Motley- Environment- April 2024

The Motley Crew The Motley Crew

Ronan Keohane | Editor-In-Chief

Ronan Keohane is a final year World Languages student and the 2023 Global Citizen Award recipient. He wants to promote this magazine as an inclusive space and a creative and intellectual outlet for students.

Kevin Quane | Web Editor

Kevin is a student of physics and as such serves as motleys resident computer person. As a skilled procrastinator, he has become an expert at doing anything but college work. Can regularly be found eating cheese.

Sarah O’ Mahony | Assistant Editor Features and Opinions

Sarah O’Mahony is a final year English and Politics student. She is currently embracing her transformation into a Swiftie, much encouraged by her housemate.

Conor Hogan | Assistant Editor

Current Affairs

Conor is a final year history student who has made a number of contributions to the Motley in previous years. He has an interest in art, reading and politics.

Ciara Browne | Assistant Editor

Creative Works

Ciara, a writer, poet, artist, and fashion enthusiast. Excited to contribute my skills as Motley’s Creative Work Editor, celebrating campus creativity in diverse forms

Sydney Marhefsky | Assistant Editor

Entertainment

Sydney is a final year Arts student studying English and Politics and the winner of the 2022/23 Department of English Undergraduate Awards (2nd Arts). As a horror enthusiast they spend their free time deliberately scaring themself.

Owen Mamo Cooney | Graphic Designer

Owen is a 2nd year Psychology and Computing student. He is passionate about UX design and hopes to work with Nintendo in the future. In his spare time you can find him playing cards or despairing over his python code that doesn’t work.

Jessica Anne Rose | Deputy Editor-In-Chief

Jessica Anne Rose, a final-year BA English student, received a SMEDIAS Award for Feature Writer of the Year in Arts and Culture. Her poetry is featured in various publications, and she enjoys living vicariously through Sims 4 while listening to musicals.

Shannon Cotter | Assistant Editor

Features and Opinions

Shannon is a 2nd year Finance student and has experience working with UCC 98.3FM. Loves watching movies, reading books and working in part-time jobs where she doesn’t actually do anything.

Mary O’ Keeffe | Assistant Editor

Current Affairs

Mary is a final year Politics and English student, previously published by the Organization for World Peace. She’s also the secretary of UCC Scribblesoc and loves all things art!

Ella Barron Carton| Assistant Editor

Creative Works

Ella, a creative writing graduate from the University of Galway, now studying Planning and Sustainable Development, is excited to collaborate with writers and explore diverse storytelling mediums this semester.

Tess O’ Regan | Assistant Editor

Entertainment

Tess is a final year student in Film and Screen Media, with a minor in English. Their writing has previously been published in the Motley and on the Dublin International Film Festival website. Don’t ask them about what their favourite books unless you want a lecture.

Matthew James Quill, Ciaran Quigley, Cian Walsh, Orla Egan, Sydney Marhefsky, Jessica Anne Rose, Leo Troy, Áine Feeney, Emily Sweeney, Ellen Ní Chonchúir, Ella Barron Carton, Fionn Youell, Lisa Ahern, Sarah O’Mahony, Owen Mamo, Fionn Youell

Editor’s Desk from the

And now, to sum up the year!

This has overall been a wonderful year of the magazine, and this role was (definitely) challenging but also inspiring and rewarding. I understand that this type of statement is oversaid, especially by people when they are publicly concluding leadership roles, but it is really true in this case. We got nominated for Magazine of the Year by Smedias and I got nominated as Editor of the Year, a very big achievement and great honour. I would like to thank my contributors and colleagues for their tireless work and effort throughout the year. This magazine would be nothing without an enthusiastic team of aspiring journalists and our wonderful editors and writers. We certainly hope that we have inspired students to continue their writing journeys.

We decided on the theme of environment because it is obviously an extremely relevant and important subject to bring up. I decided to include a photo of me in the wonderful country of Austria, which has an amazing natural environment! I plan to work in Austria

during my gap year next year to improve my German language skills, save some money for my Master and to immerse myself more in landscapes like this.

The environment holds multiple meanings, both in a concrete and conceptual sense. In a concrete sense, our physical environment is becoming increasingly jeopardised due to human behaviour. Air, water, land, flora, fauna, and other physical elements should be regarded as sacred gifts from Mother Nature, however, they are continually exploited and taken for granted. Conceptually, environments surround us in our daily lives. Whether it’s our academic environment, social environment, work environment, etc., this gives the theme of this magazine a broad scope for multiple different pieces. On a broader level, the international political environment is becoming increasingly tense with multiple ongoing genocides and international conflicts. There is no need to approach this theme entirely with negativity, through education, we can strive towards improvement.

Although our global political climate and the environment of journalism/ writing as a career field is becoming less respected and more precarious, I would still like to encourage all to fight the machine and keep going :) I have always held a strong belief that freedom of the press and freedom of speech, in general, are highly important facets of an inclusive society that strives to cater to the needs of its people. I would not be in a position like this without this strong belief and without my undying passion for writing, creative and intellectual expression and inclusivity within outlets like this. I would encourage anyone, regardless of disciplinary background or prior work experience, to apply for all of the staff writer and editor job posts, which will likely be advertised in the summer, alongside applying for the editor-in-chief and graphic designer positions. This is a substantially good experience to have as a student, not only in the sense of gaining professional experience, but it is also highly fulfilling in a creative and academic sense.

The Great Barrier Reef

By Luca Oakman

The Great Barrier Reef off the North-East coast of Australia is one the great wonders of the natural world, consisting of over 3,000 individual coral reefs, with 900 islands and is home to over 9,000 known species. It is known for its natural beauty, the vibrant coral reefs and the chance to swim in the crystal ocean amongst a wide variety of sea life. However, like much of the natural world around us, its existence is being threatened by the impacts of climate change. The increasing temperatures and shift in weather patterns causes havoc on the ecosystem. Corals are invertebrate animals that belong to a large group called Cnidaria (like the sea anemone and jellyfish). Healthy coral gets its vibrant colour from the symbiotic relationship with the algae that lives in them,

these algae produce their own energy from the absorption of sunlight, carbon dioxide and nutrients, the algae in the corals contain a pigment called chlorophyll, which starts off as brown or green but then changes to adapt to water temperature or light conditions.

When these conditions worsen a process called bleaching begins. This process can begin in only 4 weeks if the water is even 1 degree Celsius warmer. This occurs when the algae within the coral is challenged, leading the coral to become ‘stressed coral’. The stressed coral will begin to force out the microscopic algae that lives in its skin. This leaves the colour to begin to fade and slowly become paler. Leaving the coral in a vulnerable state, as the algae is the source of all the nutrients within the coral. If the water conditions begin to worsen and the coral does not get a chance to recover, the coral will eventually push out all the algae from its skin, leaving the coral in its natural white state. Once white the coral is officially classified as ‘bleached’, bleached coral is not dead but it is highly vulnerable and is starving for nutrients and at risk of disease.

Coral bleaching is when the vibrant corals lose their colour, turn white and become vulnerable. Climate change is causing the average temperatures to rise over time, which in turn also causes the gradual rising temperatures in the ocean. Warmer waters are one contributor to coral bleaching, others being ocean acidification, pollution and run off, over exposure to sunlight and prolonged low tides.

The bleaching process is a natural response to stressors and most coral colonies suffer in any given summer. However, the ef-

fects of climate change have prolonged the heat leading the coral to suffer more severe effects of the bleaching effects longer with no chance to recover. Corals can survive the bleaching process and algae can reinhabit the corals but only if the water temperatures and conditions return to normal for a prolonged period.

Coral reefs are hubs of biodiversity, over 25% of the marine wildlife are in some way connected to the coral reefs. If all the Coral reefs were to permanently die and disappear, all this wildlife would permanently lose their habitat, if this were to happen a domino effect would take place, marine biodiversity would suffer. Apart from many species of marine wildlife becoming extinct or endangered, disappearing coral reefs can also be used to protect coastlines from flooding during extreme weather events, without the coral there will be a bigger risk of major flooding. The Coral reefs dying out can also have a huge negative effect on tourism industries and fishing industries in the coastal areas. The fishing industry will take the biggest hit and have a major effect on local communities, with no fish, hundreds of thousands of people will lose their main source of food, income and livelihoods.

We are not doomed to lose all of our coral reefs, small actions can help keep the corals bright and vibrant like reducing industrial runoff and reducing the use of pesticides in agriculture. However the only main effective way to combat coral bleaching is to combat Climate change. We have to take action and everyone has to do their part to save not only the coral reefs, but also to stop deforestation, desertification and the melting ice caps, all to protect our environment for future generations.

INterview with Cian Walsh, Environmental and Sustainability Rep

Can you outline the primary goals of your environmental campaign within the student union?

As the incoming UCC Environmental and Sustainability Rep, I am committed to instigating a comprehensive sustainability agenda, ranging from simple, instantly-enforceable measures, to more ambitious goals. Some measures that need to be implemented, and will form a key element of what I advocate for in my campaign, are as simple as changing from image-based to text-based email signatures for SU communications. A 1MB attachment in an email adds 15g of CO2 emissions! Other key actions include, reducing waste on campus through bin standardisation, increasing the number of solar compacting bins, and getting deposit-return scheme reverse vending machines on campus. Addressing issues with the Park and Ride system, including extending shuttle bus hours is also a key goal. This has been a concern raised by many students that wish for the service to be extended beyond 6:30pm. Working with Green Campus I aim to improve biodiversity, particularly through stricter enforcement of a low or no mow policy, while also improving funding for the UCC Community Garden. We must also not forget about satellite campuses and the Mardyke Arena. For example, in the Mardyke Arena gym there is a significant usage of disposable paper towels for cleaning gym equipment. This can be replaced by reusable materials, or encouraging students to bring their own towels.

