Monday, October 24, 2016
John Behan's fruitful and politically-engaged career started in 1960 when a bronze bull of his was accepted by the Irish Exhibition of Living Art. The cover of the catalogue for his latest exhibition features the Bull of Easter, showing that he is still mining that mythic source for his muscular and expressive sculptures. But there's lots more on offer in this rich and varied show that revisits old themes and explores new ones. The bronzes are accompanied by a series of acrylic drawings that served as preliminary studies. Lovers of W. B. Yeats are well catered for with a number of the pieces inspired by the poet. These include: Easter 1916, Horseman Pass By, Wild Swans at Coole, and even a spectral figure that evokes those famous lines "the ghost of Roger Casement is beating on the door". The most eye-catching work is his dramatic Death of Cuchulainn, with its ominous raven perched above the slain hero. There's a lot of death about, if you include his coffin ships and chunky war chariots. Death of a Dramatist - his homage to Brian Friel - shows a meticulously detailed wicker coffin being borne to the grave, the knees of those carrying it bent under their illustrious burden.
Monday, October 17, 2016
I should preface this little story by saying that days like this are not the norm for your average bettor and that of course you never hear about a gambler's losses. But the foregoing does confirm that if you're going to bet you have a better chance if you stick to the good quality races where form can be taken seriously. I should also pay tribute to the Racing Post website where you can research in detail every race that every racehorse has ever run.
The flat season's last major event on Saturday was the Qipco Champions Day at Ascot. This features four Group 1 races and brings together all the best horses in Europe for one last joust. And it concludes with a high class handicap over a mile - my favourite distance for betting purposes. It's the kind of day where you can just watch and enjoy the quality of the beasts - or if you're like me you just have to have a bet. As usual I'm watching it on Channel 4 - going through its death throes as ITV waits in the wings to take over. It means that in future we'll be spared the jolly hockey sticks approach of Claire Balding, but will be denied the silkier talents of the fragrant Emma Spencer.
I did a little more studying than usual for this swan song to the flat season and came up with an each-way Yankee (6 doubles, 4 trebles and an accumulator) on Quest for More (12-1), Journey (8-1), Minding (5-2), and Yuften (12-1) - as well as individual bets on the same horses and a saver on Firmament at 8-1 in Yuften's race, plus a reverse forecast on Yuften and Firmament.
1.25 Ascot: Quest for More in the opening Long Distance race was up against an O'Brien hot shot who'd finished third in the Arc, but I reckoned he was the stouter stayer and at 12-1 was very good each wayvalue. I respect mightily his trainer Roger Charlton who stated he was clearly the second best horse on form. He ran his usual brave race, lying in second most of the way and looking like the winner as he battled for the lead a furlong out - but his exertions in Paris two weeks ago may have caught him out as the fresher Sheikhzayedroad stayed on better and beat him by half a length. O'Brien's horse never got into contention. So my Yankee got going with a decent priced placed horse.
2.00 Ascot: I ignored the next race which was a sprint, these horse keep beating each other depending on draw, going, a good start and other imponderables. Many serious bettors ignore sprints for this reason. It was won in good style by The Tin Man but I would never have picked him because of collateral form.
2.35 Ascot: O'Brien has another short priced favourite, Seventh Heaven, in the Fillies and Mares Stakes. However she's a three year old and I fancied the doughty John Gosden's more experienced four year old Journey - especially at the early morning price of 8-1. She had been second lastl year and I do like horses for courses - especially at Ascot. My girl lay up in second for most of the race and bounded clear in the final furlong to win by four lengths. Her starting price was 4-1 but I had my 8-1 in the bag.
3.10 Ascot: The Queen Elizabeth Stakes over a mile featured Minding, a dual classic winner for Aidan . She has been racing over 10 and 12 furlongs recently but nobody who saw her win the Guineas could doubt her prowess over a mile. The question really was could she maintain her consistency after a long hard season. They're were a number of fresher horse in the race and she was a filly racing against colts but she just seemed a class above the rest. There was a strong pace and she hit the front a furlong and a half out and just stayed on better than the rest. The yankee was now beginning to ripen nicely. Even a place in the fourth leg would yield me a decent pot.
