March 28th: Agricultural Science project dueMarch 28th: LCVP portfolio dueApril 18th: Irish Oral- April 23rd: French Oral
- April 27th: History RSR due
- May 2nd: LCVP exam
- Week of May 2nd/3rd: Agricultural Science interview
- June 6th: English Paper one/Home Economics.
- June 7th: English paper two.
- June 8th: Maths paper one.
- June 11th: Maths paper two/Irish paper one
- June 12th: Irish paper two/Biology.
- June 13th: French/history.
- June 21st: Agricultural Science.
Here comes the sun.
Friday, April 20, 2012
Leaving Cert. lists
Thursday, April 5, 2012
Just dropped in.
Monday, April 2, 2012
Spoken words and crowbirds.
Hurling Crowbirds at Mockingbars - Buddy Wakefield
Since Adrienne Rich died last week, I've been reading quite a lot of her poetry online. This isn't exactly conducive to studying, but I've been sick to I guess that wasn't going to happen anyway. I really, really love her poetry, and there's probably a post all about her coming up soon. My interest has spread to a couple of other poets too, though. Shockingly enough, not all are on the Leaving Certificate English course, either, though Seamus Heaney is. But who doesn't love Seamus Heaney and his cute little love poems?! Like I said, I've been reading and watching a lot of poetry online of late, because hey, the internet is much more fun out loud. The lovely Dave introduced me to spoken word type stuff (namely the above video) and I think I'm in love. Though I can't make head nor tail of the whole spoken word vs. slam vs. Beat poetry thing. Give me time.
I wish I had the time to spend days and days watching and researching spoken word poetry on Youtube. Like I said, I've only seen bits and pieces. Earlier, I saw a brilliant piece called Homicidal Rainbow on Facebook and I decided I'd have a look again at poets out loud. Alas, all I found was a little bit of Allan Ginsberg (27 minutes long? The sixth year inside me is saying "noooooooooooo!") and then I went back to Adrienne Rich, who of course doesn't count as spoken word poetry. She's mad as a brush and the only poet I've ever read with the balls to use the word "clitoris" in a poem. That's off the point, though. The point is the magic of poetry, the way it can wrap around one's cerebral cortex for days and STILL mean something different a week later.
Unfortunately, poetry is one of those ways of writing that I can't really do. Not for want of trying, as some unfortunate friends and teachers have seen over the years. Can't really do it unless I'm extremely upset, and then it's just terrible. I'll admit that I'm good with words, but I'm not artistic or imaginative enough to create images with words like a poet can. I can knock out a decent essay, yeah, but when it comes to art from words I truly suck. I think that's why I like it so much. Spoken stuff is fantastic, and a lot of it beings back all my Bohemian city feels. But that's a story for another blogpost...so many feelings. Anyway, ...Mockingbars is one such poem. I don't know much about/by this guy, but this poem is incredible. Seriously. I'm not trying to be cool or hip or anything, it's just...insane. It's not even just the words, but the energy, the intensity and the emotion behind it all. I could watch it over and over and still hear new things in it every time.
What's funny about this poem - and about all poetry, I guess - is that we all see different things in it. Maybe it's due to a string of crappy realtionships, but his verses about losing someone - I quote a bit there - tear through me like a freakin' machete. He gets it so, so, right. The pain of it, and there's desperation, too, and the rage, the rage you can feel for being left, for trusting someone and having it wrecked, for feeling like this. Ultimately, neither Buddy nor myself could go on. There's one part -
"if you ever wanna know how it felt when ya left –
if ya ever wanna come inside –
just knock on the spot
where I finally pressed STOP
playing musical chairs with your exit signs."
Ohhhh, it kills me. Those last two lines. It's perfect and it reminds me of Trying To Talk With a Man, my favourite Adrienne Rich poem. Hell, my favourite poem. For much the same reasons - anger and sadness and ripping control away from someone you used to love. Emotion. That's what poetry is about at the end of the day, isn't it? Emotions? Maybe that's what I can't get on a page, for fear of feeling stupid or pretentious. Both of which I've achieved in this post, I think. Oh well.
In summation: I really love Adrienne Rich's poems, but then I really love all poems. And I'm going to write about Adrienne, poetry and FEMINISM!!!! a bit more soon. In the meantime, have a listen to this. It's pretty brilliant.
Wednesday, March 21, 2012
Journo 2k12?