What inspired you to become passionate about environmental protection?

Growing up on a farm in West Cork immersed me in nature and created a great appreciation for the environment. From a young age, I witnessed firsthand the interconnectedness of all living things and the importance of sustainable practices. This fuelled my passion for environmental protection and sustainability, driving me to become involved in activism from the age of 14. Through my activism and advocacy efforts over the years, I’ve seen both the pressing challenges facing our planet and the power of collective action to enact positive change. The youth

movement been extreme powerful in raising the of climate change on local, national, and global stages. Through this work I have met some really inspiring people, and friends that have supported me. This journey has strengthened my commitment to sustainability and is what inspired me to seek the role of Environmental and Sustainability Rep, where I believe I can continue advocating for a greener, more sustainable future for our UCC community and beyond.

Could you share some highlights from your experience as a COP28 Youth Delegate and has your involvement with COP28 influenced your approach to environmental activism?

Engaging with young people from around the world was one of my key highlights from COP28. The feeling of solidarity and determination among young people worldwide to combat climate change is something that was extremely strong. Interacting with high-level officials and participating in thematic discussions, particularly on agriculture and climate finance, provided valuable insights into the complexities of international negotiations. However, COP28 also underscored the stark reality of insufficient progress in addressing climate challenges. Despite some notable agreements, the lack of substantial action on fossil fuel phase-out was disappointing. Nonetheless, the solidarity and collaboration among youth delegates from diverse backgrounds left a lasting impression on me. Recognising the impact of local actions on a global scale reinforced the importance of grassroots activism. This experience has influenced my approach to environmental advocacy, emphasising the significance of local efforts in driving meaningful change on a global level. This is a sentiment I wish to bring with me as I start my role as UCC’s Environmental and Sustainability Rep, knowing that the actions we do at a local level on UCC campuses does have an impact.

What are some specific challenges you’ve encountered while advocating for environmental causes, and how have you addressed them?

Engaging in environmental activism has a lot of challenges, particularly in terms of social media backlash and persuading individuals who are overly focused on economic concerns about the urgency of climate action. Social media can be a double-edged sword. It is useful for promoting campaigns but it is also an area where there is a significant amount of misinformation and activists are often the subject of personal attacks. Addressing these challenges is extremely difficult. I find a lot of comfort in speaking with other activists who have experienced similar issues when developing their campaigns.

In terms of convincing those who are largely focused on the financial impact of climate action, I’ve found that emphasising intersectionality - illustrating the interconnectedness of environmental, social, and economic issues - can be a powerful tool. By demonstrating how climate change exacerbates existing inequalities and impacts various aspects of society, from public health to economic stability, I’ve been able to challenge the misconceptions that exist.

What are your thoughts on the intersectionality of environmental issues

The intersectionality of environmental issues with social justice and equity is inextricably intertwined. Environmental degradation and climate change is and will continue to disproportionately affect marginalised communities, exacerbating the already existing inequalities and injustices. Vulnerable populations often bear the brunt of environmental issues, from pollution to climate change impacts. Addressing environmental challenges requires recognising and addressing the underlying social injustices, ensuring equitable access to resources, and giving a voice to these communities in decision-making processes. Only by embracing intersectionality can we create more inclusive and effective solutions that promote environmental sustainability while advancing social justice and equity for all. Brining an intersectional approach to the role of Environmental and Sustainability Rep is something that is going to be extremely important to me over my

Finally, what advice would you offer to students who are interested in getting involved in environmental activism but may not know where to

For students eager to embark on their journey in environmental activism but uncertain where to begin, I recommend gathering a few friends who share your passion and brainstorm ideas together. Environmental activism encompasses a broad spectrum, so explore the areas that you are most passionate about, whether it’s biodiversity conservation, waste reduction, or climate advocacy. Look for existing platforms within UCC, such as Green Campus initiatives or Environmental Society clubs, to connect with like-minded students and access the resources and support networks that are available. Additionally, don’t hesitate to reach out to campaign groups outside of college and within your community. Whether it’s joining local conservation projects, attending climate protests, or volunteering with environmental organisations, there are so many ways to make a difference. Also, feel free to reach out to me as your Environmental and Sustainability Rep

NOTES OF INSPIRATION: A JOURNEY WITH MUSIC

Interview with Ciaran Quigley

Thank you for joining us at Motley magazine! Would you be willing to give a quick self-introduction?

I’m Ciaran Quigley and I’m a twenty-three year old singer-songwriter from Killarney Co.Kerry now living in Cork City. I write and record my own original songs and am currently in the works of putting out new music after recently releasing my single ‘The Fortunteller’ in February of this year.

Can you tell us about your journey into music? How long has music played a big role in your life?

I’m not sure where my journey into music really started. I remember getting a guitar for Christmas when I was five years old but I probably didn’t pick it back up until I was eleven or twelve again. I think like most things when you’re young I watched someone else doing something and decided that I wanted to do it too, so I guess watching other people play music gave me the bug to get involved too. My earliest memory of performing is in a primary school christmas play where I played Robin Hood. I think the acting left a lot to be desired and the singing probably did too but I’d say that was the first time I realized I got a buzz from performing. From there I went onto picking back up the guitar and teaching myself through YouTube videos and playing along to songs.

Naturally the singing came into play while playing the songs and from there I would spend hours and hours just learning songs and singing them over and over again. My family hated this at the time, especially my older brother, I was a bit of a headwreck.

From there, I was hooked. I’d play whenever I could, wherever I could, whether it was school talent shows, competitions, or just to family and friends. By the time secondary school finished, I was pretty certain that music was all I wanted to do. From there, I went onto study music in Cork, graduating in 2022. All during that time, I’ve been writing, releasing, and performing music regularly right up until the present.

How has your upbringing influenced your musical style or how you approach your performances?

I think upbringing probably has a large

influence on the music I make and more than likely the music that most artists make. It’s probably something I wasn’t aware of until recently. I think when writing music a lot of the time you write from personal perspectives, ideas, stories and the version of how we perceive things and I think a lot of that is shaped from the place that you are from, the people you’re friends with and the people who raised you. I know personally, in my most recent song that I released, I mention childhood friend, my mother and the area I’m from in that one song alone. I think as I get older these concepts of the place I’m from and the people who helped mold who I am are becoming more prominent in my writing and the music that I’m making. I think it’s something that definitely makes music unique is the different ways people can write from a perspective of their upbringing and how they view life and circumstances because of that upbringing.

The best thing about music for me is performing live. The writing process, the recording and other areas can all be great but nothing ever comes close to performing for me. There’s something about the feeling of standing on a stage and performing music to people that hasn’t been matched by anything to me, yet. Getting to perform something that you created yourself, singing songs that tell personal stories that hold so much value to you feels very special and it’s great when you can see that reflected in the listeners reaction. Knowing that someone else can resonate with the stories and feelings that you’re expressing in your songs feels very special to me. I think the most memorable moment from a gig I’ve done is probably from last year in the INEC Killarney as a support act. Growing up in the area, it was somewhere I always went with my mum to watch gigs and always wanted to play. Hearing my name getting announced backstage and then walking out to the crowd was a nice moment and something I was very grateful that I got to do.

My musical inspiration is something that is in constant change. I like so many different types of music and artists. I listen to a lot of folk-pop stuff, indie, pop, rap, a bit of everything, really. I think the reason I picked up the guitar at age eleven, like most people then, was probably due to Ed Sheeran, that’s changed a lot as I’ve gotten older, but that was definitely my first idol as a kid. I think when I started writing my own music at around seventeen/eighteen, I took huge inspiration from the likes of Dermot Kennedy, The Coronas and a lot of those Irish bands that I felt I could relate to at the time and really looked up to as an inspiration, especially being from Ireland and having so much success. Funnily enough, even though I make the furthest thing from this kind of music, I listen to a lot of rap/drill/hip-hop music. A lot of the time, I think the lyricism in those songs can go unnoticed, but some of the storytelling and the topics are pretty unique and often really personal, which

is something I’m really into. Currently thought, I’d have to say my biggest inspirations for the music I make would be ‘Medium Build’, ‘Bon Iver’, ‘Noah Kahan’, ‘Novo Amor’, ‘Phoebe Bridgers’, ‘Holly Humberstone’ and ‘Kingfishr’, they’re all artists I’m into at the moment.

My creative process usually follows a similar route in terms of how I create songs. For me, it can never be forced, I can’t decide I will sit down and just write a song on the spot at a given moment. Usually. For me to write a song, something has had to happen to me, either me personally, someone I know, or a situation in my life that I want to write about. I like to try and always write from an honest perspective and be as open as I can because I think that’s what listeners can connect to most. A lot of the time, I find I can’t write about something straight away while it’s still raw, sometimes because I can’t bring myself to write

about it in that period and a lot of the time because I find I have to process whatever it is first so I can allow all of the different ideas and thoughts to come out to then start writing. I write all of my songs on my notes app on my phone, some people swear by pen and paper, but I find my thoughts can move too fast, and typing is a lot quicker than physically writing. I typically use voice notes a lot as I’m writing so I can always go back and remember how any idea sounds that I might have forgotten. I currently have 584 voice notes ranging from full songs to random humming. The process isn’t always the same, but that’s it for most of the time. It can be difficult to have the motivation to write songs frequently and even to have things to write about, and that’s why I feel you can’t force it and just allow it to come out when it’s ready.

