure enough, Rory obtains a reference from the baronet Sir Frank of Ardmona House, and uses it to beg a warm coat from Sir Frank's near neighbour, the landlord Mr Percival, thereby confirming the symbiotic relationship between the ruling classes and the peasantry in rural Ireland before the Great War. In The Story of Mona Sheehy, by contrast, the aristocracy seems on the verge of extinction. The alienation of Lady Gurtrim from Lord Gurtrim means that they have no children, and since Lady Gurtrim never officially acknowledges her relationship to Mona, this means that when both have died they leave no heirs. The couple die separately, each in pursuit of their own hobby: Lord Gurtrim while hunting a fox to hounds, Lady Gurtrim while racing her car. Lord Gurtrim's hobby is a communal one, since for Dunsany 'love of the hunt is […] in the Irish blood, and to watch a fox-hunt is as natural to Irish people as to hear tales of the Shee' (p. 114). His love of hunting, too, is connected in the chapter about his death with his fabled generosity, from which Mona hopes to benefit when she runs away from Athroonagh. He is clearly of a piece with Rory's benefactor, Sir Frank, in Rory and Bran, because it is widely know that 'no one in distress appealed in vain to Lord Gurtrim' (p. 112). His death, then, could be read as a symbol of the end of an era, with Lady Gurtrim and her lover Peevers its cause: Lord Gurtrim thinks about Peevers as he dies, and describes him as a 'Nasty little rat' (p.119). Lady Gurtrim, on the other hand, is alone as she dies, and looks back on her life as a selfish one. Her death, however, makes 'some amends' for this selfishness (p. 284). While still officially in mourning for her husband, Lady Gurtrim drives her Grostyn-Dhobler to a race in England, and in the middle of the race a little girl runs out of the crowd in front of her car. Lady Gurtrim thinks for a moment that the foolish child deserves to die, then makes 'The Choice' which is referred to in the chapter's title. The choice is a simple one: drive straight on, keeping to the road as her machine is designed to do, and kill the girl; or swerve aside to avoid the child, thus taking the car on a trajectory that will be fatal to its driver. In terms of the rules of the race and of Newtonian motion, the second choice does not exist; and its impossibility is signalled by the presence at the edge of the road of a containing parapet, a 'cement balustrade that was imitating marble' (pp. 283-4). But Lady Gurtrim takes it anyway, steering away from the only legitimate or regular course available to her. In the process she steers herself back into a sense of community, and at the same time into local mythology. As the car flashes past the astonished child it seems to her 'wonderful', and as it bursts through the parapet the Grostyn-Dobler takes on the appearance of a second meteorological apparition, a firework display on a par with the Northern Lights that shocked the village a few chapters earlier: 'The balustrade of sham marble burst into dust, and the Grostyn-Dhobler, catching light at once, went over the tree-tops in one long stream of fire' (p. 285). Lady Gurtrim thereby passes into legend – just as the hunt in which Lord Gurtrim died passes into legend (we are told) among the hunting community of the county. In the process, the aristocracy of Ireland passes into legend too, to be replaced, perhaps, by the born survivor: Lady Gurtrim's lover Peevers, the 'Nasty little rat' who deserts every sinking ship he boards with shameless aplomb.
Race-goers having a picnic at the Galway Races, 1945. Photo by Francis Reiss
Peevers represents the extension of selfish principles to society as a whole, as embodied in free market capitalism, which is founded on providing an increasing number of choices to consumers while a diminishing number of providers stand to benefit from these choices. Choice itself, as Lady Gurtrim discovers in the end, involves shutting down certain possibilities for ever. So when Peevers encourages Mona to bet all her money on a horse at the Rathmoon races – as he does himself – she loses all of it, and so diminishes the range of choice available to her in terms of her life after leaving Athroonagh. Peevers himself, of course, has more money than she does, so that his own range of choices is hardly narrowed at all by his loss. His response to the loss illustrates the free market capitalist's attitude to projects that fail: fault for the failure is anyone else's but his own, and in this case it is that of the rider, which introduces a second act of choice: 'a comparison between his own intelligence and the folly of a jockey' (p. 203). Each choice Peevers offers in the book is similarly weighted in his favour and against the wellbeing of other choosers. When he suggests that Mona should go to London to work for an advertising company, presenting it as a choice, the suggestion brings a range of benefits for him: Lady Gurtrim will be impressed by his ability to deal with intransigent problems, such as how to provide for her illegitimate daughter without the need to acknowledge her, while the manager of the firm will be impressed by Peevers's ability to 'supply him with the kind of material for employment that he rather thought he wanted' (p. 199). For Mona, however, it brings no benefits at all, however extravagantly Peevers talks up the likelihood that it will make her 'a good deal of money' (p. 198). Being underage, she has no choice over whether or not she goes to London; the decision is made for her by her rival fathers, Dennis O'Flanagan and Peevers, who in this case speak with one voice, as if to emphasize the choicelessness of the market system they are urging her to join. She is unhappy when she gets to London, and grows unhappier as time goes by. And London turns out to be a world where her range of choices grows progressively narrower, until she can find no escape at all from the maze-like circuit of its streets. The choice of goods in the city's shop windows, the choice of company in its streets, the choice of destinations its stations offer to well-heeled travellers – all are closed to her owing to her poverty and inexperience. From the moment she arrives there, then, she begins to shrink, reduced from the queenly daughter of the Shee to an indigent worker trudging the route from work to lodgings, from lodgings to work from day to day without hope of change. The subtle changes of the Irish landscape have been barred to her, and she is reduced to seeking escape from her situation in a place where any escape is merely a route to another dead end.