Tuesday, March 6, 2012
Short story #1: Quite a Night for it
London, 1941
The familiar klaxon wait comes late, but when I hear it I feel the remnants of my meagre supper force their way up my throat. I want to hide beneath the table and cry like a child, but that’s more than enough to earn me a shake and a slap from Mother. Besides, in these times we do not think – only run. I fetch my bunker bag from beneath the stairs and I feel a pang for the tiny sack left behind in the dusty little room. The bag contains the standard: gas mask, a light, an identity card...and a bettered, worn teddy bear. He brought that bear everywhere with him, and in the end, the bear was safer than he was...
But I mustn’t lose my concentration now, and I fight the flashes of memory. The sirens are still screaming but I hear my mother, shrill above the din: “Amelia! It’s time! NOW!” The panic in her voice is obvious, and I know that she, too, fears that we will die here. In this damp, paisley patterned excuse for a home that we’ve lived in since our house was bombed to bits a few months back. A real home, filled with memories as warm and rich as a cake made with real sugar. A home of red brocks, smiles, bedtime stories and fearing nothing but the apparently-haunted apple tree in the garden. I instinctively smile at the memories of Victor and I taking turns to try and climb the apple tree. We were told that a ghost lived at the very top of it, and almost every day my cherubic, red-haired brother would demand that he and I climb higher to find her. We never did, of course, but we shared apples from the tree – we created a whole world up there, he and I.
A whole world that now lies rotting in ashes, much like the smiling red- haired boy. His body was never recovered, so deep in the remains of 34 Cherrywood Road lies my little brother. And here Mother, Father and I remain, shell shocked ghosts of ourselves. I was at a friend’s the night of the bombing, and Mother and Father won’t speak of what happened that night. And it’s hardly the time to ask, running through the tiny garden towards our houses’ bunker. I have time only to take a lungful of smoggy London air before I’m being pushed down, down, down...
After Victor died, I woke up screaming every night, seeing him trapped beneath layers of debris, alive, gasping for air. Not exactly conducive to a weekly stint in a dank little space beneath the ground, but what choice do I have? The steps down to the bunker seem endless, the crashing sirens keeping twisted time with our footsteps. I hear Father mutter “again...this is the third time this week...do you think that...?” but Mother immediately shushes him, with a meaningful glance at me. Ignoring this strange conversation, I go down deeper towards the bunkers. The sirens are quieter now, as they drive us deep below the ground, away from light and freedom and safety. I shiver – not only from cold, but because fear of the bunker pips fear of the Germans to the post for me. The thought of the tiny, narrow room beads my forehead with sweat.
Eventually – eventually – we unlock the narrow grey door and floor the shelter with light. I see something move about in the gloom, but luckily it’s only a mouse and my scream is drowned out by the Vicar crashing in. Round-faced and booming, Reverend Winters is the perfect sort of man to have in a crisis. “Evening, folks! Quite a night for it, quite a night!” His unflappable manner affects us all and by the time he and his wife have settled in, I feel almost calm. He begins to chat quietly to Mother, giving me time to take in my surroundings. Steel beams reinforce the stone ceiling and the place has a musty, unkempt smell. Something drips in a corner and the hanging gas masks give the place an eerie feel, their empty eyes staring into the blackness. It’s the sort of place meant for sadness and fear – it’s completely without happy memories. It’s also impossibly small and I begin to fidget uncomfortably, feeling as though the walls are closing in on me. One...two...breathe in. I stare at the floor, feeling sure that the rooms boundaries creep closer. Three...four...breathe out. Stiff upper lip. Keep calm and carry on. It’s easy to be strong, proud and British above ground, but deep in this underground place, considerably less so. My stomach tightens and again. Breathe slowly to try and calm down...one...two...breathe in...
And that’s when the first bomb hits. It resonates deep in my body, my bones. It threatens to shake the teeth from my skull. The bunker shudders, but only dust falls from the ceiling. The five of us creep closer together, powerless against the Nazi monsters in their giant places, fighting the unknown, unseen war above our heads. I’m terrified. My legs cramp. Blood rushes to my head and I fully expect the ceiling to open up, the sky raining death.
Suddenly, the lights go out. Total darkness reigns and I lose myself to panic. I leap Father’s arms and scramble towards the door, uncaring about the outside chaos. I try to scream but it lodges in my throat and I emit only a strangled sob. I’m crying, tears running down my cheeks as I pound the door. “We’ve...we’ve g-got to get out!” I choke, slamming against the walls uselessly – if they can hold out against the rage outside, what chance do I stand? But I need to get out. “We’ll be trapped. Trapped like Victor, nothing but ashes. Don’t you see? We’ll all die here! Buried alive!” I don’t realize that I’ve spoken aloud until I see the shocked, uncomfortable looks on my parent’s faces. Nothing about hysterical teenagers in their guides to The War, I suppose.