Making STEM environments more inclusive for Women. Interview with Aisling Hughes

Can you please introduce yourself and share a bit about your current role as a manufacturing technician and your past role as a process technician?

My name is Aisling, I am a 23 year old female working as a manufacturing/process technician for the last 4.5 years. I have my level 6 in Manufacturing Engineering, and work with fully automated technology. I currently do factory work and my job is to install, maintain and repair automated equipment such as robots, positioners and pneumatics to name a few, I have also working with polymer processing including running, and fixing large scale injection molding machines and mould changes and also lasers and the maintenance included with that.

What motivated you to pursue a career in STEM, particularly in the field of process technology?

I always had a hands on love in school and did metalwork for the JC, but I found I had a passion (or so I thought) for science and focused on this for my leaving cert. I completed one year of a science degree in 3rd level and honestly I didn’t enjoy it at all! My father has an Agri engineering business and I have a few other engineers in my family, and their jobs always seemed to fascinate me, and I used help out my father with his business so I guess my love of engineering was always there.

You took an alternative route by choosing an apprenticeship instead of the traditional bachelor’s degree. What inspired this decision?

While I was completing my year in a Bachelor of Science, I saw an apprenticeship for manufacturing engineering advertised online on Facebook. I researched the job itself and what it entailed and I also read about the manufacturing apprenticeship on its own website and it gave me an insight to the modules, what was

required from me and what I would experience and learn. I applied and 6 months later I began as an apprentice.

In your opinion, what are the flaws or limitations of the standard education system, especially when it comes to preparing individuals for STEM careers?

From an apprenticeship standpoint, I did my leaving certificate in 2018, and began as an apprentice in 2019. While I completed my leaving cert there wasn’t really a push for any of the girls to attend the apprenticeship talks where employers and SOLAS would come in to talk about the apprenticeships they offered, I was looking at apprenticeships and I was told it would be a waste of time as they take the same amount of time as standard college for a lower degree. This is both correct and incorrect as your “standard trade” apprenticeships are normally 4 years to get fully trained in the required skills and you come out with a level 6. However, I don’t think this is fair to tell any student as the pathways into careers are expanding and I completed my level 6 apprenticeship in 2 years. You can complete apprenticeships in a variety of fields and you can go from leaving certificate to PHD through apprenticeship depending on what you want to study, and do it in the same amount of time as you would in full time college. Another big pull to the apprenticeship is the fact you earn while you learn, and hold down permanent employment. You gain the workplace skills relevant to the position as well as getting the education and you’re paid to do this. They shouldn’t be looked down upon by someone coming out of school, or even as someone who finishes college but is looking to reskill, but doesn’t want the hassle of 3-4 years in full time college with no/low income coming in.

How do you view the Leaving Cert system in relation to its suitability for all students, especially those interested in pursuing STEM careers?

I don’t really feel like the leaving cert adequately prepares students for college and I feel like that shows in the drop out rates from higher institutions. I was 15 when I had to pick subjects around a career I wanted. That was 8 years ago and it’s not the direction I needed up in at all. College courses aren’t really explained to people and I think it’s unfair that when we were given work experience that literally anywhere was fine, we should have been pushed to do it somewhere relevant to what we were looking to do after school. I think if I was able to get work experience somewhere with a lab even if I wasn’t allowed into the lab-

I would have completely changed my mind then.

Were there aspects of the Leaving Cert that you found limiting or irrelevant to your chosen career path?

Thankfully for my apprenticeship course, I just needed 250 points and a pass In everything, and I didn’t need to have engineering studied for my leaving cert. The only subject that was in any way relevant to what I do now is Maths and that’s because maths builds a strong foundation of all careers no matter what you decide to study.

STEM fields are often considered male-dominated. Have you faced any gender-related challenges or stereotypes in your career, and how did you overcome them?

I can count I think on two hands the amount of female techs/engineers I have worked with over the last 4 years. Women make up less than 12% of people with engineering careers in Ireland. I am the only woman currently in my engineering team. I have always been treated very well and as an equal though thankfully, with any ideas I have listened to carefully. But this also came with having to stand my own ground and having to make sure I am being heard sometimes while beginning my career, but you find your feet very soon after beginning any of these roles.

How has your apprenticeship and work as a manufacturing technician allowed you to grow both professionally and personally?

I am currently doing my Level 7 bachelor of engineering part time while working full time, I am studying Industrial Engineering and I plan to study my level 8 in either mechanical, industrial or manufacturing engineering once I have this completed. The great thing about this is it’s a one year course and as I progress I can combine my knowledge of courses and still receive my degree as I will have the required credits. Some colleges even offer part time courses where you pick your modules and basically build your own degree within an area of engineering such as Manufacturing Engineering. This freedom isn’t available to a student in full time college who also has no experience and doesn’t really know what skills will be the most relevant to them on the job. I think this is so beneficial especially if you are reskilling as you can reskill in the areas that are important to you and your own career and the direction you want to take it in.

Once I have my Level 7, I will also have 5 years “industry experience” and I will be looking to move into an engineering career more so than a technician, I am very lucky though with the apprenticeship and the opportunities I have been given with both my previous and last employers as I have been involved in several projects with very knowledgeable engineers and I have received great knowledge and insight into the role as an engineer and what is required from me to be successful in my future as an engineer. Salary’s are always based off of experience also so what a person with industry experience who just qualified compared to someone fresh out of college with none will differ from what I have previously seen. The gender pay gap and difference in opportunities still does exist to an extent in my opinion also but thankfully it has never effected me in my career.

In what ways has your job as a manufacturing technician provided a fulfilling and dynamic work environment?

Depending on your job, and place of employment a lot of companies do send staff abroad for training, installations and testing etc. I have been lucky to get these opportuni-

ties and so have other people who I studied with as part of the apprenticeship who were in my group but with different employers.

I started out as a technician so young I was 19 starting as an apprentice and all my peers that were training me in were mainly male and ranging in age from late 20’s to their 60’s! I think i really benefited from that. I got to learn how to overcome conflict and work with a variety of personalities and I got to experience the ways in that both big scale and small scale companies operate and how important engineering is in every day life and how to overcome all of the different types of challenges that can arise on any given day.

What would you say to young individuals, particularly women, who are considering alternative paths to a STEM career but may be unsure or hesitant?

My advice would be that if you are unsure of what you want to pursue; I would take a gap year between school and higher education, but also do your research! Research every single course, every single apprenticeship and PLC, see what routes and ways there are to get into the area of skills you are interested in. You can do an apprenticeship in so many different areas now, from accounting and insurance, to engineering and science as well as your usual trades and so much more. These give you so many skills that you don’t receive from full time college alone, and full time college isn’t for everyone. I learn hands on so the apprenticeship route to starting my engineering degree was an absolute no brainer for me. I also think it should be explained to people that no matter what age you are, what qualifications you might previously hold, it’s never too late to up-skill or completely re-skill.

Legacy and Progress: Orla Egan Discusses Cork’s LGBTQ+ Landscape

A discussion with Orla Egan, author and founder of the Cork LGBT Archive

With her 2023 documentary LOAFERS, Egan highlighted the significance of the titular gay bar, which was open from 1983-2015, to the queer community in Cork as a space for joy, community, and political activism. For this issue, I (Sydney Marhefsky) interviewed Egan about the current state of queer spaces in Cork and their effects on the wider social environment.

There’s a notion that prior to legal recognition, queerness was an affair of isolation and misery. What has your work as the founder of the Cork LGBT Archive revealed about the actual experiences of queer people during this time period?

That it was very, very varied. And a lot depended on whether you could find your community or not. Obviously, the general environment was very homophobic, and sexist and racist, and not exactly the most positive environments to be queer. And if you were queer in that environment, and you couldn’t find any other community, you couldn’t find other people, I think it was really difficult and really isolating. So I’ve talked to a lesbian who came out in Cork in 1970, and just couldn’t find community, and spoke to the Samaritans. And they told her it was just a phase, which really impacted on her mental health and well being. And then she, as so many other people did, emigrated to London,found community, and had such a different experience. And at the same time, in Cork,

you had a circuit of fabulous gay parties that a lot of the gay men were attending, mostly in the houses of richer gay men. So you had a really kind of vibrant scene, if you were able to access it. And from the kind of mid 70s, on you had, like, in 1976, the first Cork gay centre opening, and it was those kinds of spaces that are our spaces that we create, that are so important for the community. And, you know, for people who could find that community and could engage that community it was such a different experience. It gave you a sense that you weren’t a criminal, you weren’t a deviant, you weren’t something weird, but that you were part of this fabulousness. And I think Cork has been really good in the 70s, 80s, and 90s in particular with creating those kinds of community spaces where people could meet one another, where you could just kind of pop in, where you could get involved. So I suppose you had the gay centre in the mid 70s, you had the Quay Co-op opening in Cork in 1982. A lot of people would know the Co-op now as a shop and a restaurant, but it was this really kind of radical hub, in the early 80s. And then in 1983, you had Loafers opening, and in 1991, you had The Other Place LGBT community centre. But I suppose the key point for me is the difference that it made, if you could find community. Actually, my memory of the 80s and 90s is that it was great fun. Because I was able to access community, I hung out at the Co-op, I hung out in Loafers, and it was really, really good fun. And I think that that’s very different to people’s perceptions. That’s not to deny the fact

that there were challenges, there was prejudice, there was violence, that there were people being rejected by their families, all those things were true. But it makes a huge difference if you can find community, if you can find your tribe.

What did Loafers mean to the community beyond being a space for ‘fabulousness’ and social life? How did its existence affect the wider environment for queer people in the city?