1939 advertisement
The progressive narrowing of Mona's choices is summed up by the culture of the firm she works for, the World Improvement Publicity Company. The aim of the firm is to invent for its customers needs they did not think they had, such as the overwhelming need for a new, expensive form of mustard, which is sprayed on your food in a fine transparent mist, as against the yellow, lumpy condiment everyone uses as things stand. The aim of the firm is first to present the spray-on mustard as a superior choice to the lumpy kind, then to ensure that in the end it is the only kind available, and that its manufacturers are the only people to benefit from it. The idea for the mustard comes from a man with the unfortunate name of Snerooth, the son of the firm's owner, whose monopoly over the product gives him a monopoly over any profits it might bring. Snerooth seeks a similar monopoly over Mona, and when he proposes marriage to her he presents the proposal – like his mustard – as a choice which in the end is no choice at all. If she refuses, she will be condemned to work for the World Improvement Publicity Company for the rest of her life; if she takes it, he will possess her along with the rest of the company's assets. Snerooth presents to Mona, in fact, a ready made destiny, whereby her life will continue to be shaped by insidious forces beyond her capacity to affect. In this he resembles the odious Peevers, who has a 'strange desire for a reputation for being able to control destinies' (p. 199), and who offers choices which are no choices to everyone he meets. For Snerooth and Peevers, money offers choice; but this choice turns out to be as illusory as the choices offered by advertising. The riches promised to Mona by Peevers turn out to be a salary so small that she will take years to build up the capital to do what she wants, go home to Ireland. And when she is left money by Lady Gurtrim in her will, her new wealth means she can finally go home, but once there she is forbidden to marry the man she loves – young Peter, the gamekeeper's son – because he is now 'beneath' her, socially speaking. The mythical gold with which the streets of London are paved is in fact a gold that has no value, just as the mustard devised by Snerooth will have no flavour or colour or substance. Instead it forces on its users a destiny – a single path from which it's impossible to turn aside – that is not worth having, the polar opposite of the freedom of the Irish roads.
Throughout the London section of the novel, the differences between the metropolis and Athroonagh are repeatedly brought home to us. As Mona travels to London, for instance, Ireland shows herself in her most attractive colours, putting herself in competitive dialogue with the gilded thoroughfares of the capital:
The gorse at the height of its glory beamed upon her. Almost it seems strange that Earth, which has so little gold, could send forth such an abundance of gorse: flowers planted upon a stratum of gold and nurtured by gold dust could not have been more yellow. Catkins shone from the willows and sometimes a blackthorn flashed; and kingcups, which she knew she was leaving, nearly brought tears to her eyes (p. 205).
Here the gold of the Irish countryside offers itself in generous abundance to every passer by, not restricting its loveliness to a small elite. There is no need for jealousy of its possession, as there is (for instance) among the girls at the London firm for Mona's luck in catching the heart of the owner's heir. Later, the 'intrusiveness and the tirelessness' of advertising in London, which drowns out the subtle, distinctive 'message' of the city, is contrasted with the cheerful invitations to passers-by offered up by the tinkers at the Rathmoon races, which attracted players to Mr Joyce's roulette board 'of their own accord' – by a genuine choice (p. 213) – as against the spurious sense of need imposed by publicity. The restricted nature of London's wealth is emphasized by the suspicious store detectives who police the shop windows, draining them of the seductive 'magic' Mona found in them at first, the only magic she found in the capital apart from its power of drawing people to it against their will. The smell of petrol replaces 'the smell of the flowers that the wind blew over the fields of Athroonagh' (p. 221), and the 'sight of immensities' such as Slieve-na-mona is narrowed down to occasional fleeting glimpses of the clouds:
Sometimes the sky would flash at her down a long street, showing her wandering clouds, and for a moment the world was again a world she was born to live in; and then she was once more under the steep houses, and a shadow fell on her spirit that was so easily shadowed. (p. 221).
