Peace Comes Over Me

On December 31, 2009, in Short Stories, by Wilfried F. Voss

Even though this is an excerpt from my novel, this short story is complete in itself. The scene is a pub near the town Cahersiveen in Ireland, and the story leads to the lyrics of The Boys of Barr Na Sraide as written by the Irish poet and playwright Sigerson Clifford.

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by Wilfried F. Voss

Andy had finished his shower, shaved, and put on some good cologne. His hair was still damp when he went down the stairs toward the pub. It was already decently filled, and a session was in progress at the table in the far corner.

He noticed two fiddles, a guitar, an accordion, an Uilleann pipe, and a bodhrán. They had just finished “The Bell Harbour,” and, without a noticeable break, continued with “The Ivy Leaf.”

Also sitting with them was his father with a full glass of beer in his hand. When he saw his son, he gestured at him to take a chair beside him. He nodded to the musicians, and both Ryan McCarthy and his son Andrew patiently waited for the song to end.

It was a rare occasion that the publican would join a session, and as soon as they had finished the last song, the players held on to their instruments and looked at Ryan in anticipation. Even beyond Cahersiveen and the county of Kerry, he was famous for his clear and strong voice. Whatever his performance would be that night, the musicians were prepared to follow his lead.

Ryan McCarthy waited a few moments until he was sure he had the undivided attention of the expecting crowd in front of him.

“Tonight,” he finally said, “I will take the opportunity, and sing a song in remembrance of all those who fought for the freedom of this proud nation, and, most certainly, there is no song better suited than ‘The Boys of Barr Na Sráide.’ ”

A murmur of excitement filled the room, and the musicians laid down their instruments. This next song would be performed a capella.

Ryan’s eyes scanned through the room. “I see, we have a good number of tourists from America here tonight, and, so you can enjoy the song to its full extent, I will explain a few things.”

He took a sip from his beer and continued.

“The song I am about to sing is based on a poem by Sigerson Clifford, who was born here in Cahersiveen, and it tells the story of the boys of Barr Na Sráide – Top Street – who hunted for the wren.

“You see, on the 26th day of December, we celebrate the first Christian martyr, Saint Stephen. However, the tradition of St. Stephen’s Day long predates Christian rituals. It is also known as Lá an Dreoilín, the day of the wren.

“Birds like the wren have a long tradition in Irish mythology. Druids used their flight patterns as auguries. Mysteriously, the wren also had a reputation for treachery, and it is blamed for betraying St. Stephen.

“This explains why the wren was hunted on St. Stephen’s Day and nailed to a pole. There it would serve to head what we call the Mummers Parade. People dress in strange clothing. They wear masks or straw suits and march accompanied by musicians. In some areas of Ireland, they call them the Mummers, and in others they call them the Wrenboys.”

He glanced around the room, making certain he still had everybody’s attention.

“Be assured, these days the wren survives. It is only used in rhymes and the name of the day.”

He paused briefly to take another sip.

“Through the lyrics of the song,” he continued, “Sigerson Clifford not only captures the essence of our town, Cahersiveen, as it climbs the mountains and looks upon the sea.

“He also remembers his boyhood friends, when they were children, and when they grew up to fight for the freedom of our country, to fight the Black and Tans, and up to the civil war.

“As all of us know, the Irish problem went on beyond the civil war, and it ended just a few years ago, but that does not mean that this song lost its meaning.”

He pointed into the room. “I know in America you observe Memorial Day to remember your freedom fighters, your soldiers, and it is a good tradition to remember those who died for the freedom of others.”

A confirming murmur filled the room.

“It may not be a popular view,” he said after silence was restored again, “and some of you will not agree with what I have to say, but tonight I take the liberty to salute all of our freedom fighters, including those of the Irish Republican Army, who fought a good fight, who finished their course, and who have kept the faith.

“Despite their negative image in the world, the folks who fought with the Irish Republican Army were mostly ordinary people. They were no different in their ways than those people assembled by George Washington as he went to fight the British Empire.

“They were not fanatics and not terrorists, only honest people with all their shortcomings who continued to fight for the freedom of our countrymen in the Northern provinces of this island, our Ireland.

“Without their efforts, our Catholic brothers and sisters would not be able to enjoy the freedom they have today.”

He lifted his glass toward his audience that listened to him with fascination.

“So, I am left to sing their deeds and to praise them while I can, those boys of Barr na Sráide, who hunted for the wren.”

The room was still, not a word was spoken, and all eyes were on the man sitting in his chair as he put his glass to the floor. They watched as he closed his eyes, as he summoned his thoughts, and straightened his posture. Then, with a strong and clear voice, he began singing, and he sang of the boys of Barr na Sráide, who hunted for the wren.

The boys of Barr na Sráide
by Sigorson Clifford

O the town it climbs the mountain and looks upon the sea
And sleeping time or waking time ’tis there I long to be
To walk again that kindly street, the place I grew a man
With the boys of Barr na Sráide who hunted for the wren

With cudgels stout we roamed about to hunt for the dreoilín.
We searched for birds in every furze from Letter to Dooneen
We sang for joy beneath the sky; life held no print or plan
And we boys in Barr na Sráide went hunting for the wren

And when the hills were bleeding and the rifles were aflame
To the rebel homes of Kerry those Saxon strangers came
But the men who dared the Auxies and who fought the Black and Tans
Were the boys in Barr na Sráide who hunted for the wren

So here’s a toast to them tonight, those lads who laughed with me
By the groves of Carhan River or the slopes of Beenatee
John Dawley and Batt Andy and the Sheehans Con and Dan
And the boys of Barr na Sráide who hunted for the wren

But now they toil on foreign soil where they have gone their way
Deep in the heart of London town or over in Broadway
And I am left to sing their deeds and to praise them while I can
Those boys of Barr na Sráide who hunted for the wren

And when the wheel of life runs down and when peace comes over me
O lay me down in that old town between the hills and sea
I’ll take my sleep in those green fields the place my life began
Where the boys of Barr na Sráide went hunting for the wren

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The Place I Grew A Man

On December 31, 2009, in Short Stories, by Wilfried F. Voss

Even though this is an excerpt from my novel, this short story is complete in itself. The story describes a scene in an Irish pub in a Boston neighborhood where a young man with an Uilleann pipe plays a session of three songs. These songs remind the main character of The Bleeding Hills, Finnean Whelan, of his upbringing in Ireland, and my story describes three stages of his life.