All of that is what I was exploring in the documentary Loafers that came out at the end of last year. It was very much around what Loafers meant to people and what its significance was. People talked about it as being much more than a bar: it was a community centre, it was a safe space, it was a refuge, it was a home. The importance of that in the context of what was going on in wider society was that you had that haven and when you walked in the door you were in a queer, safe, friendly space. It gave that opportunity for people to be able to find community and to meet with people. But it was also where there was a gestation of a lot of political activism. We’d be sitting in the back of Loafers and we’d talk about something that was going on and somebody would say, ‘Well, how about we do this,’ and that would end up becoming really significant political activism. And again, for me as a lesbian in Cork in the 80s and 90s, I knew that every single Thursday night, there was a bunch of dykes in the backroom of Loafers. That was phenomenal, that you didn’t have to try and make arrangements to meet somebody or to do something, you

knew you could just walk into Loafers on a Thursday and there would always be a bunch of women there. And some nights will be kind of quiet, and other nights will be really raucous. That kind of stability of that easily accessible space was so important. Loafers was open from 1983 to 2015, so it was one of the longest running gay bars in Ireland. It changed and evolved over the years and different owners, but there was that constant of a community space that was ours. It’s very, very different to the experience where you’re going to a bar where you’re accepted, or you’re welcome, or maybe not, to being in the space that is a queer space.

Do you think there’s been a void in those kinds of spaces since the closure of Loafers and other gay bars like it?

I think so. I don’t know what the experience is for younger people in general, but like, I lead walking tours through the city and we go to the various places and when we stop at Loafers, or the Co-op or The Other Place most of the younger people on on the tours say ‘We have nothing like this.’ Now, we don’t have those spaces, and particularly spaces that aren’t based around clubs and alcohol, spaces that are safe for younger people and for people who don’t want to be around alcohol or in alcohol based spaces. And I think we

don’t have as many of those. I mean, obviously we have the new queer space Vibe that’s opened recently, and I think it’s filling that need that people have in particular for later nights and club nights. But I think there’s an openness there as well for maybe it being a quieter space at times. We screened the Loafers documentary in Vibe, which was actually really powerful. It kind of brought together some of the old Loafers gang, but also a lot of younger people who’d never been in Loafers, or had never heard of it, or had heard of it, but never made it there. And it was a really wonderful evening of that intergenerational kind of connection and chance to chat. So I kind of think we need more of those kinds of spaces. With the Cork LGBT archive, last year was the first year we got a bit of funding to have some workspace, and it meant that we could bring in a group of volunteers, and most of them are young queers. They bring in amazing energy and dynamism to the archive, and in being involved in, or as one of them said, having a hand in preserving our history is really important to them. But they also talked about the importance of the space that they can access, that it’s a community space, a safe space where they can be and feel safe and part of a community, and it’s not a bar or club, so that was an unexpected benefit, which is really lovely.

But also, my perception is that we don’t have the kinds of spaces that I experienced, but I’m not sure whether that’s true, or just that my experience of it is different, as I’m kind of in a different phase of my life. Maybe there’s all these fabulous queer spaces that I don’t know about. And I think as well, the universities seem to be creating some of that space for students who are there and can access it. Not necessarily for the wider community, but there seems to be quite diverse kinds of spaces being created.

So has there been a bit of a shift towards less alcohol-based spaces, such as with universities in Cork and the Cork LGBT Archive?

Yeah, but we need way more than that. We have a handful of volunteers, and not everybody is in college. So we need more of those spaces. And I think there’s a wider issue as well, in that Ireland and Cork are really bad at good, safe, publicly accessible, free spaces. I’ve been kind of travelling a little bit to places like Budapest or Paris, and just, they’re built for people, they have spaces where people can hang out, they have spaces where people can sit and can be, and Cork doesn’t have many of those spaces, and the spaces that there are aren’t necessarily safe for our young queer kids to be hanging out in. So I think there’s a much wider thing around the kind of environment that we create for people. We have more and more and more younger queers coming out in their teens. And where do they go to hang out? There’s a youth group, which is great, but in terms of spaces, we could go into a cafe or somewhere that you don’t have to spend a lot of money. My sense is that we don’t have enough of that. I’m really happy if somebody corrects me and tells me I’m wrong, that there’s all these places that I’m unaware of. I would love that.

Places like the Gay Project and Linc, they do have a lot of different kinds of projects and group meetings and spaces and one off events and different things like that. So some of that, I think is useful as well. But one of the things that was lovely about The Other Place, the LGBT community centre that opened in 1991, was that you could just go in there and hang out, because it was kind of like cafe space, you didn’t necessarily have to buy anything and you could go in and you could hang out and you could read some of the queer

literature that was around or you could maybe have a chat with some of the workers that were around. It was one of those kinds of spaces where you don’t necessarily have to declare that you have an issue that you want help with, that you could just go into this queer space to enjoy that and to see how it feels for you.

What do you think the future of queer spaces and queer activism in Cork looks like? What do you think we can draw from the past and what do you think we can improve on?

I kind of vibe between an optimism and pessimism. I would love us to be moving towards having more and more queer spaces, accessible queer spaces, and queer spaces that aren’t just nighttime and alcohol based, and where people can go and hang out and find community and make community and weave community together. I would love to see that happening. I’m not sure if it will, but I would love to see that happening. And I suppose the lessons we can draw from the past are about what difference it makes when we have those spaces. About the fundamental difference that it makes to your experience as a queer person in a homophobic, transphobic, capitalist society to have those spaces. I’m Here, I’m Home, I’m Happy was called that because it was like, when you find those spaces, it’s like, I’m home, I’m happy, and I’m in my place. And so I would love to see more of those, particularly for younger people and for people who don’t want to be or cannot be in pubs and clubs. But those places are important too, you know, being able to go and dance and hang out and have fun. That’s important, too.

B - A -

What initially inspired you to undertake a yoga training course in Bali, and how did you prepare yourself for this new environment?

I had actually never considered doing a yoga teacher training course, let alone visiting Bali. I had only ever travelled Europe, so the idea of going to Bali by myself wasn’t really on my mind. It was actually a very spur-of-the-moment decision, after a youtube ad came up for me for the teacher training. I looked into Bali and the beauty of it really hit me and the day after I had paid my deposit! As someone who had just started practising yoga, with no interest in going to Bali or doing teacher training, seeing this ad felt kind of like a calling.

As someone who had never travelled beyond Europe, I was uncertain about what to expect. My preparation mainly involved searching the internet for information about the training location. And I discovered it was located in Ubud, a town whose very name means ‘medicine’ in Balinese. Centuries ago, people would journey here seeking healing due to its abundance of medicinal herbs. Today, Ubud has become a place where people travel to for spiritual healing, full of yoga studios and spiritual retreats

Given Ubud’s reputation as a tourist hotspot, I knew it wouldn’t be too difficult, so I didn’t overprepare. Of course, I stocked up on sunscreen and mosquito spray, mindful of the tropical climate.

Can you describe your first impressions upon arriving in Bali for your training? How did the environment differ from what you were accustomed to?

Arriving in Bali was a bit of a shocker, to be honest. The traffic was insane, and it seemed like everyone was in a hurry. You couldn’t walk two steps without a taxi driver trying to convince you to hop on their scooter. Bali’s driving laws are absolutely wild. It would be completely normal to see a family of four and a dog on the one scooter.

My first hotel actually turned out to be above a temple, full of Balianese statues and these little offerings called ‘Canang Sari’ scattered around. You could really feel the touch of Hinduism everywhere you looked. It was like ancient culture mixed with modern life, which was pretty cool to see. Surprisingly, adapting to the place was easier than I thought. Everyone spoke English, and most restaurants served Western food, even the yoga classes were in English.

And travelling through Europe you’re always warned about the pickpockets, in Bali the pickpockets are small, furry and walk around on all fours. And you’d expect the monkeys to go for your food, but what they’ve started doing in recent years is

stealing phones and will only return them in the exchange of food. It was all part of the fun though, a cheeky surprise you’d never expect.

In what ways did the natural surroundings of Bali influence your yoga practice and learning experience?

My time in Bali had a big impact on my understanding of yoga and its spiritual roots. Unlike anything I could have experienced in Cork, being surrounded by statues depicting the very figures I was learning about added a lot to my practice. It made it a lot easier to grasp all of the different gods and their significance.

I’m immensely grateful for the natural beauty that surrounded me during my training. The serene environment, with its lush trees, vibrant flora, and bursts of colour, really provided the peace and relaxation I was looking for. There’s something truly magical about being immersed in such a picturesque setting—it’s like nature itself has become a teacher for me. One thing that struck me was the abundant use of flowers and petals in Balinese culture, especially for decoration. Everywhere you turned, shops and restaurants had meticulously arranged flower decorations.

Were there any particular challenges you faced while adapting to studying in a new environment? How did you overcome them?

With 5am starts and practising and studying yoga till 6pm every day, it was quite challenging at the beginning. While the environment in Bali is very tourist-friendly, there is a culture of vegetarianism and veganism because of the Hindu/Buddhist principle of ‘Ahimsa’ which is not to harm any living beings. So as someone who doesn’t like a single vegetable, three weeks of this lifestyle was scary. I’ve always wanted to go vegetarian and I tried it for a few days because I had the opportunity but ended up succumbing to McDonald’s on my fourth day because my body couldn’t manage how little I was eating with how much activity I was doing. Luckily, Bali’s scooter deliveries made it manageable. Despite being very envious of my peers’ colourful, healthy meals - my brief attempt at being vegetarian showed me that even as a non-vegetable eater, it’s definitely possible to adapt a plant-based diet.

