UT Radius 26/12

breakdown Child of Prague

Ella Parry FOOD AND DRINK EDITOR

They say journalists should be objective. As I am a twenty-one-year-old college student, you’ll have to forgive me for falling short of this ideal. Today I write not as an impartial judge but as a girl deeply in love. Long past the honeymoon phase, Fable Bakery has set up camp in my heart. The sixty-seventh pastry feels just like the first.

I have reason to believe that Fable fever is a genetic condition. When I went home for Christmas this year, I brought back a box of their mince pies for my father as you can’t get them in Germany. Don’t get me wrong, my father was happy to see me. However, there’s a strong argument to be made that the joy associated with my arrival was eclipsed by the mince pies. It looks like the price of my father’s heart is 3,50€. Very affordable.

Introducing Fable

But what exactly is the subject of my affection? Fable has been in its current form since the end of November 2022, when it moved into the front of Sprout’s Dawson Street location, dangerously close to campus. Sprout issued an offer for a bakery to operate within their location and share the kitchen facilities with them. With their Midas touch, Elyse Clarke and Kate O’Sullivan managed to eliminate the competition. This delicious symbiosis enabled the team to go from selling at markets two days a week to a city-centre location in a matter of months. The Fable team is comprised of two part-time and three full-time workers. In Elyse’s words, “they’re good eggs”. All of their employees have been with them since the start.

Fable Fever

For context, last semester I had a concerning phase where I’d go on a walk every morning at 7 am. Trying to take shelter from a storm, I decided to take refuge in Fable and have a coffee while I was at it. I got chatting with the lovely woman behind the till and found out that she was one of the co-founders. Falsely, I had always assumed that Fable belonged to Sprout. Naturally, when I met Elyse, I practically begged her for an interview. They say you should never meet your heroes, but I decided to take my

Eloise Sherrard gets the inside scoop behind the scenes of Fashion Soc’s annual fashion show, ‘Primavera’, from the photoshoot to the wings of the Exam Hall.

Molly Wetsch discusses Cathy Sweeney’s debut, which explores the breakdown which prompts a woman to pack up and leave her life page 3»

Clara Potts speaks with the Dublin-based band, to find out more about their ethos, experiences and aspirations page 5»

What Makes a Good Society Ball?

Saskia McDonogh Mooney

Trinity’s prestige stems from a variety of different factors: its academics, its history, its renowned societies and the pride voiced by so many of its students, staff and alumni. The balls that are hosted by the various societies speak to that legacy with their extravagant themes and traditions. The word, ‘ball’, still has a strong sense of romance and rules, despite the fact that the balls of today are more casual, even with the fancy dress. They are now a chance for students to participate in one of Trinity’s many traditions, but also to celebrate the societies they love and enjoy an evening of fun.

“I loved how everyone seemed excited and

involved, everyone was dressed up and mingling. It was really nice to meet new people and especially other students, not only in first year,” said Ila Raso, a firstyear student at Trinity about the 2023 Politics Ball. Balls have always been a place to socialise and celebrate, but the atmosphere that this happens within is really important. Raso explained that the Politics Ball was very well organised and that the “venue of Farrier and Draper was lovely, very sophisticated and fun.”

This stands in stark contrast to the Literary Society’s (LitSoc) 2023 Ball, Raso said the “event was really hindered by their last-minute change of venue. The venue it was held at was just too small for everyone, it was uncomfortable and too packed… the vibe of a traditional ball was kind of lost I think, but it was great to

see everyone’s regency era outfits”.

Another first year at Trinity, Rian Gallagher, who attended the 2024 Law Ball also mentioned the venue: “It would have been nice to have had the ball at a venue that was closer as the bus back at such a late hour was a bit of an inconvenience, however all in all I had a wonderful experience at the law ball.”

So, the venue is critical for a good experience at a ball, as well as the band. Both Raso and Gallagher referenced the music being good as a major benefit. The latter noted with enthusiasm: “The band were great and played into the early hours of the morning.”

Then, of course, all societies must remember that cost is always on the minds of students, who are ever frugal and talking about how broke they are. Es-

sentially, for balls, people want a good bang for their buck. Speaking about the Law Ball, Gallagher admitted, “the only thing I would complain about really are the price of the bar and the fact that the meal was quite disappointing given that we had paid €65 for tickets.”

Finding the balance between venue, music, food and cost all are crucial ingredients for a beautiful blend at any ball. Yet while

all of these things are essential, so are the people you go with.

An anecdote from Joseph O’Conner’s book The Secret World of the Irish Male in which his date dumps him and displays general disgust towards him at Trinity Ball, says it all: “I do not think I will ever forget the full horror of that night. The map of Trinity College Dublin is burned into my soul, and bits of gravel are probably

The National Gallery Through the Eyes of its Workers

Elly Christopher

ART EDITOR

Stepping into a new gallery for the first time, my senses are usually overwhelmed. My gaze roves around the pieces on the walls, searching for something that calls out to me. Usually, I do not notice the workers sitting in the far corner or strolling around. These workers are there every day, roaming around mostly without interruption, paid to look out for the art within. Their senses are acclimated, they have had time for everything to sink in. I wondered what clarity it might give them, working in the same halls every day. And I was hoping it might give me some guidance when walking through myself. So I decided to ask several workers in the National Gallery about their favourite pieces. The first worker I ran into was John. He sat leisurely in the Irish Art wing, chatting

casually with a colleague and surveying the crowd. After his friend drifted off, I went up to him. When I asked if he had a piece in the gallery he was particularly fond of, he nearly laughed in my face. His re-

action made more sense when I asked him how long he’d been working at the gallery: nearly thirty-one years. There was no way he could pick just one favourite. As he explained to me, there are so many paintings

in the gallery that to spend adequate time with each one would take you nearly a week. John told me he had a favourite piece for every mood, and different ones for each style, each time period. In the Irish wing, his favourite was the room containing Jack B. Yeats’ work. The importance of one’s mood would become a common theme. Moving deeper into the gallery, I met Marianne. She was new to the job, as she had only been working there for four months. When I asked her about her favourites, she reiterated that it depended on her mood. On dark days, she told me she likes to go and see the religious artwork, even though she is not a religious person. She explained that the visual lightness in many of the pieces cheers her up, regardless of religious leanings. When I asked her if she had any favourites she could show me without leaving her post, she proceeded to one I am sure all Trinity students can relate to at one moment or

still embedded in my right foot.”

At the crown jewel of all balls hosted in Trinity, his disastrous experience can serve as a reminder for the importance of choosing one’s dance partner wisely. While people can’t really help the venue’s proximity or how thematically relevant it is, or the cost and the band, what is in the hands of the attendees is who they attend with – because, as in most parts of life, people are what matter most. People are what make a bad venue and spending a lot of money worthwhile, because you forget your surroundings and you forget how much money you spent. So really, societies can, and should, do their best to host the most fabulous event they possibly can, but in the end, the success of a ball lies in the hands of the people who attend it.

another: Girl Going by Trinity in the Rain by Una Watters (1959). “It’s something different, and captures what is quintessentially Irish” Marianne said, looking at the painting with affection. Gazing at the painting with her, I found myself drawn to it as well. The subject of the painting is being pelted by rain, but she does not look beaten down. It’s more simple, and more hopeful than the other paintings in the gallery. We chatted for a bit longer, and then she sent me upstairs to see her friend, Tina.

I found Tina in the European Art wing, talking to a colleague, Paul. When I asked them how long they’d been working at the gallery, Paul laughed and said he came to work for six weeks…over a decade ago. Tina has been there for nineteen years. I explained how overwhelming it can be to try to give all the paintings attention, and asked for advice. When you go into a room, she responded, your favourite often ends

up being the painting that sticks with you, the one that you think about once you’ve left and moved onto the next. These are the paintings that you have empathy with, the ones you unconsciously connect with. For Tina, the painting that has stuck with her for all these years is Pierre Paul Ruben’s Head of a Bearded Man. It will be on display in the upcoming NGI exhibition ‘Turning Heads: Rubens, Rembrandt and Vermeer’, opening on February 24th.

Perhaps it is a bit ridiculous to feel like I have to get to know every painting in a gallery, but talking to Marianne, John, and Tina made me feel seen. They were lovely to chat with, and generous with their time. So, if you are like me, trust your gut and pay attention to the paintings that stick with you. I’ve been to the National Gallery many times before, but it was lovely to see it through the eyes of its workers. And hey, if you’ve got the time, I hear they’re hiring.

PHOTO COURTESY OF COURTESY OF TRINITY ALUMNI

UNA WATTERS, ‘GIRL GOING BY TRINITY IN THE RAIN’ (1959)

Observations

Musings on the Past Month

Maisie Greener

Hi all, and welcome to this year’s second edition of Radius! Hopefully, as Hilary term gets underway, so too will your winter blues go away! With the warmer weather and longer days comes the increasing social permissibility to be in the Pav before 4pm. Dublin and campus itself have been abuzz with plenty of creative happenings. From the release of All of Us Strangers, and the collective breakdowns that en-

sued, to the week of Trinity Arts Festival (TAF), the cultural calendar has been jam-packed. We hope to revisit some of these moments and anticipate more in this issue.

On the fashion front, Eloise Sherrard goes behind the scenes of Fashion Soc’s inimitable fashion show, a culmination of Campus Coutures the year around. For the literary-minded among you, Bridget McBruiser discusses the merits of Taylor Swift being included in English curriculums and Molly Wetsch reviews Cathy Sweeney’s long-form debut. Get your theatre fix from Laura O’Callaghan, who

sat down with the writers and directors of Pinstripe to talk about experimentation and interactivity. Sadie Loughman, as always, has her ear to the musical ground as she spotlights the Irish folk resurgence in Dublin. For those still mourning the final season of Succession, find solace in Eliora Abramson’s review of Brian Cox speaking with LawSocl. As usual, our Radius Reads and Your Week Ahead sections will be your cultural best friends to fill your calendar with. We hope you enjoy this issue as much as we enjoyed creating and compiling it!

Review: breakdown by Cathy Sweeney

Molly Wetsch

DEPUTY LITERATURE EDITOR

In Cathy Sweeney’s world, a woman is a machine. It’s made clear early on in the Dublin author and Trinity alumna’s debut novel breakdown when the unnamed main character says: “Funny that we have the same word – breakdown – for mechanical objects and humans.” What follows is an eerily mechanical exploration of what it means to reach a breaking point and the power of choice. breakdown follows a middle-aged woman who wakes up one day in her leafy Dublin suburb and, somewhat inexplicably, leaves for rural Wales, embarking on a haphazard road trip. Throughout the novel, the reader is made privy to the circumstances that led to her breakdown, jumping from past to present to future. breakdown is not, as the title may suggest, emotional or dramatic. There is no snapping point or last straw. Rather, Sweeney writes with measured subtlety a woman’s attempt at complete removal from a society that she no longer enjoys, that she has perhaps never enjoyed. There are snide references to several affairs and anger at her children as well as a general distaste for the life she has made for herself with little remorse or guilt for her feelings. As the woman travels from Dublin to Arklow to Rosslare to Wales, readers are given a frontrow seat into what is either complete mental collapse or total rediscovery.

The dreamlike, detached experience of reading breakdown stems from the main character’s quasi-isolation from reality. Although her actions in the departure from her home have clear and tangible repercussions on her children, husband and friends, we do not witness these repercussions take place - they aren’t felt very poignantly by either the character or the reader. Her in-person interactions

with other characters in the book are rare, though these characters get names while she never does.

Weaved between feminist themes are critiques of late-stage capitalism and subtle jabs at class in Ireland. At the outset, breakdown seems to be a commentary on mothers’ struggle in modern Ireland, and in many ways it is. But Sweeney possesses a unique ability to burrow deeper than what’s expected of her. As the story progresses further, the main character’s gripes become less focused on her own breakdown as a mother and start to insinuate that breakdowns are, actually, happening all around her. By the final page, one is left with a new perspective on women’s struggles as well as a nearly apocalyptic outlook on consumerism, social media and friendship.

