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Ancient Drumhome

One of the many events we are looking forward to in the afternoon of Saturday, November 11th, is this short documentary from the Drumhome Heritage Society.

It explores the rich History and Heritage of the ancient parish of Drumhome, Ballintra through a script written by storyteller Keith Corcoran with a cast of local actors. It was filmed and directed in 2020 by Peter Mullaney of Mullaney Media and should be of great interest to film buffs and local historians alike.

Following the 20 minute showing in the Abbey Arts Centre, there will be a Question and Answer session led by Peter Mullaney and Keith Corcoran.

The final programme for the festival is now nearing completion so do watch out for further details.

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Reel Borders

What does a border mean to the people who live there?

  • … A checkpoint?
  • … A chance to care for neighbours regardless of their beliefs?
  • … A way of controlling and watching over people, like in colonial times?
  • … A matter of identity?

The Reel Borders shorts is a collection of four amateur short documentary films exploring the meaning of borders to people who lived during the Troubles, those who grew up post-Good Friday Agreement, and those from other countries with their own views on what borders represent. Allingham audiences enjoyed a taster of this fascinating project last year. This year they will get to see all four films in the Abbey Arts Centre, Ballyshannon. In this border town they are sure to spark many further questions and, if not answers, reflections of local experience.

The Reel Borders Project is funded by the European Research Council (Starting Grant #948278), hosted at the Vrije Universiteit Brussel and in partnership with the Nerve Centre, the Northern Ireland Screen’s Digital Film Archive, and the Irish Film Institute Archive

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Allingham and Emerson Lectures

This year’s Allingham Festival will kick off on Wednesday, November 8th with not one, but two fascinating lectures which this year share a related theme.

The Emerson Lecture (commemorating Lucius and Kathleen Emerson) will once again be delivered by Anthony Begley, Ballyshannon’s leading local historian. Anthony returns to a historical subject close to his heart on which he has written at some length in the past.
It is 175 years since a group of 19 orphan girls left the workhouse in Ballyshannon on the long journey to Sydney, Australia under the Earl Grey scheme. Who were they? Why were they chosen? How did they get there and what happened afterwards? Full answers to these questions may not be possible at this remove but Anthony will provide us with many interesting perspectives.
For those who can’t wait, we recommend Anthony’s “Ballyshannon Musings” blog and his short book “From Ballyshannon to Australia”

Later that evening, the Allingham lecture will be delivered by Dr Niall Muldoon, Ireland's Ombudsman for Children on the related theme, “Children’s Rights in Ireland – From the Workhouse to the Family Hub”.
Niall will offer a history of children’s rights in Ireland. He will outline the negative ways we have treated children since the time of the workhouses and the progress we have made since we, as a State, ratified the UN Convention on the Rights of the Child in 1992.
Niall’s background is as a clinical psychologist and he has worked in the area of child protection in a variety of roles for almost 20 years.
He lives in Dublin with his wife and two daughters, but says that “… although as a passionate GAA supporter, I can appreciate the positives of being a Dub, I am a Donegal man through and through.” We look forward to his bringing that unique Donegal perspective to one of the most urgent issues in Ireland today.

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Alan McMonagle to judge the 2023 Allingham Flash Fiction Competition

Alan McMonagle has published two collections of short stories, Psychotic Episodes and Liar Liar, both nominated for the Frank O'Connor Award. Ithaca, his first novel, was published by Picador in 2017, and longlisted for the Desmond Elliott Award for first novels, the Dublin Literary Award, and shortlisted for an Irish Book Award. His second novel, Laura Cassidy’s Walk Of Fame, was published in 2020. He also writes for radio and his plays, Oscar Night, People Walking On Water, Shirley Temple Killer Queen and Pink Moon have been produced and broadcast as part of RTE's Drama on One season. He lives in Galway.

The 2023 Allingham Flash Fiction Competition is currently open for entries, with a deadline of 22 September. The winning entry will win a €300 prize, and the First-, Second- and Third-Place winners will read their work in an on-line Awards Ceremony on Friday, 11 November.

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Allingham Interviews: Paul Lynch (2017)

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Allingham Interviews: Paul Lynch (2017)

We are delighted to learn that the Booker Prize long list for 2023 includes Prophet Song, by long-time Allingham associate, Paul Lynch.

ahead of his last visit to us in 2017, Paul gave this brief email-interview in which he discussed his writing, his dreams, and becoming his translator's worst nightmare. At the time he was working on his third novel. Prophet Song is his fifth and will be published next month.