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by Wilfried F. Voss

The band had left the small stage in a hurry, not waiting for the applause to subside, tiptoeing through the jungle of cables, microphones, speakers, and instruments, rushing over to the bar at the far end of the pub, yearning for a beer during their well-deserved break. Then, unexpectedly, all remaining lights went out, leaving the room in utter darkness for a fleeting moment until a single beam of light emerged from the ceiling, focusing on the young man they had left behind. He sat in an antique, wooden chair in the center of the stage with his eyes closed and his head down as if meditating. His arms covered his instrument, the Uilleann pipe.

His long, brown hair was neatly parted and bound into a ponytail. The bright Red Sox T-shirt, a tribute to a local passion, was in piercing contrast to his otherwise plain clothing, the dark brown corduroy trousers and black shoes. The small set of bellows was wrapped between his waist and right arm. The three drones – tenor, baritone, and bass – lay across his right thigh. The presence of another set of three regulators, as any expert would notice, revealed the musician’s impressive talent.

Oblivious of his surroundings, the young man did not move, did not attempt to play or even respond to the presence of his audience. After a few calls from several tables, addressed to those in the audience still engaged in whispers and giggles, the room grew quiet and, slowly, the young man came to life, opened his eyes, straightened his posture, and used his right elbow to begin moving the bellows, pumping air into the pipe bag.

Finn had read about the young musician’s exceptional talent and, sitting in a dark corner alone with his drink, unnoticed by most of the patrons, had been waiting expectantly in anticipation of a performance that involved his favorite musical instrument with its sweet tone and the wide range of notes.

The first song was simple and light, yet enchanting, over the constant background of the drones accompanying the tune of the chanter, as is characteristic of the national bagpipe of Ireland.

Finn relaxed, closed his eyes, and let his mind wander, preparing himself for a journey back into time, to a place he had not seen in nearly three decades. Shortly thereafter he saw himself, a boy of fourteen, sitting on the top of a grassy knoll on a bright and warm Sunday morning, the wind swirling his hair, looking down on the Whelan farm in the far distance, so far away that all the sheep appeared like little white dots on a large, colorful painting. The dark blue ocean was quiet, and from where he was sitting, he could even see the beautiful beaches of Inch.

Sunday was his only day off from farm work, and he would spend his time reading, sitting on a rock, or lying in the grass until the daylight faded. Being aware that he might spend hours without food, Mother Whelan would not let him leave without a basket full of homemade brown bread, butter, and milk.

As on every Sunday morning he had been to church, and after Mass, he would spend an hour or two in the priest’s library, where he was offered tea while reading newspapers with passionate intensity, keenly absorbing every little detail. At times the study was supplemented by lessons on Irish history or the current status of the Irish Republic in cases where the young man lacked the background information on the topic about which he was reading.

When he had finished his readings, he had a choice of one book from the library’s extensive selection, which was to be returned the following Sunday. These were usually works by Jonathan Swift, James Joyce, Oscar Wilde, William Butler Yeats, or, on occasion, even English literature such as Winston Churchill’s “The River War.”

“You need to know the enemy’s thinking,” Father Connelly, a stern Republican, assured him on more than one occasion. “The enemy’s greatest mistake is their view – based on downright ignorance, I might say – that the Republican movement is nonexistent.”

Father Connelly was famous for his colorful Sunday night speeches at the local pub where an exclusive group of local farmers, Brendan Whelan being one of them, gathered in the back room to discuss the Irish situation, especially that of Northern Ireland.

The general sense of the discussions was that the violence in Northern Ireland was committed against Republicans, and not, as it should be, by Republicans.

“The Republican movement has no real policies,” Father Connelly once announced during one of his speeches. “We are talking a great deal about fighting for the freedom of Ireland, but we do not succeed. What will it take, what disaster must happen? How many lives will it take before we officially prove our position?”

Finn was only an innocent bystander in those discussions, torn between listening to the heated arguments and the Sunday night sessions at the pub in front. He remembered one night where the party went to a nearby barn, where they inspected a new shipment of Thompson submachine guns, stored in their wooden boxes, oiled and ready for use.

It was the first time in his young life that he had seen such weapons, and at the time he was unable to grasp their use. Ironically, only a few years later he would be an expert with any weaponry, including the legendary AK-47, and there would be no doubt about his understanding of their use and the reasons behind it.

His thoughts were quickly drawn in a different direction as the music turned to another piece in a faster tempo as the musician’s fingers went flying rapidly over the chanter, producing an occasional staccato by working the chanter’s bottom hole with his knee. He was now accompanied by another band member sitting on a white plastic chair to his left, a glass of Guinness positioned on the floor in front of him, lifting the music with his bodhrán, the traditional Irish drum, and creating surprisingly intricate rhythms.

Finn let his mind flow wherever it wanted to take him and after only a few seconds he was a young man of seventeen entering Durty McCarthy’s, a pub near the town of Cahersiveen in the county of Kerry, only a few miles away from the house where his mother had lived. It was late afternoon on a Friday. The pub was packed and filled with smoke, and a session was about to start.

Durty McCarthy’s provided him with reasonable accommodations after a long day’s journey from home. He had learned of his true heritage only a few days before, and he needed to reflect as well as learn more. The events of the preceding days had profoundly changed his life, and little did he know that it was only the beginning. Before that day his life held no print or plan, but that was about to change.

He distinctly remembered the first time he noticed the publican’s daughter Shauna staring at him. She was a beautiful girl with brown hair and green eyes, dressed in a kitchen apron, wearing rubber gloves and rubber boots. Even then, just like it had so many years earlier, his heart raced. The love he felt for Shauna began right then and it had never died.