How did the cultural and social aspects of Bali impact your overall experience of learning and personal growth during the yoga training course?

The cultural and social aspects of Bali greatly influenced my learning and personal growth during the yoga training course. While obviously not everyone in Bali practices yoga, the deep connection

Interview with Tea Falade

Lto Hinduism is evident for everybody, the locals have a deep care for the environment and animals. They are also extremely friendly and willing to share their culture, which is amazing, making Bali a very welcoming and accepting place. Their warm smiles and eagerness to engage in conversation was definitely beneficial for my learning outside of the yoga school.

Did your connection with nature deepen or evolve during your time in Bali? If so, can you share any specific moments or experiences that contributed to this?

Yes 100%. Being kind to nature is obviously a very big aspect of Yoga and we learned all about the importance of connecting with the earth and how beneficial that can be for you as well. I am definitely a lot more appreciative of the environment back at home now and would be more considerate of where my food is coming from and what I can do to give back to the earth. And as a psychology student, my time in Bali gave me a real-life lesson in nature connectedness, something we’d studied in class. Practising yoga outdoors and meditating in nature definitely deepened my appreciation for its role in our well-being and mental health. Being surrounded by Bali’s natural beauty during my yoga training was really important to me and it definitely made me appreciate Ireland more. Also, one thing that really struck me was the practice of walking barefoot. Something I would have originally seen as hippie nonsense, but it actually is very grounding and feeling the earth is definitely something that can do good for us so wherever I can, now in Ireland, the shoes are coming off. It’s just a reminder that our relationship with nature isn’t just about enjoying the scenery but it can have such benefits for our well-being as well.

What role did sustainability and environmental consciousness play in your daily life and activities while in Bali?

- Imore mindful of my actions and their impact on the planet, and I do try to make more sustainable choices in my daily life because of what I’ve learned.

Were there any unexpected lessons insights that you gained during your time in Bali? If yes, please elaborate.

My time in Bali significantly shaped my view on the relationship between humans, their bodies, and their environments. Through yoga, I learned how important it is to connect with your surroundings when you’re focusing on quieting your mind. I definitely believe more in the benefits of the outdoors on our minds now which has prompted me to spend more time outdoors, whether it’s by the lough or at the beach. Its something I try to incorporate into my daily routine.

Sustainability and environmental consciousness took on a whole new significance for me during my time in Bali. To be honest, before my teacher training, I didn’t give much thought to these issues. I wanted to care, but I didn’t truly understand the ‘why’ behind it all. During our training, we practised ‘Karma Yoga,’ which revolves around selfless acts of service without expecting anything in return. One of the ways we put this into practice was by heading to the beach to pick up rubbish. Seeing such a stunning place littered in plastic was a real eye-opener for me. Bali, with all its natural beauty, deserves so much better than being surrounded by trash. It was a turning point for me, which definitely made me more environmentally conscious. Now, I find myself

Can you discuss any specific practices or rituals you adopted in Bali that helped you feel more connected to the environment and your surroundings?

Since Bali, I’ve become a proud plant mom, finding joy in caring for my little plants. It may sound silly, but seeing a plant bloom can bring such genuine happiness. I’ve also made it a habit to practise mindfulness outdoors, even in Ireland’s unpredictable weather. Whether it’s appreciating the rain or going for walks, I focus on finding gratitude in my surroundings. Bali taught me to embrace the positives in my environment, even in Ireland and it’s a lesson I carry with me every day.

How do you think your experience in Bali has influenced your perspective on the relationship between humans, their bodies and their environments?

My time in Bali significantly shaped my view on the relationship between humans, their bodies, and their environments. Through yoga, I learned how important it is to connect with your surroundings when you’re focusing on quieting your mind. I definitely believe more in the benefits of the outdoors on our minds now which has prompted me to spend more time outdoors, whether it’s by the lough or at the beach. It’s something I try to incorporate into my daily routine.

The social environment of the SU movement

INterview With Matthew James Quill

Why did you decide to run for the role of Postgraduate Representative on UCC Student’s Union?

Well, it certainly wasn’t just the jacket and allexpenses paid trips, I can tell you that much! Honestly, going into my masters degree, I knew that there were a lot of issues for postgraduate students in UCC, particularly for PhD researchers, from ridiculously low stipend rates, to feelings of social exclusion within the university, and I wanted to try and address some of those issues, as someone that did struggle socially quite a bit early in my undergrad. I also believe strongly in the national movement to get employment rights for PhD researchers, which was a strong aspect of my election campaign.

What social challenges do postgraduate students experience in college, and how has the Student’s Union sought to address these?

Aside from the funding issues, I strongly feel that social exclusion is one of the biggest challenges faced by postgraduate students today. This is particularly true for students coming from abroad to study postgraduate degrees, and PhD researchers. International postgraduate students have it tough because they have no prior social involvement on campus with the likes of clubs and societies. PhD researchers meanwhile, are often working full days, isolated in offices or labs, and thus don’t have much opportunity to get involved with social activities on campus, which they feel unwelcome in due to undergrads being the main target of these events. I’ve worked to address this in my role by running events such as coffee mornings during lunchtime, when these students would have free time, and by running events specifically catered for postgraduate students.

What role do Clubs and Societies play in shaping the social landscape for postgraduate students, and how does the Student’s Union support their activities?

Clubs and Societies are, in my eyes, the lifeblood of social activity on campus, and this is something I’ve learned throughout my undergrad. As such, we’re very fortunate to be in a position where both groups are, for the most part, governed and run entirely by students, with the presidents

of both sitting on the SU Executive. I myself have worked closely with both Clubs and Societies this year, to improve postgraduate representation within them, which they’ve been very receptive to.

What opportunities are available for postgraduate students to get involved in leadership roles or decisionmaking processes within the student union?

Aside from my own position, postgraduate students are free to run for any part-time, full-time or crew position in the union, although it’s unfortunately very rare to see them doing so. In particular this year I’ve started co-chairing a Postgraduate Affairs Committee with our Education Officer. This committee has spaces for taught and research students across the four colleges, and alongside academic and funding matters, we also discuss ways in which to improve the social experience for postgraduate students in UCC! We also run focus groups with postgraduate students, as well as running surveys and polls if there’s an issue we feel we need direct feedback from students for.

Can you describe what the social environment of working within a student union is like?

On the surface it’s much like being in any committee, of which I’ve been on many throughout my time in college, but when you really get into it it’s so much more than that. Everyone there is either there to represent a particular cohort of students, a particular campaign, or in the case of the sabbatical officers, organise the unions activity as a whole, from running events to managing communications. As such, we can all work together to ensure that we’re representing students to the best of our ability, and help each other if we feel we need someone’s expertise!

What is the social atmosphere of the student union movement like on a national level?

It’s honestly unlike anything I’ve ever experienced before, in a good way! I’ve been lucky enough to attend two events hosted by the Union of Students in Ireland (USI), our national students union, namely Comhairle Náisiúnta in Galway last December, and Comhdháil in Sligo this March. On both occasions I had the opportunity to network with both my fellow postgraduate officers, but also members of the national Coiste Gnó, and SU officers from the Southern Region as a whole. It’s been so valuable being able to bounce ideas off of these people and discuss ways to improve student representation on a national level, which I feel is the most important aspect of USI as a whole. To quote USIs slogan, “Ní neart go cur le chéile”, or “There’s no strength without unity”!

that provides telecom supplies to the majority of correctional facilities in America. 1.2 million inmates use GTL, making up 69% of the American inmate population. If you want to speak to your loved one in jail, chances are you’ll have to make use of a GTL phone line. By using GTL to make the album, Drakeo is ironically lining the pockets of the system he is locked up in. The environment fostered by this company is one of mistrust and malaise, and we hear this omnipresence of late-stage capitalistic surveillance in the very first lines of the album. The album does not begin with the voice of Drakeo, but rather an eerily robotic voice that sets the scene for the album.

This telephone call may be monitored or recorded. To consent to the monitoring or recording of this call, please press one after the tone. Thank you for using GTL.

The recording of the album was made in a speedy 36 hours ( “I don't got all day, man, Global Tel Link is takin' all a n***a money,” he jokes). The claustrophobic and highly-surveilled reality of his environment leaks into his music. Every song ends with the “Thank you for using GTL” soundbite and songs are often interrupted by “This call is being recorded” a near-constant reminder of his situation. His voice is muffled and tinny through the phone, yet his personality and sharp wit shine through.

One of the new developments of our highly surveilled society is the use of lyrics against an artist. In the UK, for example, 70 trials used rap lyrics as evidence be-

tween 2022 and 2023. Unfortunately, Drakeo wasn’t able to escape this monitoring of free expression. During his trial, lyrics from his songs were used against him to create an image of a gang leader, a criminal and someone complicit with murder (all of which he was acquitted from). On the last song of the album, Fictional, he confronts these claims head on.

“It might seem real but its fictional/ I love how my imagination gets to you”

In rap, there is a constant sense that everything you say must be true. Rappers always hold themselves up by saying they're “real”, so to hear Drakeo break down this barrier and admit that his stories are fake, all just to mock and belittle the people keeping him locked up, is nothing short of ingenious. Towards the end of the song, however, he points out how rap is the only genre that is subject to this treatment- “If you're gonna use my music against me, I expect you use it the same way you would (This call is being recorded) country music, punk, rock, metal, jazz, whatever”. In a surveillance state that controls the free expression of artists, the main victims are black musicians who are still unfairly placed under racist scrutiny and bias.

