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    Conor Lenihan reviews ‘Up Like A Bird’, by Brendan Hughes: an edifying and fair account of one of Republicanism’s most colourful serial escapees and bank-robber, who has little to say about today’s Sinn Féin’

    ‘A founder of the East Tyrone Brigade, Hughes was the key planner of the two most successful prison escapes staged by the IRA of the 1970s’ ‘The springing of three IRA men from the rooftop of Mountjoy prison by helicopter caused a sensation, as well as inspiring a hit ballad by the Wolfe Tones’   This is one of most edifying works produced by a senior member of the IRA. During his period of active service, Hughes survived both British and friendly fire before leaving the IRA or, as he delicately puts it, the IRA leaving him, in 1975. This book is an account of his experiences, recounting daring plans and prolonged bouts in prison. A great many of the colleagues mentioned are dead and those who have survived are either household names or have their identities disguised.  Co-written with Kerry-based journalist Douglas Dalby, the book also includes photographs from the late P Michael O’Sullivan, who was given exclusive access to document IRA operations – including some that Hughes himself was involved in. Hughes is laudatory of the photographer, stating that “he never hid when the firing started”.  The views expressed are balanced, and while a few of his pet-hate individual IRA members and jailers get singled out for special mention, Hughes says of prison officers and gardaí in general: “A few gave me a hard time, but the vast majority were decent people doing a job”.  A founder of the East Tyrone Brigade, Hughes was the key planner of the two most successful prison escapes staged by the IRA of the 1970s – much to the embarrassment of the  Cosgrave Fine Gael government of the time. The springing of three IRA men from the rooftop of Mountjoy prison by helicopter caused a sensation, as well as inspiring a number-one hit ballad by the Wolfe Tones. Less than a year later he engineered the mass escape of himself and 18 colleagues, this time from inside Portlaoise prison.  Skilled at more than organised prison escapes, Hughes’ meticulously planned bank robberies in the Republic and made enough of a splash to get his own hand-picked IRA unit, to raise  funds for the movement. His initial decision to move from his job as a plasterer to full-time active IRA membership was caused by the discrimination he felt as a Catholicgrowing up near Coalisland, Co Tyrone. In the late 1960s, he had thrown himself into the agitation of the Northern Ireland Civil Rights Association. He seized a home for himself and his family by squatting there.   “We tried politics and the state beat us off the streets. I don’t recall any fear or doubt. I hated them. I couldn’t wait to get going”.  Hughes suspected the British were using the 1975 ceasefire to harvest intelligence on the IRA. He offered to perform a few “deniable” operations against them but senior leadership turned him down. That was when he began to realise that he was being dropped. He was offered a small sum to take a break with his wife and family. “I felt it was disrespectful after all the years of work and money I had brought in. I suppose that, stupidly, I had developed a sense of entitlement”. He went rogue, starting his own for-profit bank raids which made him both a pariah and a threat to the organisation. “I had let myself, and most of all my family and close friends down. I make no excuses for my behaviour, but it seemed the best option at the time”. Thanks to the peace process, there are now a number of seminal accounts of life within the IRA – from those with no regrets, like Hughes; those who changed sides, like Eamon Collins; and those who infiltrated the Republican movement on behalf of the British, like Willie Carlin. It was the graphic but apparently untrue narrative by the informant Sean O’Callaghan that prompted Hughes to pick up the pen and set the record straight. It is to be hoped, as the years pass, we will gain more reliable reports of what exactly happened in the North. This was a squalid conflict. History,more than sectarian struggle, needs to be recorded – so that the people can move on.  Hughes didn’t leave prison until 1999 and his career in the IRA ended before the peace process started Now splitting his time between the Republic and the North, he firmly sees the era of armed struggle as over. He has little insight to offer about modern Sinn Féin, only the rather sanguine advice that people should try them in office and see if they succeed – if not, they can always just throw them out again.  Hughes himself said it best: “I never felt more alive than I did back then. But don’t listen to any of that shit about living fast and dying young. I may have treated it like a game at times, but it wasn’t like that”.

