UT Radius 11/23

Trinity Trend Take note from ballet dancers this winter, as Hanna Valila uncovers the latest trend keeping students on campus warm: socks and leg warmers

Volume XV, Issue 3

REVIEW

SPEAKING WITH

Ila Raso recaps the annual takeover of the GMB by Trinity Arts Festival, as the night took attendees on a trip through the ages page 12»

Sadie Loughman explores the band’s musical inspirations, the production of their album and their experience gigging in Dublin page 5»

TAF Takeover

girlfriend.

universitytimes.ie/radius

Monday 27th November, 2023

Barrett Ellis RADIUS EDITOR

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When Barrett Met Blindboy

ast February I moved to a new place. I had just begun my Erasmus and I was excited to get out of the city. See something new, meet some new people, hear about somewhere other than Dublin! These plans were somewhat quashed when I met my roommate: a Phibsborough native attending UCD. Within the first few weeks, he introduced me to one of his favourite podcasters, Blindboy Boatclub, by way of the Rubberbandits. I was hooked.

For those not familiar with Blindboy, this string of compound words must seem meaningless.

Starting from the beginning, the Rubberbandits are an art/comedy/ hip-hop group from Limerick – you may know them from their 2010 hit ‘Horse Outside’ or the more recent ‘Bertie Ahern’. The Rubberbandits have been known for covering a wide variety of subjects in their satirical, incisive voice; they are a duo, consisting of Mr Chrome and Blindboy Boatclub. Mr Chrome can now be found on YouTube under the name ‘Bobby Fingers’, where he creates fantastically innovative dioramas.

Blindboy still goes by Blindboy Boatclub, and his primary focus has slightly shifted as well. Since 2017 he has published three books, all collections of short stories, with his most recent Topographia Hibernica published only a couple of weeks ago. He has also starred in a BBC documentary series, revealing the truth of societal issues through satire and on-theground investigation. If this wasn’t enough, the Limerick native is also the host of The Blindboy Podcast, an extremely popular show with over one million monthly listeners which Wikipedia describes as featuring “interviews and coverage of social issues”. This description is woefully inadequate. The podcast was started to promote his first short story collection, 2017’s The Gospel According to Blindboy, but it quickly outgrew this initial aim.

Blindboy began performing longform, scripted monologues about issues that he found relevant and relatable. This week, in the wake of the release of Topographia Hibernica, I was lucky enough to speak with Blindboy about his new book, his podcast and his process.

CONTINUED ON PAGE 6 »

Inside:

Radius Reads page 8 » / Your Week Ahead page 3 » / The Radius Ultimate Gift Guide: Our Top Festive Picks to Gift your Loved Ones page 20 »

The University Times Monday 27th November, 2023

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Trinity Trend: Socks and Leg Warmers Hanna Valila ASSISTANT FASHION EDITOR

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s we fall further into the winter months, our wardrobes shift from light and breezy pieces to heavy sweaters and thick scarves. The crop top becomes a thermal long sleeve and the denim skirt now requires a pair of tights underneath. The desperate conflict of avoiding hypothermia while staying true to one’s style has started. The chilling winter should not require sacrificing self-expression, so we are faced with the same dilemma as every year - how to stay warm and stylish at the same time. In the midst of this struggle, a new trend emerges: socks and leg warmers. The previously neglected ankle has now become the next opportunity for a fashion statement on campus.

Far removed from the once popular no-show sock, the visible high-rise sock works as an accessory as opposed to just a means to an end, while conveniently also protecting the foot and ankle from the chilling temperatures. Some prefer their socks classic, clean and white, others go for a sporty Nike or Adidas logo on the side. Perhaps your style calls for frilly lace, or maybe dark wool. Colour options are only limited by your own imagination. Match your socks to your outfit for a cohesive look that shows you pay attention to every last detail. To take it one step further, consider a knee-high sock. Especially on top of a pair of tights, they allow you to wear a dress, skirt or shorts even when December tries its hardest to start the next Ice Age. Socks can do so much more than protect your shoes and feet from sweat and blisters. Most impor-

it was only a matter of time until leg warmers too would be chic again. Notably, the recent ballet-core craze has put pastel-coloured knitted leg warmers back on the map. The popularisation of the ballet aesthetic has introduced a new cutesy look. Alongside their pink tights, ballet flats and flowy skirts, ballerinas have worn leg warmers since the beginning of the

sport. Again, creative minds have turned something originally only practical into a fashion accessory.

Leg warmers are an especially great way to stay warm but still express style. Options for colours, materials and styles are endless. They come in all varieties, ranging from furs to knits to lace to denim.

They can be tailored to personal taste; simply add

on pom-poms or bows. You can also play with patterns or textures: wear them over tights or leggings, with sneakers or boots.

Stay warm while dressed up in heels and a dress, or dressed down in a more comfortable look. Furthermore, as demonstrated by ballerinas who wear them to warm up or stay warm during a break but take them off for performance, leg warmers allow for easily removable layering for those who may have a long journey to college or work but get warm once inside.

Leg warmers can even be easily knitted at home! No need to spend money on this trend, a simple pattern can be found online, and your grandmother will probably lend you yarn and knitting needles. This also makes the perfect new hobby to master by the fireplace, when the weather actively discourages all outside activity.

cial to stores, these types of Christmas cards can be a foot in the door for new artists. Galleries can seem unapproachable at times, especially if there is the pressure of large purchases. If you are not in the art world, there are not many opportunities to expand your horizons with a new favourite artist. Indeed, there are not many people who are in search of a new favourite artist the way they might be for a new favour-

ite musician or author. This is in part because music and books are more accessible for a regular person who is not interested in investing a great deal of time or money into a hobby. Appreciating these things is in many ways easier, and the mainstream media pushes new music and books on consumers regularly.

A particularly beautiful card could possibly be the way in. Something unusual, witty or creative can catch the eye of the recipient, encouraging them to look closer at their gift. If the card is one they save, they will look at the artist’s work many times, associating it with the happy memories of the card. They might even search out other works by the artist. At the very least, for those purchasing the cards, the addition of cards done by local artists in many bookstores and other shops around Dublin makes Christmas shopping almost akin to looking through a gallery, in a ven-

ue less intimidating.

These sorts of cards can be found all over the city, and in many places outside of it as well. The Boatyard Gallery in Greystones has an excellent selection, along with Christmas-themed gifts by other smaller Irish artists. Howbart and May’s, just down the street from Trinity, has an unexpectedly nice amount as well. Unsurprisingly, the National Gallery gift shop also has many sprinkled in.

At the same time, the usual suspect of Hodges Figgis, a student staple for books and board games, also has a wide selection of festive cards, from whimsical to miniature artworks in their own right, ready to be displayed.

A Christmas card doesn’t have to be an afterthought.

It can portray more than just words and can support more than just those purchasing it. It can be quite artfully done, and can even be an opportunity support local artists.

ILLUSTRATION BY CAROLINE CAPPELLETTI FOR THE UNIVERSITY TIMES

tantly, they are another way to express yourself through your outfit. You will wear socks anyway, so why not have some fun with it?

For those who still do not find socks exciting enough, leg warmers are the next step up. They may bring flashbacks of the early 2000s but, like most fashion trends, what goes around comes back around.

With the Y2K resurgence,

Christmas Cards, Artfully Done Elly Christopher ART EDITOR

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et’s face it, buying presents can be one of the most stressful aspects of the holidays.

Especially for university students who have only so much time in between studying for exams and finishing up projects. With a pathetically narrow budget, and the sunset creeping up earlier and earlier each day, shopping can start to feel like an insurmountable task. The urge to stick a gift card in a Christmas card and call it a day gets greater with each passing day. I’m right there with you. In fact, I’m here to support you and so are many local artists.

If you think about it, a Christmas card done right can be one of the most spectacular gifts. It can be something people treasure for years to come, long after the gift card inside has been used up. They can cherish

the words written inside, or, if the card itself is particularly beautiful, hang it up to add a personal touch to their wall or desk. It can be something to look at every day and be reminded of the thought carried within.

When the time is taken to pick a card or to write a message inside, a small gift can be transformed into something beautiful.

Giving a Christmas card can also be an opportunity to support local artists.

Many smaller shops and galleries have integrated Christmas cards made

by Irish artists onto their shelves. This is a show of support for growing artists.

It also turns a product that so often represents mass market production into something charming and unique. In turn, for the customer, it makes shopping for cards alike to browsing art, rather than a chore to be done at the last minute.

As well as being benefi-

CHRISTMAS CARD BY GEORGE FAGAN, PHOTO BY NATIONAL MUSEUM OF IRELAND

The University Times Monday 27th November, 2023

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Observations

Your Week Ahead

Musings on the Past Month

Ella Hussey

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t’s that time of the semester when deadlines are fast approaching, Christmas presents are piling up and your employer is bombarding your WhatsApp asking what days you can work over Christmas. The festive period can be overwhelming for us students. But fear not! Here at Radius HQ we have worked tirelessly to have you fully covered over the Christmas period.

So if it is all getting a bit much

and you are dying to call up some Christmas cheer, Ella Parry has you covered, discussing the comforts that home cooking brings with a recipe for German holiday cookies, ‘Engelsaugen’. Or if your headphones have been rerunning the same old playlist, Sadie Loughman has an exclusive interview with Dublin-based band girlfriend.

Alternatively, if you just want to eat a box of Celebrations and watch TV all day, Rachel Heaney tackles the question on everyone’s minds: ‘Is Father Ted a Christmas Show?’. If you feel behind on all things fashion,

Clara Potts speaks to the owner of Dublin’s newest bespoke tailoring business.

We have decided to change it up a bit this issue. In the final pages of Radius, you’ll find a lovely little gift guide, where each section has sourced the best presents to give this year. So whether you’re well ahead of the shopping season or need some last-minute ideas, you’ll find everything you need here in Radius!

Myself, Barrett and Maisie are so proud of all the hard work put into curating this issue, so enjoy your reading and have a lovely Christmas!

‘The Method in Her Madness’ Phoebe Pascoe ASSISTANT EDITOR

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hen an eighteen-year-old Louise Nealon told a GP she was having dreams that didn’t feel like her own, he gave her “a prescription to read Marian Keyes” (and antidepressants). The intimate relationship between our brains and our bookshelves was the matter at hand in Books Upstairs on Wednesday evening. Nealon joined fellow authors Molly Hennigan and Charlene Hurtubise for a discussion on writing – and, inevitably, reading – women’s mental health, moderated by Eiru publishing director Deidre Nolan.

Although all three authors have written books which incorporate mental illness, they exemplify that ‘mental health’ is far from a monolith. Nealon said she has “a problem with the term mental illness or mental health because it suggests that it is easily definable or can boil down to one person”. The variation between and within the three writers’ books highlight the inadequacies of a catch-all comprehension of wom-

en’s minds. Hurtubise explained that “there is one person clearly struggling with their mental illness in my book, but there are a lot of people drowning in their everyday lives.” She was inspired to write her novel, The Polite Act of Drowning, after reading that drowning is “almost always a quiet event” – so too can struggles with mental health sometimes manifest as a whisper rather than a scream.

Hennigan’s book, The Celestial Realm, also partly considers silence: those who it has been thrust upon unwillfully. When she visited her much loved grandmother in the psychiatric hospital she was a patient at, the voices, theories and stories she heard were often passed off as madness. Instead, she asked: “what if it isn’t?” In her essay for The Stinging Fly which preceded the book (and forged the friendship between herself and Nealon) she writes: “We talk about silencing Irish women and it is almost always metaphoric, or rather representative of a particular type of non-hearing. [...] Let’s also talk about the women’s voices that were physically silenced. The women whose PHOTO BY BENEDICT SHEGOG FOR THE UNIVERSITY TIMES

ability to communicate was severed by drilling into the skull”. And the discussion on Wednesday did not shy away from the dark realities of psychological struggle. Hurtubise described depression frankly – “it’s a takeover” – and explained how re-reading a particularly grim scene in The Bell Jar “was a frightening moment because I recognised it”.

However, the authors also lauded literature as a beacon of comfort.

Nealon told the room that “whenever I felt mad I read, and I felt less mad because I felt seen”. Hennigan explained that a lot of what she enjoys watching or reading in regards to mental illness falls into the category of comedy. She expressed that these were just as instructive for her as more ‘serious’ works. All three women reiterated Nealon’s assertion that “what was medicinal for me was reading”.

Writing, however, was a little more complicated. Although Hurtubise acknowledged that creating her novel “was catharsis” and Nealon said that she finds it “much easier and more helpful to talk about mental health through the lives of fictional characters”, everyone laughed when asked how they maintained their sanity throughout the writing process.

Hennigan admitted that publishing a book with such personal themes “can be scary, especially when it’s non-fiction.” She also acknowledged her concerns about writing “about my real experiences in an indulgent way”, aiming instead for “spare and light” prose. Nealon acknowledged that “the ‘maddest’ character [in her novel Snowflake], Maeve, doesn’t actually get a lot of scenes because I did find it difficult to write her”. What was overwhelmingly clear from the evening, however, was how essential writing through these difficulties is. Where these authors have woven tales of mental health into wider narratives and characters, they have also contributed to a tradition of reading as solace and making sense of oneself.