In November 2020, Drakeo was released from jail after three years of incarceration, two of those years waiting for another trial. In a system that demonises and attempts to control rap music, Drakeo’s situation was inevitable. We can hear the effects of a hostile environment seeping into his music, and trying to disrupt him, yet Drakeo’s nonchalance and sharp tongue persist. In a society where those in power attempt to control and suppress, Drakeo fights back in the best way he can: rapping.

Playing at Life to Understand it: The Sims as a Learning Environment for Neurodivergent People

By Deputy Editor in Chief, Jessica Anne Rose

For as long as I can remember, I’ve loved playing The Sims, named after its video game genre of a life simulator. I watched, half intrigued, half terrified, over my mother’s shoulder as she played The Sims 2 on the Nintendo DS. In that one you ran a hotel and given that it was created in 2004 the graphics made the hotel guests walk like little Frankensteins monsters, the voice actor’s Simlish (the official language of sims) sounding abrasive through the DS’s tinny speakers. When I was old enough to be given a DS of my own, I had three different Sim games where your sim was a mayor, a queen, a figure of authority. You customised how you played, what your sim did - you created a world that catered to you. It was surreal. Whenever I went to my friend’s house it was a whole new world of excitement because she had a laptop and The Sims 3. Laptops were uncharted territory. How could you ever be bored if you had a laptop? The pair of us hyper fixated on it for hours on end.

In a world that was always unpredictable, loud, and confusing - The Sims acted as a place where I could teach myself how to be a functioning human, without consequences. The Sims 4 arrived in 2014, and I have spent the last decade playing it for comfort, never becoming bored. I learned the formula on how to make a good impression amongst other Sims; friendly introduction, ask about day, compliment outfit, ask about hobbies and interests. Sims didn’t react well to certain questions until your friendship bar had made it halfway, only then could you tell them your hopes and dreams, a secret, or jokes. A successful sim had a job they worked hard at until it made them feel tense and a six pack. A successful sim owned a massive house, and was happily married with three children. Unsuccessful sims were ugly.

From my perspective - which I am constantly reminded is an unusual one - every child is like a human sponge that soaks up the environment around them, learning how to get what they want and need to happily survive. I like to think of children as bouncy balls, who make mistakes that just bounce right off of them. The impact of the neverending bounces gradually shapes them into functioning human beings. I didn’t bounce quite right. Through The Sims I taught my anxious little self how to interact, how to make friends, and what makes a person successful. I knew it wasn’t a fully accurate depiction of reality - in The Sims you can meet someone, marry them, and have a baby with them within three Sim days. But as someone who felt like they never received the ‘human’ manual, The Sims became my escape. In The Sims I am always successful. Or not. I can cause absolute havoc just to see what happens, and estimate how it would play out in reality. If I ever felt confused about why I was feeling down, I imagined myself having the same health stats as my sims; I could figure out which one was low and make myself feel better. The Sims 4 brought werewolves in 2022, which added a new red circular health stat called ‘fury.’ Depending on what kind of person your werewolf sim was, or what ‘temperaments’ they had, their fury in this red bubble would rise. Some sims hated showering, some hated conflict, some hated loud noise. When the bubble filled, you couldn’t control your sim at all. It would trash the place, uncontrollably scream at its household members, and furiously run around. Huh. I knew that feeling. I was twenty at that time and had realised I was neurodivergent, and over time came to understand how certain aspects of daily life would gradually lead to me having a meltdown. The way I explain it is this; I compare my brain and nervous system to that bubble that fills up

based on specific, seemingly mundane everyday tasks. Showering exhausts me. Loud places exhaust me. Trying to keep all of the exhaustion hidden until I get home exhausts me further. My ‘fury’ bubble becomes full over the course of a few days if I don’t distance myself from what is filling it. When it overflows, I step outside of myself. This raw, furious, primal part of my brain has taken the wheel. Just before this happens to my werewolf sims, I usually lock them in a space that prevents them from hurting anyone. Now I do the same with myself; I get myself into my bedroom where it is quiet, comfortable, empty. I’ve got the option to put on my sensory lights, to bury myself inside my bed, and there’s a bunch of different ways to feel pressure without hurting myself or anyone else. Who knew video games could be beneficial? That they could teach you about life, consequences, and about yourself? (We knew, most of Gen Z know and have always known.) Through The Sims I created myself and my fictional wife and they would be able to have children because it’s The Sims and biology doesn’t matter. Through The Sims I get to see examples of outcomes to social situations and I am not penalised for it if I ‘do it wrong.’ I get to write intricate storylines for each character I create, my imagination and creativity reach an alltime high as I foster these little virtual lives that I can press save on and put away. I know it’s not real and that’s the best thing about it. The Sims, a game that attempts to mimic life, has helped me understand a little more how life works. I don’t mean to say it has taught me everything, it absolutely hasn’t, but as a neurodivergent person, being able to watch scenarios play out and experiment with socialisation has been incredibly beneficial. Ironically, it has made being human feel a little easier. ‘Who’d’ve thunk,’ as my mother says.

BY SYDNEY MARHEFSKY

Civil War (2024): Political Violence or Rage Virus?

Alex Garland’s Civil War attempts the arguably paradoxical feat of accurately depicting a modern-day U.S. civil war in an apolitical manner. While its aim is questionable both in its conception and execution, its efforts to divorce politics from a fundamentally political conflict produce the peculiar effect of transforming its characters and its deeply human subject into something akin to natural phenomena. The information we receive about the particulars of the titular civil war amounts to mere scraps. We know that the federal government, headed by a third-term president portrayed by Nick Offerman, is at war with three different factions, the primary one being the Western Forces (WF), a coalition of California and Texas. The specifics, or even just the broad outlines, of how this war began, how the president achieved a third term in office, what the differences in the three factions are, or what goals or beliefs these groups hold are entirely absent. The exception is the vague gestures towards the racism of the federal government, with the president being a clear stand-in for

former president Donald Trump and his military forces questioning the protagonists about their place of origin at gunpoint (Though even this is somewhat confused, as the white protagonists are met with the same amount of suspicion as their Latino colleague). This lack of context extends beyond merely not including expository information, but actively denying it to us. At the beginning of the film our central protagonist, the seasoned war photographer Lee Smith, and the young aspiring journalist Jessie Cullen meet each other at an event in New York City that culminates in a suicide bombing. The aesthetics of the scene lend themselves to a number of situations, from a military checkpoint to an aid distribution to a protest. When Lee meets Jessie at a hotel later in the day, she tells her to “Buy a helmet and some kevlar, okay, if you’re planning on attending more stuff like that”. Typically, this is the moment where a film would’ve provided clarification on what we just witnessed through even just a single word in this line of dialogue. Instead, Lee can only refer to amorphous “stuff,” as if it’s a placeholder for narrative that never

MOTLEY

actually appears.

Of course, the absence of context around the civil war is, in fact, a creative choice, and not a sign of poor storytelling in itself. The effect the film seems to be after with this choice is giving the audience the impression that violent conflict is horrifying and ultimately meaningless and thus to be avoided at all costs. Indeed, the driving action of the film is our four journalist protagonists traveling from New York City to Washington D.C. and bearing witness to the dilapidated American landscape and bodily horrors along the way. The anti-war stance the movie seems to be taking is not a new one, particularly when it comes to the medium of film. What is notable about the film’s argument is the inadequacy of its approach. The vast majority of people will

agree that wanton destruction and violence for no reason is bad. However, besides the committed pacifists among us, everyone has a point where they believe violence, even on the scale of mass warfare, is necessary and justified. It’s true that by stripping away all context from a hypothetical political conflict you remove in-text justifications that viewers could latch onto, but you also remove all resemblance of your story to real-life political conflicts besides the surface level images of violence and destruction. An anti-war film that cannot even acknowledge the existence of ideologies and grievances that cause people to engage in civil conflict for fear of undermining its stance is entirely impotent.

Rather than a war movie, Civil War feels more akin to a zombie movie. The civil war is no longer a political conflict that was instigated by people with particular reasons, ideologies, and goals, but a natural disaster, a plague unleashed with no warning after some abstract concept of “division” reached critical levels and spilled over into the general population. Indeed, the drawing points of the film are the brief exhibitions of violence between the long stretches of mourning the fall of American civilization. Further, the reduction of the civil war into a natural event dehumanizes the combatants that the journalists follow throughout the movie as mere vessels for violence that the audience, and the protagonists, can gawk at. Though the movie was ostensibly trying to portray journalists, particularly war photojournalists, in a positive light, it characterizes them more like camera-wielding vultures than esteemed bearers of hard truths. This is a consequence of the film’s contextless approach, as the core function of photojournalism, to inform through images, sometimes spectacular ones, is surgically removed, leaving only the spectacle.

What struck me about this film was the deep sense of passivity that pervaded it. With the combatants functioning as non-persons, the journalists as wartime paparazzi, and the civilians ignoring the conflict as hapless fools, you’re left to wonder what the acceptable course of action would be in this scenario. The civil war itself seems to be a matter of chance, detached from human action, leaving no room for agency in preventing it. It seems that the only option is to stock up on your nonperishables and wait for the inevitable, bloody end.

Death on the Moy:

What can you do when you’re rooted to one spot forever?

By By Áine Feeney

Some stories unravel like rope which we need to gently twist to separate its strands. Colin Barrett’s Wild Houses unwinds more like a tight spring, one which he is firmly in control of. All we can do is grasp tightly and flinch when the story draws blood.