Near the end of the novel, the main character comments: “Only women artists tell stories about motherhood that allows for ambivalence.” Sweeney has certainly allowed for ambivalence and in many ways embraced it in breakdown. Even the end of the novel doesn’t do any favours for the reader as we are left to make our own choices (much like the main character) about what a breakdown means and whether we’re supposed to be rooting for our heroine.

Make no mistake: despite the general melancholy of the story, Sweeney is funny. Her writing is acerbic, tothe-point and at times unsettlingly uncanny, but it will undeniably make

you chuckle. Crass language while recounting sex and pointed jabs at the main character’s encounters with the general public are just jarring enough to be hysterical. breakdown is, arguably, Sweeney’s most prominent work since she started making a name for herself in the Dublin literary scene, occupying bestseller lists and shelves across bookstores since its debut. She was previously featured in The Stinging Fly for her short stories and eventually published a collection of them with the magazine titled Modern Times, which received favourable reviews in The Guardian and the Irish Times.

Those familiar with Sweeney’s work will be well acquainted with the careful references to modernity that line her pages. She has made a habit of succinct, calculated criticism of Irish society within her writing that is straightforward without lacking nuance. Modern Times was a fantastical version of this, with fairytale elements weaved between rather realistic stories: a woman and a world turning blue, a twisted Benjamin Button, and a fresh take on Little Red Riding Hood. But breakdown is almost uncomfortably real. Sweeney is not hiding behind metaphors when she writes about a daughter living in her parent’s attic while attending university, a son attending a wealthy allboys school, and a mother who is beginning to resent what both of them stand for.

With breakdown following the success of Modern Times, Sweeney has firmly planted herself at the next frontier of Irish authorship. She’s already amassed a nearly cult-like following, with an ability to tell a story and make a real point like few others before her. Miraculously, she’s made an effortless transition into longform writing that, whether she chooses to stay in her new genre or venture back into the short story, will likely remain an Irish contemporary classic for years to come.

Your Week Ahead

Our Pick of Events Around Trinity This Week

MONDAY KNITTING CLASS

THE ATRIUM, 6-7 PM

The Knitting Society (Knit Soc) is having their weekly class in the Atrium from 6-7pm on Monday evening. A theme is yet to be announced but sure to be fun and useful. Come and get your knit on while ignoring your increasingly large workload, which somehow continues to build up.

TUESDAY MUSIC VIDEO SHOWCASE

NANCY HANDS BAR, 8PM

On Tuesday at 8pm, Dubiling University Film Society (DU Film) is hosting a collaboration with Dublin University Alternative Music Society (DUAMS), showcasing student-made music videos. Meeting in the Nancy Hands Bar, with food provided and karaoke to follow, this collaboration is not to be missed. In addition to this stacked lineup, the artists showcasing their videos will also be performing their music live.

TUESDAY

HIST BALL

GMB, 8 PM - LATE

Instead of indulging in film and music, head to the GMB for the annual ball hosted by the College Historical Society (The Hist). This year’s theme is ‘A Midsummer Night’s Dream’, perfect for you to live out your Saltburn dreams. Dubbed to be “magical a world of light, dreams, and unlimited free snacks and drinks”, the ball will also feature live music from Eve Campbell. Tickets are €10 for Hist members and €15 for non-members, with WigWam afters at just €5.

FRIDAY

TFM 25 HOUR BROADCAST

HOUSE 6, STARTS AT 9AM

End your week and the first part of your semester with Trinity FM for their special 25-hour broadcast to celebrate their 25-year anniversary. Tune in from 9 am on March 1st until 10 am on March 2nd to hear the exciting broadcast chock-full of TFM alums, current favourites, and much more. Make sure you don’t miss UT’s very own Clara, Ella and Sáoirse play ‘Say It or Shot It’ and try not to spill the UTea.

PHOTO BY MIGUEL RUIZ

Behind the Front Row: Fashion Soc’s ‘Primavera’

Eloise Sherrard

DEPUTY FASHION EDITOR

Anytime my grandmother sees me flaunting a new ‘fit, she always says she has three words for it: fab-u-lous. I know that is, technically speaking, only one word, but if you say it with as much enthusiasm and conviction as she does then you understand how she considers it three. I must say, my own reaction was no different as I stood on the upper balcony of the Exam Hall, marvelling at the spectacle below me, the Trinity Fashion Society’s (Fashion Soc) spectacular annual Fashion Show, this year entitled ‘Primavera’. It was incredible to see what is often considered a pit of doom and despair, transformed and elevated in all its glory to a breathtaking space filled with music, light and some of the most beautiful garments in Ireland, all of which highlighted not only what a creative place Ireland is, but also the burgeoning talent gracing Trinity’s halls.

Despite the remarkable talent which the show revealed, it is worthy to note that there would simply have been no show with just talent alone. It took just as much, if not more, work and effort as it did talent. I witnessed many of the behind-the-scenes hours with my own eyes, as both a stylist for

the show and a model for its advertisement posters but, even at that, I don’t think I witnessed even half of the time that was poured into ensuring such an event took place. There were approximately one hundred individuals responsible for ensuring the event’s fluid running, and of those hundred, a few proved particularly worthy of mention: Juno McCluskey, Beth Taaffe, Lorcan Convery, and last but more certainly not least, the incredible Yasmin Ryan, Chairperson of Fashion Soc. Ryan remarked in her speech on the night of the show that preparations began last spring, so almost a whole year in advance. The photoshoot alone was an undertaking, involving four models, the fabulous photographer Ella O’Brien and approximately four others heading for a day trip to Dublin’s beautiful Botanical Gardens. The models were skillfully styled by Ryan, McCluskey, Taaffe and Convery with pieces from their own collections. McCluskey tied her gorgeous silk scarf around my head while Taaffe glistened my eyelids with shimmering eyeshadow, and voila! Off we all hopped on the bus. When we arrived there was no “faffing about”, as my mother would say, it was straight to business. Luckily the weather was glorious, blue skies and sunshine, the perfect natural glowing canvas against which to set the season-

al-themed photographs we had to create. After several hours of crouching on bridges, staring with dumbfounded expressions into Ella’s lens, frolicking (or trying to) up and down between trees, feeling somewhat like Maria running through the hills in The Sound of Music, we were done. And that was only the photoshoot. Many more hidden hems were being carefully sewn in anticipation of the final garment: the show itself.

Before I knew it, the day of the show was upon us. As was my raging hangover from the night before. I pulled it together and managed to be on campus in the GMB for 10am, running on only three hours of sleep. And run I did. We all did. Every single item of clothing had to be organised with its counterparts to create the envisioned outfit, after which these outfits were hung up in the

order they would appear in the show. Next, many of the garments were carefully steamed by hand, and somewhere in the midst of all this, I found myself not only somehow still managing to run on three hours of sleep, but also running around campus in search of sandpaper to sand down the soles of a pair of never before worn cowgirl boots. I never thought I would find myself at the security desk under Front Arch uttering the words sandpaper, cowgirl boots and fashion show, to the rather puzzled-looking but very helpful security guard. After a sandpaper scavenger hunt through campus, beholding the many more puzzled faces of gardeners and construction workers, my Chinese whispers proved successful and back to the GMB I hopped, sandpaper and all. Next, the models arrived and approximately ten of us stylists set

A Luscious Valentine’s Day Lunch at the Buttery

Ella Parry

FOOD AND DRINK EDITOR

It is a truth universally acknowledged that those without partners must spoil themselves on Valentine’s Day. We are taught that this is the epitome of self-empowerment. You cannot expect other people to treat you in a more loving way than you treat yourself!

For this reason, I decided to take myself on a solo date on February 14th. I pondered long and hard on the perfect location. Then, it came to me: a luscious lunch at the Buttery! I thought I would share the experience with my esteemed readers.

On a slightly more serious note, the research (purchasing and eating food) for this piece was a bit of an emotional rollercoaster. I thought this article was a great idea when I first pitched it. How-

ever, my enthusiasm declined exponentially once I realised it would actually require me to eat lunch by myself in the Buttery on Valentine’s Day. Of course, I could (and, let’s face it, maybe should) have lied and taken someone with me. However, I pride myself on my journalistic integrity. Also, surprisingly, nobody wanted to spend that particular lunchtime in the Buttery. I had rarely been more scared of being perceived than during that lunch break. But then, Valentine’s Day isn’t Valentine’s Day without some form of public humiliation. And what is more humiliating than being charged extra for ketchup and butter?

I know what you will say: It’s a canteen! Comparing it to a restaurant is unfair. Well, I am more than happy to treat the Buttery as a university canteen when its prices reflect that. Given that some of its mains currently cost more than

€10, you’ll excuse my French.

So, on February 14th I rock up to the spot. The open-minded individual that I am I could not wait for this experience. The Buttery is unlike any other restaurant I have been to, not being afraid to break social conventions when it comes to meals. They aren’t just selling you a meal, they (that is Big Buttery) are selling you an experience. The Buttery takes its own spin on the eating experience through self-service. You carry your food on a chic plastic tray. Is it blue? Is it green? Who knows! The day’s meal choices are presented on plates, thus replacing menus. Simply ingenious! The next part of the experience is the intense hunt for a place to sit and eat. What fun!

Some academics (me) hypothesise that this is where Suzanne Collins came up with the idea for The Hunger Games

Next, I would like to discuss the

out to dress forty of them. At the other end of the room were the team of makeup artists who were bedazzling each model’s face before we bedazzled the rest of them. Before we knew it, this process had taken about four hours and show time was finally upon us. Yasmin stood on the table and in an inspiring speech, commended us all for our work, before we all went marching out of the GMB, across Front Square and to the Exam Hall. I can only imagine the work that must have gone into setting up the Exam Hall for the show, but not having been involved, I cannot share any insight, other than it seemed a feat in itself.

I finally got to sit down in the balcony of the Exam Hall, beaming down from above with the other stylists and production team as the show commenced. I don’t think I need to say much beyond this. Unless you live under a rock you will have seen for yourself, even if in a video, the utter splendour of the whole display. Power to all the models who rocked the runway, straight faces and all (I could never) but I must say, I was delighted when I instead got to skip down the runway at the end, along with all the stylists, production team and models, past all the amazing designers and spectators, right through all the individuals who made the magic which was ‘Primavera’, the 2024 Fashion Show.

Buttery’s atmosphere and interior design. It is apparent to me that those in charge read my opinion piece from the last issue on how important mindful eating is, urging people not to distract themselves and their senses during meal times. The Buttery’s interior caters to this resolution. It is so thoughtful to design a common eating space in a way that creates zero visual distraction.

For my lunch, I chose a carrot and ginger soup accompanied by a carrot cake. After extensive analysis, I believe this curious carrot theme to be an impulse given by my skin in a feeble attempt to gain a little colour. The soup was nice and, at under three euros, sufficiently lush for this lunch.

While the soup was perfectly lovely (especially considering the price!), the carrot cake sent me spiralling. For PR reasons, I only had the soup in the Buttery and

brought the cake to my next lecture. The presentation was interesting. For best taste preservation, the carrot cake is served in cling film. I remember really enjoying this particular cake back in first year. Now, I don’t know what has changed in these last two years but something has. Either my tastebuds did a 180 or someone downgraded that frosting to a criminal extent. At this point, I’d like to thank my dear friend Rachel for being consoling me in my time of need. Cake-gate was followed by a two-hour Political Violence lecture so my grievances were somewhat put into perspective. Nevertheless, please bring back the old frosting!

I would like to leave you with my two main takeaways from this experience: when it comes to on-campus lunch, trinners really are winners. After this humbling experience, I have never been more motivated to find a boyfriend.

PHOTO BY ELLA O’BRIEN

Speaking with: Child of Prague

Clara Potts

FASHION EDITOR

Rooted in the diverse tapestry of musical traditions, Child of Prague fuses elements of traditional Irish music with the emotive melodies of Midwest emo, the raw energy of indie rock and the texturing of folk-pop. The band’s sonic palette is as diverse as their musical training and geographical origins. They offer listeners a unique and refreshing experience that transcends boundaries and defies rigid categorisation to provide music that caters to all music tastes.