He remembered her face as a mixture of surprise and immense joy when he asked her to marry him and follow him to live in the Northern provinces, where he would use his skills to fight for the Irish cause. Only a few months later they were married in the large garden behind the McCarthy’s house in the same niche that was now the place of her grave.

Suddenly the musicians turned to a piece of greater complexity and darkness, emphasized by an enigmatic beating of the bodhrán, requiring the highest level of skill and concentration. The young man playing the Uilleann pipe had closed his eyes. His body moved in the rhythm of the music, and his wrists frantically worked the drones and regulators.

Finn began to have visions of bloody bodies leaving bloody traces on the ground as they were drawn away from the view of the shooters, screaming all around him, left and right, from the injured as well as those who tried to help them. He saw people carrying the dead body of a young boy, a priest walking in front of them, waving a white, bloodstained handkerchief at the soldiers with the red berets who, without mercy, kept shooting at them.

Finn squinted his eyes and struggled to fight off the negative images. This was neither the time nor the place for such dark memories. His attempt was defeated by similar images full of screaming and yelling and the deafening sound of continuous shooting. He saw Shauna’s bloody body on the floor. He could not handle the expression of disbelief on her beautiful face while he was struck with shock, trying to find a way to get her out of harm’s way. Still, after all these years, he could clearly feel the intense pain of leaving her and being dragged away from her unconscious body.

He was surprised by the energy it took to fight off the images and force his mind to turn to more pleasant memories.

He finally found himself amid a cold autumn thunderstorm, rolling thunder and lightning in the distance, riding on the pony he had taken from his foster father’s stable in the early morning. There was no money to afford a saddle or reins. He would merely rely on his physical strength and skill. He knew Brendan Whelan would be angry with him, but he also knew the man’s great heart. He would understand and forgive him.

Horse and rider went striding down the hill, eventually reaching the beaches of Inch, where he steered the horse into the shallow waters. He kicked his bare feet into the horse’s flanks and together they went flying over the water. He felt the freezing rain hitting his face and his clothes turning soaking wet, but he didn’t care. He enjoyed the flight through the darkness, the lightning, and the noise.

He clung closer to the horse’s neck, desperately holding on to the mane with both hands.

“C’mon, laddy,” he yelled into the pony’s ear. “You can go faster than that!”

He could feel the animal’s body stretch under him, lengthening the strides.

“Yee-haw!” he screeched, stretching out his left arm with a closed fist high into the dark skies. His exaltation grew with every stride.

He had hoped to make it to the other side of the bay, but suddenly he felt his body slip, and his heart started racing. Trying to slow the horse, he adjusted his body into an upright position, and while he tried to use both hands to pull on the mane, he was caught in a massive gust. His upper body pushed off the horse, his feet high in the air, both arms stretched wide, he tumbled through the air, and after a less than perfect somersault, landed flat on his back, slumping into the cold and salty water.

There he lay for a few moments, stunned, trying to comprehend what had just happened, and then he burst out into thunderous, unrestrained laughter. He stood up slowly, stiff, pushing one arm into his back, water mixed with sand running from his hair and clothes, and then he limped toward the horse patiently waiting in the distance.

The music ended with the sole voice of the bass drone, gently and gradually subsiding into silence, followed by a thunder of applause. Finn slowly opened his eyes, a smile of satisfaction grew on his face, and in his mind he thanked the young man for bringing back memories of the one true love, Ireland.

He knew he would be back soon. There had been rumors, whispers, and signals that he could not ignore. He did not know when, but it would be soon. He did not know how, but he was willing to comply and finish his course.

———————————–

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Cemetery Polka

On December 31, 2009, in Short Stories, by Wilfried F. Voss

The idea for “Cemetery Polka” came after I wrote an article on the importance of a good title for an article or even a book. “Cemetery Polka” is actually a song by Tom Waits, and I used the title as an inspiration to write a short story.

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by Wilfried F. Voss

The 18 feet long 1972 Winnebago Brave motor home came to a screeching hold at the traffic light on Flatbush Avenue. Pawel Jarecki set the directional light for a right turn into Kings Highway and, while waiting for the light to turn green, he nervously checked the engine’s cooling water temperature gauge. He had spent the entire weekend to get the engine fit for today’s trip, but had been unable to stop the leak in the radiator. Replacing the radiator was simply out of the question. That would eat up more than half of his monthly social security check.

A man’s gotta eat, he thought, wiping off the sweat from his forehead.

Instead he relied on a battery of twenty gallon-sized plastic milk containers neatly stored in the back of the Winnebago, all thoroughly cleaned and filled with a mixture of engine coolant and water. He had hoped for some colder weather, but it seemed that nature was not on his side. After all, it was November 1st, All-Saints Day, which should be a guarantee for uncomfortable temperatures mixed with rain, but the sun had been shining all day, and it felt like springtime.

An angry driver behind him honked the horn, pulling him out of his thoughts. Pawel noticed the green light and slowly, much to the distress of the cars behind him, made the right turn.

He waved into the rear view mirror. “I am freaking seventy-eight years old,” he murmured to himself. “You guys just gotta suck it up.”

It was another two miles to their meeting point, the bus stop adjacent to the Casa Kielbasa. Everybody in town, especially those of Polish descent, knew “the Casa” as they called it. Good Polish food and excellent service. Lousy beer, though. Pawel didn’t care for American light beer in bottles.

Much to the relief of a growing number of drivers, he pulled the Winnebago over to the right into the bus stop where a large group of people seemed to be waiting for the next pick up. He stopped and looked around until he saw his old friend Josef Dabrowski waving, picking up his duffel bag and making his way toward the motor home.

“Hey there, Pawel,” Josef called out to him as he opened the passenger side door. He threw the duffel bag onto the bench in the kitchen area and then, very carefully, laid his leather clarinet case next to it.

“Where are Klaudia and Jakub?” Pawel asked him, concerned that something unforeseen might have happened.

“Oh, they’re at the grocery store down the road to get some sandwiches and soda.”

Pawel grunted. He didn’t like any unannounced changes.