Earlier in the book, shadows seen from the height of Slieve-na-mona represented the infinite possibilities of mystery embedded in the Irish landscape ('she saw even in that broad daylight blue folds of the ground and dark ridges, and patches hidden by mist, which the child decided might well be haunted by the hosts of the people of legend', p. 69). Shadow Ireland lay all around her, summoning to it the shadows of myth and legend that spoke to Rory. In London however, shadows are simply shadows, and Mona's ability to talk and think about the 'hosts of the people of legend' is taken away (p. 228), leaving her a shadow of her former self. The streets, too, hemmed in by 'steep houses', contrast with the 'wandering' country lanes of Ireland, along which wayfarers pass with the insouciance of clouds. In this passage, Mona finds herself at the end of the road, her direction permanently fixed for her, in stark opposition to her unknown path of travel when she first set out from Athroonagh, without a destiny, a destination or even the vaguest plan of action, like a wandering knight in an old romance.
Her personality, too, is fixed in London, as it never was in Ireland, where she effectively changes her species as the novel goes on. As a daughter of the Shee she is seen by her fellow villagers as a phoenix, akin to the national bird of Ireland commemorated by the statue in Phoenix Park. As Lady Grutrim's daughter, heir to twenty or forty thousand pounds depending on the whim of rumour, she becomes for the villagers a bird of paradise, a burst of bright feathers of the kind fine ladies put on their hats. In the final chapter of the book, when Peevers has succeeded in frittering away the fortune left her by Lady Gurtrim by investing it all in business prospects that fail – including the ersatz mustard of Snerooth – Mona is reduced, we're told, to a 'mere hen, which there was no reason now for grudging to Peter' (pp. 329-30). At all times, though, she is a bird, and therefore akin to the blackbirds, cuckoos, swallows and thrushes that haunt the woods where she wanders with her young man, singing 'of magic to her, and the fairy people, and the royal race of the Shee' (p. 72). And her ability to transform herself by her own powers, and to be transformed into strange new shapes by events beyond her control, suggests that her destiny will not be determined or ordered for her in Athroonagh, as it seemed to be in London when the city consumed her.
The Story of Mona Sheehy offers its readers Lord Dunsany's final thoughts on Ireland and fantasy before the outbreak of the Second World War. Like Rory and Bran it finds the 'message' of Ireland in the Irish countryside round Slieve-na- mona, and more specifically in Irish country roads, which link the country together in an elaborate network along which travellers and tinkers move with the freedom of birds. In doing so it attaches itself to the work of James Stephens, whose novels The Crock of Gold (1912) and The Demi-Gods (1914) concern themselves with the traveller's life in Ireland, offering it up as a working model for the nation's road to independence. This attachment – which would have been obvious to readers in the 30s, when the popularity of Stephens's novels was at its height – suggests (I think) that in these two books Dunsany works out his own imaginative reconciliation with the idea of an independent Ireland, in defiance of his own political stance as a Conservative Unionist. Mona Sheehy in particular, which pictures Ireland on the cusp of the War of Independence, seems to celebrate Ireland's imminent self-detachment from a destiny bound up with that of London. Mona's return to Ireland and the loss of her fortune – which parallels the economic ruin predicted by many Unionists to be the inevitable consequence of Irish independence – permits the continuation of the 'golden romance' that surrounded her birth (p. 331); a romance that sets itself in opposition to the mineral gold so prized by capitalism, and is conserved not by banks but by the travellers who attend Mona's marriage ceremony, playing 'strange music suited well to the wedding of one, whose royal and elfin pretensions were remembered still by the tinkers' (p. 333).
Ireland's 'message', for Dunsany – its distinctive voice – comes from its commitment to dreams, those never-failing sources of the fantastic imagination. His way of dealing with dreams is what distinguishes Dunsany's fantasy from Tolkien's. Tolkien was interested in immersive fantasy, the kind that enables its reader to forget completely for a time the 'real' world she lives in. Dunsany's fantasy after the Great War, by contrast, is always conscious of the 'real' world it holds at arm's length. Rodriguez looks into it from his chronicles through an enchanter's window; Alveric's son Orion bequeaths enchantment to it in the form of a unicorn's horn, which ends up in the real-world royal treasury of France; while in Dunsany's Irish novels it is the substance through which the shadows of the impossible drift, never quite dispersing. Brian Attebery wrote in Strategies of Fantasy about the idea that fantasy exists on a continuum between two poles; one pole being the purest fantastic, which is dominated by impossible events and beings, such as Alice in Wonderland or the nonsense stories of Edward Lear; and the other being 'purely' realist texts such as Barry Hines's A Kestrel for a Knave, into which the fantastic or impossible only intrudes as dream or metaphor.[2] Dunsany's fiction between the wars self-consciously slides along this continuum, celebrating the persistence of fantastic romance even while it acknowledges its fictionality. Rory and Bran and Mona Sheehy have no 'really' impossible events in them, unlike The Curse of the Wise Woman; but they concern themselves very seriously with belief in the impossible, and contain many characters who cannot rid themselves of the suspicion that the impossible happens, at particular times and in certain places. For Dunsany, the certainty that they do not is something that belongs to the sinister people who wish to profit from others, not share things with them. Such people exist in London and Ireland as well as in the fascist regimes of Italy, Germany and Spain. And the balancing act he achieves in keeping impossible things alive and free in the face of such restrictive opposition remains worth thinking about, I think.