On a rainy summer night, Dev Hendrick opens the door to his cousins Sketch and Gabe Ferdia—a dynamic duo of dim-witted criminals—who have snatched Doll English from the street with the intention of holding him captive until his brother Cillian repays his drug debt. The brothers enjoy a twisted lock-in at Dev’s house for the weekend to live out their gangster fantasy, keeping Doll locked in the basement. Meanwhile, Doll’s girlfriend Nicky sets off to find him, unsure about whether their relationship is even worth the trouble of sticking around in Ballina. With only a year left in school, university life seems so distant that it’s almost comical to her that it could be a reality.

Ireland’s Wild West envelopes these wild houses like a thick smog. At times, it seems like rural Mayo is a living, breathing character of its own, and Barrett’s characters know this. They trudge its by-roads and bóithríns, peer over its knotted ditches, and stare into the abyss of its ‘country blackness’ looking for answers. Yet, the silent, stoic landscape always remains tight-lipped. Each charac-

ter is as stagnant as the next, so bored that they resort to wanton violence to pass the time. Barrett grew up outside Ballina and takes the ‘write what you know’ attitude seriously. In one swift movement, he dissects his homeplace and pumps it full of gothic conventions. The Mayo countryside taps on the windows of his wild houses like a haggard branch; a reminder that in rural Ireland, everybody knows everything about you. From ruddy-cheeked farmers that hover in pub doorways, to the wilting galvanised sheds of the farmland, to the shrivelled football wedged into the English’s hedge, Wild Houses is teeming with iconography of rural Ireland. All in all, Wild Houses has roots sturdy enough to send us on a gritty, adrenaline-fuelled expedition of our own. Barrett’s prose is so effervescent that the pages practically turn themselves and we are tricked into expecting this story to blossom. Instead, it wilts along with its characters who are doomed to stay exactly where they are. The tension stacks itself to a mighty crescendo until it suddenly drops dead right in front of us. The conflict of the plot is tied up in the final chapter, but the characters learn nothing, do nothing, and change nothing. Nicky’s internal conflict about her future in Ballina barges over onto the very final page and drops off into emp-

ty space. Barrett gives the impression that she has been ruminating on something big for the entire novel and yet her guard remains up, even to herself. Perhaps this is merely a nod to the frosty stoicism Barrett believes is inherited by ‘Mayo-ites’; we are just not privy to that information, nothing more. As readers, we want redemption. We want the heroine to make the right decision at the last second. We want the underdog to come out on top. We want the villain to see the error of their ways. Dissatisfied by the drooping finish of this novel, we forget what stagnation can do to people. For Nicky and Dev, home is a hollow place that roots you to one spot, rendering it impossible for you to grow as you wish. Barrett grabs us by the shoulders and shakes us: in the real world, some people just can’t help themselves.

A review of Colin Barrett’s Wild Houses (Published by Penguin Books on 25 January 2024)

Yakamoz Catastrophe

by Robyn Zeta Kelly

Consumed by waves at moonfall, She was engulfed by a sea Of her own creation.

The harsh taste of salt Scratching her throat and eyes. For the best, she couldn’t speak or see.

She was spat out and dried, Discarded onto the sand

With rusted pennies and broken seashells, Surrounded by forgotten letters In washed up bottles.

She lost herself in their Swirling inky words, Painted by “asking for it” eyeliner, Before realising the tide had fled back to the unknown.

She is alone.

There’s a calm before the storm In damp rooms with strangers Passing shots of vodka To the girl who had surpassed her limit.

There’s an ocean lapping laughter That masks a cry to be tucked into bed. Her pleas cannot surpass the crash As the creatures plan their attack.

When the tsunami destroys a small town. The innocent glass people Shatter and scatter Their organs of Shipwrecked secret letters.

Not her.

She’ll be forced to use bare hands To put the shards back together, And in them she will see the reflection Of what has been made of her image.

She broke the damn By spreading her legs. So it is on her, To repair what’s been destroyed.

She will be looked upon with pity In the woeful beginning, By family and friends, But time marrinates hidden furies And pity turns to condemnation.

This is when she becomes the moon, That controls those devastating waves.

She was that very light that shone On the boat house parties Where innocence was stolen. No sign of a wipeout current Until it was too late.

How long have you been this Yakamoz catastrophe?

With pale painted cheeks and Peony pink lips, Designed to satiate and numb.

You exhibit to us what should have been buried with grace, But now floats amongst flooded streets In a vulgar light for all to see.

Haunted

by Ellen Ní Chonchúir

I am the ghost that is haunting this house.

I am the pot with chips in its spout.

I am the pinch and the pull of the splinter.

I am the earth that has blackened my fingers.

I am the garden with roses and thorns.

I am the baby that was never born.

I am the light hidden under the sheet.

I am the virgin with beads at her feet.

I am the buttercup under my chin.

I am the love, with the wrinkling skin.

The bundles of letters shut tight in a box.

I am the girl who dreamed inside clocks.

I am the glint of a cold copper penny.

I was the love when I didn’t get any.

The scrawl of black ink, the return address,

I am a promise of little, or less.

I am the whispers that wander the hall.

I am the paint that peels from the wall.

I am the dust that hides in the delph.

I am the ghost that is haunting myself.

PLASTIC PLASTIC

BY ELLA BARRON CARTON

Saturday. Laundry done by twelve, lunch made, crusts cut, a box of raisins. Your partner is outside washing the car. It is dry today; you should take advantage of that. You wash up after lunch and ask your partner to drop the kids to training. The uniforms are in the dryer, the boots by the door.

Walking through the town you decide you want to see the sea. You wonder if the tide will be in or out. You wonder how many other people will be doing the exact same thing as you.

The sand is flat and wet. Families with dogs walk the length of the beach. No one is swimming. A young child and a tall collie test the water’s edge together. They walk in as close as they can until a wave breaks before them and they sprint back, trying to outrun it.

You walk along where pebbles interrupt the sand. A maze of seaweed has washed up. Entangled in it you see an old Club Lemon bottle, the wrapper faded. You pick it up. Closer to the seaweed now, you see more rubbish caught in the vines. Tayto packet. Heineken branded plastic cup.

Spar bag. You pick them up.

Further along the beach you find more discarded rubbish. Bottlecaps camouflaged in the stones. Scraps aged to be unrecognisable. Your hands are full. Rearranging the rubbish, you put the smaller scraps inside the bags and bottles. You know people are watching you and you know you’re doing the right thing.

There are two bins by the beach and you deposit all the rubbish there. Walking back through the town. Families sit in windows of cafes. Children pressing their faces against the glass, waiting for the adults to stop talking so they can go outside again. People carrying shopping bags, hand bags, and gear bags.

You come the bridge. The river isn’t high despite the week’s rain. Standing by the wall, you look down into the murk. A pile of white by the bank catches your eye. A pair of mangled adidas trainers have been pushed in against the bridge, among reeds and algae. Two empty beer cans and a biscuit packet have been jammed into the bank next to it.

Walking down from the bridge, you’re careful not to slip. The bank is steep and uneven. You kneel at the edge, sinking into mud. Hand against the bridge for balance, you reach in to the river. The cans and wrapper are easiest to take out, they’re closest to you. You tuck the packaging under your knee to keep it from blowing away. Stretching one arm out again, you don’t think you can reach the shoes.

The reeds don’t look strong and you worry disturbing them will dislodge the runners, forcing them downstream into the sea. Gently, you snap a reed near you and test its sturdiness. You lean again to try and pull the shoes in with the reed. Moves an inch, then the grass breaks. It is close enough now for you to reach in and grab it. Using one shoe, you pull over the other with the same technique.

Climbing back up the bank is difficult with your hands full, and you skid. Your knees and arms slam into the bank and you thank god you didn’t slip all the way in to the river.

There are no bins nearby, so you walk down towards the estuary where you’ve seen one before. Your jeans are covered in muck and your legs are beginning to get cold.

You find the bin, and the runners clunk as they hit the bottom. Water has begun seeping into your gloves. You cannot wait for a warm shower. All around you people are carrying on with their afternoons. Many people sit in the bar nearby, and you consider going in to use the toilet. Across the road, a young man standing by the estuary, looking out towards the sea. He has an empty water bottle in one hand. You watch as he raises his arm slowly, before firing the bottle into the estuary.

A cross between a gasp and a scream escapes you. The man turns around. You begin to shout, “What are you doing? What in God’s name do you think you’re doing?”

The man stares at you, not answering. You charge across the road towards him.

“What is wrong with you? Why would you do that?”

You storm up to the young man, shaking your sopping glove at him. You can feel eyes on you. Before either of you can speak again, you hear a thump on the boardwalk below. A golden retriever has jumped out of the water and is shaking itself off. In its jaw is the plastic bottle.

Standing in silence, you watch the dog run along the plonking slats to the young man. He bends down, takes the bottle from the retriever. Lifting it over his head as the dog crouches excitedly, the young man throws the bottle again. The dog immediately jumps into the estuary in pursuit.

“Oh. Oh, I am so sorry,” you say to the young man. He laughs and tells you not to worry. You try to explain the day you’ve had, frantic to justify your anger, to look sane in your ravings. He shrugs as his dog returns with the bottle again. Children are watching, and their parents pretend not see. You wish the young man him a good day and begin your damp walk home.

Fun Guys and Friends

Vine Boom by Fionn Youell

by Emily Sweeney

by Ronan Keohane

by Ronan Keohane

by Ronan Keohane

Distance Makes the Heart Grow Greener. Distance Makes the Heart Grow Greener.

by Lisa Ahern

On August 16th 2023 I lifted off the ground from Shannon Airport on a journey to the “Land Of The Free”. I was nervous, scared, excited and disheartened by leaving everything I had at home behind. I told myself I did not dedicate so much time, sweat, blood and lots of tears to get to this point and give up. There was no second guessing.