Our Pick of Events Around Trinity This Week WEDNESDAY

COFFEE HOUR THE ATTIC, 1-2 PM We’ve all got a hefty load of assignments and studying to do, and sometimes the library simply isn’t cut out for your level of genius. The Trinity Literary Society (LitSoc) is hosting a coffee hour from 1 pm to 2 pm in the Attic, with the promise of a quiet space to get some work done. Perhaps being surrounded by books might just give you the inspiration that you need to get started on that assignment. Who knows?

WEDNESDAY

ROCKET-BUILDING CLASS THE ATRIUM, 6 PM Whoever said that the sky’s the limit, clearly hasn’t been within two feet of the Trinity Space Society (SpaceSoc). Join SpaceSoc at 6 pm in the Atrium to participate in a rocket-building class. You heard that right, Rocket Building! At this event, you will be taught the basics of rocketry and will learn how to literally reach for the stars.

Furthermore, you’ll build the rockets that will be launched later in January in an attempt to break the national record for the highest altitude.

THURSDAY

FRONT OF HOUSE SALON PLAYERS THEATRE, 11 AM Have you ever craved being under the spotlight? How about putting your classic party tricks to use? Or are you maybe just in need of a good chat with some insanely talented, and creatively minded people? Well, whatever you’re in for, prepare for laughter and lively times ahead. DU Players are hosting their weekly ‘Front of House Salon’ at 11 am, and are looking for your contribution, why not see what the theatre world has in store for you?

THURSDAY

CHRISTMAS PANTO STANLEY QUEK THEATRE, 7 PM The Dublin University Biological Association (BioSoc) is hosting a Christmas Panto in the Stanley Quek theatre at 7 pm. This year’s show is ‘Barbie 2: Life in Plastic (Surgery)’, one that you just cannot miss.

All proceeds will be going to the Dublin Rape Crisis Centre. If you don’t have a ticket yet, don’t panic!

There will be a limited number of tickets sold at the doors.

The University Times Monday 27th November, 2023

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Cailíní Breathes New Life into Friel’s Dancing at Lughnasa Sáoirse Goes DEPUTY EDITOR

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s exam season threateningly looms over students of all disciplines, so too does debut season for drama students. Kicking off this year’s lot of debuts is Beth Strahan’s Cailíní, devised in collaboration with Íde Simpson and the cast. Modelled on Brian Friel’s Dancing at Lughnasa which, as Strahan elucidates in her ‘Director’s Note’, “is a beautiful representation of femininity groping towards forms of self-expression”. From this basis, she endeavoured “to create a piece with the same sentiments of sisterhood, grievances, secrets and betrayal, and workshop how these dynamics can be embodied without dialogue”.

With this background to the production, as the audience filters into the Samuel Beckett Theatre on opening night of Cailíní, they are instantly greeted by the pastoral set, designed by Brady Dunne and consisting of an intricate kitchen with a table at its centre, as well as a back porch surrounded by leaves. As if capturing the idyll of country life and almost lending an atemporal quality to the scene, the stage is bathed in warm and homely light, emphasised through Aisling Finegan’s timeless costume design. On this stage stand five of the six actors, as in foreboding that the audience is about to eavesdrop on what happens behind closed doors in a familiar space.

Despite this, Simpson’s Úna and Éabha Hayes’ Annie fold laundry at the kitchen table and Lily-Kate Hearns’ Katherine peels potatoes, seemingly unbothered by the entrance of what was to be a full

audience. All the while, Megan Doherty’s Clodagh sits on the porch smoking and lowly talking with Michael Lucey’s Eamonn.

As the lights dim, a voicemail starts playing, rooting the show in a time close to the present. While Úna and Annie continue their rhythmic folding, the domestic ease slowly fades away, as the mechanised voice echoes “it’s about Dad, he’s not very well”. This initiates the peeling away of layers of comfort and secrets which unfold throughout Cailíní. As the line goes dead, the light dims and the domestic scene resumes with Annie in a school uniform, doing her homework at the table.

However, the voicemail is replaced by the unsettling sound of a kettle boiling, which fades into a more unnerving silence, startlingly broken by Catherine’s sudden exclamation of “Fuck!”, having cut her finger with the peeler. Breaking the spell of rural bliss, the first interaction sets a playful unease into action as Úna reveals to the newly returned Catherine that they had a rat in the house, whom the former and the youngest sister Annie comically named Rodney.

As Simpson’s character laments, “I can’t bear the silence of it all”, capturing the weariness of Úna and Catherine, adopting the maternal role, filling the gaping parental void. Despite fussing over whether their sick father had eaten – which neither of the three Mahon sisters in the kitchen knew an answer to – his absence throughout is noteworthy from the outset, casting an air of suspense through the audience. Despite this moment of tension, the ensuing sequence brilliantly captures Strahan’s emphasis on the movement of the production, as Úna and Annie run around the kitchen

table, which turns into a playful showcase of Irish dancing. Throughout this sequence, Hayes’ youthful fluidity shines, encapsulating the naivety of the 17-yearold Annie Mahon, the youngest of the sisters.

The dynamics are further complicated as Clodagh and her long-term boyfriend Eamonn enter. Eamonn is seemingly an honorary member of the Mahon family, having even had a pretend wedding to Úna in their childhood, one which the latter remembers fondly, noting “I know it’s only pretend but it seemed real then”.

Through her use of this memory, Strahan deftly blends the tropes of a period drama, recalling the dynamics between Laurie, Amy and Jo in Little Women, while rooting the drama in a markedly Irish context, notably through her use of comedy, which received frequent audience laughter.

The performances in Cailíní are a standout feature of the production’s success: Simpson’s performance encapsulates the annoying overbearingness of the wronged sister, while the entrance of Juliet Hill as the estranged Mairead Mahon, the girls’ half-sister, proves as the final

nail in the coffin of an already crumbling family. As each sister lashes out at different moments during the one-act play, each performance perfectly encapsulates the frustration and cathartic release of a lifetime of built-up emotion.

Strahan kept her audience constantly at the edge of their seats, with calculated reveals, slowly unfolding another layer of the secrets and mysteries kept by the Mahon family, exposed to audience gasps on multiple occasions throughout the play. This is carefully punctuated through the choreographed movement of the performance, complemented by Hayden Kline’s original score and accentuated by Conor Bustos’s lighting design.

Cailíní catapults through a web of twists and turns towards a tragic ending, as Eamonn laments “we’re too fucking old for this” in the closing moments, to the sound of rain falling. The warm light of the opening remains, but is rendered empty in the image of Úna and Eamonn sitting at the kitchen table, unsure of the future in all but the former’s staying in the house, as the play closes with her haunting statement, “I’d rather here than anywhere else”.

PHOTO BY MARTINA PERRONE

Anne Enright and Claire Kilroy Shine at Dublin Book Festival Molly Wetsch DEPUTY LITERATURE EDITOR

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nne Enright and Claire Kilroy graced the Dublin Book Festival on November 12th with a panel centring on their critically acclaimed new novels, moderated by poet Jessica Traynor. Called the “biggest ever” iteration of the festival, Enright, Kilroy and Traynor’s conversation was arguably the crowning jewel of a week full of literary events.

Both authors’ new works in some way address the modern Irish family and, more specifically, how women and mothers fit into it. They’ve also been individually praised for subverting the style of the traditional novel, be it through the addition of poetry or unique prose decisions.

The Wren, The Wren traverses generations of a family, exploring inheritance and what it means to follow in a family member’s footsteps. Although Enright explained that The Wren, The Wren’s Carmel is less of a mother than “a person who just had a baby fall out of her,” she maintained that the relationship between Carmel and her daughter Nell serves as a bona fide centrepiece for Nell’s journey of self-discovery. Enright also discussed the intricacies of including poetry in her novel. Phil, father to Carmel, Nell’s grandfather and famous poet, is an ever-present shadow in the story: some of his poetry is even written into the novel.

For Enright, who once described her life as “rocking the pram with one hand and typing with the other”, The Wren, The Wren is equal parts introspective and fantasised.

Kilroy’s novel Soldier Sailor, which was

released earlier this year, tackles themes of motherhood and marital isolation through an unnamed mother’s – Soldier’s – address to her son, only referred to as Sailor. The book has been praised for its strikingly accurate portrayal of postpartum depression and unique confessional style. During the panel, Kilroy discussed how her own experience as a mother, both good and bad, informed the novel which was her first in 11 years. She read from a passage in the novel detailing Soldier’s friend and her son sharing a moment, in which Soldier meditates on her own relationship with her son. This captured the true desperation of what feels like a near last-ditch attempt at conquering postnatal depression.

Kilroy also reflected on how the novel, and by extension the experience of motherhood, takes place in relatively few locations, mentioning the kitchen and

the playground as frequent spots for Soldier and Sailor in the novel. Kilroy spoke about using these relatively mundane locations as symbolic landscapes that outline the complexities of raising a child.

Kilroy’s own understanding of motherhood shone through both in the discussion and in the reading of the excerpt, with one audience member questioning how she seemed so knowledgeable for being a relatively young mother.

Enright and Kilroy’s discussion, certainly raised questions about the place mothers have in contemporary Irish society, as well as the identity of someone becoming a mother. Both authors’ experiences as mothers gave them the space and knowledge to provide an insightful look into what it means to be both a woman and an author while simultaneously acting as a leader in the Irish literary canon.

The University Times Monday 27th November, 2023

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Is Father Ted a Christmas Show?

Rachel Heaney CONTRIBUTING WRITER

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t’s nearly that time of year again when debate arises over the best television offerings for the festive period. For those in Ireland, the options are plentiful.

The annual Late Late Toy Show for kids looking to fill their Christmas list with the most popular toys, American classics like Home Alone (1990), and cheesy rom-coms such as Love Actually (2003) immediately come to mind. Yet, it is undeniable that the real Christmas experience does not exclusively come from these dedicated Christmas showings and also includes plenty of more cultural offerings such as

the Snapper (1993) or The Commitments (1991).

However, even more Christmassy than Elf (2003) or Love Actually is Father Ted (1995), the immensely beloved series detailing the antics on Craggy Island. More specifically, the Christmas special, A Christmassy Ted (1996) encompasses Christmas, not neglecting to include gift giving, award receiving, and late-night TV watching. This episode is the epitome of all that makes Father Ted an iconic show, adding a layer of festive charm to a series already widely consumed on Christmas. The chaos in this episode, coupled with the festive setting make for a charming piece of casual festive watching – perfect for repeat viewing. Who could possibly forget the priest’s escape

from the lingerie section? Or Ted’s well-intentioned gift of a Tea Master to Mrs. Doyle? It holds firm as one of the most iconic episodes from Irish telly. It, and the rest of the series, is ideal family viewing with fun and light-hearted plots, and the perfect amount of potty humour.

Father Ted’s familiar vibe is perfect for the holiday season, reminding many people of the now nostalgic traditional Irish Christmas. But what is this culturally significant yet elusive concept of Christmas? For many people, it’s the gathering of family after a long year apart, often at grandparents’ houses. For Ted, his ‘family’ gathering is the hoards of priests who attend his Golden Cleric Award ceremony. While not every

Irish family has someone as dedicated to meddling with Christmas as Father Todd Unctious, the chaos he unleashes on Craggy Island is reminiscent of the antics many families observe during the festive period – minus the spy ropes of course!

Whilst Ireland has moved away from explicit connections to the Catholic Church, Father Ted serves as a nod back to this link in a cultural sense. The insight into the Church that many Irish families possess heightens the impact of the series’ reliance on jokes at the expense of tradition and religion. I can’t imagine a series that is better Christmas viewing for the entire family, even trumping Mrs Brown’s Boys (2011). Sorry Dublin, but Craggy Island is the place to be

this Christmas.

What actually makes something ‘Christmas’ viewing? Some would insist that Father Ted and other similar series are categorically not.

To find real Christmas favourites guaranteed to be enjoyed, it is sometimes best to stray from the obvious choices. Instead, go for a show that isn’t quite a Christmas production. You may be surprised at how this improves festive viewing. For example, Father Ted, which offers humour and a nostalgic commentary on Ireland’s old Catholic connection, cultural jokes and familiar nature is perfect for a festive feel without overbearing Christmassy elements. This Christmas, cuddle up with your loved ones and make sure to take another look at this cosy offering!

In Conversation With: Irish Punk Band girlfriend.

Sadie Loughman MUSIC EDITOR

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he Dublin-based band girlfriend. dropped their debut album, To Be Quiet, on October 31st, 2023. With themes based around repressed memories, the album is a cathartic explosion of sound - an exciting and refreshing addition to the Dublin music scene. The band was preemptively formed in the primary school yard, where Hana Lamari and her friend-turned-bandmate Laheila Jones would make up songs.

Fast forward to today and the two still make music together, albeit perhaps at a different level.