 Paul Lynch is the author of the critically lauded Irish novels Red Sky In Morning,  currently nominated for France’s best foreign book prize, le Prix du meilleur livre étranger, and The Black Snow. He has been hailed as a major new writer by authors such as Sebastian Barry, Colum McCann and Daniel Woodrell. Prior to the publication of his debut novel, Paul was the chief film critic of The Sunday Tribune.


2017 interview

Allingham Festival: Both your novels are set in the past. Is there a reason behind this? Do you find it more natural to be creative in the past rather than the present?

Paul Lynch: I do not choose what I write about. My books come to me like rabid dogs  — they set their teeth into my leg. When the virus takes hold, the only  way to save myself is to write it out of my system. The appeal of the mythic realm — writing about Donegal in 1832 or 1945 — is that it can  work as an abstraction in which to stage the big questions about life.  Allegory also allows you to ask questions about the present. The fact is that all historical fiction is born of the moment they are written in, and so both Red Sky in Morning and The Black Snow are deeply contemporary novels.

AF: The theme of Allingham 2014 is 'Creativity Across Borders'. Your  debut novel 'Red Sky In Morning' has been published in the USA,  translated into French and nominated for France's Best foreign book prize. To what extent were you involved in the translation process? Your writing style is unique, and has been praised for its reinvention of grammar and structure - how did this translate into French or other languages?

PL: My translator had a terrible time of it. She told me so over lunch last  spring, said that there was a moment while translating it that she  considered quitting translation altogether. My French is not so great,  but I am told she did an incredible job. What you have to accept as a writer is that there is no such thing a perfect translation. If you gave the book to a different translator it could be quite different — not structurally, of course, but there would be a change in terms of a  uniqueness of feeling that comes from word choice. I take the attitude that after translation, it is no longer really my book but the translator’s. They are the unsung heroes of literature.

AF: How does the process of writing a novel begin for you? You have said elsewhere that Red Sky in Morning'was inspired by the TG4 documentary on Duffy's Cut. What is it that sparks your imagination, and how do ideas develop into a novel?

Red Sky in Morning was inspired by a documentary about Duffy's Cut and the 57 Ulstermen who died in Pennsylvania in 1832. The Black Snow began from a dream I had about a burning byre. What a dream! You never know  where the spark is going to come from, you just have to be open to it.  What follows then is a long gestation period. I don’t sit down to write the book immediately. I allow the idea to settle, for other ideas to nucleate around it. It might be a year later before I sit down to write it. By that stage, I have pages and pages of notes and a fair idea what I am in for. I begin very gently and spend months finding the unique  sound of each book. I might spend three or four months just writing the  first twenty pages.

AF: You were the Sunday Tribune's film critic for five years. To what extent has film influenced your writing? Do you have you any  plans to write for screen or stage?

PL: I see a lot of my sentences like a camera tracking through a film. My mind is a film shoot that doesn’t lose anybody any money. I would be a nightmare filmmaker. I did consider it for a while before I realized novel writing was really what I was about. A good thing too — I am such  a perfectionist, I would require hundreds of takes to get each scene  right. My budget would overrun by millions. In my writing, I see a lot of what I write about cinematically, and roam about as if my mind were a camera. I love the idea of making a novel feel a little bit like a film  — climbing into the mind's eye of the reader and making them "see" what  they are reading. DW Griffith invented cinematic grammar by reading Dickens. And writers for many years now have been learning from cinema.

AF: Do you have any advice for young or aspiring writers?

PL: If you want to be a writer, you must be a serious reader. You must read  the good stuff, the stuff that has bite. Read the modern-day masters  from all over the world. Read the classics — the great masters who have  stood the test of time. You can learn everything you need to know about  writing by reading them. You do not need to sit a class. And do not be afraid of the “difficult” books. They ask more of you but return so much more. I do not know a single good writer who hasn’t been devouring books most of their life. Reading matters more than writing. Great writers are  even better readers. I could happily give up writing but I could not  give up reading.

AF: What's next for Paul Lynch?

PL: I'm in the deep of writing my third book. It will be a follow up of sorts to Red Sky in Morning, and tells the story of Coll Coyle's children. My wife has read some of it and thinks it is very different to anything I have done before. I am delighted with this — I cannot abide  the idea of repeating myself. I seem to have been writing solidly now  for over five years without much of a break, having leaped from one book  to the other. I can feel it taking its toll. The back is getting sore. I have another year of solid writing ahead of me I reckon, but after this, I will take a little break.



(Original interview from 2017 by Conor Beattie for Allingham Arts Festival)

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