Yesterday evening saw Trinity Literary Society (Lit Soc) welcome award-winning Irish writer Marita Conlon-McKenna and receive Honorary Patronage. Conlon-Mckenna is the author of many beloved children’s books such as Under the Hawthorn Tree and The Blue Horse, as well as an author of young-adult fiction. She is also an active promoter of the arts and is a former chairperson of Irish Pen.
Conlon-McKenna’s latest adult novel, Rebel Sisters, was a number-one Irish bestseller this year. It is based on the true story of the Gifford sisters – Muriel, Grace and Nellie – who all played pivotal roles in the 1916 Rising. The book came as something of a surprise. Conlon-McKenna recalled her publisher suggesting, some twenty six years ago, that she tackle the subject of the rebellion, and her point-blank response of “absolutely no way”.
It was her special relationship with Kilmainham Gaol which changed her mind. Conlon-McKenna has always loved the building and its history and was particularly taken with the famous story of Grace Gifford marrying Joseph Plunkett the night before his execution. She spoke about the chills she felt thinking about the poets and artists and teachers who were sent to face the firing squad.
“The more I researched, the more I got involved”, Conlon-McKenna explained. She carried out her research in the National Library and was also in communication with the Gifford and Plunkett families. She recalled her extensive mapping of timeline charts and significant events. It was only when she was well into the writing of the book that she realised the extent to which the Gifford sisters were involved in the conflict. The author couldn’t believe her good fortune and admitted that she “couldn’t have created characters as interesting as this family”.
Conlon-McKenna could not have predicted that she would ever have written about real historical figures. “When you’re confronted with real people, you can’t get it wrong”, she told the society, admitting that she was very nervous about what the families would think. She was frank about the challenges she faced writing this novel. Halfway through her three-year labour of love, she genuinely thought she wouldn’t be able to complete the book. Luckily for the Irish literary scene, she persevered.
Conlon-McKenna felt a genuine love for her characters and spoke of her admiration for the “very intelligent and powerful” sisters. The writing also helped to humanise famous figures who are often depicted as being stern and emotionless. Conlon-McKenna selected Thomas MacDonagh, Muriel’s husband, as a particular favourite. Due to a tragic misunderstanding, Muriel was unable to see him for the final time before he was executed. Although there is an undeniably reminiscent undertone of Shakespeare’s Romeo and Juliet, this was a reality in 1916 Dublin.
Conlon-McKenna was also fascinated by the familial divisions caused by the rising. The Gifford parents were loyal to the crown and she described the mother as an “old Victorian matriarch confronted with a changing world”. The book begins with the death of Queen Victoria to demonstrate that “the Empire was crumbling”, and later explores how the daughters rebelled against their loyalist upbringing and background. The book is divided into sections, with each section narrated by a different figure. The girls tell their tale, but so too does the mother, which Conlon-McKenna saw as a good way to balance out the narrative.
She acknowledged the achievements of Nellie, who was involved in the 1913 Lockout and the 1916 Rising. Later, Nellie begged the National Museum to hold an exhibition about 1916, gathering the 200 to 300 items herself. “If it wasn’t for her, we probably wouldn’t have the 1916 collection”, Conlon-McKenna observed. “She was involved in so many aspects in Irish history and yet has gone unnoticed.”
Conlon-McKenna’s passion for Rebel Sisters is evident, and yet she demurs when asked about her favourite book to write. “Every book I write is my favourite when I’m writing it”, she said. She likes to completely immerse herself in the book’s world. One particularly standout moment was her trip to the Imperial Museum in London while researching for Safe Harbour. There, she experienced the terror of an air raid during World War II through simulation. She also recalled forcing her children to listen music produced during World War II to properly get herself in the zone. Finishing a book, she explained, is like coming out of a haze. And then it’s on to a new one.
Looking forward, one children’s novel Conlon-McKenna would like to see written is a story about homeless children living in hotels. She explained that she was hoping a young writer would take on this challenge, but so far no one has. Conlon-McKenna believes that writers have a duty to address problems in the world.
The then writer detailed her literary journey. Her first publication was a picture book. The publication was sheer luck. Conlon-McKenna’s lecturer in University College Dublin (UCD) showed a publisher the small work Conlon-McKenna had written for her daughter, and the publisher loved it. Similarly, she did not originally intend for her first novel, Under the Hawthorn Tree, to be published either. She only did so on the insistence of friends. Conlon-McKenna had a lot of praise for her publisher, and for his astute decision to commission the talented and now famous artist Donald Teskey for the work. Without him, her popular books might never have existed. She firmly believes that luck is a huge part of finding success as an artist.
Conlon-Mrkenna also addressed the question of censorship in children’s literature. She once was asked in a radio interview if children should be reading about people dying and responded with her belief that children should be told the truth. While she does like to include a sense of hope in her children’s book, Conlon McKenna does not see this as creating a clichéd “happy ending”. “I don’t do pink ribbon endings”, Conlan McKenna asserted. Rather, her books aim to empower children. They show that “the worst things in the world can happen to them, but they can survive it”. She cites Under the Hawthorn Tree and Love Lucy as examples. Love Lucy was not an easy book for Conlon McKenna to write, as it drew on her own experiences of losing a dear friend. However, the writer knows that the book is very important to a number of children and is therefore is proud to have written it.
Conlon McKenna also offered the crowd helpful writing tips. She cautioned against waiting for the perfect opening line or agonising over the composition, describing herself as a a visual writer and encouraged prospective writers to “just write” the picture forming in their head. “Follow your first instinct”, she advised. “Don’t overcorrect your writing as it will mess with the flow.” She suggested new writers find their feet with writing competitions.
Conlon-McKenna also acknowledged that the publishing world has changed immensely, stating her belief that it has become much more professional and it is harder to get a break. Editors expect a manuscript to be completed before they will hold talks and an agent is now essential. “The glory days of publishing are gone”, she declared, concurring that writing was certainly not a career which guarantees money or fame. However, her experience has been a positive one. “I’m very lucky”, said Conlon McKenna. “I love what I’m doing… I couldn’t imagine a world without reading and writing.”