We’re doing this for six years now, he thought angrily. We’re doing this every freaking All-Saints Day, and, by God, they had enough time to think about food and drinks.

But he didn’t say anything. Instead he pulled into the road, cutting off a white BMW. He looked into the rear view mirror to check for an extended middle finger, and he grinned. Sure enough, there it was.

Another mile down the road he pulled into the large parking lot of the local supermarket. They looked for their friends, Klaudia Malinowska and Jakub Chmielik, but couldn’t make them out and they decided to wait.

Pawel popped the motor hood and stepped out of the Winnebago, carrying a gallon of coolant water under his arm. He used some old boxer shorts, stained with oil and grease, to cover the radiator cap, and slowly started to turn it, careful not to get burned by the hot steam emerging from the top of the radiator.

“Do we have a problem?” he heard a voice behind him, and when he turned around he saw Klaudia watching him.

“No,” he told her. “She’s just getting old, just like us. And she needs some special care, just like us. And she needs a lot to drink…”

“Just like us,” Klaudia finished his sentence, laughing.

She held up a couple of plastic bags. “I got us some coolant, too,” she grinned. “Mainly coke and sprite.”

She winked, “And there’s some special for later in the night.”

“We’re all set then,” Pawel said, pouring the coolant into the radiator. He put the lid back on and used the rag to clean off the water he had spilled on the radiator and the rest of the engine. Then he followed Klaudia and Jakub, who were still busy storing their luggage and their instruments, an accordion and a saxophone.

“All aboard,” he yelled and looked in the mirror to check his passengers, who took their seats at the small kitchen table, ready to play some cards.

Pawel finally relaxed. They were on their way now. He had his ham and cheese sandwich and a cold soda. Who could ask for more?

They had another twenty miles to go, and it took another two refills of coolant before they arrived at Saint Stanislaus Cemetery. The sun had already begun to set. They left the Winnebago in the front parking lot and carried only their instruments and some plastic bags containing a few essentials for tonight’s event. Driving into the cemetery didn’t make sense. They would spend the night in the Winnebago, and they would not take any chances by driving home during dark, not to mention the inevitable consumption of good Polish vodka.

“Where exactly is Szymon’s grave?” Pawel asked, confused. Szymon Babka had died just a few months after their last visit, and on the day of the funeral Pawel had been in the hospital after a mild heart attack.

“You should know,” Klaudia looked at him disapprovingly. “He’s buried with his wife.”

Pawel felt foolish. Of course, he had seen Szymon’s wife’s grave every year during the past six years. Actually, seven years, he thought.

They all had met, just by chance, on All-Saints Day seven years ago. They all had tucked their small red lanterns in front of the gravestones, and lit a tea light inside, all this to honor their dead spouses. Over a cup of coffee in the nearby family restaurant they had agreed to meet again each year. Everything fell into place that afternoon. Szymon pitched the idea, and Pawel offered to use his Winnebago, and, as they say, the rest is history.

Ironically, it was also Szymon, just months before his demise, who came up with the idea of playing polka music.

“I don’t know about you guys,” he explained the idea, “but when I become one of the permanent residents here, I wouldn’t want to look at the long faces every time you come by.”

He grinned, “What do they say? Don’t mourn a death. Celebrate a life. I, for my part, would like some good polka music during my funeral.”

In the end he didn’t get his wish fulfilled. A funeral is for the living, and most of them were appalled by the thought of happy music during a funeral.

With Szymon now dead, this year was different than the previous ones. The old friends proceeded to his grave first, planted the lantern, lit the light, and said a prayer. Then they all went their own ways to visit their respective spouses, place the lantern, light the tea light, talk to the spouse, say a prayer, and wipe their eyes.

They assembled again, one by one emerging from the dark, at the small gazebo surrounded by the lawn in the center of the cemetery. Pawel had brought his camping gas lantern, which he put on the floor in the center of the gazebo. Not a word was spoken, and Klaudia produced the bottle of vodka and passed out shot glasses to everybody. Then she filled the glasses one by one, and when finished, they all saluted and gulped down the liquor.

Pawel set down on the bench, watching the others unpacking their instruments, Josef his clarinet, Jakub his saxophone, and Klaudia strapped on her accordion. Pawel had never had the chance to learn an instrument, but that didn’t bother him in the least. After all, he could sing, maybe not good, but definitely loud, and that was just good enough.

———————————–

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Sunday Bloody Sunday – Beyond U2

On December 23, 2009, in It's all about music..., Political Comments, The Bleeding Hills, by Wilfried F. Voss

January 30th marks an anniversary in recent Irish history that most people living outside of Ireland and the Northern Provinces recognize only through a famous U2 song, Sunday Bloody Sunday. Unfortunately, the song is still misinterpreted as a “rebel song.” Nothing could be further from the truth. The band was aware of the controversial nature of Sunday Bloody Sunday, that its lyrics might be misinterpreted as sectarian, and possibly jeopardize their personal lives.

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I can’t close my eyes and make it go away.
- U2, Sunday Bloody Sunday

The Bleeding Hills - A Novel by Wilfried F. Voss

January 30th marks an anniversary in recent Irish history that most people living outside of Ireland and the Northern Provinces recognize only through a famous U2 song, Sunday Bloody Sunday. Unfortunately, the song is still misinterpreted as a “rebel song.” Nothing could be further from the truth. The band was aware of the controversial nature of Sunday Bloody Sunday, that its lyrics might be misinterpreted as sectarian, and possibly jeopardize their personal lives. Some of The Edge’s original lyrics explicitly spoke out against violent rebels, but were omitted in order to protect the group. The result is a song with virtually null relevance – other than its title – to the events of Bloody Sunday, and, in all consequence, U2 should have taken the efforts to find a different title for an otherwise extraordinary anti-violence song.

