Hello folks, I've just started work on Chapter 26 of the novel (that's the second last chapter for anyone who is counting) so I should be in a position to get back to some good old fashioned short story writing once the first draft is finished. So let's say December. Fingers crossed.
Also, I've decided that I'm just going to have change the name of this blog and the facebook page. Fighting Talk is way too similar to Fighting Words, that's the brilliant creative writing for kids group founded by Roddy Doyle. Every time a hear Fighting Words mentioned on the radio, I sort-of cringe at the similarity and feel like I just plain stole the name - even though I didn't. So, the old name is dead, long live the new name. Whatever name that ends up being.
I'm currently kicking around a few name ideas - I want something catchy but not verbose, explanatory but also gritty and 'real'. So, if anyone has any brilliant ideas, please, for goodness sake, bring them.
Cheers
Andy
Showing posts with label Andrew. Show all posts
Showing posts with label Andrew. Show all posts
Tuesday, 7 October 2014
Friday, 8 August 2014
And another thing...

That should, with any bit of luck, free me to complete some of the scores of short stories which have been kicking around my notebook for the past 18 months, looking for a home. I'm particularly excited about one story, set in an rural Irish mart, which has been prodded into life, if not entirely inspired, by the short stories of Leonard Michaels. The image accompanying this post was taken by my friend Margaret Cahill, herself a budding young Irish writer. The image, taken in a County Kerry ghost estate, could easily form the backdrop to the action in Georgina. Thanks to Margaret for that.
Cheers,
Andy
Monday, 19 May 2014
Blow It Open. Seamus Heaney and the black lake of the Burren
The swans may be gone, but Seamus Heaney still has the power to catch the heart and blow it open. Writes Andy Hamilton.
Sometimes art and nature seem to melt together. It happened in 'Postscript', Seamus Heaney's love-letter to the Flaggy Shore and the North Clare Burren. And, in a strange reversal of symmetries, it seems to be happened again.
Months after the death of the Nobel laureate, the land so beloved by Heaney still appears to be in mourning. Since the turn of the year, things have not be right in Lough Marree, the freshwater lake on the Flaggy Shore.
The lake, located a dozen or so feet from the saline waters of Galway Bay and the Atlantic Ocean, has slowly been turning black. This gradual darkening of the lake came to a dramatic climax earlier this month when the lakes large flocks of whooper and mute swans, the same birds immortalised by Heaney in Postscript, abandoned the lake.
This, understandably, took the locals by shock, especially the members of the excellent blog A Flaggy Shore Miscellany. The blackening of the lake and departure of Heaney's swam had more than a vibe of mourning about it - it seemed to encapsulate the feeling of so many who lived and loved to the rhythm of Heaney's pen.
It would seem, however, that nature has an explanation, even though the romantics amongst may us wish it hadn't. The storms force gales which battered the Clare coast in January and February, would seem to deposited a massive amount of seaweed into lake.
Trapped in the lake, this seaweed has been slowly breaking down in the fresh water for past three months, pickling the water and slowly turning in black.
There is some sentiment left in the story however, and according to John Murphy of Clare Birdwatching, the flocks of whooper and mute swans should return to the lake this Autumn, just in time for the year anniversary of Seamus Heaney's death.
Sometimes art and nature seem to melt together. It happened in 'Postscript', Seamus Heaney's love-letter to the Flaggy Shore and the North Clare Burren. And, in a strange reversal of symmetries, it seems to be happened again.
Months after the death of the Nobel laureate, the land so beloved by Heaney still appears to be in mourning. Since the turn of the year, things have not be right in Lough Marree, the freshwater lake on the Flaggy Shore.
The lake, located a dozen or so feet from the saline waters of Galway Bay and the Atlantic Ocean, has slowly been turning black. This gradual darkening of the lake came to a dramatic climax earlier this month when the lakes large flocks of whooper and mute swans, the same birds immortalised by Heaney in Postscript, abandoned the lake.
This, understandably, took the locals by shock, especially the members of the excellent blog A Flaggy Shore Miscellany. The blackening of the lake and departure of Heaney's swam had more than a vibe of mourning about it - it seemed to encapsulate the feeling of so many who lived and loved to the rhythm of Heaney's pen.