Slievenamon Mountain, Co. Tipperary
Auden, W. H., The English Auden: Poems, Essays and Dramatic Writings 1927-1939, ed. Edward Mendelson (London and Boston: Faber and Faber, 1986)
Dunsany, Lord, Rory and Bran (London and Toronto: William Heinemann, 1936)
Dunsany, Lord, The Story of Mona Sheehy (London and Toronto: William Heinemann, 1939)
[1] The novel can be dated pretty precisely from two statements: the first, that the four-year Great War has finished by the time the main action begins (p. 83); the second, that the year that followed her adventures involved 'anxious months' for members of the Royal Irish Constabulary – seen by nationalists as the instruments of British oppression (see p. 333) – thanks to the outbreak of the Irish War of Independence. At the same time, Dunsany insists that his book is 'no history of the greater world, whose faith is in phosgene' (p. 83) – that is, in a poisonous gas used as a weapon in World War I.
[2] Brian Attebery, Strategies of Fantasy (Bloomington and Indianapolis: Indiana University Press, 1992), pp. 2-4.
Author Rob MaslenPosted on August 27, 2020 Categories Books, Fantasy 1939, Irish
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Ex-wife of Family Court bomber says Leonard John Warwick was 'controlling and violent'
By Kelly Fedor • Court Reporter
7:37pm Jul 19, 2018
The ex-wife of alleged Family Court bomber Leonard John Warwick has described him as controlling and violent, while giving evidence at his Supreme Court trial.
Appearing via video link, Warwick, 71 looked directly at his screen as Andrea Blanchard walked into the court room.
Ms Blanchard was 22-years-old when they married at Panania in 1974, then moved into the home they had bought at Casula.
The ex-wife of Leonard Warwick Andrea Blanchard has given evidence in court, describing him as "controlling and violent". Picture: AAP (AAP)
She described it as a "normal married relationship", but about five-months in the violence started and Warwick banned her from seeing her family and driving.
She described one occasion when her sister arrived at their home with a birthday cake.
"At first when they knocked Leonard wouldn't allow them to enter the house…I pushed him out of the way, opened the door and allowed them in."
She also described a heated argument in 1979.
"Well he started punching me, and he pushed me down to the floor and started kicking me on the body and repeatedly punching me in the arm."
Warwick, 71, is accused of shooting his brother in law and a Family Court judge, as well as bombing the court. Picture: AAP (AAP)
When it became clear he wouldn't let her take their daughter Trudi she ran outside and called for help.
The Crown alleges after their split a dispute over the Casula property and their child, sparked a horrifying chain of events.
Warwick is accused of shooting dead his brother in law and Family Court Judge David Opas.
Andrea Blanchard married Warwick aged 22 and says the violence started five months after they wed. Picture: AAP (AAP)
He is also charged with bombing the court itself, the homes of Justice Richard Gee and Justice Ray Watson, killing his wife Pearl.
The 24 charges also cover allegations he bombed a Jehovah's Witness hall where his ex wife had gone for help, killing Graham Wykes and injuring many others.
Warwick has pleaded not guilty.
Ms Blanchard told the court today he owned five guns when she married him and also owned ammunition.
She will continue giving evidence tomorrow.
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News - May 5, 2017
LCD Soundsystem unveil new singles 'Call The Police' and 'American Dream' - hear them now
LCD Soundsystem have unveiled two new songs, the first is titled 'Call The Police' and the second 'American Dream', and you can hear them both below:
The band split in 2011 after a decade together, but reunited at the start of 2016 for a full reunion tour and promised that a new album was on the way, these two new songs are the first to be revealed from it.
Speaking about the new album, LCD mainman James Murphy said: "As eager as folks have been for me to get this done, it's got nothing on how much I want to be finished myself. It's been one of the most enjoyable records to make in my life, if not the most fun ever (I think it is, for sure, the happiest I've ever been making a record)."
He continued: "So it will be sad in some ways to see it leave the house etc., but we're really looking forward to not feeling "late" all the time, and being able to do things like plan a weekend to do something fun. Or respond to an email about eating with a friend with something other than "I'm sorry! I'm totally buried in the LP! Check with me in a month?"
To check out LCD Soundsystem's back catalogue in hmv's online store, click here.
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