What happened in Londonderry on January 30th, 1972 went far beyond violence, and the song does not recognize the real issue at hand, the oppression of the Catholic minority living in Northern Ireland. Carmen de Monteflores once said, “Oppression can only survive through silence,” and while I applaud U2‘s campaign for anti-violence in Northern Ireland, I fail to see how the oppression would have ended without the war that followed after Bloody Sunday. On that day, members of the 1st Battalion of the British Parachute Regiment shot twenty-six demonstrators. Thirteen people, six of whom were just seventeen years old, died at the scene, with five of those wounded shot in the back. To this day there is no evidence that any of the demonstrators were armed.

Northern Ireland, during 1950s, 1960s 1970s, and beyond, was a place at odds with the rest of the civilized Western world. The pride of defeating Nazi Germany was still remarkably alive in the United Kingdom and fighting Communism had become the prime directive. However, in contrast to the self-proclaimed image of defender of the free world, their halo paled as they turned a blind eye on the oppression of the Catholic population in Northern Ireland. Northern Ireland was a place where the treatment of the Catholic minority came with the foul stench of Kristallnacht, the night when the Nazis coordinated an attack on the Jewish community in Germany as part of Hitler’s anti-Semitic policy. Most certainly, in the history of mankind there has been no greater crime against humanity than the Holocaust, but the question is, has Kristallnacht ended with the defeat of Nazi Germany? Did the world get a false sense of security?

The British occupation of the Irish island began as early as the late twelfth century, and attempts to annihilate the Irish identity fill the history of English rule. Some of these attempts carry a striking resemblance to Hitler’s henchmen trying to eliminate the Jewish population in Germany, although not quite as methodical. History is also filled with constant acts of Irish resistance, and no ruling king or parliament was ever able to solve the problem. The saying is that the nineteenth century Prime Minister William Edward Gladstone tried to deal with the Irish question, but never found the answer as the Irish continued to change the question.

December 1921 saw the signing of the Articles of Agreement for a Treaty between Great Britain and Ireland, which established a free Irish republic with jurisdiction over twenty-six of the thirty-two counties. It also created the separate province of Northern Ireland that remained under British rule. It consists of the six northeastern counties of the predominantly Protestant Ulster region.

The terms, as negotiated by the founder of the IRA, Michael Collins, did not find the approval of the entire Irish population and, even though the Republic of Ireland was officially established, the battle for Irish reunification began. The importance of the IRA, though, endured a slow, but steady decline until the late 1960s, which saw increased confrontations between the Civil Rights movement in Northern Ireland and British officials, especially the Royal Ulster Constabulary (RUC).

The Civil Rights movement’s demand was, just to name one particular issue, for equal voting rights. The current system allowed only house owners to vote in local elections, and they were predominantly Protestants supporting British rule in Northern Ireland. The Protestant majority defended their superiority by engaging their own militias against Catholics, and they were actively supported by the predominantly Protestant RUC.

By the summer of 1969, these disputes reached the dimensions of an outright Civil War, and in August of 1969 the British government deployed troops to Northern Ireland with the intent to restore public order. “Operation Banner” ended at midnight on July 31, 2007, thirty-eight years later, instead of the planned “few months,” and it represents the longest deployment in the history of the British Army. The death toll included more than 3500 civilians and 763 soldiers.

In 2008, General Michael Jackson, the British Army Chief, called Operation Banner a successful combat. Nothing could be further from the truth. The English army became part of the problem very quickly, and they turned out to be another player in the conflict, not a referee.

Initially, the Catholic population welcomed the presence of the army in the hope they would serve as a neutral force and protect them against the RUC and Loyalist forces. However, their hopes were shattered in July 1970 during a British operation called “Falls Curfew,” which resulted in three days of rioting and battles between the British Army and Irish Republican paramilitaries. In the final tally, five people were killed, and three hundred were arrested.

The streets of Londonderry endured a long line of events filled with violence and the rage among the Catholic population turned not only into increased support for the IRA. They expressed their anger in a series of protest marches. One of these marches took place in Londonderry on January 30, 1972. That day was seared into the memories of the Irish people as Bloody Sunday.

The Civil Rights Organization of Northern Ireland had contacted the RUC’s Chief Superintendent, Frank Lagan, to inform him of their intention to hold a non-violent demonstration and to protest against internment without charge or trial. The internment, officially named “Operation Demetrius,” allowed the RUC and the British Army to detain suspects without justification. Lagan, in turn, notified the British Army and requested they keep away any military interference, a wise recommendation and, if followed, could have prevented the bloody events. The army, however, turned down before, was eager to prove that their well-rehearsed plan would put an end to the riots in Northern Ireland.

Just a week before Bloody Sunday, at an anti-internment march held at Magilligan Strand, British soldiers beat a number of protesters with such an intensity that their own officers had to physically restrain them. An attack on the patrol car of two RUC officers resulted in their deaths the Thursday before Bloody Sunday at Creggan Road. Nevertheless, the organizers of the Sunday march, the Northern Ireland Civil Rights Association, had called for a peaceful march. They tried everything to prevent a repeat of the events at Magilligan Strand.

The march started almost an hour late from Central Drive in the Creggan Estate and proceeded toward the Bogside area of Derry. The official report, produced only a few weeks later by the Widgery tribunal, tried to downplay the magnitude of the march and gave an estimated number of somewhere between 3,000 and 5,000, while organizers claimed a number as high as 20,000. The correct figure was likely somewhere in between.

The organizers had intended to direct the march toward the town’s guildhall and hold a meeting there, but British military units had erected a number of barriers at strategic spots to seal the demonstration in the Bogside area away from the guildhall. They had also positioned a large number of snipers at strategic points around the perimeter of the Bogside area.

The barriers, the snipers, the stone throwing that followed, and the verbal abuse – all this was as familiar territory for the demonstrators as it was for the soldiers, who were very well protected in their anti-riot gear. The marchers did not suspect that the army’s reaction would be somewhere out of the ordinary. Maybe they would see some rubber bullets fired at them, maybe some gas, and then they would proceed to their meeting with the feeling they had fought well for their cause.

