My literary career began in Neo-Victorian
fiction and
drama. I am the author of the acclaimed novel Wynfield’s
Kingdom that appeared on the cover of the First Edition
Magazine in theUK
and the sequel Wynfield’s War. The
two novels were adapted for stage as historical
tragicomedies, Hugo in London and Lady with a Lamp
respectively.
Last year I decided to temporarily leave the slums of 19th
century London behind and relocate to the heart of early
20th century Dublin, the hearth of nationalistic activity,
where every week a new alpha-rebel usurps the power.
That is precisely the setting for my iconoclastic novel,
Martyrs& Traitors: a Tale of 1916.
drama. I am the author of the acclaimed novel Wynfield’s
Kingdom that appeared on the cover of the First Edition
Magazine in the
two novels were adapted for stage as historical
tragicomedies, Hugo in London and Lady with a Lamp
respectively.
Last year I decided to temporarily leave the slums of 19th
century London behind and relocate to the heart of early
20th century Dublin, the hearth of nationalistic activity,
where every week a new alpha-rebel usurps the power.
That is precisely the setting for my iconoclastic novel,
Martyrs& Traitors: a Tale of 1916.
Introduced
to the concept of cultural activism at an early
age by my father, a prominent
operatic coach and language
revivalist, I always found it fascinating how various ethnic
groups have addressed the concept of national identity,
especially when it was in peril.
revivalist, I always found it fascinating how various ethnic
groups have addressed the concept of national identity,
especially when it was in peril.
While
examining any nationalistic movement, it is vital to
remember that some individuals perceive their facial
features and their language as mere technicalities, while
other – as definitive elements of their personhood. Some
can effortlessly divorce themselves from their roots, move
to another country and marry someone from another ethnic
group, while others would find such acts blasphemous.
Some are willing to fight not only their perceived enemies
but even those comrades who show insufficient zeal,
branding them cowards and traitors. At one point does love
for one’s heritage become unwholesome and destructive? I
don’t attempt to answer that question.
remember that some individuals perceive their facial
features and their language as mere technicalities, while
other – as definitive elements of their personhood. Some
can effortlessly divorce themselves from their roots, move
to another country and marry someone from another ethnic
group, while others would find such acts blasphemous.
Some are willing to fight not only their perceived enemies
but even those comrades who show insufficient zeal,
branding them cowards and traitors. At one point does love
for one’s heritage become unwholesome and destructive? I
don’t attempt to answer that question.
One
of my goals in writing Martyrs was to
challenge the
innerving stereotype of Irish rebel as being a financially
disadvantaged Catholic and fond of drink. The protagonist
is the complete opposite – a middle-class Quaker of Anglo-
Scottish origin and a vehement abstainer. I find that the
Protestant angle is largely underrepresented.
innerving stereotype of Irish rebel as being a financially
disadvantaged Catholic and fond of drink. The protagonist
is the complete opposite – a middle-class Quaker of Anglo-
Scottish origin and a vehement abstainer. I find that the
Protestant angle is largely underrepresented.
My
choice of focal character has been questioned on
several occasions. I have been asked: “Why did you choose
Bulmer Hobson for your protagonist? That’s not a name
you hear frequently.” And my answer is: “Because Michael
Collins has been done to death, and I have nothing more to
say about him.” To me historical fiction is not about brand
recognition. I am not interested in capitalizing on the star
power of canonic figure. With the risk of sounding
arrogant and elitist, I do not read bestsellers, nor do I
watch blockbusters. My lifelong quest is to dig up lost
treasures, literary and historical, and bring into light those
figures that have remained in the shadow for whatever
reason. Currently, Bulmer Hobson is not a star in the
popular epos of Irish nationalism, but he certainly was a
star in his day – a star that was abruptly extinguished. The
story of a man so precocious and egotistical in his politics
yet so naïve in matters of the heart fascinated and moved
me, and I hope it moves my readers. This novel is my
hymn for all prematurely extinguished stars.
several occasions. I have been asked: “Why did you choose
Bulmer Hobson for your protagonist? That’s not a name
you hear frequently.” And my answer is: “Because Michael
Collins has been done to death, and I have nothing more to
say about him.” To me historical fiction is not about brand
recognition. I am not interested in capitalizing on the star
power of canonic figure. With the risk of sounding
arrogant and elitist, I do not read bestsellers, nor do I
watch blockbusters. My lifelong quest is to dig up lost
treasures, literary and historical, and bring into light those
figures that have remained in the shadow for whatever
reason. Currently, Bulmer Hobson is not a star in the
popular epos of Irish nationalism, but he certainly was a
star in his day – a star that was abruptly extinguished. The
story of a man so precocious and egotistical in his politics
yet so naïve in matters of the heart fascinated and moved
me, and I hope it moves my readers. This novel is my
hymn for all prematurely extinguished stars.
M.J. Tis the Irish in me that beckons to hear more of your stories, though no one must be of Irish decent to thouroughly enjoy your tales.
ReplyDeleteAs long as you keep writing, I'll keep reading your exceptionally crafted stories.
I love M.J.'s books and I love her personality even more.
ReplyDeleteThere are few topics of conversation to which M. J. Neary could not contribute. She is brilliant! No surprise her books reflect her way with words.
ReplyDelete