The pair’s love for music continued and strengthened throughout their teenage and young adult years, forming the band in secondary school, when their third member, Sophie Dunne, joined on guitar and bass. Lamari jokingly coins the three the “founding fathers” of the band. Eilis Mahon, an ambient artist under the name ‘icebear,’ and Robyn Avery joined in the later years, bringing with them a range of instrumental talent.

Their debut album To Be Quiet is a striking concept album. Lamari credits their major inspiration to the early 2000’s band My Chemical Romance (MCR), in that “basically all of their albums are concept albums”. The musician goes on to explain that a concept album can be interesting to play with in the way it holds up a struc-

ture and narrative. The influence of MCR can be heard in this debut album – with purgative screaming and tight, edgy instrumentals.

There is a sense of angst in the songs which nods to the pre-teen emo phase (a right of passage for many), but with a definitive maturity and originality.

When asked about the creation of their first album, Lamari explains that it was a combination of things – the piecing together of vague childhood memories, along with the surrealist nature of the TV show Twin Peaks, which she was watching at the time. “I was interested in the idea of the subconscious mind as a place”, says Lamari. Indeed, this concept can be felt while listening to the album, particularly in their song ‘In Silence’. In the climax of the track, the lyric: “To be quiet in a house on fire” is screamed, encompassing the struggle of the repressed subconscious, of being trapped in the mind as though it is a burning building.

The meaning of the name girlfriend. is straightforward, representing the band as a group of friends. Although originally intended to be ‘girlband’, it was unfortunately discovered that the name had already been coined, by an all-male band no less. In terms of musical inspiration, girlfriend. draw on anything and everything.

Aside from MCR, inspiration for their album is listed in the members’ individual playlists on the band’s Spotify page, ranging from Olivia Rodrigo to Yung Lean to Prince. Lamari makes the point

that music should be fun – pretentiousness is out! Drawing on how versatile the band’s music taste is, Hana reminisces on the time the group attended a Nicki Minaj concert and “just cried”. A spiritual experience, one might say.

The band have been given labels from emo to grunge to shoegaze, but the lead singer notes that the genre of “post-hardcore” really stuck out to her. In three words, Lamari describes the new album as “emotional and raw”. ‘Girlhood’ is a particular favourite of mine that exemplifies this, with dreamy guitars and a nauseating nostalgia in its lyrics.

Discussing the band’s success, Lamari recalls when the band was formed in 2015, gigging in small venues while still being college students. The musician describes the experience as somewhat overwhelming – juggling college, work and music – as well as being an independent band without management or crew. “The work never really stops as an independent band”, she says. Over time, the combination of commitments meant the band could not write new music, and playing the same set over and over again became tiresome.

Due to this, the band took a hiatus in 2018, releasing two singles and stepping back from playing live to write new material.

This was the genesis of their new album. When asked if much has changed since the band returned to gigging at the beginning of 2023, Lamari says: “We definitely have more self-respect”. Starting

PHOTO BY LAYA KENNY

out as a band in the saturated Dublin music scene is difficult, as Lamari explains that you have to “lay your soul bare” for an audience who might not care, putting so much effort in with little return and repeating it all over again. Today, the band can be more selective of where and when they choose to play, and with a confidence that makes playing live a more enjoyable experience. The band remains independent to this day, transporting equipment to their shows, managing their own emails and press, while also being in full-time employment – a major display of hard work.

The band’s talent is undeniable, and there is undoubtedly more success to come in the future.

Their most popular song from the new album, entitled ‘Repent’, has amassed over 48,000 streams, and Lamari speaks of the time Ethel Cain reposted one of their songs – a sure-fire indication of the band’s artistry. girlfriend. also recently appeared in a live video perfor-

mance for Chromatic Sets with their song ‘In Silence’. The performance is relentless and energetic, set in the abandoned ruins of a pub – an aesthetic worthy of Ethel Cain’s praise. girlfriend. continues to display a spirited uniqueness.

Their vocals are strong, their lyrics raw and their sound hardcore, yet ceaselessly vulnerable so that when listening to their songs you don’t know whether to headbang or cry. As Lamari explains, the true spirit of the band lies in the bond of its members, for each time before stepping on stage, they tell each other “this is for us”.

So what lies in store for the future of girlfriend.? Lamari admits that they have many demos made, ready for a potential second album. However, the future is wide open. The band have an upcoming gig on December 9th in the Button Factory, supporting the Irish punk band Chewie, who have acted as their mentors in a sense. Irish, independent and intense, girlfriend. are certainly ones to watch.

The University Times Monday 27th November, 2023

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« CONTINUED FROM PAGE 1

It is worth noting that if Blindboy is best known for one thing, it is his appearance.

Blindboy only appears in public while wearing a bag on his head. It appears to be plastic, with two eye holes and a mouth hole. These holes have slightly widened over the years to show a bit more emotion.

My interview with him was conducted as audio-only on his side. After weeks of putting on shows while touring and interviewing in his free time, all with bag-on-head, his reasoning was obvious.

Blindboy’s bag-wearing has decreased since his Rubberbandits days; now primarily a podcaster and writer, there is less need for him to make visual public appearances. After, he admits to me that “Blindboy’s a little cringy. I’m a full-grown man with a bag on my head, it’s like ‘grow up’ you know?” I pose the question: why wear a bag at all anymore? “Exactly, that’s what feckin’ pisses me off! At this point, I don’t even need the fuckin’ bag! Jesus Christ! I don’t even… It’s frustrating, that. But I have to go on fecking television to promote the book and I’m asking people ‘can you read my serious literature please? I’ve got a bag on my head, can you deal with that also?’”. Blindboy’s answer, self-effacing as it was, was buttressed with another explanation: “This is just so I can have a quiet life. [...] It’s about saying ‘can I have some space here.’ I don’t want to engage with the fame hierarchy. I literally don’t care about fame”.

The bag certainly provides Blindboy with anonymity, and his interaction with fame itself is negligible. It is hard to name another celebrity whose public persona is so disconnected from their private life. “It’s not like the feckin’ Kardashians where you get to have bodyguards, I have to go to Aldi!” Blindboy provides one last, and extremely relevant, reason for his bagged head, “I’ve started to view the bag [...] as an autistic protest”.

Blindboy, who is in his late thirties, was diagnosed with autism only last year, and this diagnosis has profoundly influenced his art and his outlook on life. This is perhaps best evidenced in Topographia Hibernica’s ‘The Cat Piss Astronaut’, which follows a child who is extremely fixat-

“

ed on the planet Jupiter. His interest is repeatedly – though not always – made a mockery of, be it by his teachers, other parents, or peers. Blindboy says he wouldn’t have been considered autistic in his schooldays, “I would’ve been seen as just a misbehaving little prick, you know”. Seen as a misbehaving little prick, the character is

creation of surf and turf as a menu staple.

He’s a big fan of location-based Wikipedia viewing, going down rabbit holes of information, finding connections and making meaning.

These rabbit hole explorations are apparent in his podcasting, as are they in his book, and they are extremely enjoyable to go down with Blindboy serving as guide and interpreter. For example, he only briefly mentioned monarchy: “If I’m bored, I pick a member of the English royal family, and just keep clicking on the blue tick of their parents [...] until I eventually arrive at some Viking called Olaf the Brain-Eater. [...] That’s what pisses me off about monarchy [...] I had a great-great-greatgreat-great-great grandfather who was profoundly violent, profoundly violent, and then he murdered everyone he saw, and then everyone put silly hats on and did a dance”.

Blindboy’s comments are at once hilarious and true – unless you’re a monarchist. Sorry. Our conversation covered extensive ground for having only been an hour long, throughout which Blindboy mentions Hemingway, folklore, sustainability, Liam O’Flaherty, Jungian Mythology, The Life and Times of Tristram Shandy, and why radio hosts tend to have an awkward flow when asking questions.

Alongside Blindboy’s claim that his podcast is ‘encyclopaedic’, it must be said that he is encyclopaedic himself. Our conversation was dynamic and tangential, but there was never a non sequitur, and everything was somehow, amazingly, relevant.

This is one of the greatest strengths of Blindboy’s work: he asserts that the mundane is meaningful, and he proves it. It makes his claim that his podcast is a novel seem less far-fetched, especially after reading Topographia Hibernica and realising just how intentional all of his writing is. This includes his podcast, which is meticulously scripted. His writing may at times be far-reaching and overflowing with information, but it is never careless.

The glummest refrain was our brief conversation about Dublin. When asked about the city, Blindboy states, “Dublin’s a

It’s not like the feckin’ Kardashians where you get to have bodyguards, I have to go to Aldi! subject to scorn and vitriol, as Blindboy was himself. He mentions that he only wished that he could’ve had a note to show the teachers, one saying “could you stop being mean to this kid, please”. Admitting that he announced his diagnosis for similar reasons, he explains, “One of the main reasons I came out and said I was autistic is just for some people to stop being mean to me online”, an extremely understandable rationale considering the amount of hate Blindboy receives.

Blindboy describes his podcast as “an encyclopaedic novel about a lad called Blindboy and his curiosity about the world. [...] It’s never-ending and it’s process-based”. Perhaps this is why Blindboy grates on some people – he is unabashedly different, and he is unashamed to show genuine passion and interest in the things he talks about.

It is irrefutably encyclopaedic.

In conversation with Blindboy, there is no social posturing, no false kindness, just passion. This passion extends everywhere, to the housing crisis, mental health and neurodivergence awareness. He explains, “You can’t remove the housing crisis from the mental health situation. You cannot. If someone can’t pay their fuckin’ rent or doesn’t know where it’s gonna come from, how can that person be mentally healthy?”. He is as passionate in his dislike for the Dublin Spire: “No… I don’t like the spire”. This was said emphatically, if the quotation doesn’t communicate this. This intent focus also extends to the home of the original KFC recipe, a place called the ‘Chicken Hut’ in Limerick. He’s interested in the giant lobsters that once roamed the shores of New England, the ones that indentured Irish servants were made to eat, whose overabundance resulted in the

“

strange, strange place because the thing is [...] it’s a city that’s very much being designed towards tourism over and over again. [...] It doesn’t feel like home. You go down to Cork it’s different”. But there must be something good about this city, right? “To be honest I know that this is the Dublin focus; it is difficult to say good things about Dublin, I’ll be honest”. While this opinion is not uncommon, some light did nevertheless emerge, as he reveals, “The best thing about Dublin is the history [...] I can go down to St. Michan’s church and see a Templar [...] go to Wood Quay and see a Viking museum”. This brought us to talking about an important point about Dublin, a question that the city asks itself over and over: “Why am I?”.

Dublin says something like that.

Its history may be fascinating – it is – but something is strange indeed. This conversation was had only a few hours before the anti-immigrant riots started in response to the stabbings on Thursday, and his comments regarding Dublin couldn’t seem more relevant in this light.

thesis to back up that, it gives me great confidence”. Though he has courted controversy and criticism, Blindboy has unmistakably made a mark on the literary world. This is shown through Al-Hajhasan’s thesis of course, but it is most easily seen in Topographia Hibernica. The book is a personal book, but it also deals with larger themes: biodiversity collapse, the past and mental health are extremely prominent, to mention a few.

Speaking on these themes, Blindboy mentions a story by Liam O’Flaherty, set in the west of Ireland in 1920, featuring a river which appears silver as it is filled with fish. “Isn’t it so sad that I’m reading a story from 100 years ago, and I think the writer is lying because I’ve never seen a river that’s so full of fish that it’s silver”. Blindboy’s book grapples with this contention of collapse, of a lost past that seems unbelievable.

This is especially apparent in ‘The Poitín Maker’, ‘Pistils of the Dandelion’ and ‘The Donkey’.

The book is technically and formally beautiful, and every word seems to have been placed after deep thought and with great intention. It speaks to a world that once existed, as well as the world we live in now.

The scars that colonisation and occupation have left on Ireland are evident, and the suffering of the land is articulated in a way which rings profoundly true: look outside, see Lough Neagh and it’s impending death, the majority of native species that have declined in the past hundred years.

The book also calls for empathy, a “radical empathy” that can only be realised by attempting to truly understand someone else’s experience.

This is perhaps the most important theme of the book and of Blindboy’s other works too. The book and the podcast evoke the feeling of being in someone else’s shoes, of an occasional unfamiliarity. The stories can occasionally be uncomfortable and hard to read, but only for their intensity and emotive quality.

Topographia Hibernica succeeds in advancing Blindboy’s unique style of empathy, his passion for life, and his curiosity about the world. Blindboy has put his experience of the world to the page, and he has done a spectacular job. His farewell encapsulates the spirit of his work and is an affirmation of its understated hilarity: “Dog Bless”.

You can’t remove the housing crisis from the mental health situation.