The exact details of the British Army’s reasoning for their attack are still, more than 30 years after the fact, under investigation. The fact is that the British Army engaged into a massive combat operation. Armored cars raced through the streets at a speed of forty miles per hour, thrashing through a horrified crowd. This was not a spontaneous response to a violent provocation, this was a well-rehearsed military operation. The soldiers that jumped out of the armored cars were paratroopers not wearing the usual anti-riot gear. Instead, they were wearing full combat gear. They took their strategic positions quickly and precisely and then they started shooting, using their fire-and-movement tactic as if they were fighting another army.

The only possible explanation for the army’s savage attack is that they believed they had effectively provoked an encounter with IRA forces. That was evidently not the case. Regardless of whether or not the attack was initiated on grounds of an erroneous interpretation of the circumstances or a more sinister plan, they were not able to recall their forces. Once a bloodhound smells blood, he is impossible to stop.

At the end of the riots, members of the 1st Battalion of the British Parachute Regiment had shot twenty-six civil rights protesters. Thirteen people, six of whom were just seventeen years old, died at the scene. Five of those wounded were shot in the back. After the shooting ended the army continued with collecting the dead and wounded, lining up demonstrators against walls, searching, and abusing them.

The Army Headquarters in Northern Ireland dealt with the following media inquiries particularly badly and defensively. The British Army Chief, Major General Robert Ford, just as useless as his fellow officers seeking to explain the firings, claimed his soldiers had only fired at IRA snipers and grenade-throwers, which turned out to be a blatant fabrication.

The question is, what was so different, so significant about Bloody Sunday? There had been rioting before, and people were killed. While that is true, the events of Bloody Sunday manifested a magnitude that was beyond anything that had happened before in Londonderry. Until Bloody Sunday, there was only a struggle for civil rights. There were riots, but the killing of people was a disturbing exception. After Bloody Sunday, it was outright war.

Chocolate Jesus

On December 17, 2009, in American Male Prostitute, Writing & Publishing, by Wilfried F. Voss

Just today I found an entry in the Online forum at AuthorNation.com (in my personal opinion the most civilized forum for writers). A fellow author complained about a book that apparently sells very well in the United States, but whose title he found somewhat annoying.

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Most people rust out due to lack of challenge.
– Unknown

American Male Prostitute - A Novel by Wilfried F. Voss

American Male Prostitute - A Novel by Wilfried F. Voss

It is safe to assume you came to read this entry due to its title, Chocolate Jesus. Some of you may find it intriguing, or provocative, or challenging, or bizarre, or… Whatever you call it, it got your attention, and that is my point.

Just today I found an entry in the Online forum at AuthorNation.com (in my personal opinion the most civilized forum for writers). A fellow author complained about a book that apparently sells very well in the United States, but whose title he found somewhat annoying.

The book in question is I Hope They Serve Beer In Hell by Tucker Max. Let me quote from the product description section at Amazon.com: “My name is Tucker Max, and I am an asshole. I get excessively drunk at inappropriate times, disregard social norms, indulge every whim, ignore the consequences of my actions, mock idiots and posers, sleep with more women than is safe or reasonable, and just generally act like a raging dickhead. But, I do contribute to humanity in one very important way: I share my adventures with the world.”

First, as we all have noticed, the title is catchy, and, in my very personal opinion, there is nothing wrong with that. I am reminded of Al Franken’s “Rush Limbaugh is a big fat liar.” I have to admit I haven’t read it, but the title sticks, and what I heard about the book, it is not about Rush Limbaugh.

Secondly, the author is very provocative and, as it appears, very successful. Whether we agree with his style or not is of no consequence. Tucker Max is not only a writer, good or not doesn’t matter, but he is definitely an outstanding marketer for his book.

I, for my part, have learned a good lesson on the importance of title design and how to get the attention of potential readers. That lesson, however, came after I started writing my newest novel American Male Prostitute. My intention was to be provocative but, unlike Tucker Max, my book has a real storyline.

And, by the way, Chocolate Jesus is a song by Tom Waits on his CD Mule Variations. I remember the day when I checked his large collection of CDs in a local music store. Just reading the titles of his songs was pure fun. The actual performances, however, did not appeal to me. There are some good ones, but mostly it is not my (very personal) taste. Nevertheless, since that time I can always point to Tom Waits’s music when it comes to recommend potential book titles.

Here are just a few more examples (Haven’t checked if they already exist as a book title, though):

  • Cemetery Polka
  • Tango Till They’re Sore
  • Lie To Me
  • Little Drop Of Poison
  • Fish In The Jailhouse
  • What Keeps Mankind Alive
  • The Piano Has Been Drinking (Not Me)
  • Pasties And A G-String (At The Two O’Clock Club)
  • Bad Liver And A Broken Heart
  • Better Off Without A Wife
  • Warm Beer And Cold Women
  • Drunk On The Moon
  • Just Another Sucker On The Vine
  • Is There Any Way Out Of This Dream?
  • You Can’t Unring A Bell
  • I Hope That I Don’t Fall In Love With You
  • Grapefruit Moon
  • Little Trip To Heaven

If I Only Had Time…

On December 9, 2009, in American Male Prostitute, by Wilfried F. Voss

I felt, I should be writing an update on my novel American Male Prostitute. I am still in Germany (see also my blog entry The Lonely Cold Hotel Room), and traveling here, plus the preparation, took all my attention away from writing. I am finally in the right mind set, and whenever I have time to write I make good progress, usually between 2,000 to 3,000 words per writing session.

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Time is that quality of nature which keeps events from happening all at once. Lately it doesn’t seem to be working.
- Anonymous

American Male Prostitute - A Novel by Wilfried F. Voss

American Male Prostitute - A Novel by Wilfried F. Voss

I felt, I should be writing an update on my novel American Male Prostitute. I am still in Germany (see also my blog entry The Lonely Cold Hotel Room), and traveling here, plus the preparation, took all my attention away from writing. I am finally in the right mind set, and whenever I have time to write I make good progress, usually between 2,000 to 3,000 words per writing session.

As a general rule-of-thumb, a good-sized novel should have at least 60,000 words, and the 60,000 word mark is my ultimate goal. In all consequence, I could write a novel in less than thirty days, if only I had the time. Add to this two months of fleshing-out, proof-reading, and editing, and, theoretically, I could publish four books a year…if only I had the time.