3.45 Ascot: The Champion Stakes - I was initially going to back Found in this race but I felt that her heroic win in the Arc may have knocked the stuffing out of her. Also, she was up against Almanzor who had beaten her in the Irish Champion Stakes and who was a fresher horse having been laid out for this race. As it transpired the latter won comfortably with Found running a noble second.
4.25 Ascot: The Balmoral Handicap - this was a mile handicap with a large field but I had narrowed it down to Yuften and Firmament. In the end I went with Yuften in my Yankee because of a race in which he beat Sir Isaac Newton, a group horse trained by Aidan O'Brien, by four lengths. He seemed very well handicapped for a horse with that kind of form - although he had run a number of inexplicably bad races when trained in Ireland by Johnny Murtagh. Also, Roger Charlton's always informative web site had told me that he was going very well in his work. I backed Firmament because he keeps turning up in these competitive mile handicaps and just getting pipped. The race was the usual cavalry charge with Yuften getting a good position on the far rail. He went clear a furlong out and held on easily despite wandering across the track. Firmament had a more troubled passage on the near side and was just beaten for second place - spoiling my dual forecast. However, Yuften's win at 12-1 meant my Yankee and associated bets yielded a substantial four figure sum. We enjoyed a bottle of Sancerre with the chicken for dinner.
Wednesday, October 12, 2016
I watched this on Netflix last night and found it deeply unconvincing. I have no doubt about the historical heroics of A Company and about how badly they were treated by politicians and by their own senior staff. My reservations were mostly about tone, about historical accuracy and about the actual battle. In the opening scenes the soldiers' uniforms were the wrong shade of green - perhaps they took poetic license for aesthetic or cinematographic reasons. I also had a major issue with Commandant Quinlan's saluting technique. I grew up on a series of military barracks (including the Curragh and Collins Barracks, Cork) and never saw an Irish officer use that horizontal style - it was always more a diagonal (see image above). Back in those days also the hierarchies were very strictly observed and there would be no casual banter between ranks - nor would a junior officer speak to a senior one in the manner they did in the film. I don't know where they got that scene at the end where Quinlan strikes the general - that would have provoked a major scandal and a certain end to his career. The portrayal of Conor Cruise O'Brien was also unconvincing. He was far from the cynical and worldly careerist portrayed and in fact suffered from his idealism throughout his working life. But the most unconvincing aspect was probably the depiction of the battle. If they had been overwhelmed and outnumbered in the fashion depicted, how come there was not a single fatality. There were bullets flying everywhere and not a single one had a fatal outcome on the Irish side - despite the hundreds that perished amongst the rebels and mercenaries. It must have happened differently - unless that mass they went to earned them a miracle. I'd give it two out of five. But I'm not a fan of action movies so maybe I'm biased.
Tuesday, September 27, 2016
A slightly edited version of this review appeared in the Sunday Times Culture magazine on 25 Sept 2016
The lot of the Irish poet has improved considerably in recent times with Aosdána, writers in residence gigs, and even tenure in universities for the better ones. The grumbling compost heap in the corner of a pub is no longer typical. Paul Muldoon represents the apotheosis of this trend with the kind of career that under-appreciated and impecunious predecessors like Patrick Kavanagh could only have dreamt about. Professor of Humanities at Princeton, Professor of Poetry at Oxford, Poetry Editor of the New Yorker, and Pulitzer Prize winner are among his many achievements.
Muldoon also has the street credibility that comes from writing songs with Warren Zevon and having one covered by Bruce Springsteen. He has his own rock band at Princeton and even sports a hair style that channels the later Phil Spector. Commenting on this uncommon conjunction between high art and lower art Muldoon asserts that "coming from an Irish tradition I see no essential distinction between the poem and the song". The use of repetition and the refrain in many of his poems are also the staple diet of rock and pop music.
The new selected poems contains his personal choices from his 12 poetry collections - dating back to 1968. Reading and rereading these poems you are left with the abiding impression of playfulness. The poet is enjoying himself and so are we. He's a poet of many parts. You Can spot traces of his Northern contemporaries: Here the rural authenticity of Heaney, there the desolation of Mahon, everywhere the classical references of Longley, and there's even a soupçon of the sexual swagger of Montague - kissing and telling ("my hand on her breast"). But Muldoon has a distinct flavour all of his own - and it's the ludic spirit that predominates. The son of a farm labourer and a teacher, he brings both sides of his ancestry into his work with learned allusions from Beckett and Greek literature rubbing shoulders with pig castration and hot bricks in socks serving as hot water bottles.