I had been to America as a tourist but I had never truly experienced it as a person in residence, so I had no idea what to expect really. I knew it was going to be a change but I didn’t realise how much of a change it was going to be. 266 days later and here I am still surviving in Boston, Massachusetts with only 5 weeks left till I return home.

So how did I get on? First thing I found about the States is that their culture is a lot more plastic (no literally they use so much plastic here it’s crazy). Of course I got to experience every sport imaginable, even though I am the furthest thing from a sporty person. I watched American Football, Baseball, Basketball and Ice Hockey. I wore the team’s colours and cheered them on. They seriously love merch here, so my bag will be full of Boston College t-shirts, cups and hoodies when I fly home. I got to experience Tailgating. For non-Americans, this is when you wake up really early in the morning and in the car park outside the Football Stadium is filled with rows and rows of cars giving away free food and drink before the match. They are usually parents of Children or Boston College Alumni themselves.They bring so much food and drink it must cost them a mountainload and they come back to every single game of the season. They were honestly the best part of the sports culture here.

Boston itself is a quiet city, there are lots of museums, galleries and tourist attractions to do when you’re bored, but during the cold harsh winter days, you feel locked up in the house with nowhere to go. January was a rough time here, I found myself at these lows that felt like they were endless. I wanted to return home more than anything, but the ice thawed and I got myself up, and carried on. That’s what you have to do when you live 5000 km away from all you know that is dear to you. Just keep going, not giving up. Because you know that this is a once in a lifetime experience

I started to go out and make more friends once again after half my friend group from

the last semester finished up and moved home. It was like a reset button was pressed and the getting to know people phase began again. You know the usual questions “Where are you from… What course do you study…. How are you finding Boston…” you get the idea. After many nights out in Boston, I began to miss Ireland more and more. The nightlife here is quite dead sometimes. Another strange thing I found was that the club/bar empties out at 1:00 an hour before closing time. Like hey guys the party isn’t over yet. I thought the closing times in Ireland were bad.

When some people think about the US they think of the endless amount of fast food joints, like Raising Canes (which is most definitely worth the hype), Chick-fil-a, Wingstop etc. They do get old and you start to feel like this food is all so processed and just not as good as when you first tried it. The novelty wears off. And that is how I also found Boston in general, the novelty is long gone! At the end of the day I want to walk into a small village pub and order a cheap pint of Beamish without having to pay $11 for a half pint of poor quality beer. Like seriously why don’t pints exist here? Besides the alcohol there are everyday small things I came to realise I miss. I miss meeting my friends for a coffee that is not made that morning and pumped out to you in seconds. I miss my mom, calling me to the dinner table and talking to my family about my day. Eating dinner by yourself gets old and lonely. I miss throwing a ball and watching my dog sprint her heart out to catch it. I miss all the silly things that used to annoy me about my home like the smallness, now I crave the familiarity and comfort of its size.

There is this aching gap in me that won’t be filled until my feet hit Irish soil. It took running away to realise how much I love my country. Thousands of miles away and all my friends here are Irish. We gravitate to the Irish pubs downtown and call it a great night if we run into fellow Irish immigrants. There is a magnetism built into you to hold onto this sense of Irishness, you don’t really realise you have it until you move away. The change of scenery really brought out a sense of self that connected me to my homeland. Now I am counting down the days till I return. The Irish countryside is unmatched and I long to go running by the cows again. I have not seen a cow in months! As I said it’s the silly little things that make a home a home, and it took me travelling miles away to truly spot these things that are missing here. Things I will now cherish when I am home.

Driving Lessons Gone Wrong

By Features Editor Sarah O’Mahony.

David thinks women are sickening. For now, anyway. His girlfriend cushioned the breakup with ‘I need to focus on my career and sobriety’. He can’t even talk about it in detail to Mam without coming across as the clichéd controlling ex-boyfriend. A part of him wants back the four years of college where he watched most of his friends fail and occasionally succeed at talking to and sleeping with conquests.

Dad told him to get it together when he started calling in sick to work and looking at TikTok all day.

Mam anxiously sent him emojis in all her texts. The lads he went to college with, and who he was now envious of, were spread across the world. Of course, Sean, the least competent of them, was now engaged. Sean had never said a bad word to David in their 12 years of friendship. Reflecting on this, David finally started to dissect Michelle’s lecture on his jealousy before the breakup. Albeit, in hindsight, his behaviour was warranted. Either way, he was not going to resort to therapy despite Mam’s recommendations. That was for people like Ian, his co-worker who showed up half an hour late to almost every shift. He most certainly whined weekly to a therapist about his childhood.

David’s social media feeds were now covered with pictures of the rock Sean bought the fiancé. This along with posts about keeping a gratefulness journal and practising breathwork were driving him mad. Michelle had always pined for someone who could keep pace with her health kicks. Maybe she would have married him if he had shot back ginger shots and was able to hold his breath for a half hour while doing yoga. Of course, this was madness. Michelle drank boosted smoothies and preferred pilates over yoga. And oh, she had been sleeping with his driving instructor. ‘So… the I need space break up was a lie. Kelly saw them dogging in his car by the airport two months ago. Last week she came over to me drunk when I was on a night out after work last week. She started crying and eventually told me’. He continued staring across at Stephen in what was starting to feel like the most suffocating restaurant in the city. Stephen stopped him to ask a question every few minutes but mostly let him spew out the whole drama. The pop music playing in the background grated on David’s ears and the angles of the door were starting to look a bit odd, but he kept going. ‘Maybe this was a bad idea’ he thought. ‘What if he tells me an idiot’. Stephen cringed as a heavy-set man squeezed past, rearranging his mug and phone so he wouldn’t have to look up at him. The scoop of David’s dead-in-the-water relationship wasn’t surprising. ‘Look David I don’t know what to say… actually, I do. I never fucking liked her and you had nothing in common.’ Stephen was no dead fish.

BLIND DATE Q&A

Over the past year and a half I have had the pleasure of setting up six blind dates for the magazine. I would like to thank Bev and everyone in Alchemy for helping me run the dates and of course our readers for getting involved. The enthusiasm of participants has shown me that you should never give up on love. Many of the dates have ended without a romantic spark shared between the couple. However, the very act of getting ready and showing up to meet a complete stranger is in itself an incredibly powerful feat. I sincerely hope the Motley blind date baton will be taken up by another editor in the future. There is nothing more productive than loving love and we should all take inspiration from each of the Motley daters that have taken part. Love, Features Editor Sarah O’Mahony.

Alison is 21, studying Journalism and Content Creation and Adam is studying Music and is 23.

What were you looking for from the date?

Adam: Firstly I suppose I wanted to be able to meet someone not from my immediate surroundings. What I was looking for is not too dissimilar from anyone else going on a date, a person who you may have a connection with.

Alison: Just a nice and fun conversation.

What was your first impression of them?

Adam: I thought she seemed like quite a shy but genuine and kind person.

Alison: That he was very chilled and very put together which suited him.

What did you talk about?

Adam: We spent a lot of time reminiscing about shared life experiences and commonalities through our different paths in education and life. We shared things about our families and everyday lives as well as goals and aspirations, but neither of us went beyond surface level interactiongranted it was a first date. I don’t think either of us were ready or wanted to have meaningful or intimate conversation with one another.

Alison: Mainly about college and school life for us.

Cringiest moment of the date?

Adam: For me, the cringiest moments were the very beginning, the introduction, the awkward and anxious walk into the cafe and ordering coffees.

Alison: I think trying to find each other before the date started.

One thing you had in common?

Adam: We are both quite passionate and driven people in what we have chosen to pursue.

Alison: Our experience in college.

How long was the date?

Adam: About 2 hours.

Alison: About 2 hours near to that

Did you guys go somewhere after?

Adam: We only had a little time in the cafe itself, but we just spent the evening walking through UCC campus just chatting and sharing.

Alison: We went for a walk.

Would you introduce them to your friends?

Adam: Yeah, I would.

Alison: Yeah I think they would get on well.

What do you think they thought of you?

Adam: I’m not so certain, I think whatever I answer here would either express an insecurity or what I would have wanted them to think of me. Regardless, I think she may have thought that I was a curious person and someone who is empathetic and kind. I didn’t feel like she had any interest beyond engaging on a friendly level.

Alison: I hope that I am great to talk to I guess.

Final impression of them?

Adam: I thought she was quite sweet and kind. I found her to be very interesting and unique from people I have met before. She was engaging and genuinely curious about me as a person; overall she was a very likable person with whom it was easy to share with.

Alison: He was very sweet and really funny.

Would you meet them again?

Adam: Yes, though it would be as friends and not a date.

Alison: I don’t think there was a spark there. Maybe that was because it was the first date but yeah I would see him more as a friend.

Earthlings

By Sarah O’Mahony

Lambs are delicate things

Slipping and sliding while the farmer sings

Bring the bottle son

A sweet melody calling out

They are labelled earthlings

The growing figures

Moving as he sings

Pinning each other down

Chasing the bottle

I’ll tell you there isn’t a dull moment

Not until they’re full

Then silence once again, no movement

Till the hunger comes in the air

Thud, thud, thud, like a drum, like a snare

It’s three hours later

He’s standing in the rain

No umbrella

Just 7up bottles with teats

They’re bigger, woolier than three hours before

The rain streaks down his glasses

In 7 months there will soon be silence

Till the hunger comes in March of next year

The farmer sings they can’t stay

They will be bigger, woolier, that’ll be their day

But they are delicate things

The thuds ring out

Before he stands in the rain

Twice more that day

Thirty more times that week

He looks back when the trailer pulls away

Earthlings calling out

He fed them teat by teat

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