The current word count is a little over 16,000, and the first draft will be in the neighborhood of 40,000. Adding another 20,000 is not difficult. The scaffold is up, and filling the interior with more details is as intriguing as writing the first draft. It is always a thrill to watch the story line take turns that you hadn’t expected, even while you’re writing it.

That being said, I will now add a few more thousands of words.

The Lonely Cold Hotel Room

On December 9, 2009, in It's all about music..., Neurotica, by Wilfried F. Voss

Whenever I hear Lonestar’s song on the radio I can’t help but yell, “You gotta turn off that air-conditioning!”, very much to the dismay of my wife, who loves country music. Now, she can’t listen to the song without thinking about air conditioners, which is even worse.

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He called her on the road
From a lonely cold hotel room

– Lonestar, I’m Already There

Whenever I hear Lonestar’s song on the radio I can’t help but yell, “You gotta turn off that air-conditioning!”, very much to the dismay of my wife, who loves country music. Now, she can’t listen to the song without thinking about air conditioners, which is even worse.

My comment has also tagged me as hating Country & Western. The truth is, I love Country music when I hear it live, as I did so many times when I traveled in Texas, Ohio, and California. I just don’t care to listen to it on the radio.

As I am writing this, I am sitting in a warm, yet still lonely, hotel room in Hannover, Germany. I miss my wife and my son, who are waiting for my return to Greenfield, Massachusetts. Without them I don’t have the energy to go out and explore. I’m just sitting here and I have only two words for life on the road: Bor ring! (Hey, just copying a quote from Wings, still my all-time favorite sit-com)

Add Leonard Cohen’s Chelsea Hotel #2 to my current mood, and I am ready  to decide between suicide and getting drunk. Getting drunk usually wins. Don’t get wrong, I love Leonard Cohen, but you should only listen to him when you’re mentally stable or in a really good mood, and even then you should only take small portions.

So, now that my rant is finished, I feel much better, and I forgot what I wanted to write about originally. Maybe I will go out and have a glass or two of good German beer.

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Another “American Male Prostitute” from New York

On November 25, 2009, in American Male Prostitute, by Wilfried F. Voss

For truth is always strange; stranger than fiction.
- Lord Byron
Okay, things are getting a little weird. I am putting in a lot of work to promote my novels and, consequently, my web site, but I did not expect the e-mail inquiry I received today from Bruce in New York in regards to my new novel [...]

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For truth is always strange; stranger than fiction.
- Lord Byron

American Male Prostitute - A Novel by Wilfried F. Voss

American Male Prostitute - A Novel by Wilfried F. Voss

Okay, things are getting a little weird. I am putting in a lot of work to promote my novels and, consequently, my web site, but I did not expect the e-mail inquiry I received today from Bruce in New York in regards to my new novel American Male Prostitute.

It reads: “I am very big in this business… shall we say. And I’m very curious about the research you’ve done on your novel. (AMP). We should talk. Bruce”.

Okay, here I think this Bruce guy may be in the publishing business, and maybe he was provoked by my not-so-nice comments about the industry. I was nevertheless cautious and I wrote back:

“Hi Bruce, I am always open for discussion about my work, but before we do that you should identify yourself. Apparently, you know who I am…;-)”

The answer came quickly: “I have BEEN an “American Male Prostitute”… off and on…mostly on… my entire adult life… I have loads of experiences… and am still in “the business”, as we call it. I’d love to hear more about your novel… etc. Feel free to call me, if you’d like to.” He added his phone number (Note: The little “…”s were his, not mine).

Well… Okay… Dear Bruce, if you want to learn about my novel, please feel free to actually read this blog. The title of my novel is meant in an ironic way; it has nothing to do with prostitution in the common sense. The main character in American Male Prostitute uses, among other things, sex to promote his first novel. That’s all, and I’ll leave it at that.

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Literary Agents Are Snobby Bastards

On November 25, 2009, in American Male Prostitute, Writing & Publishing, by Wilfried F. Voss

As a business man I am appalled by the lack of business sense literary agents display to the public, especially when it comes to rejecting writers not because they’re not talented but due to primitive reason such as violation of the submission guidelines.

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The best defence against misguided arrogance is a keen sense of humor.
- Kathryn L. Nelson, Pemberley Manor, 2006

American Male Prostitute - A Novel by Wilfried F. Voss

American Male Prostitute - A Novel by Wilfried F. Voss

You think the title is a little strong? Well, maybe, but there is a truth behind it.

I am sure there are some good ones out there, but I stay with my statement when it comes to the majority of literary agents. As a business man I am appalled by the lack of business sense these people display to the public, especially when it comes to rejecting writers not because they’re not talented but due to primitive reason such as violation of the submission guidelines.

As a background information, I started writing technical literature in 2005 and I never even considered going through an application process; I jumped immediately into self-publishing and my business, Copperhill Media, is now officially a micro-publisher with distribution through Ingram. I have just published my first novel, The Bleeding Hills. I self-publish simply because I just don’t have the patience to look for the right agent and find the right publisher, a process that usually takes years before your work is published. The whole process is extremely ineffective and it does not fit with my sense for business.

I developed my case against literary agents after reading my most-favorite useless magazine, Writer’s Digest. Well, maybe not so useless, since the content convinced me that their preference for established publishing did not agree with me.

Okay, back to the agents… The September 2009 issue of Writer’s Digest includes an article Real Queries That Worked, sub-titled Agents share queries that hooked them – and insights on what made them effective. A remark for the novice: In order to find an agent - Writer’s Digest will gladly sell you a list – you need to submit not only your manuscript – or an excerpt thereof – but also a synopsis, which all makes sense. Through the query – in layman’s terms a cover letter – you need to convince the agent that your novel is the best thing since, let’s say, The Da Vinci Code. There are services - Writer’s Digest will gladly sell you a list – that will write you such a letter, and, naturally, they would like to be paid for it.

