Nuala O’Connor

LifeWorksCriticismCommentaryQuotationsReferencesNotes
Life
1970- [writes short fiction as Nuala Ní Chonchúir]; b. 14 Jan., in Dublin; ed. TCD (BA); MA in Translation Studies - Irish/English (DCU); works as Arts Administrator, bookseller and librarian; issued short-story collections, The Wind Across the Grass (2004), the title-story of which won the RTÉ Francis MacManus Award in 2002; To the World of Men, Welcome (2005) - both from Arlen - and Mother America (2012); also Of Dublin and other Fictions (Idaho 2013); winner of Munster Literature Centre Award with the collection Nude (2009); appt. writer in residence at Cúirt Literary Festival, Galway, 2009; issued You (2010), a novel about a 10-year old girl living with her single-parent mother in semi-rural Co. Dublin, revealing adult lives through her naive perspective; afterwards broadcast on RTE;
 
issued Portrait of the Artist with a Red Car (2009), a poetry pamphlet which ranked among the four Templar finalists that year; The Juno Charm (2011), a poetry collection , won the Cecil Day-Lewis Poetry Award; issued a fourth poetry collection as Mother America (2012); guest writer at the 5th South American Conference of Irish Studies in Natal, Brazil, held under the aegis of ABEI (Sao Paolo), August 2012; her story “Squidinky” occupied the front page of The Irish Times Weekend Review (13 Oct. 2012); served as editor of Southword 14 & 15 (Munster Lit. Circle 2008); Horizon Review (2009-10), and Faceless Monsters (The Atlantis Collective 2010)
 
issued Closet of Savage Momentos (2014), and  Miss Emily (2015), a widely admired novel about Emily Dickenson and her Irish maid-servant Ada Concannon - short-listed for the Eason Book Club Novel of the Year 2015 and long-listed for the M.M. Bennetts Award for Historical Fiction 2016; also four collections of short fiction, a chapbook of flash fiction and three full poetry collections - one in an anthology; settled in Galway; appt. fiction mentor to third year students on the BA in Writing at NUI Galway, 2013;gives frequent readings with other Irish writers in Ireland and conducts writing workshops (“The Peers”);

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Works
Novels
  • You: A Novel (New Island Press 2010), xi, 186pp.;
  • Closet of Savage Momentos (Dublin: New Island Books 2014);
  • Miss Emily (UK: Sandstone Press 2015); another edn. (USA & Canada: Penguin 2015).
Story collections
  • The Wind Across the Grass (Galway: Arlen House 2004);
  • To The World of Men, Welcome (Galway: Arlen House 2005);
  • Nude (London: Salt Publ. 2009), 133pp. [see contents]
  • Mother America (Dublin: New Island Press 2012);
  • Of Dublin and Other Fictions (Idaho: Tower Press 2013).
Poetry collections
  • Tattoo:Tatú (Moher: Salmon Poetry 2007), 80pp. [bilingual introduction in English and Irish; some poems and their translations on facing pages, some in English only];
  • Portrait of the Artist With a Red Car (Derbyshire:Templar Poetry 2009), 26pp. [copy in BL];
  • The Juno Charm (Galway: Arlen House 2011), 83pp.
  • See also “Molly's Daughter”, in Divas!: New Irish Women's Writing (Galway: Arlen House 2003) [with others by Deirdre Brennan and Maíghréad Medbh; 218pp.; "Miss Emily Dickinson's Coconut Cake", in Prairie Schooner (Spring 2013) [pending].
Miscellaneous
  • Ed., Divas!: A Sense of Place (Galway: Arlen House 2005), 288pp.
  • Ed., with Paul Perry, Scoth na hÉigse/Best Irish Poetry, 2009 (Cork: Southwards Edns. 2008), 118pp.
  • Guest ed. [and foreword], Faceless monsters / Atlantis Collective (Dublin: Original Writing 2010), 158pp. [contribs. incl. Aideen Henry; Dara A’ Foghlu Wood [“Faceless Monsters”]; Maire T. Robinson; Alan Caden; Paul McMahon; Trish Holmes; Colm Brady; Ni Chonchuir ["Mother America"]; Conor Montague; Paul McMahon.
  • contrib. “Squidinky” to Silver Threads of Hope, ed. Sinéad Gleeson (Dublin: New Island Press 2012) [in aid of the suicide prevention charity Console].
  • ‘On Writing Miss Emily by Nuala O’Connor’, in The Irish Times (20 Aug. 2015) - see extract.

Bibliographical details
Nude (London: Salt 2009), 133pp. CONTENTS - Madonna Irlanda; Unmothered; To Drift and to Lift; Ekphrasis; An Amarna Princess up North; Mrs Morison of Haddo; Cowboy and Nelly; Before Losing the Valise, but Mostly After; The Woman in the Waves; As I Look; Jackson and Jerusalem; Xavier; Night Fishing; Roy Lichtenstein's Nudes in a Mirror: We are not Fake!; Sloe Wine; Mademoiselle O'Murphy; Amazing Grace; Juno out of Yellow; In Seed Time, Learn.