Last week I met with the band members Adam Tracey, Jack McDonnell, Noah Edwards, Rachel Baum, and Miranda Gallacher, to discuss the realities of the Dublin music scene for new, emerging artists.

The interview has been edited for concision and clarity. The responses are an accumulation of the insights provided by all five band members.

Firstly, please briefly explain how your band came together.

Last year, two of us [Adam Tracey and Jack McDonnell] came together and started to write songs. After class, we would sit for hours experimenting and writing lyrics. Having played in various other bands and written songs before, what interested us from the beginning was combining our diverse sounds and experiences.

‘Fibreglass’, the first song we wrote together, inspired us to expand our group to incorporate more instruments so that we could diversify and experiment further.

What inspires your band’s unique sound and style?

With members from San Francisco to Tipperary, London, Boston and Dublin, we are inspired by a multitude of genres, falling somewhere between Irish trad and Midwest emo, indie rock and folk-pop.

What themes or messages do you aim to convey through your music?

Many of the lyrics and feelings we try to convey are about growing into yourself and the universally experienced transition from childhood to adulthood. These experiences carry with them various intricacies, and central to this (and our songs) is self-discovery and deciding which parts of yourself to keep, and which to leave behind.

What role do you see your band playing in the current music scene or cultural landscape?

We saw a gap for bands which play fusion pieces. Child of Prague caters to the need for more trad, indie rock fusion and jazz elements that we achieve from the saxophone. It is this fusion which sets us apart from everyone else. We are pretty flexible and open to different styles and inspirations, incorporating found

audio from tapes and spoken word pieces which are featured on some tracks we are currently working on.

Recently, The University Times interviewed new emerging DJs – obviously, your music is quite different – how do you think your band sets you apart from other emerging artists in the industry?

Central to our band is fusing modern sounds with traditional Irish music. We offer an alternative to a lot of music in Dublin at the moment by playing into the folk-pop genre and offering sincere, relatable music that does not aim to emulate an aesthetic or fit into a niche or movement. We aren’t scared of having a pop sound. Instead, we embrace this, aiming to rewrite the often derogatory associations surrounding pop rather than trying to reinvent the wheel.

Live music and instruments on stage are so important. The acoustic violin and saxophone make our music different, as we in-

corporate classical elements with rock. Obviously, there is a place for DJs in the industry and a techno scene, but for us, we aim to embrace and promote live music as a central component of Dublin’s culture. We bring a unique style, as each of us brings a varied taste in music and training to the band, often causing conflicting ideas in the process of making music. This is part of the fun and something we appreciate, as our varying views direct the band in a way that is inclusive and determined by how we are feeling.

What has been the biggest challenge Child of Prague has faced so far, and how did you overcome it?

Our biggest challenge has been coordinating band practice alongside college and other work commitments. With clashing schedules, finding a regular time to practise can be hard. We have also recently lost a couple of our members who are currently studying abroad.

How do you approach the songwriting process of a band? Do you have any rituals or methods that you find particularly effective? For example, like writers, many poets walk when composing a piece; what would be your state for composition?

We don’t have a defined method for songwriting, but we tend to collect musical ideas even if they aren’t

melodic, a process Jack’s music teacher referred to as “song seeds” in school. This means that when you feel like you’re in a creative headspace, something is written down and you have something to build upon – it’s like a springboard to ideas – central to the songwriting process for us.

What do you hope your listeners will take away from your music or live performances?

For our band, we aim to provide a cathartic experience. Our music is very sincere. For many music events, we found that you have to attend with a group of people, have a high-energy buzz or have had a certain experience to relate to the music.

Child of Prague aims to provide inclusive gigs for all, whether you’re on your own or in a group- our music is suitable for every listener as it is inspired by the human experience of self-discovery.

As new and emerging artists, what advice would you give to others who are just starting their musical journey in Dublin?

Connecting with other artists is crucial, and not being afraid to discuss what you are working on and trying to achieve is so important. One key piece of advice that we believe is key, is to say yes to every opportunity that comes your way.

Equally important is to make music that you, personally, love, and to play

around and find a niche before thinking about where you might find the most success. There is nothing more rewarding than loving the music that you make, rather than the restrictions associated with making music to suit a particular audience.

What difficulties have you faced in the Dublin music scene, and more specifically when dealing with music venues?

A big problem we have faced in Dublin is that you get a lot of invites to gigs, but often these fall through, which can be disheartening as a band trying to get off your feet.

Recently, we had a debut gig fall through, and a couple more this month that fell through. In our experience so far, there are definitely fewer paid opportunities for musicians than for DJs in Dublin which is difficult to navigate as students.

And lastly, please could you share any exciting upcoming projects or collaborations?

We are working hard and practising multiple times each week as we are hoping to play Trinity Ball this year, and are so grateful for every vote! We are in the process of making lots of new music, with traditional elements, violin, and lo-fi songs to fit all musical tastes. Recently, we secured a gig in Tipperary, and hope to play in London later this year.

PHOTOS BY CLARA POTTS FOR THE UNIVERSITY TIMES

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chances.

Aside from their coffees, Fable Bakery sells a range of pastries as well as an almond cake and a sea salt and chocolate cookie. Elyse’s favourite is the almond bun while Kate tends to go for the sundried tomato pastry. I myself am 70 per cent water and 30 per cent almond cake at this stage. An abundance of delicious pastries is a challenge to be discussed more. I was told that the front-of-house staff all participated in the lesser-known No Bun January. I did the reverse.

Work-life balance as bakery owners

When asked how the work-life balance is when you own a bakery, Kate laughs. She remarks

Dawson Street, the co-founders remark on the incredibly high stress levels they were subject to. “This time last year, we were broken women”, Kate explains. Elyse adds: “We’re learning…slowly”. While they love a good pint, you are unlikely to run into the two of them in Coppers. Fable Bakery’s morning shifts start at 4 am. Kate remarks, “if you’re going on a mad night out, you’ll be suffering for days”. “But sometimes you do it because you have to have a life”, Elyse explains.

Cooking as creative rest

During our conversation, Elyse said that she developed her love for baking during Covid. Confined to her home with a job she didn’t particularly enjoy, she started baking during the days while on Zoom. Baking became the primary form of creative rest and expression. I was curious to

“This delicious symbiosis enabled the team to go from selling at markets two days a week to a city-centre location in a matter of months.

a definite improvement from their state a year ago. Elyse adds that owning a bakery is “not the job for glamour and looking rested”. Their lightning-fast transition, while great for business, also brought its unique set of challenges. Reminiscing about the first few months on

hear about how this relationship changed now that this hobby has been monetised, making it a job and a very demanding one at that.

The co-owners agree that they no longer bake at home to calm down. However, they do say that they still find solace in cooking.

When baking, a lot more can go wrong if you don’t follow basic principles. Cooking on the other hand is less prescriptive and requires less precision, making it uniquely suitable to unwind. However, they view the distinction between cooking and baking in the business realm as quite different. Kate admits that the intensity of restaurant service wouldn’t have suited her. She finds a bakery more therapeutic as you’re able to make the food in advance rather than in real time.

Flavour development

Fable Bakery has several permanent pastries to offer. However, they do occasionally change flavours around. About a year ago,

they agreed on a bun filled with cream in the middle as a format. Some sort of jam or curd is used as the base. The cream is essen-

goal, the proportions had to be amended.

Apart from them getting bored of flavours, this ingre-

tially the same every time but they’ll change the flavours. The whole thing is then topped off with something crunchy. The current flavour is rhubarb and I am yet to get my hands on it. The co-owners try to follow the seasons with their flavours which is not only ecological but also economical. Intuitively, this proves to be more difficult in winter as seasonal produce is limited. However, these seasonal difficulties are eclipsed by the Christmas mince-piemadness.

“This time last year, we were broken women.

As with all things in life, flavour development can go horribly wrong. Elyse reminisces about one such occasion when she was experimenting with a lemon and rosemary bun and slightly overused the latter. Her friend tasted the bun and kindly informed Elyse that the pastry tasted ‘like a roast dinner’. As this, surprisingly, wasn’t the

dient-changing approach also allows the team to cope better with their limited kitchen space. As pastry is very bulky, they aren’t able to sell as many options as they’d like. Most products now are based on the same type of pastry and are simply different iterations of it. Sharing a space with Sprout, while beneficial, obviously restricts creative freedom. One product the team would love to make is bread, but they simply don’t have the necessary capacity at this point. Switching up the flavours of their pastries enables them to maximise creative expression given these constraints.

Talking to Kate and Elyse makes their ambition and dedication to their business evident. I hope for my benefit as well as my fellow students’ that their future is long and prosperous. Humbly, Kate says “we’re just trying our best”.

PHOTO BY SARAH-KIM WATCHORN

The Revival of Trinity TV

Eliora Abramson

SOCIETIES EDITOR

In light of their recent revival of Trinity TV, I sat down with Rowena Breen, a third-year Philosophy and English student and Ciara Munnelly, a third-year English and German student, the secretary and chairperson of the society. When asked to describe Trinity TV, Breen tells me, “A good way of explaining it is that campus life is captured in a lot of ways”. She cites the Fashion Society (Fashion Soc) and Trinity FM (TFM) before continuing, “Trinity TV is a good way of documenting campus in a way that isn’t really being specifically documented”. It’s different from Dublin University Film Society (DU Film), she says, in that Trinity TV makes short films. Munnelly adds that Trinity TV isn’t only about interviewing chairpeople of societies, “but just a random guy who’s at the Pav on a Friday night” as well. In this way, Breen describes it as a kind of capsule, explaining that they make videos “not with any particular theme in mind but just getting a feel for what’s happening in Trinity in 2024”.

The history of Trinity TV is long-winded and I get a debrief from Breen and Munnelly, who tell me the society was set up in 2009 before it was struck with a “very famous scandal” in 2011. “People can re-

search it” Breen tells me, before Munnelly adds: “so that’s what Trinity TV was known for in 2011. Everyone sort of stepped away. That’s not why it died though. People just seemed to have lost interest…it just kind of fizzled.” On the process of getting the society back on its feet, Breen tells me, “we had our meeting in a Berkeley study room, because we couldn’t book a room because we didn’t have a society email. We pretty much spent the entire meeting talking about ideas and getting excited. Everyone just got really excited and realised there was potential for a cool framework to stuff”. After this came an EGM and they were able to get started (along with their very own society email, Munnelly notes).

On the challenges of reviving Trinity TV, Breen describes the process as being akin to “pushing a boulder up a hill while everyone is kicking you in the face”. Munnelly adds, “everyone’s new to it because we all just joined together and all became committee members together”. Breen states that she’s been involved with societies before but never one that is just barely alive. She explains it’s quite hard to keep such committees afloat, saying “if you make a wrong turn or take your foot off the engine, people will leave”. It hasn’t all been challenges though, and Breen and Munnelly note their recent accomplishments, the biggest of which they name as the engagement. Breen says “we have people coming up to

Five of the Best: Dublin Parks

RADIUS EDITOR Barrett Ellis

With St. Brigid’s day gone, we’ve entered some semblance of spring, and it is surely spring because the weather is better – as I write this there is real sun shining on the rooftops out my window! Clouds move through the sky slowly and there is much blue to be seen! You can now walk around outside – bar the rain – with a light jacket. Maybe even a T-shirt! My winter-worn mind met this change in weather, not with happiness, but confusion at first. After years of seeming hibernation I couldn’t help but wonder, “What is this!? Why is the sun out past four?”. I’ve acclimatised now, the brightness has come into focus, and with these extra hours we’ve been given, what better way to celebrate the return of spring than a trip to the park!