Last year Blindboy was the subject of a Trinity master’s thesis in literary studies. Ola Al-Hajhasan’s thesis, ‘The Voice in Authorship: Speech and Writing in the Blindboy Podcast’, contends that his podcast is not simply a podcast, but a work of autofiction, of meticulously constructed “literary monologues’’, all of which are researched, written, and performed by Blindboy. Blindboy commented on this, “She did her whole master’s on why my podcast is Irish literature [...]. To have someone dedicate a master’s

The University Times Monday 27th November, 2023

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‘Weihnachtsheimweh’: Home Away From Home Ella Parry FOOD AND DRINK EDITOR

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or some, the Christmas period is a time of spirituality. For others, it is the peak of social stress and panicked last-minute present buying. For most students, especially international ones, it is a time of homesickness. The days become shorter – both because of seasonal changes and the dooming workload. It is in challenging times like these that I, and many others, tend to seek solace in familiarity. In college, this is something that can seem hard to come by while being away from home. While navigating this new world, I have found that revisiting Christmas traditions from your country of origin in a new light can be a lovely way to integrate this comfort into your December.

Let me introduce you to German Plätzchen-culture and share my recipe for Engelsaugen.

Missing home Of course, I, and most international students who celebrate this holiday go home for the actual Christmas celebration.

However, to me, the magic and

charm of Christmas lies in the weeks leading up to it. Weeks that I am fortunate enough to spend writing essays and learning how to code. Weeks in which I wish I could seek refuge in a Glühwein hut and listen to indescribably tone-deaf German women in their mid40s drunkenly singing along to ‘All I Want for Christmas is You’.

After glimpsing my future self, I remind myself that I am now living in a city with half a Christmas market at best, that serves very mediocre, whilst extortion-

ately expensive, mulled wine.

At this point, I would like to add a disclaimer: I love Ireland, I really do. But although I am incredibly grateful to live and study in this country, I would be lying if I said I did not yearn for German Christmas. So, while I love a good Guinness, I miss the abundance of Christmas markets I grew up with.

When I was in my first year of college, I realised just how much I missed the German Christmas traditions when I received a parcel full of Christmas foods from my family. In an attempt to solve this, I had an advent-themed party in my disgusting Halls kitchen. Sharing the Plätzchen (German Christmas biscuits) I had been sent and sitting around a lit Adventskranz made me feel at home and at peace.

If you too have felt a bit lost during this time of year, I would recommend surrounding yourself with people who feel like home and indulge in Christmas rituals.

German Plätzchen-Culture While I have come across many fascinating Christmas traditions, there is nothing that I love as much as our Plätzchen Culture. What makes Plätzchen special is the ritual behind mak-

Recipe: Makes: around 70 cookies

Method:

Ingredients: • 250g almond flour (or regular if you prefer) • 1 tbsp baking powder • 100g sugar • Salt • Vanilla • 3 egg yolks • 150g butter • 175g red currant jam (my favourite! You could use any jam, but please know I will think less of you) • Icing sugar, for dusting

1.

Mix the ingredients and knead them by hand on a surface dusted with flour.

2. Separate the dough into six parts and form them into eight-centimetre-long rolls. Do keep in mind that this is a German recipe. Out of respect for my culture, do not eyeball anything. Please do not be under the illusion that these instructions are suggestions, they are orders. Get out the measuring tape.

3. Chill the rolls in the fridge for half an hour.

4. Cut each roll into twelve pieces, making balls out of the pieces.

5. Put these onto a baking tray lined with parchment paper.

6. Make indents into the cookies, either with your thumb (this makes ugly indents) or the end of a wooden spoon (this makes pretty indents but increases your washing up... such a dilemma!).

7. Put the dough balls in the fridge for another hour. Never in my life have I managed to wait a full hour, but this is your chance to prove that you are a better person than I am!

8. Fill the indents with jam.

9. Bake the Engelsaugen for ten minutes at 175°C. 10. When they are done, let the Plätzchen cool on a cooling rack.

Dust them with icing sugar if you want.

11. Store the biscuits in tins with parchment paper separating the layers. They will keep for a few weeks.

Enjoy & Frohe Weihnachten!

ing them. Let me set the scene: you are in your kitchen, candles are lit and incense is burning.

Your Christmas CD of choice (we are going for a nostalgic setting, no Spotify allowed!) is playing.

The cosiness of the scene is accentuated by a raging storm outside. ‘Tis the season to be jolly indeed! This is the setting

types of Plätzchen you have made. It goes without saying that a ruthless, unspoken competition arises in each neighbourhood. The quality of your Plätzchen resembles the stability of your household.

Therefore, it is a key indicator of the happiness of your marriage, your children’s academic

“

What makes Plätzchen special is the ritual behind making them.

in which Germans bake their treasured Christmas biscuits and, legend has it, even sometimes crack a smile.

In my opinion, baking in such conditions is an exercise in mindfulness in an often particularly stressful time. It is such a soothing activity, especially during our hectic exam season.

Of course, this specific form of mindfulness has the positive externality of producing delicious biscuits.

It is a custom to give friends, family, and neighbours a small paper bag full of the different

achievements, and your overall taste (at least in my books). If you do not have a particular affinity for baking or are just a busy person, you can always do what my mother does: buy homemade Plätzchen at your local school bazaar, pick the best, and market them as your own. I sincerely hope that none of my neighbours read UT. Plätzchen-culture is a marriage of mindfulness and healthy competition and I love it. The recipe I am sharing with you is a German Christmas classic. Engelsaugen, or ‘angel eyes’.

The University Times Monday 27th November, 2023

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Reads MRS S

K. Patrick HARPER COLLINS Mrs S is the debut novel by award-winning author K. Patrick. Set at an elite English boarding school, the novel explores the concept of queer identity against the backdrop of heteronormative femininity, and has been described as both “exhilarating” and “sublime”. The arrival of Mrs S, the headmaster’s wife, leads the matron of the school into an illicit affair. As the summer draws to a close, both women are left with a choice to make.

Part of this year’s Granta Best of Young British Novelists and an Observer Best Debut of the Year. With compelling sensuality and written in an exquisite style, Mrs S is a story of passionate queer love, set to the backdrop of a sweltering summer.

SLANT

Katherine O’Donnell NEW ISLAND Slant is Katherine O’Donnell’s debut novel, which follows a queer Irish woman through the AIDS crisis of the 1980s to the gay marriage referendum in 2015, across the Atlantic Ocean and through her journey with childhood trauma.

When Ro McCarthy moves to Boston from Cork, she finds love in the gay community with another young woman, Jenny. Ro is then catapulted into the 21st century as the friends around her begin to die from AIDS complications and she begins to explore what love – in all its forms – really means.

Dublin’s Architectural Digest century. Despite offers of modernisation, Nellie opted to keep the interior as her family had had it – honouring their memory in this way. A standing piano signifies the family’s penchant for music, while religious tokens exhibit the family’s Catholic faith.

Although temporarily closed, the museum is one of the best souvenirs of 1900s Irish life.

Maisie Greener ASSISTANT RADIUS EDITOR

I

t’s likely safe to assume that architecture does not score highly on the average student’s list of priorities.

When you’re running late to a tutorial, tunnel vision on the Arts Block, the Palladian buildings of College Green are of little interest. Or when you’re stumbling back from a night out, looking for some soakage, the Victorian terraced houses of D6 are just a frustrating reminder of how far from home you are. Like many other students, anything remotely accommodation-related awakens great misery in me as I’m reminded of my annual plight to find housing. Nevertheless, however hostile the cityscape may appear, it is also home to some architectural gems. My favourites, listed below, are only a stone’s throw away from campus.

Museum Building, Trinity College Dublin The architectural gods were looking down favourably on Geology students when they decided to house the Department in the Museum Building.

Thomas Deane and Benjamin Woodward took inspiration from Venice’s Byzantine aesthetic when designing the building. Over one hundred and eight carved capitalis pay clear homage to the Italian city’s majesty. Only geology students could appreciate the many complementary and contrasting

PHOTO BY LISA CASSIDY

stones that were used in construction.

Cornish serpentine and Irish marbles compose the bannisters and pillars, while the tympanum is made of Cean stone, imported from France.

The Sick and Indigent Roomkeepers Society, Palace Street You’ve probably read the words ‘The Sick and Indigent Roomkeepers’ Society, AD 1790’ somewhere before, but can’t remember where. Well, the Palace Street address is as visually significant as it is symbolically. Historically it housed Dublin’s oldest charity, the Society, which continues to seek to alleviate the effects of poverty when government inaction necessitated individuals’ intervention. Perhaps ironically, the building’s grand facade contrasts its humble origin.

Nellie’s Flat, The Iveagh Trust, Patrick Street Truly frozen in time, flat 3B of the Iveagh Building, has stayed the same since Bull Alley Estate was first built at the beginning of the twentieth

Sunlight Chambers, the corner of Parliament Street and Essex Quay For one of the most passed-by buildings in Dublin, Sunlight Chambers is seldom looked at. Serving absolutely no practical purpose, the ceramic friezes adorning the building’s exterior are purely decorative. Pastoral scenes transition into Renaissance-esque figures washing clothes, all in hues of green and blue. Anyone with an eye for arts and crafts would do well to look up when crossing Parliament Street.

Chancery Park, Charles Street West Chancery Park and its adjoining Chancery House are welcome anomalies in Dublin’s otherwise bleak housing history. Designed by Herbert Simms, who can be credited with 17,000 other city centre homes, the flats are emblematic of a golden age in Dublin’s council housing. The building’s horizontal shape gives the estate a stylish and sophisticated vibe. Although few and far between in the city, the place’s Art Deco motifs would not look out of place in a continental setting.

A Weekend Championing Sustainability SERVICE

Sarah Gilmartin PUSHKIN PRESS Following three individuals affected by the fallout of a court case, Service takes the opulence of fine dining and fame in Dublin and sets it to the tune of corruption and complicity. Hannah is a former waitress for celebrity chef Daniel Costello, who is now facing sexual assault allegations and the closing of his restaurant. Sarah Gilmartin’s second novel follows Hannah, Daniel and his wife Julie as they face the wreckage left in the wake of Daniel’s actions. Service is about truth, what it means both to tell it and to hide from it, and the courage it takes to face the past. Following the success of Gilmartin’s debut novel, Dinner Party, food takes centre stage again, described passionately in the toxic and testosterone-fuelled heat of a professional kitchen.

Eloise Sherrard DEPUTY FASHION EDITOR

W

hen I say ‘fashion week’ you likely conjure up images in your mind’s eye of the major fashion capitals, New York, Paris, Milan and London. These cities and their fashion weeks are mesmerising events which showcase breathtaking talent, but on such a huge scale that they hold an energy of unattainability and exclusiveness. I’ve found myself on occasion overwhelmed when observing these fashion weeks, grappling to feel the humanity beneath sharp-faced designers, models and the overall whirlwind of it all. This is why it was music to my ears when news broke that Dublin had decided to play its hand in launching its first-ever fashion weekend: Dublin Independent Fashion Weekend.

The weekend of October 19th - 21st witnessed the sensational event, which focused on displaying and celebrating Ireland’s sustainable and ethical design. Hosted in Dublin’s bright urban space, the Chocolate Factory was the perfect location to bring together and showcase Ireland’s garments of dreams and the country’s gifted designers. Designers included Aisling Duffy, Laoise Carey, Rion Hannora, Seeking Judy, Shock of Grey, Mar Knitwear and The Zero Waster. Aside from the clothes and their designers, the sound artist Sloucho, podcaster PJ Kirby and visual artist Aisling Phelan also contributed to further heightening the event’s beauty, turning it into a truly immersive experience.

The Friday night hit off the weekend with a dazzling fashion show, in collaboration with Trinity Fashion Society (FashionSoc). The glamour continued to flow into the Saturday and Sunday which saw two days of

pop-up showrooms amidst a stunning immersive experience.

I had the pleasure of attending the event on Saturday afternoon and stepped straight into a buzzing atmosphere of colour, music and beauty. Everywhere I turned was yet another jaw-dropping garment. The design of not only the clothes, but the whole event was dazzling and impressive. Observing designers, artists and patrons mingling and celebrating Ireland’s creativity struck me with as heartwarming. This sense of community in Ireland’s fashion scene was further evidenced by how it was a donation-based event in which attendees chose if and how much they wanted to contribute at the door.

Altogether, Dublin Independent Fashion Weekend magnificently showcased Ireland’s talent, championed sustainability, and at did all this with a beautiful sense of national pride.

The University Times Monday 27th November, 2023

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The Loser in the Phil’s Fiery Sinn Féin Debate: Civil Discourse Matthew Hull CONTRIBUTING WRITER

A

midst their recent Ard Fheis and their continual resilience in nationwide opinion polls, the seemingly inevitable incumbency of Sinn Féin in political office has been a matter on the lips of many.

Speculation as to just what such a government would entail has abounded and it was amidst such an environment that the Dublin University Philosophical Society (the Phil) held the penultimate event of their term card, ‘This House Prefers a Sinn Féin Government’.

On the card for the evening was an intriguing selection of guests. Fine Gael TD Paschal Donohoe, the former Finance Minister and current Minister for Public Expenditure, National Development Plan Delivery and Reform was present. Also pres-

ent was former BBC Northern Ireland Political Editor, Mark Devenport. Regretfully, planned speakers Eoin Ó Broin and John Finucane of Sinn Féin could not make it on the night. Their collective vacancy was duly filled

by Martin Kenny TD, the party’s spokesperson on Communications and Transport.