See Nuala O’Connor and Siobhán Mannion in Conversation - in Granta, 135 (13 June 2016) - online [accessed 23.09.2016].

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Quotations

See opening extracts from Nude (2010) - as attached.

On Writing Miss Emily [...]’, in The Irish Times (20 Aug. 2015).
[...]
 The first historical novel I attempted, about the German Expressionist Paula Modersohn-Becker, was consigned to a bottom drawer. When you write novels, a certain amount of ignorance, coupled with mystery, serves to keep up your interest as you write. At least as you begin, you’re better off not knowing too much and not overburdening the whole structure with facts. I learned from that failed novel that using the story of a real person’s life fictionally is tricky and that there are ways to do it that won’t make the whole house cave in. I realised that I needed to seek out the nuance behind the facts, and to leave room for imagination, otherwise the lightness and play necessary for good fiction would not exist in the final draft.
 When I decided to write a dual narrative about Dickinson and her Irish maid, I deliberately didn’t use the most well-known of her real Irish maids - Maggie Maher - but a made-up cousin of Maggie’s called Ada Concannon, whose history would be mine to concoct.
 Emily Dickinson’s life is a life of gaps - a frustration for fans and Dickinson scholars alike, but a joy for the writer who wants to fill those gaps imaginatively. In my research into Dickinson (conducted for the most part via her poetry and letters, as well as biographies and scholarly works) I discovered a gap that suited my purposes: in 1866 the Dickinson household in Amherst, Massachusetts did not have a maid. Mrs Dickinson had trained her daughters in the domestic arts and, between them, the three women managed the house, but this meant that Emily Dickinson had little time to write. This was also around the time that Dickinson chose to dress in a white wrapper, rather than in a more standard gown, and she continued her retreat from the outside world. So, here I had a couple of moments of quiet drama with which to begin my fictional exploration of a part of her life. My invented maid fitted nicely into this gap.
[...]
See full-text version - as attached.

On the election of Donald Trump

I cried when I came down to breakfast this morning and my husband said Trump was in. I had lain in bed, afraid to check Twitter on my mobile just in case, but I’d chastised myself for being silly, truly feeling that it would be Hillary all the way. I cried because a capable, qualified woman lost, and women lose far too often, in every walk of life, to unworthy men.

I cried because Trump is fascist, sexist and racist, and his values and actions will influence my world - and my children’s world - for the next four years. This juvenile, abusive man will have dominion not only over America, but over many aspects of our lives here in Ireland too. Will my friends who work for American companies retain their jobs? Will Trump’s racism and sexism incite further violence, in the States and all over? Will his fluid relationship with the truth stoke ever more turbulence and conflict?

In The New Yorker, editor David Remnick labels Trump’s win ‘a tragedy’ and ‘a sickening event in the history of the United States’. He goes on to say that people ‘can behave foolishly, recklessly, self-destructively in the aggregate just as they can individually. Sometimes all they require is a leader of cunning, a demagogue who reads the waves of resentment and rides them to a popular victory.’

The USA has found its demagogue in Trump, a truly awful candidate who cannot deliver on his campaign promises and who will fail the people of his country for sure. For me, anxiety and despair are the dominant feelings today. But hope will return, as it always does, and maybe, just maybe, this terrible news will provoke us all to positive action.

The Irish Times (10 Nov. 2016) - available online.

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References

Nuala O’Connor / Nuala Ní Chonchúir has an author's webpage - online; see also her Wikipedia page [accessed 29.10.2012].

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Notes
Notes
Nude (2009): ‘The women and men in Nude play out their desires and frustrations from Dublin to Paris, Delhi to Barcelona, and beyond. In these stories there are mercurial lovers, illicit affairs and mistakes that cannot be undone. And at the centre of it all is the unclothed body: in bedrooms, in art, and in and out of love. Award-winning writer Nuala Ní Chonchúir uses her trademark sensual frankness, coupled with poetic language, to weave an intoxicating spell in these stories. If fictional worlds pivot on yearning, then the characters in these stories yearn for passion, for understanding and, sometimes, for freedom. In the opening tale, a naive painter travels to early 1970's Paris and meets fellow Irish artist Micheal O'Farrell; there she becomes the model for his iconic political nude “Madonna Irlanda”. Elsewhere, a master art forger is infatuated with his lovingly carved alabaster sculpture of an Egyptian princess, but he eventually falls foul of the Art Squad and loses everything. The story “Sloe Wine” sees two teenage cousins begin a closer relationship with each other, while their mothers untangle the knots of their own teenage years and, in so doing, unleash a family secret. These are lush stories of visual art, the heart and the body, in all their beauties and betrayals; there is humour and quirkiness, but beneath that is the reassurance of truth - the hallmark of all quality fiction.’ (See COPAC - online.)

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Pininterest: Nuala O’Connor saved 12 pins including a British stamp of Virginia Woolf at Pininterest online (accessed 20 Aug. 2016.)