Palmerston Park

I mention Palmerston in an attempt to reach those poor souls currently residing at Trinity Halls, to make them feel seen and heard and such. The Park is located in Rathmines, a three-minute walk from the first-year Trinity accommodation. Palm-

erston is a cohesive park, it has just about everything you’d need. Little waterfall with rock garden? Check. Weird open-faced hut next to a gigantic tree stump? Check. Semicircular shape? Check! Palmerston Park is a serene refuge for those who want to escape from Halls and feel like they’re in a family-oriented, quiet neighbourhood. Until night comes and the lads come out with their cans, it is a very nice park.

St. Stephen’s Green

St. Stephen’s Green is surely one of Dublin’s best-known parks, second in prestige perhaps only to Phoenix Park. Located just off Grafton Street, a two-minute walk from Trinity, the park has a great location. Stephen’s Green boasts a pond often occupied by swans, manicured lawns in the centre, and various statues and plaques of historical significance. The park served as a battleground during the Easter Rising, and the history surrounding this can be discovered during a walk through it. On warmer days Stephen’s Green swells with those out to catch the sun, and the good vibes that spread throughout the park are contagious.

King’s Inns

On the Northside of the river, down towards the Liberties and Smithfield is the

us asking to collaborate which is actually really fun because it just means people are aware that we’re here”. She adds that “it’s a nice idea for it to be a society that has status in Trinity”. Both Munnelly and Breen say that engagement and getting Trinity students interested cannot be overstated and it is what needs to be focused on to keep Trinity TV alive and thriving.

Breen and Munnelly have high hopes and big plans for Trinity TV. Munnelly tells me they’re going to try to start biweekly TV screenings because “ at the end of the day everyone loves TV”. She jokes, “that’s why I’m chairperson, because I have no other hobbies”. She also tells me of their plans for a Trinity TV talent show, before adding “well, more like a freak show”. She explains that they would have people send in videos of “literally anything, little vignettes into lives” and then compile them into a big video at the end of the year. Breen states, “there is only one January of 2024 at Trinity. So if we can capture the talent, the weirdness, and the vibes of Trinity as it is in this current moment, document it and put it out there so people can watch it back, that would be a real accomplishment”. Munnelly compares their work to a yearbook and they laugh as they say they hope to show what they call the “dark underbelly” of Trinity that doesn’t often get captured. A society in which fun seems prioritised, I ask Breen and Munnelly to share an anec-

dote or two of their time so far with Trinity TV. Munnelly tells me of the time they were having a karaoke event that ended up being double booked with an 18th birthday party. She says, “it was supposed to be an 80s themed karaoke night and it just turned into these girls screaming. I felt like the floor was going to fall down”. Breen tells me her favourite moments are the committee meetings. She explains, “people turn up time and time again. We never find ourselves alone in a room. People come and have ideas because they want to participate. It’s just so heartening”.

I then ask Breen and Munnelly what kind of Trinity student should join Trinity TV. Breen wants to appeal to those who have “a sense that this time is fleeting”. She insists: “We’ll help you out. We’ll find what you need for this project and we’ll help you see it out and make it happen. Because we just want people who are passionate”. Munnelly adds that she’s always looking for film students, due to their ability to edit. However, they had met with Engineering students just the day before the interview and emphasise that they want to work with anyone who has a passion for editing. To get involved, all you have to do is email them at trinitytv@csc.tcd.ie or message their instagram (@trinitytvtcd). Breen and Munnelly’s enthusiasm for the society is evident, making it incredibly easy to root for them and the revival of Trinity TV.

King’s Inns, a well-known and beautiful building, self-described “independent educational institution”. I take this description from their website because the King’s Inns cultivates an air of mystery around itself – you can feel this when you go to the building – it’s grand, imposing, and for some reason quite tucked away for what it is. Behind the main King’s Inns building on Henrietta Street, through the main entrance that bores a hole through the building and out the other side is a wonderful park, King’s Inns Park. It is small, a lightly forested patch of green surrounded by older buildings, and the park conveys a sense of peace and quiet in an otherwise busy part of the inner city. A nice place for an afternoon with a book.

Merrion Square

Merrion Square is a great park, and extremely underrated. Soul-sisters with the famous St. Stephen’s Green and the wayward Parnell Square, Merrion Square is afflicted with the archetypal middle-child syndrome. Rather than getting the attention that it deserves, Stephen takes all the fame, though this may be a good thing. Merrion is surrounded by Georgian houses much like the other two parks, and the look of the park really captures this – you never forget that you’re in the city, but it feels like

more of a park, less of a showpiece than St. Stephen’s Green. The park is inhabited by a much more local, more dog-walking pram-strolling crowd, and the atmosphere is wholesome. As if this all wasn’t enough, on Thursdays the park offers a mid-day food truck market with food from around the world that is extremely reasonably priced and shouldn’t be missed.

Irish National War Memorial Gardens

The Irish National War Memorial Gardens come at the end of this list for good reason. They are my favourite. The Gardens were originally established in the years following the First World War to commemorate the Irish men and women who gave their lives during the conflict. The sacrifice commemorated is immediately reflected in the park’s epic scale. To get to the park is a bit of a hike, as it’s out in Islandbridge near Phoenix Park and the Irish Museum of Modern Art, but the visitor is well-rewarded upon arrival. The park runs immediately alongside the south shore of the Liffey, and it radiates out southerly in an array of arched pathways and concentric ringed gardens. This park is well worth visiting just to appreciate the gardens themselves and the design of the park. As Spring gets underway and flowers begin to bloom the journey will be only more worthwhile.

Reads

THE PLAYDATE

Clara Dillon

SANDYCOVE

Clara Dillon’s debut novel The Playdate has been dubbed as “original, dark and brilliantly observed” and follows the story of two mothers who come to blows while trying to protect their daughters. The charismatic, popular Vanessa, and Sara, who has recently moved to Dublin from London, come to terms with motherly instinct and how far it goes when a playdate between the two women’s children goes catastrophically wrong. The Playdate is fast-paced, hurtling towards a climax with plenty of twists and turns along the way that will certainly keep readers’ attention until the very end.

WILD HOUSES

Colin Barrett GROVE PRESS

Colin Barrett is no stranger to storytelling. He has previously published two collections of short stories and a novella that has been turned into a major motion picture, but his debut novel Wild Houses is something entirely unique.

Set in Ballina, Wild Houses is about small-town drug dealers, introverts, and crime with human consequences. Readers are taken on a journey through the eyes of Nicky, whose boyfriend Doll has been taken hostage by criminal brothers, and Dev, an unassuming bystander caught up in said hostage situation. It’s been described as “sublime” and “faultless,” and proves Barrett’s profound ability to spin a tale that’s equal parts engaging and meaningful.

GLORIOUS EXPLOITS

Ferdia Lennon

FIG TREE

Glorious Exploits is a book with both marked ambition and a deep heart, following two friends caught in the midst of the Peloponnesian War. Stricken by poverty they decide to put on a performance led by captive Athenian soldiers. Despite the historical setting, Ferdia Lennon’s striking humour and deft storytelling shine through to tell a story that is, in the end, timeless. Glorious Exploits is for fans of any genre, with its runaway prose and complex themes, and pulls no punches when it comes to the idea that enemies can become something much more complex when given the chance to tell their story.

From Trinity Student to Fashion CEO

Hanna Valila

ASSISTANT FASHION EDITOR

We all remember the pressure of choosing the course and college to apply for. It feels like that decision determines the direction of your entire career and consequently your future. Then, once enrolled, many feel stuck with their choice, and the stereotypes associated with it. If you are in BESS, you must want a corporate career, like everyone else in your course seems to. If you are in English, you must want to go into journalism. Politics students must be activists, and Maths students must be passionate about academia. In reality, most people question their choice, and many change career paths after college. One example of this is Robbie Fidgeon-Kavanagh, who was once a Trinity student like you and I, but discovered his true passion through his streetwear brand Emporium. Since his graduation, Emporium has been endorsed by Hennessy, has had pieces photographed in VICE magazine and has opened extremely successful popup stores, not only in Dublin but in Japan as well. I sat down with the CEO to hear his passion-driven story.

Fidgeon-Kavanagh grew up in Dublin and was just as unsure going into university as anyone. He may not have gone at all, if his father hadn’t been a professor at Trinity. Not having gotten the CAO points for his first choice of BESS, “which, if I would’ve gotten, I would’ve dropped out of” he tells me, Robbie ended up studying Geography and Sociology. “I didn’t try particularly hard in secondary school. I didn’t really know what I wanted to do,” he says, describing his position at the time. He was not particularly invested in his studies either, but got by. One thing he was sure about, was that he did not want a 9 to 5 corporate career and was much more interested in self-employment. Fidgeon-Kavanagh’s true interest was basketball, not just the sport, but the culture around it as well. Specifically, basketball sneakers fascinated him from a young age. As he came to College, transitioning from a secondary school uniform to having to dress himself every day is what initiated Robbie’s interest in streetwear more generally. “I need clothes to wear with these sneakers!” he describes his thoughts at the time. Next to his academics, Robbie was working in retail and discovering more and more of the fashion industry, which fascinated him much more than tectonic plates and Durkheim.

Creating clothing was not Robbie’s immediate focus. In fact, it was not on his radar at all to begin with. The culture and sense of community around

streetwear were what pulled Fidgeon-Kavanagh in. He and his friends would host events, such as DJ nights, for like-minded people to get together, brought about by their own desire for such events. Dublin is not known for its streetwear, yet it became evident that there was enough interest for this niche to be filled. He reflects, the “growth of the brand has taken forever, because I don’t think the streetwear scene really existed here before but now it’s starting to, which is really cool”. He got his entry into producing clothing, when he printed shirts for attendees to remember his events by. After they promptly sold out, Fidgeon-Kavanagh saw a path fold out in front of him. All this was happening as he was in his second year at Trinity.

Fidgeon-Kavanagh began his final year in 2019, meaning that the second semester of that year was overtaken by coronavirus. The pandemic is what essentially led to the creation of Emporium. While events were no longer a possibility, Fidgeon-Kavanagh and his friend Charlie Proctor now had time to educate themselves on the business aspect of the brand. They also set up an online store, where they expanded their inventory from just event shirts to general clothing items.

Now, Emporium has not forgotten its roots. Though the focus is on the clothing, they still hold events, only now the scale is much bigger. Popup stores, which have brought their pieces to a larger audience, see parties sponsored by the likes of Hennessy. The online store is currently still their main branch, with their social media presence being managed by “the intern” — Proctor, who was initially taken in as an intern in the summer of 2023, has kept the nickname since. Coming in March 2024 is a permanent store on Drury Street. “I don’t intend to

have multiple stores … having a store really makes you seem real, it legitimises you in a way that being stocked in other retailers doesn’t … it’s a place people can come to hang out, it’s a place we can run events out of”, Fidgeon-Kavanagh says with regard to his motivation for the venture. “We don’t have a crazy marketing budget, but I guarantee you that doing events that actually connect to people does a lot more than running Facebook ads”, he adds.

Fidgeon-Kavanagh and Proctor created the brand five years ago out of sheer passion. “I see people starting clothing brands expecting to make money immediately … it’s the worst side hustle ever! … If you want to grow you have to spend money and it’s going to be a long time before you make money”, he warns aspiring entrepreneurs. “If that’s something you’re really passionate about you’ll figure it out”, Fidgeon-Kavanagh responds when asked about advice to current students who may be interested in a similar venture. “It’s complicated but the information is there … in a lot of cases all the infrastructure is already there and there are already people doing what you want to do and you can just ask them”, he elaborates. Fidgeon-Kavanagh even goes as far as to say it’s better he didn’t study any sort of business or entrepreneurship at College, as that may have skewed his motivations and thus left the brand a lot less authentic.

Feeling lost or uninterested in your studies does not mean you are doomed to an unhappy career. Take Robbie Fidgeon-Kavanagh as your example: you can organically land on the path that is right for you, even if it has nothing to do with your academics. As long as you keep following your passions, you will end up where you need to be.