However, the debate was to paint a dispiriting picture of the current political landscape and the seemingly ever-deteriorating state of political discourse in the present age. Party lines and predisposed ideological inclinations took centre stage at the expense of any wholeheartedly well-reasoned discussion.

The problems started to reveal themselves amidst Martin Kenny’s speech in the opening half of proceedings, something that was more akin to an aloof rattling off of Sinn Féin’s upcoming manifesto pledges than something suited

to a chamber debate. Kenny’s indifference to his environment was exemplified by his exceeding the designated time limit.

It was a disappointing delivery, but perhaps understandable considering the late notice with which he was parachuted into the evening’s debate.

László Molnárfi lit the fuse on what was up to that point a somewhat catatonic debate. The President of the Trinity College Students’ Union (TCDSU) stoked considerable tension in the chamber with his speech, turning the atmosphere into that of a cauldron by the end of his seven minutes. Molnárfi attacked Sinn Féin from the left and articulated many of the banes of the status quo of electoral politics, but his rather clichéd revolutionary language invoked much ire from onlookers. As did a tentative reference to the October Revolution, at which point the speaker would

be drowned out by the collective discontent of the audience.

Paschal Donohoe closed the debate with his summative speech. His disparaging of a supposed lack of substance as to the improvements which a Sinn Féin government would implement went down well with the chamber and was pivotal in the result of the eventual fall of the motion. It was certainly a rhetorician’s speech, his past tutelage over The Phil as Secretary in the 1990s made evident in a scathing display of showmanship. Ironically, however, his own words were also rather devoid of material. In attacking a lack of direction from the opposition, there was no outlining of his own government’s vision or pronouncements of success.

And how can he reasonably expect every single tenet of policy and every abundant problem to be addressed in a handful of seven minute speeches from stu-

dent speakers? It seemed like an unreasonable expectation and one that he did not live up to himself throughout the course of his speech.

In a debate that exhibited the fractious and viciously circular nature of the political realm, some solace could be afforded perhaps in the words of Mark Devenport, a man bound to be experiencing some fatigue with politics given his longstanding reporting on the subject. He advocated for scepticism in the face of the party political system; a vesting of too much faith in any one movement within such an ecosystem is bound to be setting both yourself and the subject of your support up for a grand fall.

It was a fascinating debate overall, providing a microcosm of politics. Props must be given to The Phil for capturing this very essence within the course of an hour and a half.

Where Are All the Christmas Sandwiches?

Ella Hussey RADIUS EDITOR

O

nce the temperatures start to drop, it becomes too cold to not wear a jacket and your little fingers need a cup of hot chocolate to keep them warm. Exam season also brings the requirement of a snack to keep you going in between the long shifts in the library. The change in weather means that Christmas is coming, and that the Christmas sandwich is only around the corner.

A Christmas dinner is one of the best meals of the year, and the fact that you can get all aspects of your Christmas meal from a sandwich changes not only the sandwich game, but the Christmas game completely. So, when I saw that Pret A Manger launched their Christmas menu in the UK on November 6th, I was ecstatic. I marched myself down to Dawson Street after class but alas I was met with the same menu as usual. Not a single Christmas sandwich in sight. I was disappointed, to say the least. However, I knew of one place that would never let me down.

My undeniable love for Brewbaker on Nassau Street

started last year when I was first introduced to their Christmas sandwich. It is a place that is full of character. As my friend Lara says: it has not aged since ‘The Celtic Tiger’, so you know that it is a reliable lunch spot. Brewbaker makes their Christmas Sandwich year-round, priding itself that “it can be Christmas every day”. Their sandwich includes freshly carved turkey, honey ham, stuffing, cranberry mayonnaise and crispy iceberg lettuce and it is lightly toasted.

For €7.50, it filled the mid-November Christmas sandwich hole in my heart. However, I felt slightly underwhelmed. The year before it had the right ratio of fillings but now I feel if it had been toasted for a few more minutes with a bit more stuffing it would have been just right.

Not too far away a beloved spot on Pearse Street, Honey Truffle, released their Christmas Sandwich on November 8th. On their Instagram, they prefaced, “For some maybe too early! …

For many … most definitely not”. This is a business knowing the desires of their customer base. As one of those (eager) (predictable) customers, I agree that it is never too early for the Christmas sandwich. Labelled as the ‘Festive Christmas Sand-

wich’, it has a mustard glazed ham and turkey accompanied by an orange and port cranberry sauce and finished with a sage and thyme caramelised onion stuffing. It does not say lettuce on the menu, but there are some sort of mixed leaves in between your bread. It feels more on the high-end side when compared to the humble Brewbaker sandwich – its ingredients are more flavourful and described on the menu with more decorative language. You get the option of having it toasted or not toasted, which is a nice touch. It makes it versatile, the double experience of a toastie or the classic comfort of a sandwich.

However, as much as I love Honey Truffle, I have an issue with this sandwich for the student population. The main one is that it is €12, 70 cent above the minimum wage. Unfortunately, as a student in this economy, I guess I will be eating my Honey Truffle sandwich while reusing my tea bag for the fifth time and illegally downloading all my assigned readings. The Honey Truffle sandwich is the type of sandwich that you get as a treat after submitting all 17 essays by the end of the semester. It is the pat on the back you deserve, but not an everyday study break snack. If anyone at Honey Truffle is reading this, know I still love PHOTO BY JAMIE ORLANDO SMITH

you and you still make the best sausage rolls in Dublin.

My quest to find the best Christmas lunch spot in Dublin fell short as I realised that other coffee shops and restaurants felt as though mid-November was potentially too early for a Christmas sandwich. I walked into numerous shops and scrolled through many cafés’ Instagram pages just to fall short of my Christmas sandwich dreams.

Reflecting on this reminded me of a quote from Pam Shipman in the Christmas Special of Gavin and Stacey. Discussing when you should send your Christmas cards, she says, “I send mine on the first of November. It gives people seven weeks to enjoy them!” This perfectly exemplifies how I feel about Christmas sandwiches – let people enjoy them for as long as possible. It is perfectly acceptable to launch the Christmas sandwich at the beginning of November. To all Dublin establishments, this is my Public Service Announcement: ‘Stop gatekeeping the Christmas Sandwiches!’

[Editor’s Note: since this article was written, Pret A Manger have released their Christmas sandwich. It is unclear if this was in direct response to criticism made in Radius.]

The University Times Monday 27th November, 2023

10

Speaking With: Chloe O’Reilly Laura O’Callaghan THEATRE EDITOR

D

oes an aspiring actor need to be out every night of the week, chatting and shaking hands with members of the theatre industry until their smile is aching and the red light is flashing aggressively on their social battery in order to secure roles?

The University Times sat down with Dublin-based actress Chloe O’Reilly to talk about all things Irish theatre. The Irish artist provided a window into her emergence onto the stage, from coronavirus years training in the Lír, acting through obstructive screens on Zoom and above face masks, all the way to her Abbey debut in the subversive reimagining of Brendan Bhehan’s The Quare Fellow, running from November 24th to January 27th.

If any aspiring actors would like to know O’Reilly’s drink of choice, at least on this particular Friday evening, it was a tasteful chai latté with oat milk. I went for a pretty safe decaf

latté, and over these, I asked O’Reilly about her experience as a student and her subsequent arrival into Dublin’s art scene.

She explains, “I had been in UCC [University College Cork] studying English and French and then I took a year off, moved to Dublin, got myself set up here and realised pretty quickly that a lot of the places I wanted to work with were hiring people from the Lír. So I was like, ‘If you can’t beat them, join them’”.

O’Reilly quickly proved herself as a fixture in the fabric of Irish theatre when she debuted in Gina Moxeley’s Danti Dan, directed by Aaron Monaghan with Livin’ Dred Theatre Company.

“I graduated in October and found out I was doing the show in October.” O’Reilly continued on to describe how she secured her first role after her degree. She reached out to one of her tutors in the Lír who then emailed Aaron Monaghan.

This sparked our chat to veer into a conversation about the nature and toxicity of networking culture.

From an external perspective, the theatre industry seems to subscribe to this

PHOTO BY LEO BYRNE

exclusive world of connections, where social status becomes a real bartering chip.

O’Reilly responded that, in reality, this isn’t as much the case as it appears to be from the outside, this idea of “‘do I need to be having pints in a certain pub every night of the week to get jobs?’ And I don’t think that’s the case really. I think if you’re sound and you do the work and are nice to people, I don’t think you need to”. She went on to stress that there is an element of initiative to be assumed after you graduate: “I suppose you come out with all of these connections, but they’re not going to be getting onto you”.

Theatre in Dublin is bursting with talented individuals. When I asked O’Reilly if anyone in particular inspired her as an actress, she mentioned Fionn Foley, as well as Gina Moxely who is also working on The Quare Fellow. “I found her a huge inspiration. She’s been a really wonderful guiding star for me. I really love her ability to just go for it and see what happens. She’s got a real ballsy energy about her”.

O’Reilly’s recent project, the Abbey’s production of The Quare Fellow, continues on writer Brendan Behan’s legacy of subversion in art with an all-female and non-binary cast of actors

performing in the stead of an all-male cast. O’Reilly talked about her experience experimenting with this reimagining, and her subsequent difficulty imagining the show in its original form. “That’s a lot of testosterone in one room!”

She continued, describing how, as an actress facing this material, discovering who the characters are as people has unfolded considering the implications of gender, “I think it’s exciting to see more non-binary people on stage… I think it shows that we’re all just here. When thinking about the play, gender has not been at the forefront of my mind, it’s been who they [the characters] are as people”.

Sipping on cool coffee and enjoying the lofi jazz aesthetic the coffee shop had now assumed, O’Reilly expressed how deeply art has provided her with a creative outlet for further discovery of her character’s identity, “For this show, I have a scrapbook that I put pictures and art into, and I also have this playlist that I love to listen to. I kind of really like to find a moment in a poem that I think really

encapsulates the character and then before the show starts I read over that poem to get me into it”. A line from Seamus Heaney’s ‘The Given Note’ came to mind for O’Reilly as being particularly resonant to this role, specifically the line, “He got his air out of the night”.

As the last few dregs were drained from our mugs and the baristas had begun to give us politely pointed looks of “please, leave” to our table, O’Reilly elaborated on the concept of embodying a role. She put it down to her training at the Lír and how they approached this process of origins. “In first year, the question was ‘who are you?’

It’s very intense and reflective but it makes you kind of go, well I know who I am so much that you can then say who is this character and how are they similar to me? Do they move like I move?”.

This process of self-reflection, deconstruction and discovery eventually led O’Reilly to the integral question of “Who am I as an artist, and what kind of artist do I want to be?”. A question she continues to pursue.

Dublin Independent Film Festival Takes Over the Lighthouse Sarah Murnane FILM AND TV EDITOR

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t’s film festival season, baby! Every autumn and winter season is when greasy, highly opinionated film fanatics crawl out of our hibernation to absorb some fantastic cinema.

Dublin Independent Film Festival (DIFF) was held on November 9th in the Lighthouse Cinema. The festival consisted of two slots, the first of which was dedicated to International films and the second to Irish films. All the 32 films featured in the Festival were in short form, not exceeding fifteen minutes. As you, dear reader, can appreciate, this is still a lot of films for one person to watch. In this sense, I have narrowed it down to a

top three.

My personal favourite of the evening was a short called The Father, the Son and the Rav Kalmeson (Dayan D. Oualid, 2023). This is a French piece which centres around an Orthodox Jewish family, specifically the

relationship between father and son. The father, Yoel, takes his son to Shabbat at their neighbourhood synagogue. The rabbi, the Rav Kalmeson, tells Yoel that his son is “lighting up”. The chaos ensues from there. If you look up the

THE FATHER, THE SON AND THE RAV KALMESON, DIR. DAYAN D. OUALID (2023)

word ‘heartwarming’ in the dictionary, this film would be under it. The short film is based on a true story from the director’s father, and this personal connection clearly shines through.

It is full of humour and a beautiful exploration of a father-son relationship, making it an absolute stand out of the evening.

A close second was a film that left both my friend and I equally calm and disturbed. This was Elephant (Wes Sterrs, 2022), an American short documentary film. This is a film that grows on you. Initially, it opens with long, quite beautiful shots of sheep.

As the film progresses and the plot begins to unfold, it culminates in an emotional expression of the circularity of life. What is most impressive about this piece

is that there is absolutely no dialogue, only original compositions of music for the film. Elephant was one of the most memorable and impressionable films of the entire festival and deserved its spot winning best documentary.

Finally, a film that made a lasting impression and, quite embarrassingly, made me cry in the movie theatre was The GrandMother (Julia Hazuka, 2023). This was one of the few animations at the festival which provided some variety and a nice break from the other shorts.

The style of animation was gorgeous and inventive, while not particularly polished, this only added to its charm. The film follows a spider who is raising a child in a forest, which is an overarching retelling of the creation of life. Through

the story, the themes of love, family and creation are explored in a subtle yet touching way. In other words, It was extremely touching and I couldn’t help crying. It was still a fantastic animation worthy of praise.