He has a sensibility that can, like his beloved Metaphysical poets, consume any kind of experience. There are difficult poems, and there are obscure references, but the whole collection is leavened with humour and rueful self-awareness. Some of the poems, such as Symposium and The Old Country, are pure play. In the latter he strings together a litany of cliches to amusing effect:
Every slope was a slippery slope
where every shave was a very close shave
and money was money for old rope
where every grave was a watery grave
Another poem, Errata, is merely a list of corrections:
For 'Steinbeck' read 'Steenbeck'
For 'ludic' read 'lucid'.
But these almost throwaway pieces are counterbalanced by long sobering poems redolent with the bitter sweetness of a lost love, the brutalities of the sectarian feud in the North, or memories of growing up in rural Ireland. He is also capable of beautiful lyric moments as in: "The soft flame of a canary."
Many of the poems are built on the kind of conceits favoured by the Metaphysical Poets. Muldoon is an acknowledged admirer of John Donne and has edited his Selected Poems. This debt is made explicit in the poem Brazil where he refers to "the bracelet of shampoo about the bone", echoing Donne's "a bracelet of bright hair about the bone". Donne's The Flea is a good example of this kind of conceit, where the comparison is often more shocking than apt:
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be;
Muldoon plays similar tricks in poems such as The Soap Pig and the Hedgehog but most of all in Long Finish which could be sub-titled Shall I Compare Thee to a Simi Chardonnay. In this poem he use the conceit of a glass of Chardonnay to reflect on his long and rich relationship with his current wife interspersed with gory images of Northern atrocities:
that we've somehow
managed to withstand an almond-blossomy
five years of bitter rapture, five of blissful rows
Love and lost love are recurring themes. Incantata, his moving and self-deprecating tribute to the artist Mary Farl Powers is one of the most powerful pieces in the collection:
I thought of you again tonight, thin as a rake, as you bent
over the copper plate of 'Emblements',
He even throws in a reference to Dublin art politics here: "the Black Church clique and the Graphic Studio claque". There's also a more recent tribute to Seamus Heaney: Cuthbert and the Otters - a more dense and difficult work.
I cannot thole the thought of Seamus Heaney dead.
Muldoon has been accused of gratuitous esotericism. John Banville described himself as utterly baffled by his collection Madoc: A Mystery - feeling it to be wilfully obscure. While most of the poems are accessible there are certainly difficult areas where we are free to allow our imaginations roam - one of the pleasures of poetry surely. He also sprinkles his poems with unfamiliar terms such as thole, thurified, bris, quag and quoof that send us, sometimes in vain, to the dictionary.
These days it seems that even the banal effusions of a Rose of Tralee are considered too demanding and "olden days" for our intellectually flighty populace. Muldoon's playful, intelligent, and accessible demonstration of the poet's art is a bracing antidote to all such patronising twaddle.
Faber & Faber
Thursday, September 01, 2016
The following review appeared in the Sunday Times Culture magazine on 28 August 2016.
Paul Doran makes paintings that are demanding of the viewer. His earlier work often consisted of coils of paint that looked as if they'd emerged unmediated from their tubes. Process art was in vogue and Doran's work seemed part of that academic movement in which the medium took precedence over the message. But he has moved on and these days he creates art that engages the viewer emotionally, inviting comparisons with Howard Hodgkin, an artist he much admires. He has eschewed titles completely leaving us free to encounter these works honestly. The dark, dense, abstract images in oil on multiple layers of overlapping board are topped off with a Baconesque flourish in bright acrylic often on a sheet of archival paper. Lurking within the overall abstraction there is a recurring bird motif and the layer of paper that tops many of the paintings contains ghostly photographic images of apples, egg-shells, dappled shadows, and even an opened artbook. These small (around 14 inches square) works have an impact that belies their size. They have the kind of visual heft that you find in old icon paintings.
Hillsboro Fine Art