PHOTO BY DYLAN CANNYGHIN VIA @EMPORIUMDUBLIN ON INSTAGRAM

In Conversation with: Lucy Bruton and Caoimhe O’Farrell

Laura O’Callaghan

THEATRE EDITOR

Pinstripe, an interactive and semi-improvised theatrical experience, transformed the Samuel Beckett stage from February 21st to the 23rd. In Pinstripe, the divide between audience and action blurs; we all have decisions to make in the space created by writers Lucy Bruton and Caoimhe O’Farrell. And here’s the first choice, red or blue? Though there are distinctly fewer folks walking around Pinstripe’s Dublin of 1989 in cyberpunk, floor-length, black trench coats, a choice must be made all the same. Can you hear the laughter on the other side of the curtain? Do you think they’re having more fun than you? Do you care what they think and should you? Regardless, curiosity and anxiety are bound to knot.

The University Times, struggling to figure out how the library pod booking system worked, eventually made it to a sit down with Pinstripe’s collaborative writers and directors Bruton and O’Farrell to deep dive into their debut show.

Bruton describes the premise of the show as “an immersive show set in 1989, it follows several characters in their early twenties and the pressure to know what you want to do with your life and where you want to go and who you want to be with… As the play progresses it kind of becomes more about nostalgia

and we look at an older generation looking back on their life at this age. It sort of encompasses that idea of looking back on your life and reflecting, regretting or not regretting and how you feel when you remember”.

From the outset, the play marks itself as unique with a curtain dividing the theatre into two halves of one whole. O’Farrell explains: “In terms of our staging, the actual theatre is split in half so the audience at the start of the play are forced to make a decision whether to pick red or blue. So if you pick red you see a different show than if you pick blue. There are two shows happening simultaneously…and then they merge together in the end.”

Bruton explains their reasoning for devising Pinstripe in this way, “because it is about decisions and making choices and the audience have to make choices and be brave”. These themes bleed off of the script and directly impact an audience member’s experience, another implication of this unique decision is the curiosity and envy it inspires throughout the audience. O’Farrell expands on the intentionality behind that result, “And because it’s happening simultaneously in the same room, basically there’s only a curtain blocking it so you can hear murmurs from the other side. So it plays into that idea of ‘did I make the right decision, does it sound better over there, are they having more fun over there?’”

On commenting that the play reads like a social experiment, both Bruton and O’Farrell reassure that that is the exact reception that they encourage, “we want to see how people are going to react… And it’s the grass is always greener right, so you’ve made your decision and you have to sit with it”.

O’Farrell and Bruton went on to describe their unique, collaborative devising process during which their cast of actors created much of the story from the themes originally posed by the writers, “It’s a creation from all of us”, Bruton stressed, “the cast were really involved in it, and one exercise that we did is we got all of our cast members to interview someone who was in their twenties in Dublin, 1989, and that infomed alot of our plot… What was so important was getting those references right, bringing up people who were famous at the time and people who were the talk of the town”.

of us we were able to narrow things down, like that’s the kind of character this person could play”.

O’Farrell expanded on the benefit of not having a set vision and a static script when it came to realising Pinstripe, saying “We haven’t had any conflicts really because I guess we both really care, there’s no ego in it… We

earlier than us, so those were some things we needed to factor in. We did ask people older than us what it was like”.

The characters’ personal histories in Pinstripe extend beyond the parameters of a more traditional play, O’Farrell and Bruton explain, “we have loads of little subplots in our play…and that’s what’s really exciting about it being immersive, the audience doesn’t get the full story. So some members will know things that others just don’t. There are little hints of things…There’s a small love story in it between the piano player in the bar and the barmaid and only a few audience members will know about that because our actor will go up to an audience member and say ‘I have a crush’ and talk about their whole relationship”.

The bookends of storytelling aren’t clean-cut in Pinstripe, and so its characters can exist outside of Bruton and O’Farrell’s script. How better to deal with the question of the effects of life decisions on our psyche and lived experience than to build room for audience investment in the form of their personal relationships with the characters?

“There are two shows happening simultaneously and then they merge together in the end.

just want what’s best for the play. Also the whole play is collaborative so it has bits from the cast that they wrote, and just being open and not being set on a vision from the start when you’re directing is helpful because you’re never really going to create that image in your head. So it was really liberating to come into the process open”.

When asked about the difficulty found in distilling down Pinstripe’s broad themes of existential regret and nostalgia into specific narratives, O’Farrell called on the cast yet again, “once we had the cast, things started to narrow down… We knew the type of people we wanted in the cast, so people who were open to explore, people were confident because of the whole immersive improv thing. And then once we had these people in front

With regards to the setting of the play, Bruton explained the importance of finding points of relevance within the characters’ lives in their Dublin of the 80s for a 21st century audience to resonate with, to “Have a story that now in my twenties I can see myself having a similar experience to”. O’Farrell added “also something to keep in mind was that people in their twenties back then had more expectations in a way, they kind of aged faster than us. They got engaged earlier than us, they started working

Lastly, when asked whether people will walk away from Pinstripe with the secret to internal validation and achieving success, Bruton answered with a definitive and sobering “No! I really don’t think so. I think the idea is that you might not ever feel like this was the exact route you were supposed to take and that everything went exactly right, but life will still turn out okay, and if things change, then that doesn’t mean that you’ve failed”.

O’Farrell agreed with Bruton, saying that “Towards the end, an older actress comes in and she’s supposed to represent one of the actors at present day. She’s quite an optimistic character, she comes in and says, ‘Look, things didn’t go the way you thought they would, it’s still fine, and I’m still happy’. The interview came to an end with both Bruton and O’Farrell expressing a hope that the audiences will leave Pinstripe with the reassurance this character embodies, and will carry it into their own lives.

PHOTOS BY LUCY BRUTON

If It Ain’t Folk, Don’t Fix It

Sadie Loughman

MUSIC EDITOR

In early 2023, The Economist and The New York Times noted the revival of folk music throughout Ireland, naming acts like Lankum, Ye Vagabonds and The Mary Wallopers as propelling the movement forward. Ireland is undeniably having its moment on the world stage, with numerous Oscar nominations, a host of charming young actors doing the press rounds, Ayo Edibiri’s recent claiming of Irish heritage and the long-lasting adoration that Derry Girls has garnered. But, most importantly, Irish music is experiencing its own moment in the limelight as it moves toward a folk-oriented sound championed by many Dublin-based artists.

Historically, the early Irish folk revival of the 20th century traces its beginnings to two things — a political motivation, alongside an artistic compulsion — a drive to carve out something uniquely Irish. Economically, folk music was not supported by patrons but by a collective, allowing amateurs to perform for personal and social entertainment. In the case of Ireland this was the ‘session’, where musicians would gather in homes or public houses to play. Of course today, folk

music has made its transition into ‘popular music’ as a result of mass media and technology. Artists like The Dubliners and The Pogues saw massive commercial success, bringing Irish folk into the profitable music industry.

The revival of folk music in the 21st century points to an economic and political reaction — in times of strife society often turns inward. With Dublin named the ninth most expensive city in Europe it’s no wonder that we find ourselves focusing on the past rather than the future. Folk songs offer messages of hope and simplicity. As Fintan Valleley, a scholar of Irish music, puts it: “Folk and traditional music in all of the Western world represent for many of their adherents a safe past place in the ugly world.” Of course, this nostalgia for the past is often mythical in its assumption of a perfect past — a form of escapism rather than a true reflection of an era.

Within this 21st century folk revival, Irish artists have turned the genre on its head. The Gloaming, formed in 2011 and composed of Irish and American artists, possesses a melange of cultures and ages, resulting in a sound far beyond folks comfortable boundaries. Similarly, the fourpiece Dublin band Lankum have been making headlines due to their recent 2023 Mercury music prize nomination and their al-

bum False Lankum being named by The Guardian as the best album of 2023. With Radie Peat’s haunting voice and a distinct apocalyptic sound, the band has been categorised as “doom-folk”. Their sound is meditative, bleak and powerful – a bridge between ancient Ireland and its modern counterpart.

The folk revival proves strong even into the next generation, exemplified by Muireann Bradley. A talented guitar player who seems to possess an age-old soul in the body of a 17 year old, Bradley covers American folk and blues songs from the early 20th century and makes complex guitar riffs look easy. Her success is proven by her recent appearance on the Jools Holland Annual Hootenanny, which since uploaded to the BBC Music’s YouTube channel has garnered almost 490,000 views. Recently, Bradley performed in Smithfield’s hallowed venue The Cobblestone,

The Best Free Museums in Dublin

RADIUS EDITOR Barrett Ellis

Have you ever sat around looking for something to do to get your art fix? Perhaps you considered the possibility of going to the museum, then looked wideeyed down at your wallet, before looking back up at the camera and grimacing. If that sounds like you, then fear not, as I’m going to take you on a whistlestop tour through the best selection of free museums that Dublin has to offer. In this case, the ‘free’ price tag has absolutely no correlation with the quality of the product: these museums are some of the best that Dublin has to offer, whether they’re hidden away or part of the usual tourist route.

Chester Beatty Library

The Chester Beatty Library can be hard to find. It’s not in any obvious location, and it isn’t clear from first hearing about it that it’s on the grounds of Dublin Castle. Once you do find it, tucked away near the garden in the back, you are in for a treat.

The Chester Beatty Library is the personal collection of a twentieth-century mining magnate who travelled the world collecting religious texts and other artefacts. The ethics behind Beatty’s collection may be dubious. The Library now hosts a large collection of religious texts and some works going back even further – ancient Sumerian receipts and the like! If you want to get in touch with your spiritual side, or if you have any interest in the history of the written word, this museum is for you.

National Museum of Ireland –Archaeology

The National Museum of Ireland – Archaeology, is notorious for one thing beyond all others: bog bodies. I was unaware of this when I visited for the first time and I was promptly greeted by the eerily preserved bodies staring up at me. Aside from being extremely disconcerting, the stories behind each of the individuals are told, and the history is fascinating. The museum also hosts a large collection of Early Irish gold, an exhibit on the Battle of Clontarf, and a nearly-hidden Egyptian section. Even if it did charge an entry fee, this museum is a must-see.

National Museum of Ireland –Decorative Arts & History

Located in the former Collins Barracks, the Decorative Arts &

coined as “the mother ship of Dublin session pubs”. Her newly released album, I Kept These Old Blues, covers 12 bluesy folk songs. The 17-year old’s style is a far cry from pop music today, signifying the resilience of folk music into the 21st century.

The Mary Wallopers, a rowdy folk band hailing from Dundalk advocate the removal of barriers from folk music, bringing the genre back to the masses, with songs ranging from drunken mischief to politics to sex. In interviews, the band display a strong Irish identity, with disdain toward the adoption of American or English accents in songs by Irish artists.

There is a distinct Irish hangup about the quality of ‘authenticity’ in music and culture — that these things should not exist just to be looked at or presented to tourists. Hozier’s use of the Irish language in his recent song ‘De Selby (Part 1)’ has proven so

effective that an English friend of mine once recited a whole passage in Gaeilge to me, which he had learned from the song — although he had no idea what the words meant. The whole ordeal filled me with a strange sense of both pride and cringe.

This cultural cringe — an internalised inferiority complex which causes the people of a country to dismiss their own culture as inferior or cringe-inducing — is rampant in Ireland. Here in Dublin, we instinctively grimace at the hordes of tourists who flock to Temple Bar for an overpriced pint and a trad session. As author Roddy Doyle puts it: “The problem with being Irish... is having Riverdance on your back. It’s a burden at times.” This cringe factor seems to have shifted in its derivation from a negative self-identity toward a disdain for the inauthentic and fetishised tourist-oriented facets of Irish culture. But perhaps the revival of folk signifies a moving away from this, forging a new Irish identity without pandering to a global audience.

The essence of authenticity in Irish folk today is a constant dynamic between an essential Irishness and the need for originality and change. Folk music need not be a direct recreation of the past, and the folk artists of modern Ireland display this in their fresh take on the genre.