The final thing to note about DIFF, aside from its great content, was that the festival was completely free! It was first come first serve at the door, which was a fantastic opportunity to spend an evening with a friend. While I fully understand how important it is to support the arts and that not every event can be free, it was still a nice break from €20 cinema tickets.

This just goes to show that fun, free events do happen in Dublin. You just need to know where to look!

The University Times Monday 27th November, 2023

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Sense and Sensibility in the Sound House Evie Dolan CONTRIBUTING WRITER

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t is a truth universally acknowledged that a student in possession of a good fortune (27 quid) must be in want of a ball. Luckily for us, the Literary Society (LitSoc) and DU History banded together to host their very own Regency Ball.

We seem to have arrived at none other than Dublin’s Sound House – a venue known primarily for its alt club nights and fringe theatre acts. A last-minute venue change from the initial destination ensured a departure from conventionality. Originally planned to take place in the Radisson Blu Hotel, the venue was switched to The Sound House six days before the event was due to take place due to “food prices we couldn’t subject you guys to”. Fair enough.

While there is something delightfully absurd about being lightly (or royally, I am not judging) sozzled in an empire gown and a pelisse coat in a room in which many of us have rather violated the social mores of Regency England, I do think that, for seven and twenty euro, we ought to have experienced something with a little more pizazz. Here, I may observe that private balls are much more pleasant than public ones, but now we may be silent. Even so, the Sound House’s upstairs room has something

of a regency feel to it. Its wainscotted ceiling, damask wallpaper and sparkling chandelier were actually oddly perfect for the soirée. I’ve never been sober enough in that room to notice it had cornicing.

How novel!

Decked in a wide variety of eclectic regency-influenced tenues assemble the ‘ball-goers’. Marvelling at the finery (and after watching a troupe of girls fan dancing), I endeavour to discover everybody’s inspirations and sources.

The first person I interview is dressed in full Harajuku princess get-up, telling me this is her quotidian style but infused with a Rococo-girly-regency twist. “I’m wearing a hoop skirt with little stars and twinkles to match the frills”. She also tells me she wears her hoop skirts to her 9 ams. How have I never seen her around?

Most were dressed in tails, frilled collars, and all. Someone got their entire outfit from their 70-year-old landlord: dress, tiara and bra too. Others stuck pearls into their hair à la Lizzy Bennet with eyelash glue or wore their auntie’s Debs dress from the nineties. A favourite of mine was an off-white dress I recognized as Gunne Sax from the eighties.

I might just note here the fact that so many of us already had the means appropriate for such an occasion – could this be something of a testament to our comfortable situation in the typical arts and humanities Trinity stereotype? Anon seems to think so: “So, what is this Phantom of the Op-

era-esque moment going on here? Did you just have this lying around?”

“You’re damn right I did.”

“A lot of people are saying that this evening.”

“Given that it’s the DU History and LitSoc, are you really surprised?”

But perhaps on this point it will be as well to be silent.

When prompted, a rather raucous posse of women gave me their thoughts on the matter of the venue change. “It’s fucking scabby. We came from Wicklow, because we have to commute. We were not served dinner. We were not served alcohol, as guaranteed.”

Another group seemed to concur: “I think it would have worked with the other venue. I think it’s the fact that it’s in a club venue with string music playing.”

“And we’re all dressed like this!”

“I feel like it’s so wasted.”

“I don’t mind changing the venue if that’s what’s going to have to happen.

But be upfront about what’s going to change. We can no longer do a sit-down dinner etc…”

“It’s a club.”

“It’s a club.”

“I’m dressed like I own a brothel...and I’m in a club.”

I do not blame either society – they did the best they could under the circumstances. The main issue was the disparity between the price paid and the amenities experienced. €27 for a tray or two of chicken wings and stretch-or-starve grub

is not on. If tavern-core is your vibe then by all means, but is it Regency attire appropriate? I don’t think so. Additionally, the tokens issued that counted towards a free drink had reportedly run out halfway through the event and thus weren’t being cashed in.

Later on, we resumed the conversation: “The venue change makes me sad, but I’m not upset because I know it’s out of their control.”

“They should’ve had enough tickets for people who came with tickets. I don’t have a token, but I paid for one. They ran out. I didn’t get a free drink. I don’t know what I paid €27 for, but it wasn’t a free drink.” “The simple solution would’ve been to cancel the event or give us a refund or postpone it until they had a correct venue. Nobody would’ve been mad because it was super quick from buying the tickets to the event. They could have easily postponed it.”

As I’m transcribing this, I can hear Nicki Minaj in the background (the lovely string quartet had departed at this point). Bit of an anachronism. Anyway, I’m done criticising the evening. Overall, while I wouldn’t dub the ball a totally opulent affair, it was a lesson in delightful incongruity. I learnt to waltz (sort of) and we all got an excuse to dress up and get drunk in ball gowns. Not a bad way to spend one’s evening at all. A huge thanks is due to everybody involved in organising, looking forward to the next. Evie’s rating: 7.1812

Monto & Perri: a New Hub of Style and Craftsmanship Clara Potts FASHION EDITOR

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n November 17th, the cobbled streets of Temple Bar welcomed a bespoke tailoring business that is writing a new chapter in the historic neighbourhood by fusing past elegance with contemporary style. Monto & Perri, a haven of sophistication and flair, is offering a hub for all, from fashion-forward individuals to those seeking a collaborative fashion experience.

Providing an inclusive space where creative visions can materialise, owner Stevie Blake has created an all-inclusive studio for individuals to “bring their ideas to fruition”. For him, ‘custom’ is no longer a generic term for any customer: it now signals distinct, personalised pieces that are made to fit each client flawlessly.

Diverging from mass-produced garments which are often characterised by misfit buttons and sagging shoulder pads, this Anglesea Street business prioritises individuality, inclusivity and quality. Home to collaborative, two-way projects between the vision of the client and the knowledge of the tailor, Monto

PHOTO BY STEVIE BLAKE

& Perri generates custom pieces marked by a seamless fusion of form, silhouette, and materials.

In an era where one in two Gen-Z consumers have purchased clothing beyond traditional gender categories, Blake has pioneered a studio that prioritises

inclusivity and quality over quantity. By envisioning made-to-measure pieces for diverse occasions and wearers, there exists a deeply personalised approach to each project. More than just a clothing brand, Monto & Perri is committed to “catering for all gender identities, ages and backgrounds” using primarily natural and organic fabrics to craft bespoke pieces, prioritising longevity without compromising on style or comfort.

Monto & Perri emerges as both a tailoring business and a symbol of a redefined fashion ethos that seamlessly integrates sustainability, craftsmanship, collaboration and personalisation. A visit to this flourishing, bespoke experience offers an elevation of personal style, encouraging each individual to rediscover the joy of dressing through bespoke pieces which narrate individual stories of tradition and craftsmanship. Wearing custom pieces not only becomes a statement, but it showcases the wearer’s support towards a more sustainable future for fashion and a rejection of standardised sizing and gender categories associated with mass-produced garments.

Having opened its doors just last week, Monto & Perri is already planning various projects. The recent launch of its first col-

lection, ‘Black Sheep,’ showcases Blake’s creative vision, centred around a queer liberalism dinner party. With numerous collections in the pipeline, this space promises to be a dynamic force in the Dublin fashion scene, working to ensure each customer looks and feels their best, freed from the constraints of ready-towear garments and fast fashion trends.

This Christmas, as each of us search for the perfect gift or festive attire, consider the art of collaboration, and design an exclusive, made-to-measure piece. There is no better way to express thoughtfulness and care than by gifting a bespoke item. Just imagine the sheer joy of unwrapping a handcrafted garment that has been tailored to a flawless fit. Or the smile of satisfaction when you put on your custom waistcoat or a blazer and it fits just perfectly. With Monto & Perri, each of us can enjoy festivities without worrying about safety pins or sleeves that are annoyingly long.

The best gift is one that transcends material value and showcases thoughtful fashion. The best story to tell this Christmas (and always) is one that prioritises quality over quantity and intertwines tradition and craftsmanship, a narrative embodied by Monto & Perri.

The University Times Monday 27th November, 2023

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TAF Takeover Takes GMB Guests Through the Ages Ila Raso CONTRIBUTING WRITER

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n the night of November 17th, the Graduates Memorial Building (GMB) was illuminated by green, purple and red hues from within. This stunning view was for Trinity Arts Festival’s annual GMB takeover. This year, various Trinity societies came together to curate the theme of “Anachronic Ages” filled with art activities, musical performances and handmade decorations.

The “Anachronic Ages” arts night took visitors on a trip through time as they walked through the GMB. Immediately upon entering, ambient lighting and the subtle sounds of the string quartet greeted everyone.

The first room on the ground floor of the GMB kicked off the time-travelling adventure.

Adorned with foliage and bright green lights, visitors entered the era of Irish Folklore. In the centre of the room, an audience

gathered around traditional Irish dancing and music.

Ailbhe McCormick, the chairperson of Trinity Irish Dancing Society, says she was immediately impressed by the exuberant atmosphere in the GMB. “Coming in and listening to the string quartet was my favourite thing ever, I’m going back in as soon as I can”, she explained.

Following the sound of the Trinity String Quartet, visitors entered the next room of the GMB. The green hues had shifted to a vibrant purple, with the time of Ancient Greece present.

The centre table was decorated with candles, flora and traditional Greek busts. Chairs surrounded the string quartet, allowing listeners to take a minute to sit down and enjoy the whimsical atmosphere. After taking a listen, visitors could funnel up the staircase to visit the Renaissance Era room.

The GMB staircase, previously large and looming, feels warm and welcoming as handmade decor rests on the handrails and music lingers in the back-

ground. The Renaissance room, yet another space with purple ambient lighting, hosted face painting and yet another live band.

Ruby Rodgers, representing the Circus Society at the event, was shocked by the number of talented performers. “It’s just amazing to see how many bands they have performing, it must be every musical society on campus here. It’s been really cool”, Rodgers said. Later on in the evening, the musical talent shifted to literary creativity with an open

mic for spoken word poetry hosted by the Literary Society.

The next room took visitors to the 1920s time period, engulfed in red lighting. The Gender Equality Society worked alongside Trinity Arts Festival (TAF) to assemble a slew of craft activities. Participants decorated matchboxes with paint, dried flowers and tape for an antique-looking final product. Alix Sentuc, TAF Night Events subcommittee member, glued colourful wallpaper on the inside of a matchbox as she recalled

the atmosphere of the evening.

“The vibes are really nice and very social. There’s a lot for every interest”, she explained.

Visitors could then make their way to the modern era as they entered the 1970s themed dance floor. This room boasted hula-hoops, an eclectic band and lots of glitter all over. Visitors were truly able to “bond, relax and take a step back from college” with the welcoming, fun ambience, explains fourth-year Ivie Okome, Gender Equality Society leader. After taking the final flight of stairs in the GMB, the “future” awaits. A DJ and vibrant blue lighting surrounding other-worldly sculptures welcomes visitors to whatever the next century has in store.

The tight-knit, calming art environment created a special night for all involved, whether that entailed making crafts, listening to the string quartet, or performing spoken word poetry.

This creative walk through time embodied the importance of art, and the connections it fosters around us every day.

Dublin Book Festival: A Spotlight on Ukraine Alexandra Brown ASSISTANT LITERATURE EDITOR

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he Dublin Book Festival, which took place from November 8th to 12th, has a history of promoting Irish authors. Since its inception in 2006, the festival has grown to be a reliable event on the Dublin literary calendar, this year hosting over 80 events across the city. Alongside promoting newcomers and established Irish writers, this year’s festival also featured events in collaboration with international writers including two events showcasing Ukrainian authors. Considering the ongoing war in Ukraine, what can cultural events such as these do to offer a sense of belonging to the Ukrainian community as they begin to lay deeper roots in Ireland?

The two Ukrainian events, ‘Culture in a Time of War’ and ‘The Light of Home: Ukraine and Ireland’, were held in collaboration with PEN Ukraine, which aims to protect writers and journalists facing persecution and censorship and is an organisa-

tion which has become increasingly important in uniting the Ukrainian literary community during this time of war.

‘Culture in a Time of War’ brought together three female Ukrainian intellectuals, Tetyana Teren, Iryna Starovoy and Olha Mukha, who shed an unflinching light on the imperial aspects of Russia’s offensive, which actively pursues the erasure of the Ukrainian language and culture. An ominous red chair was left empty on the stage in dedication to PEN Ukraine member, poet and author Victoria Amelina who was killed in a Russian drone attack on an Italian restaurant in the Eastern Ukrainian city of Kramatorsk.

Victoria, who was a celebrated Ukrainian prose writer turned war crime reporter, was supposed to speak at the event, before her passing this June.

Victoria was acutely aware that being a writer made her a target for the Russian forces but nevertheless travelled to war-torn areas in the east of the country to report on war crimes and collect testimonies from survivors. Her absence at the event was deeply

felt and brought home once again the cruelty and inhumanity of this brutal conflict.