Trapped in the lake, this seaweed has been slowly breaking down in the fresh water for past three months, pickling the water and slowly turning in black.
There is some sentiment left in the story however, and according to John Murphy of Clare Birdwatching, the flocks of whooper and mute swans should return to the lake this Autumn, just in time for the year anniversary of Seamus Heaney's death.
Saturday, 2 November 2013
After Rubicon
By Andy Hamilton
“Off... Off!”
She
looks ahead blankly. Silently. His orders, barked from the far corner of the
room, do not penetrate her numb shock.
“Turn
it off,” he shouts.
“What?”
she replies at last.
“Turn. The TV. Off.” His words are slow and cold. “You heard them," he continues. “We have twenty minutes, that’s it. So just turn it off.”
“But
there might be more... Something we could do... something...,” she says in a sudden flurry. “Or maybe the Russians or the Chinese might do something?”
“Nobody
is gonna to do anything. You know that. Just turn it off.”
She
looks at him for a long, silent moment, lifts herself from the couch
and walking to the large television in the corner of the room. A red box in the
corner of the screen is flashing 18.54, 18.53, 18.52… She presses the large
square button on the side of the television and holds it as fire and light
flashes across the screen. There a click, and the image shrinks slowly to a single dot,
that lingers for a moment in the centre of the screen and then dissolves.
All
is silent.
“I
can’t believe this is happening,” she says as she half-runs, half-falls back to
the couch.
“It’s
those fucking governments,” he spits, from his seat in the opposite corner.
“Those bastards. They God-dam think they’re God or something.”
“Oh stop it. Just... I don’t want to hear anymore. What does it matter anymore?”
Her
face is plunged deep into a damp cushion. He stands over her, his eyes searching the
room wildly. Looking for something… anything. The room is
filled with muffled screams.
“What
about them?” she says, nodding towards the sitting room door. “We should wake them. We
should let them know.”
“Wake
them? No. Why should we? No. That wouldn’t do any good.”
“They
deserve to know. They are part of this world. They deserve something.”
“Let them be... the deserve to be spared all of this.”
“Let them be... the deserve to be spared all of this.”
She tries to stand but he
grabs her tightly on both shoulders.
“You
want them to come to you,” he says. “You want them to put their hands around
your neck and tell you that they’re scared. You want to comfort them.”
“And
what’s wrong with that?” she shouts. “They are my children. What is wrong with
loving my own children…”
She
stands up quickly, breaking his failing grip.
“They
don’t deserve this,” he pleads. “Just let them sleep.” His hand goes to his
forehead. “Oh God,” he says. “We don’t deserve this.”
A
minute later he is lying flat on the sitting room floor, this arms outstretch,
his body formed into the shape of a crucifix. She is pacing the room.
“Water!”
she shouts, and jumps over his motionless body.
Quietness takes him. Lying on the hard floor, staring at the whiteness of the ceiling, his mind empties. He can see brown fields and scorched mountains, grey cities with no people in them. He is the world, and the world is utterly empty.
Quietness takes him. Lying on the hard floor, staring at the whiteness of the ceiling, his mind empties. He can see brown fields and scorched mountains, grey cities with no people in them. He is the world, and the world is utterly empty.
A noise enters his dream. He
springs up suddenly, gasping for air. The bathroom, the shower, the children.
“What are you doing?” he shouts, pulling back the shower curtain. “What the fuck do you
think you’re doing?”
“Water,”
she says. She gulps down mouthfuls of the off-white liquid. “Water. If we can
get enough water, maybe we can get through this. Maybe we can…”
“We’re
not getting through this,” he says through gritted teeth.
“If
we drink enough water me might be okay. Maybe we can…”
“We’re
not getting through this. Nobody is getting through this. Do you hear me?”
She
spits out a large mouthful of water. It lands on his chest, wetting his shirt
and his trousers. She starts to cry.
They
walk slowly to the bedroom door.
“Ready?”
he asks, reaching for her hand.
“I’m
ready.”
He
pushes the door gently open. The light from the hallway revealing two tiny children, their bodies pressed snugly together, in the centre of a large double bed. They remove their wet
cloths and climb silently into the bed, one on either side of the sleeping children.
“Good
night,” she says, as she closes her eyes.
He
does not answer.
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