History Museum is imposing from the outside. It is also a bit mysterious: decorative arts & history? It’s kind of a weird pairing, is it not? That’s what I thought before I went, but the reasoning for this was soon revealed. The Museum greets visitors with an epic exhibition on war and Ireland from 1550 to the present that cannot be missed – the amount of material culture on display is amazing. Shortly after this, the museum leads into an exhibit on clothing in Ireland over the last few hundred years, and the exhibits alternate following this pattern throughout the museum. It could probably just be called the History Museum, but Decorative Arts isn’t too much of a mouthful. This museum is certainly worth seeing for anyone with an interest in Irish history.

National Museum of Ireland –Natural History

Are you noticing a theme here?

That’s right, it’s another National Museum of Ireland. The National Museums are simply too good to be missed, and I would be a fool to not include this one. The Natural History Museum, colloquially known as the Dead Zoo, is an absolute must-see if you have any interest in these types of museums. The name ‘Dead Zoo’ speaks for itself – the museum is a collection of taxidermied and rearticulated animals, some of which are now extinct, presented in an eerie menagerie. Think rhinos and squirrels and whales shoulder-by-shoulder- there isn’t too much care for their natural habitats here. The museum is one of the last of its kind and absolutely worth visiting if you have any interest.

LANKUM, PHOTO VIA ROUGH TRADE RECORDINGS

Sian Conway Dishes on Char Magazine

Phoebe Pascoe

ASSISTANT EDITOR

If the phrase “ten euro baby!” floods your brain with the sound of a foghorn and an image of flames, then you likely need no introduction to Sian Conway. “Our first ‘Dublin on a Tenner’, I was shit scared,” Conway, the Socials editor for Char Magazine, tells me. “My boss was like: go out and make a video, and “Ten euro baby” came out my mouth because I was so stressed and anxious and I was like I can see people I have shifted before walking past looking at me”.

The series does what it says on the tin, highlighting places to get a satisfying meal in Dublin for under €10. But this is far from the only reason that the Irish food guide has become the skint student’s saviour and a favourite of foodies. It is a go-to for news of the latest restaurant openings, lesser-known meal deals and analysis of food trends –where would a D2 mob wife eat? – but its content also favours a specificity that makes it as entertaining as it is useful. “I remember waking up one night in the middle of the night last year and I was like I don’t have a

video idea for tomorrow. I don’t have anything. Fuck! What am I going to do?”

Conway recalls. Instead of showing up to work empty handed, she came to the obvious conclusion: “I’m going to invent ‘Anthony Bourdain Autumn’ and I’m going to see if it works.”

The concept is one of many that Conway and Char have popularised. They might seem frivolous, but they also speak to a certain gap in food content for those not quite the naive tourist but dodging gastronomic snobbery. Char allows people interested in food culture or simply passionate about what they put in their mouths to learn about novel places, dishes and deals, without acquiescing to the feeling of superiority or out of reach sophistication which sometimes arrives as fine dining’s unwanted side dish. Conway leans into nicheness without being exclusionary, and that formula is successful: “I didn’t expect [Anthony Bourdain Autumn] to do so well on TikTok. It kind of went outside of just Irish TikTok and onto people who just love Bourdain –which is, I guess, everyone.”

The magazine’s ‘Dublin 100 Guide’ is revered by anyone too hungover to decide where to eat brunch or

in need of a dinner recommendation while their parents are in town. But even content like this – which might appear more typical than constructing a season verging on a cult of personality – reads more like the Friends back catalogue than a list of restaurants. It suggests ‘The Place for When Cheering Your Friend Up is Your Moral Imperative’ and ‘The Place for Convincing Your Friends that Dublin Does, In Fact, Have A Food Culture.’ On the latter front, Conway insists that being a small city is far from a hindrance: “Its size does lend itself to this beautiful, unique and well-connected kind of food culture.” She mentions big businesses collaborating with newly opened spots and Michelin-starred chefs raving about their local. This does also mean that outlets such as Char are operating in a “very shared arena”, though, and Conway says her team often bump into other people documenting Dublin’s food scene on social media, such as the Lovin’ Dublin Instagram account, when they’re working in the city.

Take a gander through Char’s Instagram, though, and it is apparent that Dublin is far from an idyll for food businesses. Among the litany of exciting new

spots to eat are notices of the vast amount of restaurants and cafes shutting down. The population of Trinity may have to venture all the way to Rathmines for moodily lit first dates now that P Macs is shutting, and January brought the news that Tolteca is also closing down. “People are really struggling”, Conway admits. In the past six months, more than 300 restaurants across Ireland have shut.

Conway remains hopeful, though: “Right now, obviously, it’s very difficult for a lot of food places, but I think a lot of innovation and creativity does come out of those unfortunate situations,” she says, recalling the time of the recession when “things were obviously really bad and really austere and nobody had any hope, but it seemed like a first wave of new, cool, interesting food projects – more modern stuff – was happening around then.”

Obviously connected to this is the fact that many people cannot afford to eat out in the way they may have previously, something Conway says everyone at Char is conscious of. This is evident in their foregrounding of the “little treat” that “isn’t going to leave you out of pocket for the next few weeks” (on this front, Con-

Bleeding the Humanities to Death

Sarah Browne

LITERATURE EDITOR

In 2015, Maggie Nelson described the current climate of culture as “committed to bleeding the humanities to death”. Since then, universities across the United States have increasingly slashed through their humanities departments with hundreds of faculty members being let go of in single sweeps. In many cases, the English department is the top target.

Many voices have been heralding the end of the

humanities for several decades. With the boom of STEM at the turn of the millennium, the ‘usefulness’ of the humanities in the face of profit-churning degrees was thrown into question. At a time of crippling inflation and a steady decline in people’s ability to sustain themselves financially, funding for the humanities is thrown into question by government deflection from the real issues at hand. Subjects which expand our understanding of ourselves and enrich the world around us are thought of as naive pursuits in the face of failed market economics

and endless profiteering.

This reign of terror over the humanities has spewed across the Atlantic to the United Kingdom – Ireland’s academic institutions have been relatively untouched so far. The University of Kent is currently working towards “phasing out” courses in the humanities in favour of subjects such as law, business and computing. 58 academic posts are at risk of redundancy due to these changes. A spokesman for the university said that the review was made in line with areas “where we no longer feel we can be competitive” despite having

way recommends a cannoli from Amuri By Day, just off Grafton Street). Although her job revolves around recommending places to spend money on food, she does “try and be mindful of it at Char as well that we can’t afford to eat out all the time [either] – maybe your Irish Times journalists and food reviewers of the Sunday Independent can do a bit more of that.” It’s the reason she loves their ‘Dublin on a Tenner’ series, and tells me fervently about the incredible value of the Fallon & Byrne soup and sandwich deal. Food has also always been a way to uplift oneself and others, though, and not just through comfort eating. After the Dublin riots in November, Char compiled a list of ‘50 Minority & Immigrant-Owned Restaurants to Support Always But Especially Now’. “There are people out there who are making them feel like they’re not a valued and respected part of this island”, Conway says, acknowledging that although the ways in which food can help people in the throes of crises are obviously limited, it is still “a reminder of ultimately what I feel humanity comes down to: this sense of community that’s always mostly shared around food.”

The magazine have also

created a list of Palestinian food businesses in Dublin to back, and showed support for the Palestinian restaurant Shaku-Maku in Rathmines after it was review bombed in November. “To be able to show solidarity through the lens of food is a really beautiful thing”, says Conway. Not only is it “a physical reminder of the people that need help,” but even seemingly insignificant economic choices can carry weight. Despite being a self-described “Diet Coke fiend”, she has been boycotting the brand since October due to their ties to Israel. She now waxes evangelical about the Aldi version: “You put it in a glass with some ice and a nice wedge of lime and you’re laughing”.

It is thoughtful laughter that pervades all of Conway’s content. Along with her coworker Shamim – she holds two crossed fingers up to emphasise their closeness – they aim for every video “to have integrity, for it to be a bit silly and to be [...] informative”. In a way, it is a mirroring of food’s own ability to be both frivolous and a necessity, something you can not think about that can also carry great cultural, social and sentimental weight. In reflecting this quality, it seems, Conway has found a perfect recipe.

produced two Nobel Laureates in Literature. The University of East Anglia is not far behind. With one of the most prestigious creative writing MFAs in the world, the university announced last summer that it would cut 31 out of 36 academic posts in the arts and humanities.

Despite there being no similar endemic in Ireland at third level, it is clear to see the Department of Education’s favouring of STEM-related subjects in secondary schools with Higher Level Maths being granted an additional twenty-five points in the Leaving Certificate.

This move seeks to, quite literally, devalue the robust critical scrutiny, empathy and communication that the humanities teach students. The twenty-five extra points are no indication of difficulty level as, in preCovid times, the percentage of students receiving H1s in English was at just 3% – the lowest percentage of all subjects. If we are going to unequally distribute points based on merit, shouldn’t excellence in a humanities subject such as English be rewarded as highly as its counterpart?

The ever-present diatribe against the arts and human-

ities as “dead-end” subjects speaks to a larger move within the culture towards ceaseless monetary enrichment. The thought of engaging with and producing work for the sake of public good, or simply personal good, is not unthinkable, but rather derogatorily “immature” to the dominant narrative that has trickled into academic boards. National and social benefits are reaped from STEM subjects and the product of those benefits, wealth, is the main token of “value”. The results of this are evident –we see the most rewarding departments defunded.

Happiness Then...: A Challenging Perspective on Transness

Laura O’Callaghan

THEATRE EDITOR

Elizabeth Moynihan’s Happiness Then... had its world premiere on February 14th at Bewleys Café Theatre and will run until March 9th. A dramatic-comedy, the play explores the loss of love between and in the lives of a pair of sisters, Bridget (Rachael Dowling) and Frances (Sorcha Furlong). The small stage blended into the low-lit café, with just an elevated platform dividing the audience from the set, and warm chatter filled the room as the crowd settled down.

Everyone and their mother seemed to have bought a ticket for this Valentine’s day afternoon show. Actually, a more accurate representation of the crowd would be to say that everyone and their grandmother could be found in the jampacked cafe. Well dressed in clothes much more sophisticated than mine, elderly ladies and gentlemen made up a large portion of the crowd. In fact, the majority of the audience were situated firmly in the over 45 age bracket. With such a diverse age range to cater to, I was curious to see the difference in reception between myself and the rest of the crowd.

The show begins with the two estranged sisters sitting down together in a wine bar. Their intention is to discuss their mother’s will and the obscene amount of money she has left to her caregiver. It gradually becomes clear that Frances has reached out to her sister, not to chat about the will, but to attempt to reconnect with her. She’s chosen this evening to extend the olive branch because of her recently spiralling marriage. Eventually the audience understands that more than reigniting a sisterly connection, what the two women want most is to vent about their issues. Though they each hold onto their share of narcissism, in the end, they both realise that they may also need some old-fashioned support after all the venting has dried up.

Frances is an interesting character and is played wonderfully by Sorcha Furlong who is best known for her performance as Orla Molloy in the RTÉ soap Fair City. Frances is described by Happiness Then...’s playwright Elizabeth Moynihan as an “extremely high-functioning alcoholic”. She reads as chaotic, charismatic, sex-positive, compassionate and ultimately extremely likeable, as she delivers dig after dig to the more neurotic and highstrung Bridget. She rebukes Bridget’s inability to respect people’s pronouns with a balsé “it’s better to be woke than an asshole”, and is trying to go vegan, but didn’t stop herself from ordering the cheese board starter.