As the poet and professor Iryna Starovoyt aptly put it, war is “fought on many fronts”, culture, the arts being one of them. The Russian attempt to wipe out the Ukrainian language and culture is nothing new, harking back to the Tsarist and Soviet regimes. This has been carried out before by their own forms of “Russification” in the country through book bans, restrictions on language teaching, and all-out execution under Stalin. Currently, Russia’s military is specifically targeting Ukrainian cultural institutions, such as museums and libraries through catastrophic missile attacks and has compiled lists of artists and intellectuals to target in occupied zones. In response to such attacks, collectives such as PEN Ukraine and the Wounded Culture initiative set up by Starovoyt to give assistance to museums and cultural institutions damaged in the war, are vitally important in preserving Ukrainian cultural memory. Events such as ‘Culture

in a Time of War’ highlight this sometimes overlooked aspect of the war and demonstrate how Irish cultural platforms such as the Dublin Book Festival can become active in the resistance against this cultural erasure.

For members of the Ukrainian community in Ireland, a significant number of whom were present at both events I attended, these events offer a space to come together and support each other. The second event: ‘The Light of Home: Ukraine and Ireland’ gave the stage to Ukrainian musician Olesya Zdorovetska who, alongside the Irish musicians Nick Roth and Colm Mac Con Iomaire, performed a masterful mix of Ukrainian and Irish music. The event started with a powerful rendition of the Ukrainian national anthem for which the audience stood and, for those who could, participated. Signs of solidarity such as these are especially needed as the war in Ukraine threatens to enter a stage of stagnation with the floundering of the planned counter-offensive and international attention being diverted to the ongoing humanitarian

crisis in Gaza. As more and more Ukrainians in Ireland face the prospect that they may stay here for much longer than first expected, cultural events such as these can work to forge a sense of belonging in Ireland, a country which has its own experiences of cultural erasure.

As the world enters an increasingly unstable period and the number of displaced people rises, we must come to terms with the reality that Ireland is becoming a more diverse and international society. This is ultimately a positive advancement but does not come without its inherent challenges. A sense of belonging in a foreign country does not just magically come to be but is forged over time. The Irish arts and literature scene can assist in this, by facilitating events which give space and recognition to other cultural communities in Ireland. The success of the events held during the Festival and their high attendance may pave the way to showing how the Irish literature circuit can welcome and promote minority communities alongside Irish authors.

The University Times Monday 27th November, 2023

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Bring Life to Your Lunchtime at Bewley’s Café Theatre Ella Hussey RADIUS EDITOR

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n another rainy Friday in Dublin, my Radius Co-Editor and I walked through a flooded Grafton Street towards Bewley’s Café, where we took shelter in anticipation of Of A Midnight Meeting, written by and starring Katie McCann and directed

by Jeda de Brí.

Walking in, we were immediately met with an intimate atmosphere, the room filled with small circular wooden tables and rickety chairs, dimly lit by candlelight. For 1 pm on a Friday, every table was surprisingly full, with the entire room waiting in anticipation of the performance. Instantly transported to a Victorian

parlour, the set caught the eye, featuring a wall decorated with dozens of oddly shaped frames, an old-school jukebox, a coat rack and trinkets scattered around the set. There was no detail missed in bringing this world to life, as the audience is placed within the home of the medium, Hester O’Brien (Katie McCann).

As the production kicked off, Nathaniel Hawker (Naoise Dunbar) entered

the stage in search of O’Brien. Hawker, a scientist who has taken on a project for Scientific American, is determined to debunk mediums and aims to investigate Hester’s activities.

Throughout the play, the leads constantly contrast each other. This is initiated through the costume design, which has Hawker in a full suit and briefcase contrasting O’Brien’s long dress and head shawl. They are from completely differPHOTO BY KEITH JORDAN

ent worlds.

The performance constantly plays on their power dynamic, moving through the space when it appears that Hawker has the upper hand on O’Brien. Circling the table, sitting on the arm of her chair, he knows all about her secret past, from changing her name to her mysterious daughter.

He is aggressive or stands above her when she tries to challenge him. Voices are raised as the play continues.

Suddenly, the candles on the audience’s tables blow out as Hester begins her seance, leaving the audience in anticipation of what will happen next.

Hawker’s arrogance and cynical mindset detach him from submitting to O’Brien’s seance. It is only when the power switches to the medium’s hand that she

claims to reach Nathaniel’s brother and mother, exposing that she researched him before their meeting. Suddenly, the audience begins to question the legitimacy of O’Brien’s work.

Throughout the performance, you felt the suspense that something bigger was coming. O’Brien admits that her daughter is dead- that is why she became a medium. Suddenly, an eerie song begins to play from the jukebox with a woman’s voice singing along. The lights begin to violently flicker as the music increasingly gets louder and Hawker attacks the jukebox and then falls to his knees in tears.

The image of the pair sitting on the floor in each other arms was a vulnerable moment of unity, as the opposing pair finally

come together as one. The performance ends with O’Brien revealing that it was all a ploy to trick Hawker.

However, she had no explanation for the singing voice through the jukebox. With this, the lights harshly cut the play to a close, leaving the audience with more questions than answers.

Of A Midnight Meeting completely captivated the audience throughout the whole performance. The use of setting, space and masterful acting made it a highly creditable play. Only an hour in length, as you leave the darkly lit room to the daylight, it is as though you have been transported in time so quickly that it is the perfect mid-day Dublin activity. McCann did an excellent job of creating a haunting atmosphere and thrilling performance.

RTÉ Scandal: Why Are There No Quality Irish Shows?

Sarah Murnane

FILM AND TV EDITOR

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his summer, the Irish media had a scandal.

A scandal! What fun!

As it unfolded, the scandal was covered so much that I got scandal fatigue.

You could not get away from it. The month of June turned into Irish Watergate.

Rightly so. It was revealed in June this year that RTÉ had paid Ryan Tubridy over €340,000 more than contracted between 2017 and 2022. Alongside this, numerous other payments were discovered that the company were covering for other employees, such as €138,000 in tickets to rugby matches and, my personal favourite, €5,000 on pairs of flip flops for a summer party. Everyone knows that Irish people only get two weeks of summer a year, so honestly I commend them for wanting to make the most of it.

It is still possible to find videos of groups of people in the pub eagerly awaiting Ryan Tubridy’s statements.

My grandparents rang me at least twenty times that

week to talk about it. The scandal seems to have left an impression on Ireland, and it called into question the use and future plans of RTÉ. It is simply a question of value and, right now it seems that there is little value being placed on the development of Irish film and TV. This year RTÉ reported a deficit of €21 million. Ouch.

This is attributed to a fall in TV licence payments since the scandal. This all begs the question, what do we want to see from RTÉ?

The state of Irish television right now is poor.

RTÉ is severely lacking in content at the moment and has been for some time.

There are currently thirteen shows on air contributed to

by RTÉ. Breaking this down, over half are news-related with five news shows and three covering current affairs. There are only two traditional scripted programmes: Fair City and Mrs Brown’s Boys. However, Mrs Brown’s Boys is made in partnership with the BBC. There are also no shows which were started past 2011. In terms of films, the projects are much more exciting. RTÉ has contrib-

uted to and produced some incredible pictures, including but not limited to The Last of the High Kings (1996), Brooklyn (2015) and The Delinquent Season (2018).

Often RTÉ is not the main contributor, but they are involved in the production.

I think what makes this so disappointing is that when you look across the pond, there is the BBC. It seems unfair to compare the two, yet the comparison cannot be helped. Obviously, the BBC receives substantially more funding than RTÉ every year and is a larger operation overall. But, as the BBC produces some of the decade’s most beloved shows, it seems that RTÉ is falling further and further behind. Putting my Irish pride aside, it is frustrating that RTÉ appears to put little effort into expanding its influence creatively in Ireland. Particularly for young people. News and current affairs are great, but there is nothing made for adults or young adults. Especially when events like the scandal show the organisation seems happy enough to spend money, as long as it’s not anything useful.

The main argument is of course that RTÉ do not have the budget. This is broadly true. For context, it cost €3 million to make one episode of Normal People (Lenny Abrahamson, Hattie Macdonald, 2020). Even with the ‘slush fund’ money, RTÉ would not come close to producing those kinds of numbers. Still, it feels like a shame that RTÉ does not even contribute.

Programmes such as The Late Late Show are staples of Irish television, but the format or content has not been updated for so long.

However, it is cheap to work off of a table and a studio.

It is only the guests and the presenter that make up the real cost. Alongside this, viewership is generally high, with almost 450,000 views weekly. This has dwindled slightly in recent months post-scandal, with numbers dropping steadily, but the format remains appealing.

In recent months, it seems that the scandal has struck a chord with the government. They have announced €56 million in funding to be given to RTÉ in aid of their effort “to re-

build trust and confidence of the Irish public”. Taking one step further, only €40 million will be given initially and, depending on the progress RTÉ makes, the final €16 million payment will be made in the second half of the year. Surely with this amount of money, they must be able to make something. Anything!

During the production of Normal People, RTÉ did face some interrogation of why they did not contribute to the making of the show.

One of the directors, Lenny Abrahamson, is quoted stating that the reason they approached the BBC is because the funding at RTÉ is “chronic”. As mentioned, and oft-touted by the RTÉ, Normal People took 3 million euros to make per episode. This is partly reasonable – RTÉ did not have that kind of money, but now they do have some.

While they may not be at Normal People heights yet, they could, in theory, comfortably produce some television with a budget of €56 million. Instead of paying a presenter half a million euros a year under the table. But perhaps I’m

just a stickler for the rules.

Not everything has to be a high-budget production, it just has to be entertaining.

The press release from the government ended with a particularly ironic statement from Catherine Martin TD, which implores people to please “pay their TV Licence fee”. While the government and RTÉ may acknowledge the scandal and their failure in developing the organisation, they still want you to give them your money. That should tell you all you need to know about their priorities.

The Irish media is always the same. There is a theme of disinterest in modernisation and development that runs through these organisations. They have to be pushed, prodded and forced to do it. Even if RTÉ cannot afford to produce television on its own, it could start contributing to projects and introducing new programming to begin to appeal to more of the population. It is easy to rely on what has come before, but with the money RTÉ will get next year, it is possible to start thinking bigger.

The University Times Monday 27th November, 2023

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The Radius Ultimate Gift Guide Our editors offer their seasoned advice on the best gifts for your friends and family ART

A LOVE LETTER TO THE NATIONAL GALLERY

JACK B. YEATS, ‘GRIEF’ (1951). COURTESY OF THE ESTATE OF JACK B YEATS, DACS LONDON/ IVARO DUBLIN

Ella Hussey RADIUS EDITOR

D

ear National Gallery, my first experience visiting you was on a school tour in my sixth year of secondary school.

Although I studied Art History as a subject, I don’t think I understood the full effect that art can have on a person until I visited the gallery. It was such a surreal experience, being able to physically see the paintings that we had only previously seen in textbooks. They were now in front of me, and I knew that if I reached out I could touch it. Ever since then, I have had a deep-rooted love and appreciation for the National Gallery.

It has always been a place that I long to show my friends. I vividly remember sitting in front of ‘The Tak-

LITERATURE LITERARY JOURNALS BUNDLE €50-€60, BOOKS UPSTAIRS, HODGES FIGGIS, ONLINE AT EACH JOURNAL’S WEBSITE With Ireland’s art and literary journal scene thriving, you can never go too far wrong this Christmas with a bundle of the latest up-and-coming names in the industry. We’ve put together a collection of five literary journals that we think would suit every book lover. All journals can be found in-store at Books Upstairs, Hodges Figgis or online at the respective journal’s website.

These include Banshee: Issue 16, Tolka: Issue 6, The

ing of Christ’ by Caravaggio alongside my friend, Mia. We both had studied Art in school and decided to see the painting two years later. She sat beside me when we were kids learning that it is on indefinite loan from the Jesuits, that Caravaggio is actually in the painting himself, and that it is purposely hung on a red wall. We sit again together embracing a painting we love so much. Now both adults in College, studying Law and English respectively, we left Art History within the walls of our old school’s art room. But we always find ourselves returning every little while to see it, knowing it will still be waiting to see us, remaining unchanged.

Again on my 21st birthday, I brought my friend Sáoirse. A Luxembourg native with an Irish name, I was dying to show her from the minute she touched

Irish soil. Showing her Jack B. Yeats’ depiction of ‘The Liffey Swim’, but also his spiral into his works of ‘Grief’, I felt so proud of the art produced by Irish artists, as though I was a proud mother showing them off. We walked around the traditional long galleries decorated with chandeliers but also the converted modern halls, combining the old and new. It was one of those days that I will never forget.

It is a place I always find myself coming back to: a familiarity with the paintings, knowing I see myself in the busy Irish streets but also in the remote whitewashed cottage. Seeing my 17-year-old self in Caravaggio’s work, I’ll forever return to the National Gallery. The Gallery, in turn, will see every version of me still in love with it.

All my love,

Winter Papers, Poetry Ireland Review and The Stinging Fly: Issue 49, Vol. II.

and sustainably sourced materials to allow wearers to show their “True Vibrant Self”. Winning the award for Fashion Accessory Design this month at the Institute of Designers in Ireland (IDI) Awards, this jewellery brand based in Dublin 8 is a hidden gem which is gaining well-deserved recognition.