Again, the room is shaken by a blow that brings cans from the shelves and drowns out my screams. I need to run. To hide. The rooms quaking like it’s going to collapse around us and I know that now, I am not alone in my screaming. A drawn out vision of death flashes before my eyes as the bunker rattles. For a few minutes – or hours? – I know nothing but the screams of the Luftwaffe planes but I can imagine the chaos outside all too well. People, running and screaming, becoming balls of flame. Bodies littering the street. Fire and death at every turn. In my daze I hear a muttered “Our Father, who art in Heaven, hallowed be thy name...” and we all join in, even though my family aren’t religious. Perhaps God is our only way out of this. We sit together, chanting every prayer we know for what feels like hours, feeling the bombs explode around us, buried beneath it all.
Eventually the all-clear sounds and it’s suddenly eerily silent. I feel as though I’m in a tomb, as though that this London street has surely a graveyard for thousands, and though Mother is sobbing softly with relief and Rev. Winter’s is thanking God for keeping us safe, I can hear only one thing. The screams of the German fire bombers ring in my ears with each step we take towards the shattered street, mingling with what I am sure are the moans of the dying above. Surely Mother, Father, even the Winters’ must know this. The shocking, unadorned truth: we aren’t safe, not really. We’ll leave this unkempt, unloved prison underground safe and unharmed, yes – but what of above?
Sickening images thunder through my head: people running and screaming, flash ablaze, crying out for loved ones. Houses lying in ruin, crippled by Nazi shells. Bodies of those who didn’t get to a shelter in time littering the streets maimed and burned. Everywhere we’ll turn, we’ll be followed by carnage – and yet, that won’t be the worst part. London will become a graveyard again and again until this War is won. Mr. Churchill won’t stop, Hitler certainly won’t stop and I reel backwards as I realize the truth: nothing in the world can make me feel safe again. The gas mask’s faces seem to be teasing me “as if you can feel safe again after this. As if anyone can feel safe again after this, after the bombs. We can pretend, of course. We can adapt, repatch, and keep fighting for victory and for Britain. But I realize in that moment, deep underground, that there’s no real victory, no real leaving. That I’ll never leave this dark, dusty cellar, cowering powerlessly, never truly escaping the horror of the bombs.
Strangeness and Charm - Florence + The Machine, The o2
I think it's testament to the sheer power of a Florence + The Machine show that I've listened to nothing but her last two albums since she set foot on the 02 stage last Friday night. Florence - and her Machine - have played Ireland three times before but I'd never quite managed to catch her, but my god she was worth the wait.
Friday, December 30, 2011
How To Be A Woman by Caitlin Moran: book review.

I'll be blunt: not many things keep me up until 3am, stifling giggles under my duvet. David is one of those things. Black Books and Flight of The Conchords are two others, and now How To Be A Woman, a memoir slash rant slash advice book by Caitlin Moran, who writes for The Times is a third. It was recommended to me by both my mum and Kate, so I was pretty stoked when I find it amongst my presents on Christmas Day.
I never considered myself a "feminist" per se, merely someone who considered equality to be a good thing and with a passionate, slightly weird love for the poetry of Adrienne Rich. However, a few chapters into this book, Moran invites me to stand up on a chair and shout "I AM A FEMINIST!" over and over. Much of the book is concerned with feminism, what it is, how it's doing and, well, how to get by "patriarchal bullshit"!
First things first: this book is completely and utterly mental. It's not for the faint hearted. The first chapter deals with early teenage madness: periods, masturbation (lots of masturbation, good lord), feeling fat and, er, having stones thrown at you. The book's chapters have a pattern: anecdote from Moran's life followed by rants and a few little life lessons on, well, how to be a woman. It goes from Caitlin at 13, flying through bras, boys , jobs and lapdancing. We learn about her long haired, horrible boyfriends, her failed attempts at clothes, how she feels about role models (Jordan...well, let's just say that I wouldn't recommend she read chapter 14.) as well as covering serious stuff like love, childrearing and abortion.
The book took my breath away in parts - I found myself giggling nervously over the undeniable TRUTH of some parts, feeling slightly ill at the thoughts of other parts and, more often than not, nodding in agreement, akin to scrolling through a "shit girls do" Twitter account.Granted, from "I get married!" on, I found myself nodding with agreement less - particularly with the abortion chapter, which is really not for the faint-hearted. I, for one, had to scan read it very very quickly for fear of throwing up or bursting into tears.
This emotional roller coaster of writing just proves that it's fantastically written. It's hilarious, thought-provoking and even the motherhood bits are made interesting. I'm definitely going to be recommending this far and wide, particularly to guys - just to see how they react!
4/5 :)