Acting against Furlong, Rachael Dowling’s performance paled considerably. Her delivery lacked energy, most notably at the play’s climax. There seemed to be no build-up at all leading to the pivotal moment where Frances grips Bridget’s arm to show her how “loving too much” can bruise. A shattering scream of outrage bursts seemingly out of nowhere from her sister that invokes confusion more than empathy. To add insult to injury, Bridget’s character and story translated as slightly cliché. The overbearing, perfectionist mother who drives her only son out of the house when he can’t get over his addiction problems can’t help but feel tired, especially considering the absence of an exceptional per-

formance to bolster the lack of creativity in the writing. There was a lot more nuance in Frances’ story. Her husband Daragh has recently come out as trans and their marriage has broken

pivotal to her character and to her story. Frances, who is a self-proclaimed open,

because Frances cheats on Daragh by sleeping with someone else. Moreover, it’s triggered by the fact that Frances can’t seem to be as accepting in practice as she is in a vacuum. This character trait of hers does not exist in isolation, it bleeds into Frances’ desperate need to be loved and wanted, an after-effect of her mother’s childhood neglect. It also connects with her tendency to see things in terms of herself, pointed out several times by Bridget.

Frances describes seeing Daragh again after the breakup and before she moves away, “I love you”, she says, “don’t go”. Furlong’s acting here at Frances’ emotional climax was wholly believable and painfully authentic. Had Frances and Daragh’s relationship been any less developed, this plot would

“Theatre is for the living, and this is a well-written, lived experience that does not seek to demonise either party

down in the aftermath. As a queer woman with non-binary friends, alarm bells sounded when I considered the circumstances of this plotline: I initially feared that two cis-gendered, heterosexual women talking about the added pressure introduced to their lives by another person realising their trans identity would be excessively hateful. The delivery of the “reveal” that Daragh had transitioned did not inspire confidence for the show’s subsequent handling of this narrative. Bridget asks where Daragh has moved to, using ‘he’ pronouns, and Frances takes a (melo)dramatic beat before projecting her line “she*” into the crowd with a wistful look in her eye. I stifled a groan at the “shock-factor” pronoun drop.

Fortunately, some of my worries were assuaged as it became clear that Moynihan hadn’t written in Daragh as a tokenistic side character, existing solely to situate

enlightened and accepting person, can’t get past the mental block that appears when the dynamics of her romantic relationship are altered drastically.

Essentially, neither partner is villainised in the relationship. The divorce is triggered in the first place

have fallen flat. As it is, it is narratively significant and is given the space and light it deserves in the play.

Theatre is for the living, and this is a well-written, lived experience that does not seek to demonise either party. Both women are flawed in their actions and

both love each other deeply. Such a play inspires a question: Is it beneficial and fair to have transness portrayed in stories, even if it is not shed in a particularly positive light and does not sit at the focal point of the story?

I believe so – solely positive trans and queer representation in fiction isn’t true to the authentic queer and trans experience. It is also poor writing to deliver one dimensional characters through singular perspectives. With all that said, art, when treating the representations of living, breathing people in society with deserved respect and authenticity, should inspire conflicting, new perspectives to consider. Happiness Then... succeeded in that sense.

It’s also deeply positive to remember who exactly this play will be reaching. Older Irish men and women who have presumably been alienated from exposure to queer and trans narratives in their lives are invited into Happiness Then... to consider those experiences from a perspective that may resonate with them. The implication of that is the fostering of a greater tolerance throughout generations in Ireland, and a much more casual treatment of non-conformity. Make sure to grab a ticket to see the insightful and human Happiness Then...

Happiness Then... runs until March 9th at Bewley’s Café Theatre, with matineé performances at 1 pm.

Happiness Then... in 2024. Frances’ past relationship and present relationship breakdown with Daragh is

PHOTO BY AL CRAIG

Coffee Table Books You Won’t Want to Put Down

Elly Christopher

ART EDITOR

Coffee table books are a genre I never really understood. Why would a book exist for the sole purpose of decoration? They’re big, they’re heavy, and half the time they just end up as coasters. Plus, living in Dublin, space is a commodity, and it is hard to justify books that no one reads taking up precious storage space. However, in my mind, I can see the use for these books if they are ones that you can’t put down. In search of the perfect coffee table book, I went to the gift shop of the Irish Museum of Modern Art (IMMA). The cashier at the store helped to point me

towards their best-sellers, which I perused, searching for ones that grabbed my attention but were (mostly) compatible with a student’s budget and accommodation space constraints.

Gothic: An Illustrated History by Roger Luckhurst This book explores the word ‘gothic’ and all it implies from its many different angles. As a genre, as an aesthetic and as an architectural style, Luckhurst’s book seeks to show readers the many different ways this style has arisen throughout history. The book goes theme by theme. It begins with architectural traditions such as archways and ruins, then moving on to the ways the gothic tradition has been celebrated in different cultures. Finally,

Luckhurst explores its use in modern media through films, books, and even video games. The book is richly illustrated throughout, which draws the reader in. They are what make the book stand out, and make it hard to put down. As Carol Davison, author of History of the Gothic, wrote in her review: “Gothic is a lavishly illustrated compendium of the Gothic that ranges across three centuries […]

It is a page-turning treat for seasoned scholars and novices alike, a must-have for every Gothicist’s library.”

One Thousand Years of Manga by Brigitte Koyama-Richard

This book once again draws you in because of the illustrations. It explores the art of Japanese illustration, from the first use of paper to modern-day manga. Many of the decorated scrolls and

temple paintings were the beginnings of the genre we see today, and the book creates a connection between ancient Japanese themes and the plots of manga today. Over four hundred images and illustrations are spread out throughout this book, some of which have not been seen much outside of Japan. This book draws in those who are fond of manga, or those who have never thought about it in a historical context, and neither of these readers will be able to put it down.

Hockney, Van Gogh: The Joy of Nature by Hans den Hartog Jager

This book revolves around nature, drawing parallels between the two painters. It was a theme that both of them focused on in their

Brian Cox Receives Praeses Elit Award from LawSoc

Eliora Abramson

SOCIETIES EDITOR

Brian Cox was awarded the prestigious Praeses Elit award from the Law Society (LawSoc) on Friday, February 2nd. The Succession star and prolific Shakespearean thespian was presented the honour both due to his immense professional accomplishments as well as his impact and contributions to philanthropic causes.

The GMB was full and excitement was high in anticipation of the actor. One student told me that they were “very excited and interested to see what he has to say” and that they were “hoping to hear about his philanthropic work and his time on Succession”. Secretary of LawSoc, Louise Cullen introduced Cox and the Praeses Elit award, recognising Cox’s immense contributions to film and TV and his “unflinching dedication” to causes including Scottish independence, the rights of women in Iran, and his support of the SAG-AFTRA strike.

Cox then sat down for a Q&A with Eoin Ryan, Auditor of the Law Society. Cox spoke of his heritage and his childhood growing up in Dundee, Scotland, revealing he recently took a DNA test which revealed he was 88 per cent Irish and 12 per cent Scottish. Affable and engaging, Cox actually got up from the Q&A to physically move the podium that he noticed was blocking a few audience members’ views. This moment of sensitivity to his audience was explained when Cox spoke at length of the importance of audience community he learned from his extensive theatre career. Cox also spoke of his classical training and beginning of the year, saying he was a child of the 60s, which “was a great period of social mobility”, explaining that when he moved to London to work he was welcomed. Of his theatre training, he earnestly stated that he believed in drama training and that this training is to be relied on. He also urged the audience to “follow the one thing that lights you up”. Ryan asked Cox about his

plethora of characters and if Cox felt any of them were especially underrated. Cox replied he felt Titus Androinus, the titular character of the Shakespeare play, had that element. He explained that Titus Androncius had themes of every idea that Shakespeare would subsequently follow. Titus Andronicus, a notably gruesome play, led Ryan to his next question, about the morality of Cox’s characters and if he felt drawn to playing ‘bad guys’. Cox replied that he felt it was important not to judge his characters and that we all “become conditioned” as we adopt belief systems which create the individual. He insisted that there were all kinds of roots for why people behave and this allows one to realise things are complex, but also deeply simple, saying of his perceived ‘bad’ characters, “you follow the light and it’s the wrong one”.

The conversation then moved onto Succession and Cox was asked what drew him to the script. Cox revealed there was no script, simply a pitch and a cross conversation between him-

self, producer Adam McKay and writer Jesse Armstrong. He also stated that he had a hand in the heritage of his character Logan Roy saying he had suggested Roy be Scottish like Cox. Armstrong had said no and that Roy had to be American. He then surprised Cox by changing Roy’s birthplace in the ninth episode of the first season, to be Cox’s native Dundee, calling it a ‘coincidence’. Cox said he replied “that’s a hell of a fucking coincidence”. Of his abrasive and generally disliked character, he said Roy simply wanted to find a successor for his business, calling the media conglomerate “very misunderstood”, saying he may not be nice but he’s not nasty. When speaking of Roy’s children, Shiv, Kendall, Roman, and Connor, Cox called them “the stupidest children to walk on Earth”. Cox also revealed that he had correctly predicted the end of the series, writing his predicated successor in a sealed letter given to Jesse Armstrong to be opened after the finale. Ryan also asked the question that had been on all of

work, and the book explores the ways in which the artists used various techniques to portray the way they saw the world. Although the artists both have very different styles, this book puts them together in a way that allows them to complement each other, and the reader can see how Van Gogh has influenced Hockney. In addition, included at the end is an exclusive interview with Hockney, which highlights the inspiration he drew from Van Gogh throughout his career. Flipping through the pages of this book in the gift shop, I definitely drew a sideways glance from the cashier. I was looking through it for at least ten minutes, which lands this book a spot on this list, especially if you are a Van Gogh or Hockney fan!

our minds. Had Kendall’s name been crossed out or underlined by his father Logan Roy? Cox diplomatically replied “he had a very shaky hand”.

Of awards, Cox said that they were a nice aftertouch but that he doesn’t work for them. What he is happy about during awards season, he said, was the recognition that the ensemble has been given, calling it a ‘great’ one. He then added some fuel to the rumoured feud between him and costar Jeremy Strong by saying that “there was only one person who had a problem with that and I won’t say who”, a sentiment he would later echo when calling the cast of Succession a family. When asked about the end of Succession and moving forward, Cox stated “it’s a job” and it’s though it’s a wonderful one, it’s “just another piece of work”. His plans for the next chapter include continuing to head back into theatre following a run as Johann Sebastian Bach in Oliver Cotton’s 2023 play, The Score

Cox also spoke at length of his involvement in poli-

tics and causes close to his heart. This included the SAG-AFTRA strike, calling the amount of choices of streaming services, “astounding but people who run the show want to pay less and less” and explaining that these issues disproportionately affect those in America where there is no National Health Service. He also shared his passion for Scottish independence saying that Scots have a habit of shooting themselves in the foot, revising that statement to say it was more like they hold up their feet and shoot each toe individually. Cox explained “as I get older, I get more and more angry” at the treatment of Scots as “second-class citizens”, saying liberation is needed.

Cox graciously stayed to take photos and shake the hands of fans and answered all of Ryan’s and the audience’s questions with humour, intellect and wisdom. A stark comparison from his less than kind character Logan Roy, Brian Cox did not disappoint as one of the most highly anticipated speakers of LawSoc’s series.

PHOTO VIA VAN GOGH MUSEUM

Our Our Pick of Trinity and Dublin’s society, art, life and culture events

LITERATURE

REVIEW: SMALL THINGS LIKE THESE

Sarah Browne

LITERATURE EDITOR

Small Things Like These is yet another example of Claire Keegan gracefully sketching simple, short stories that go beyond the physical boundaries of their neatly bound exteriors. In her latest novella, Small Things Like These, Keegan plunges us into the depths of a morally bankrupt Ireland of the 1980s. The story follows Bill Furlong, a coal and timber merchant and father of five children in New Ross, County Wexford, as he navigates his intrusive past and the unwritten rules of a provincial town ruled by the Church. The calmness of Keegan’s characteristic opening invites us into a seemingly comfortable, compact home full of quiet familial love but it is quickly mutilated by the harsh realities of an Ireland polluted with the cruelty of the clergy.