Wait a minute, you might say. Isn’t that like writing a cover letter that you include with your resume? The answer is, yes, the process is very similar. I know out of experience that many HR professionals, sitting in front of a pile of resumes submitted by hundreds of people applying for the same job, start their selection process by merely scanning over the cover letter. If they don’t like it, it’s out. After that they look at the remaining resumes and actually check for job qualification. Apparently, literary agents work very similar.

In all consequence, writing a professional looking author query is important, and it makes sense to hire a professional service to help increase your chances.

So, what’s wrong about this process? Okay, first of all, submitting a cover letter with your resume or submitting an author’s query with a manuscript are two very different things. An HR professional looks for one – the best – person to fill a particular job, and, naturally, competition is tough.

A literary agent may end up with the same number of queries on his/her desk, but in the end each of these applications could bring them the next John Grisham, Stephen King, or Dan Brown. Add to this that each query is submitted by a potential customer who, with the sale of the first book, shares his/her income with the agent. This being said, wouldn’t it make sense to read the query regardless of appearance or if it complies with submission guidelines?

As a business man I would concentrate on the synopsis and make the educated decision whether or not the submission has enough potential for another bestseller. I believe in looking at the actual result of the artist’s work.

The Writer’s Digest article mentions the example of an actual query praised by a real agent, saying “…I was hooked and knew I wanted to read…” the author’s work.

Let me quote from the letter: “I believe this book to be of broad public appeal in that it combines the scintillating fervor of scandal with the true-to-life detachment of history.” It goes on like this – in best lawyer’s English – and, honestly, if his work is written in the same style I personally wouldn’t want to read it – it doesn’t read like, let’s say, Dan Brown. It did, however, convince the agent, and, apparently it doesn’t matter if the letter reflects the writer’s style or not.

Well, maybe I still got it wrong and agents just prefer to receive a clear and precise synopsis, but will nevertheless have a look at the manuscript.

It also seems that agents are increasingly using “modern” technologies such as … e-mail! Some of them ask only for information without the actual manuscript. Many agents need to be convinced first that the writer can prove a writing experience, can provide a marketing plan, has won several prizes in writing contest, etc.

Personally, I have not won any prizes – didn’t even attend any contest – but, yes, I do have a precise marketing plan. With a good marketing plan in place, why go through an agent and publisher? If you need to provide the expertise, why not publish yourself? And, by the way, does my novel have anything to do with this process?

Let me add to my case by quoting some agents’ comments as listed in the September 2009 issue of Writer’s Digest:

- We prefer a (e-mail) query before you send us your ms (Manuscript)…Queries sent with attachments will be deleted unread.

- Only (written) queries with SASEs will receive responses. I generally respond to all queries within four weeks. I now accept e-mail submissions, please include my name in the subject line. (Meaning that person is new to Internet technologies and receives e-mail through another source.)

- Allow 60 days for a reply.

-  All submissions should be free of spelling and grammatical errors. (Duh!)

- Due to overwhelming number of submissions we cannot respond to all submissions, we cannot respond to all queries, but we do read them and will contact you if interested. (If not, they don’t bother to respond.)

-  If she’s interested in your work, she will respond within four weeks. Snail mail submissions will not be reviewed.

- If you haven’t heard from her within eight weeks, please assume she is passing on your project. (Now, that reflects an attitude I wouldn’t want to deal with as a writer.)

- I always welcome submissions from new authors. Follow the submission guidelines on the agency website. (Oops! That’s a good one! This is how it should be!)

- Agent responds in six to eight weeks.

It goes on like this.

Anyways, here are some tips on selecting an agent:

- Check out the agent’s web site. Doesn’t have one? Don’t even bother dealing with him/her.

- Check the web site for submission guidelines and see if you like it.

- Is there a procedure in place? You would not only like to know what is important to them, but also what they will do for you. After all, you are the customer.

As usual, if you feel the urge leave a comment, whether you agree with me or not. I’d like to hear from you.

The Indecision Process Is Done With

On November 24, 2009, in American Male Prostitute, The Fellow Utopian, by Wilfried F. Voss

The winner is clearly American Male Prostitute. First, the title itself is the best marketing tool, because it is provocative, and I have already written more than 7,500 words. Writing American Male Prostitute is fun, and I am not saying that writing The Fellow Utopian isn’t.

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Indecision may or may not be my problem.
– Jimmy Buffett

American Male Prostitute - A Novel by Wilfried F. Voss

American Male Prostitute - A Novel by Wilfried F. Voss

As an author these times you spend a tremendous time with building your platform and marketing of your novel. Marketing a novel effectively, as I have learned in the past year or so, is 1000+ times harder than promoting a non-fiction work.

Part of “building my platform” includes writing entries on various Online forums. I have tried some of them and gave up on most of them, fairly disgusted. The only one I currently maintain is AuthorNation.com, where I get the feeling that I am amongst people who are like me, aspiring and looking for success. Here, we do thrive from each other’s input.

In one of the posts I mentioned that I had ideas for at least another three novels, and that number is actually a conservatively low estimate. For the longest time, since the publication of my first novel The Bleeding Hills, I was thrown back and forth between two of the contenders, The Fellow Utopian and American Male Prostitute.

I have to admit, The Fellow Utopian was my first idea for a novel, and I am desperate to finish it. It does, however, require a tremendous amount of research. American Male Prostitute, however, is a relatively easy writing, since I am familiar with the odds and ends of the publishing industry. I had started writing both novels simultaneously, but it was amazing how fast I finished the first few thousand words on American Male Prostitute.

Since the release of The Bleeding Hills, I also learned that the presence of a second novel might have a greater impact on my first work than the actual first novel itself. So, I was pressed to make a decision between these two.

The winner is clearly American Male Prostitute. First, the title itself is the best marketing tool, because it is provocative, and I have already written more than 7,500 words. Writing American Male Prostitute is fun, and I am not saying that writing The Fellow Utopian isn’t. Well, in all honesty American Male Prostitute is more fun, and that is the reason that writing it will result in better progress.

Let it hereby known that Wilfried F. Voss’ next novel will be titled American Male Prostitute.