FASHION SHOCK OF GREY’S HANDCRAFTED JEWELLERY FROM €25 AT @ SHOCKOFGREYSHOP OR SHOCKOFGREY.COM Bold and bright, Shock of Grey offers handcrafted jewellery – a perfect gift for eco-conscious individuals who value statement pieces. With a background in sculpture and digital design, Sarah Carroll Kelly’s zero-waste business produces unique, handmade jewellery using practices such as low-emission paint

Ella x

ART THE NATIONAL GALLERY SHOP PRICES RANGE Everyone knows the best part about visiting museums is the gift shop at the end. This is especially true for the National Gallery around Christmas time.

There are prints, calendars, stationery, cookbooks, scarves and more. Many are Christmas-themed or feature some of the work hanging in the gallery. This is the perfect place to find a keepsake from that one exhibit your loved one just keeps talking about.

MUSIC A PERSONALISED CASSETTE MIXTAPE ETSY, FROM €15 There’s nothing more intimate than creating a playlist for a loved one.

For those who are retro-inclined, a personalised cassette is the perfect revival of 80s nostalgia. Available on Etsy from the highly rated PK’s Store, songs can be downloaded from a playlist of your choice and burned onto a cassette tape. With multiple artwork options and playlist lengths, you can get as creative and as personal as you wish. If needed, a portable cassette player to accompany can be found on Amazon from €25.

FOOD & DRINK PIZZA NIGHT WITH SANO PIZZA’S MAKE-AT-HOME KITS ON DELIVEROO, FROM €10 A fantastic way to show someone how much they mean to you is cooking for them. You perform an act of service for them while spending time with each other. On Deliveroo, you can order kits from Sano Pizza that allow you to make your own pizza at home with minimum effort

and maximum fun. This way, you do not have to worry about shopping for ingredients or finding the right recipe. If you wanted to, you could pimp the pizzas out with your own favourite ingredients to personalise them or even experiment with the shape of the pizza. A kit for two people comes with two free dips. For €9, you get the dough, mozzarella di bufala, tomato sugo, basil and extra virgin olive oil. If this sounds a bit too vanilla for you, you can opt to spend €12 and get some spicy salami, too.

THEATRE POSTERS, PRINTS AND TOTE BAGS, OH MY! GEORGE’S STREET ARCADE, BETWEEN €3 - €25 Not keen on group outing gifts? Head down to George’s Street Arcade to find the perfect poster for your theatre-obsessed pals!

Elevation has it all, from old-school Heathers posters to Rocky Horror Picture Show badges. Their stock rotates pretty rapidly this time of year, so you can extend your Christmas shopping and make sure you find exactly what you’re looking for. Plus, give yourself the gift of multiple hot chocolates by popping into Simons’ Place café while browsing the market.

SOCIETIES DATEBOOK/PLANNER SØSTRENE GRENE, MUJI OR FLYING TIGER, FROM €3 Do you have a loved one

LAINEY WHELAN TIGHTS, PHOTO BY MOLLIE MIA MURPHY

who is simply too busy for their own good? Overwhelmed with commitments, school and otherwise? Give a special person in your life the gift of organization with a thoughtful (if slightly pointed) datebook or planner! With a never-ending choice of colour, pattern, and design, it’s easy to find the perfect one to match the needs and personality of the receiver.

Whether it’s a large one for them to keep on their desk or a pocket-sized one so it’s never far from their side, these handy gifts are perfect to ease the stress of daily life, allowing them to keep doing their favourite thing - spending time with you!

LITERATURE BOOK BUNDLES BOOKS UPSTAIRS, CHAPTERS, HODGES FIGGIS, FROM €50-€60 If literary journals aren’t what you’re looking for, many of Dublin’s bookshops offer personalised Book Bundles. All you have to do is choose the theme and the shop will curate a bundle just for you based on what you, or your book lover, likes to read. This is a great way to find some unique, yet trusted titles as each book is chosen by expert booksellers at shops such as Books Upstairs, Chapters and Hodges Figgis. Wrapping included!

FASHION LAINEY WHELAN’S HANDPRINTED TIGHTS @LAINEYWHELAN__ART From her first artistic endeavour – transforming her sister’s Irish dancing dress into a handbag – to her current position as a final year student pursuing a BA in Fine ART at NCAD, Lainey Whelan’s art practice revolves around a conceptual exploration of morbid curiosity. Inspired by Irishness and Irish folklore and focusing on the “forgotten and hidden aspects of life”, Lainey celebrates and revitalises traditional Irish motifs. The production of her tights ensures minimal waste, utilising dye sublimation printing, one of the most sustainable processes possible in garment printing. Packaged in fully repurposed and recycled materials, handprinted tights make for a thoughtful gift, catering to various

The University Times Monday 27th November, 2023

fashion preferences, from jort enthusiasts to die-hard mini-skirt wearers, or even midi dress lovers. With her final degree show this June, now is the perfect time to treat yourself or someone else to a pair of her beautiful hand-printed tights.

ART THE IMMA SHOP PRICES RANGE The Irish Museum of Modern Art (IMMA) is known for its collection and beautiful grounds, but a hidden gem is its gift shop. More of a bookstore than a shop, it is a necessary stop on your Christmas shopping list.

Located on the first floor of the atrium, in between the east wing and the west wing, they stock many lines from Irish suppliers.

MUSIC MUSICIAN AUTOBIOGRAPHIES EASONS, FROM €11 For the music nerd in your life, Easons has a large range of music biographies and autobiographies to quench their thirst. Patti Smith’s Just Kids encapsulates the excitement and wildness of New York in the 70s, while Sinead O’Connor’s Rememberings offers a harrowing tale of her childhood and rise to fame, perfectly balanced with dark humour and wit. From the stories of Lily Allen to BTS to Bruce Springsteen, there is something for everyone.

FOOD & DRINK AFTER HOURS TOUR OF THE LITTLE MUSEUM OF DUBLIN THE LITTLE MUSEUM OF DUBLIN, DECEMBER 28TH-JANUARY 27TH, THURSDAY, FRIDAY AND SATURDAY NIGHTS, FROM 4:30 PM Get to The Little Museum of Dublin at 4:30 pm for a welcome with a glass of wine.

The after-hours tour itself starts at 5 pm. This tour is a fantastic intimate present for a close friend or partner, combining history, humour and wine: three of the world’s greatest treasures. I would probably marry the person who presented me with tickets for this without further questions. Tickets are priced at €25 each. They can be purchased online on the museum website littlemuseum.ie.

THEATRE GAIETY PANTO: CINDERELLA

15

MUSIC

BOYGENIUS HONOUR SINEAD O’CONNOR

GRAPHIC BY CLARA ROCHE

Sadie Loughman MUSIC EDITOR

P

hoebe Bridgers, Lucy Dacus and Julien Baker of boygenius teamed up with Irish folk band Ye Vagabonds to release a cover of ‘The Parting Glass’ on November 17th, with proceeds of the song going to the charity, The Aisling Project.

Bridgers shared the song, along with a picture of the late Sinead O’Connor, to her Instagram with the caption “For Sinéad, and my dad”. The song, tracing its origins to Scottish tradition, has been covered countless times by Irish artists including Sinéad O’Connor, The Pogues

AVAILABLE ONLINE THROUGH TICKETMASTER, FROM €21.50 What better way is there to treat your family and friends this year than with tickets to the Christmas Pantomime? Cinderella is running at the Gaiety Theatre from November 26th to January 21st, with early matinée showings at 1:30 pm as well as evening performances which begin at 6:30 pm. Give the gift of a brief reprieve from socialising and escape into a classic fairytale!

SOCIETIES VINTAGE WATCH A VARIETY OF LOCATIONS AROUND DUBLIN, OR CHECK OUT @TIMES_UP_WATCH_BOY FOR SOME STEALS For anyone who has an overcommitted loved one, a vintage watch is a perfect gift to keep them on track with their busy

and Hozier. The song is released in accordance with Bridger’s usual tradition of releasing a song before Christmas, with the proceeds going to a chosen charity. In 2022, Bridgers released ‘So Much Wine’, raising funds for the Los Angeles LGBT Centre.

The Aisling Project is a North Dublin after-school intervention programme, doing vital work in providing children with a hot meal, assistance with homework and a variety of extra-curricular activities.

Serving over 150 young people, the organisation relies on state and charity funding. Following the passing of Sinéad O’Connor on July 26th 2023, her estate selected the charity to benefit from the singles

proceeds.

The song is a soulful tune with boygenius’s notoriously melancholic tone and the violins of Ye Vagabonds.

The band had previously worked with Ye Vagabonds, who opened for their Dublin show in August of 2023. Bridgers previously professed admiration for Sinéad O’Connor in an interview with Rolling Stone: “She made a huge sacrifice for women and for musicians and for people who believe in things. She was so not rewarded for it”.

The release of the song is a fitting tribute to O’Connor, supporting a cause that follows in her philanthropic spirit.

‘The Parting Glass’ is available to stream on Spotify, Apple Music and YouTube.

schedule. Available in most places where you shop second-hand, these watches are usually fairly cheap – but be careful that you don’t end up with a watch that’s only right twice a day! Available in a plethora of colours, sizes and widths, watches are a great way to show your loved one you notice how hard they work.

Just think, every time they look down at their wrist, they’ll be reminded of you and how much you care about them. And how late they are for their next class!

ity through stories of College alumni. Readers will explore the school in every decade, from the 1960s to the 2000s, and read about the transformation of Trinity into one of the foremost international institutions in the world. The Trinity Tales series is perfect as either a large or small gift, and copies are available in most bookstores in Dublin or online.

LITERATURE TRINITY TALES €15-€20 PER BOOK, TRINITY GIFT SHOP, HODGES FIGGIS, LILLIPUT PRESS ONLINE Get the history lover in your life one – or all – of the Trinity Tales books, which traverse the history of Trin-

FASHION FURU&ME FUR HATS @FURUANDME / FURUANDME@GMAIL.COM Recent Trinity graduate Chioma Muoneke’s handmade fur hats seamlessly blend warmth and style.

Meticulously created with attention to detail, FurU&Me embraces vibrancy and showcases the unique texture and elegance of

fur. Say goodbye to your old beanies, and hello to these handmade hats that fuse comfort and charm, allowing the cold months to be experienced in style.

As seen in Stellar Magazine, FurU&Me’s hats are a thoughtful gift which will undoubtedly bring a smile to the face of the recipient.

ART THE LIBRARY PROJECT, TEMPLE BAR PRICES VARY, OPEN MONDAYFRIDAY 11AM-6PM, SATURDAY AND SUNDAY 12-6PM If you’re searching for something less blatantly Christmassy, the Library Project, located in Temple Bar will be for you.

An art bookstore, it has a wider collection than the museum gift shops and is the perfect place for a niche gift.

MUSIC TICKETMASTER GIFT VOUCHER AVAILABLE ON TICKETMASTER.IE, FROM €10 If your loved one is an avid concertgoer, a Ticketmaster gift voucher is the perfect solution. With the cost of concert tickets rising each day, a little help goes a long way to give your loved one the gift of live music.

Vouchers can be purchased online, by email or in physical form.

FOOD & DRINK STOCK DESIGN 33-34 SOUTH KING STREET When looking for presents for foodies, why not start with quality equipment and accessories? Stock Design is a lovely shop to find both. As opposed to food, these presents can last a lifetime. While some of the items might exceed the average student’s budget, they also sell smaller things such as mugs and water bottles. I particularly

enjoyed a mug saying “Ah Jaysus I’d murder a cup of tea”, sporting an illustration of the son of God with said cup of tea. Very Christmassy. For the more indecisive minds, a voucher might be a good idea.

THEATRE THE WEREWOLVES OF MILLER’S HOLLOW HODGES AND FIGGIS, ONLINE THROUGH WATERSTONES’ WEBSITE, €12.69 This board game is the ideal present for drama students who need their fix of performing over the winter break. The Werewolves of Miller’s Hollow, as well as being a mouthful, is a game of deception in which each player is secretly assigned a role – a Werewolf, an ordinary townsfolk, a fortune teller and so on.

At night the Werewolves descend and a villager is killed, during the day the villagers deliberate and vote on who they believe to be the Werewolf. As a game suitable for all ages and all numbers of players, this is a great choice to fill the post-holiday blues.

SOCIETIES MUG AND COFFEE BEANS COFFEE ANGEL, HAPPY OUT, SHOE LANE, 3FE We all have someone in our lives who seems to have more than 24 hours in a day. Choose from a variety of mugs, a funny one, a sentimental one, or even just a plain but beautiful one (Le Creuset, I’m looking at you), and you can give your overwhelmed and overworked loved one the gift of energy - in the form of caffeine! Throw in a bag of coffee beans and you have given them the tools to start their mornings, afternoons, evenings and maybe even midnights off to a productive start.

FURU&ME, PHOTO BY ISABEL FARRINGTON