In light of the Irish government’s decision to seal the files associated with the atrocities of the Magdalene Laundries, Keegan offers Small Things Like These as a subtle rebuke to give voice to the voiceless. Despite the narrative following a male

MUSIC

THEY GAVE THE WALLS A

TALKING

EPIC: THE IRISH EMIGRATION

MUSEUM, DECEMBER 12THMARCH 18TH

This temporary exhibition celebrates the Pogues and the late Shane MacGowan at The Irish Emigration Museum in collaboration with pop culture magazine Hot Press. The exhibition narrates the life and works of legendary lead singer

protagonist, it is in his various encounters with women that Furlong is given a story. He worries for the well-being of his daughters and questions the life his mother would have lived had a gracious Mrs Wilson not intervened. The pull of the plight becomes rather heartbreaking when he considers his mother’s circumstances: “Was she not one of the few women on this earth who could do as she pleased?” Keegan’s choice of the male protagonist cleverly anaesthetises some of the more distressing scenes as if allowing us to view them from an upstairs window rather than greeting them at the front door. Further on, faced with the dilemma of whether to act and risk the safety of his family or to turn a blind eye, Furlong’s character raises the question of how someone like him may have redirected the course of history when so many chose self-interest over compassion. However, the story, rather refreshingly, is not explicitly polemical but reads more as a simple fable, leaving readers some agency to deduce what they wish from the book.

As an appointed writing fellow of Trinity, a selected Briena Staunton visiting fel-

and songwriter Shane MacGowan while also illuminating the rise of punk rock and the role of the Irish diaspora on the British music scene. Tickets priced from €10.

THEATRE THE PRESIDENT

THE GATE, FEBRUARY 8THMARCH 24TH

No, you won’t be greeted by Michael D. at the ticket check for The President,

low and a subsequent winner of the Rooney Prize for Literature as well as many other prestigious prizes, Keegan is emerging as one of the greatest short story writers of recent times. Her terse style may come off as simple but behind each of her stories is a certain deliberateness full of unspoken implication. In September of last year, the unassuming and short Small Things Like These was chosen for the shortlist and deservingly praised by the Booker Prize judges as being both “measured and merciless”. This international recognition of Keegan’s talent speaks to a significant debate in literary fiction: is it a genre where writers must go big or go home? Keegan’s success suggests otherwise and Small Things Like These is tender proof of that.

Just as in Foster, Keegan creates touching moments full of valuable affection by slotting them between glimpses of cruelty and violence. This novella is an evocative reminder that it is the small things that make a world of difference. With the release of the film adaptation starring Cillian Murphy this month, this novella is playing an important role in a thriving contemporary Irish arts scene.

but it’s sure to be a good time all the same. Thomas Bernhard’s play, originally staged in 1975, explores the abuses of power and corruption as a revolution hammers down the door of the president in question.

Co-produced by The Gate Theatre and Sydney Theatre Company, The President provides a unique chance to see the result of an international collaboration. It’s also a lot cheaper to stroll down

to Parnell than to fly over to Sydney, with tickets from €16.

THEATRE

SCENE AND HEARD FESTIVAL OF NEW WORK

SMOCK ALLEY THEATRE, FEBRUARY 15TH - MARCH 2ND

Book a block online and head to the Smock Alley Theatre to catch a preview of what the next crop of Dublin playwrights and actors will be cooking up this year. The festival is running from February 15th to March 2nd with an unusual audience experience. Buy a single ticket for a two show block, and there’s something for everyone to enjoy, from nihilistic Victorian scientists to the last supper participants. Tickets range from €12 – €15.

THEATRE

AUDREY OR SORROW

THE ABBEY, FEBRUARY 23RDMARCH 23RD

Marina Carr’s “dark and dangerously funny” new play takes over the Abbey theatre’s main stage. All the best of Carr’s writing is on display in Audrey or Sorrow, a plot of contorted family dynamics and ghostly apparitions. Tickets are available on The Abbey’s website from €15 to €45.

MUSIC STAR POWER

THE WORKMANS CLUB, FEBRUARY 23RD, 7.30 PM

The Sleepover Club’s first gig of 2024 promises synthpop, folk and ambient dream-scape sounds. The line up includes Ev Carm, Beauty Pageant, Saoirse Miller and Actress. Tickets can be found on dice.fm

priced at €10.

SOCIETIES

THIS HOUSE BELIEVES THE REFERENDUM IS POINTLESS

GMB CHAMBER, 28TH OF FEBRUARY, 7.30 PM

Join the Hist and the Phil as they collaborate in a debate on the merits of the Irish referenda coming next week. With speakers ranging from journalists to political activists to influencer and podcast host Keelin Moncrieff, this debate is not one to be missed. Head to the GMB Chamber on Wednesday, February 28th at 7 pm so you don’t miss a second of the debate.

FOOD AND DRINK

DUBLIN COFFEE FESTIVAL

THE COMPLEX, MARCH 1ST - 3RD

This experience will be brought to you by Cup North, the team behind the renowned Manchester Cof-

fee Festival, Birmingham Coffee Festival and Extracted Development. People of all ages who love coffee are welcome to celebrate the enchanting Irish coffee scene in central Dublin. Not only will you be able to watch talented roasters and baristas at work, attendees can also sample coffee and find their personal favourite. Dublin Coffee Festival is a paper cup-free event so make sure you remember to bring your keep cup!

LITERATURE

MATCHES BY CATHERINE GANDER LAUNCH BOOKS UPSTAIRS, MARCH 3RD

Books Upstairs is celebrating the launch of Catherine Gander’s beautiful and sensitive pamphlet. In this exciting debut, Gander works through various women’s encounters with violence and their road to

ILLUSTRATION BY ANNA GUSELLA

PHOTO BY ELLA O’BRIEN

reclamation of control over their lives. These compelling poems offer a place of healing for many and are a remarkable opening for a debut poet. The event will be held at Books Upstairs on D’Olier Street at 2.30pm on March 3rd and is open to the public.

LITERATURE FORGOTTENNESS BY

TANJA

MALJARTSCHUK LAUNCH

GUTTER BOOKSHOP, MARCH 7TH

Join Ukrainian writer Tanja Maljartschuk at the Gutter Bookshop, in conversation with Olesya Zdorovetska, for the launch of the latest translation of her work.

Forgottenness won the BBC Ukrainian Book of the Year in 2016 and the Usedom Literary Prize in 2022. The novel explores two tales of exiles heart-wrenchingly tracing parallels between the historical and contemporary. The narrator plunges into her nation’s history to uncover the complex relationship between time, memory and identity. The

event will be held at the Gutter Bookshop on March 7th at 6.30pm and is open to the public.

SOCIETIES

ENTS MYSTERY TOUR

NASSAU STREET, 7TH OF MARCH, 3.30 PM

For this upcoming Reading Week, Ents are taking students for a Mystery Tour. Beginning on Nassau Street at 3:30pm and arriving back in the early hours of the morning, tickets are €29 and include transport there and back, one meal, pub crawl entry, and night club entry. Ents notes that while the event is not wheelchair accessible, there will be earplugs upon request as well as gender-neutral toilets.

FOOD AND DRINK WONDERLAND OF BURGENLAND, INTERNATIONAL WINE TASTING

CATHEDRAL CAFE, MARCH 9TH

In the heart of Dublin, next door to Saint Patrick Cathedral, this small and cosy venue will reveal Austria’s

hidden gems. Zantho Winery is located in the heart of Burgenland in Andau village, just a few miles away from Neusiedler Labe which has a major influence on local climate and terroir. Sample the wine to see for yourself! Tickets are €29 and can be purchased at eventbrite. ie.

MUSIC

JAMIE DUFFY

NATIONAL CONCERT HALL, MARCH 12TH, 8.30PM

22-year-old musician and songwriter Jamie Duffy found success with his piano piece ‘Solas’, becoming the most streamed debut song by an Irish artist since Hozier’s ‘Take Me To Church’. Tickets are available from €15.

LITERATURE

TCD & IMMA: CRITICAL RACE THEORY IN ART CONTEXT

NEILL LECTURE THEATRE, TRINITY LONG ROOM HUB, MARCH 14TH

A collaboration between the School of Languages, Litera-

FIRST IRISH MOVIE TO OPEN THE BERLINALE

Cillian Murphy’s new film opened the Berlinale on Thursday evening, becoming the first Irish film to open the festival. The opening ceremony marks the beginning of the 74th Berlin International Film Festival, Europe’s first major film festival of the year.

Murphy’s new film, Small Things Like These, celebrated its world premiere at the Berlinale Palast. The film is based on Claire Keegan’s 2021 novella of the same name, which was shortlisted for the Booker Prize in 2022.

Murphy, who is also a producer for the film, stars alongside Zara Devlin, Emily Watson, Eileen Walsh and Michelle Fairley. The Cork actor also brought on director Tim Mielants, who was involved in Peaky Blinders, and playwright Enda Walsh, who wrote the script for the project.

Set in New Ross, Co. Wexford, on Christmas in 1985,

tures and Cultural Studies at Trinity and the Irish Museum of Modern Art, this event explores Critical Race Theory and its application in art contexts. Bringing together artists, scholars and critics, this event will offer a range of perspectives from the context of their work, research, and experiences. The discussion will consider contemporary art practice, art history and Critical Race Theory as a useful framework for intercultural dialogue. The event will take place at the Neill Lecture Theatre at 5pm on March 14th.

the film follows Bill Furlong (Cillian Murphy), as he uncovers unsettling secrets kept by his local convent. Small Things Like These is dedicated “to more than 10,000 young women sent to Magdalene institutions for ‘penance and rehabilitation’ – and the children taken from them”.

Filmed in Wexford, Wicklow and Dublin last year, the film was made in partnership with Artists Equity (AE), Ben Affleck and Matt Damon’s production company. The film also received financial backing from Fís Éireann/Screen Ireland and was also produced in collaboration with Murphy’s production partner, Alan Moloney’s Big Things Film.

Murphy and Moloney both expressed their gratitude at the honour of having their film open the festival: “Having an Irish film open the Berlinale is a tribute to the power of storytelling at home, and we can’t wait for audiences to see the film”.

Speaking at the film’s press conference earlier

FOOD AND DRINK BEYONCÉ BOTTOMLESS BRUNCH

BOTANICAL RESTAURANT, MARCH 23RD

Get ready to indulge in unlimited prosecco and mimosas while enjoying a fabulous brunch and singing your heart out. This is how Beyoncé would want you to celebrate her newest single, with prosecco and good vibes. Whether you’re a devoted fan or simply looking for a fun time, this Bottomless Brunch is not to be missed! Tickets are €35 and can be purchased at eventbrite.ie.

on Thursday, the Oscar and BAFTA-nominated actor explained that Small Things Like These is about “a Christian man trying to do a Christian act in a dysfunctional Christian society”. Acknowledging the collective trauma of the Magdalene Laundries, Murphy said, “It asks a lot of questions about complicity, silence and shame, but I don’t think it is the duty of art to answer those questions but provoke”.

This is not the first time that Claire Keegan’s work has achieved critical acclaim at the Berlinale. Keegan’s Foster debuted as An Cailín Ciúin/The Quiet Girl at the 2022 iteration of the festival and became the first Irish-language film to be nominated for an Oscar, in the Best International Feature Film category. Small Things Like These has yet to secure an Irish distributor, and its Irish release date has yet to be announced.

The Berlin International Film Festival runs from February 15th to 25th at various locations throughout the city.

SOCIETIES

FASHION SOC CHARITY BALL FARRIER AND DRAPER, 28TH OF MARCH, 10.30 PM

Trinity Fashion Society (Fashion Soc) are hosting their very own charity ball, themed ‘Suited & Booted’ at Farrier and Draper come the 28th of March. In aid of TAP, TCPID, and Jack and Jill, there’s nothing better than dancing the night away for a good cause. €12 tickets can be found on FIXR and through Fashion Soc’s Instagram. A free drink will be included with each ticket so pop your boots on and run to get your ticket now.

FILM

DEPUTY EDITOR

Sáoirse Goes

PHOTO BY ANNEGRET HILSE

HOCKNEY, ‘PORTRAIT OF AN ARTIST (POOL WITH TWO FIGURES)’ (1972), PHOTO BY REGAN VERCRUYSSE

PHOTO BY ELLA O’BRIEN