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    Parallels in ‘Perversion’: RUC and MI5 informers and the Arlene Arkinson and Richard Kerr cases. By Donal Lavery.

    While they would seem worlds apart, their fates were all the more alike. This refers of course to the tragedies which befell young Arlene Arkinson and Richard Kerr starting when both of them were youths and culminating in two destroyed lives. Arlene was a pleasant teenage girl who seemed well-liked by her family and friends in Castlederg, County Tyrone. Richard was a young boy who was trying to make the best of a life separated from his family whilst in the care of the state under the auspices of social services in Belfast. They did not have all that much in common by way of their generalities in life, what they do share in common is their grotesquely unlawful treatment at the hands of the state authorities.Richard Kerr was a resident of the notorious Kincora Boy’s Home and Williamson House in 1970’s Belfast. In these facilities he was the victim of known sexual predators and perverts who were informants and agents of the security services, some of whom even had criminal convictions for child abuse (such as Richard’s Doctor, Morris Fraser, who made him strip to photograph his naked body). These people acted with legal immunity and impunity towards the vulnerable. Arlene was a teenage schoolgirl who was never seen alive again in 1994 after leaving home apparently to attend a disco with a person she believed to be her ‘friend’ and Robert Howard. The latter was the then partner of Arlene’s ‘friend’s’ mother and was a brutal child rapist with a known history to the authorities of sexual misconduct. Arlene was a teenage schoolgirl who was never seen alive again in 1994 after leaving home apparently to attend a disco with a person she believed to be her ‘friend’ and Robert Howard. The latter was the then partner of Arlene’s ‘friend’s’ mother and was a brutal child rapist with a known history to the authorities of sexual misconduct. When the Kincora scandal broke in 1980-81, the three staff there were eventually placed on trial for child sexual abuse. All were to plead guilty to avoid lengthy cross-examination and discovery or disclosure of illicit activities, including their relationship with the Police Special Branch and Intelligence Services. The Court was never told, in so far as we can know, about the three abusers having been ‘agents’ and or ‘informants’. The subsequent government inquiries set up to review the rape and torture of children (including Richard) in their care all neglected to disclose this vital information, including as recent as 2017 at the Historical Institutional Abuse Inquiry. This perverted the course of justice in denying Richard and other victims the transparency as well as accountability they suffered so long for. The subsequent government inquiries set up to review the rape and torture of children (including Richard) in their care all neglected to disclose this vital information, including as recent as 2017 at the Historical Institutional Abuse Inquiry. Similarly, when Robert Howard eventually was charged and put on trial for the murder of Arlene Arkinson in 2005, the Crown Court was not told either that Howard was an ‘informant’ for the RUC or that he was serving a sentence for the 2001 murder of a young girl in England, Hannah Williams. On this basis, that is the concealment of a murder conviction, the jury in Belfast’s Crown Court could not reach a ‘guilty’ verdict beyond a ‘reasonable doubt’ as the threshold due to a then lack of evidence. However, the Arkinson family courageously and resiliently fought the actions and inactions by elements of the state. Just like with the Kincora probe, the Police in the Republic of Ireland (who had a very “close” relationship with their RUC counter-parts) neglected to provide relevant information for the investigation and Inquest into Arlene’s murder. When the Coroner was able to conduct an Inquest, a Northern Ireland Office Minister, Ben Wallace, mysteriously applied for a national security “Public Interest Immunity” Certificate in 2016 – the legal instrument which prevents media reporting and disclosure of certain evidence. At the very least, the purpose of this was to disguise the fact that Howard (who died in jail for the Williams murder before the Arkinson Inquest) was a paid ‘informant’ of the Police in Northern Ireland. The argument usually is that in disclosing such information it would denigrate confidence in the administration of justice. Equally, the same argument could be said for the Police and Minister even applying for such a “certificate” – would anyone feel more reassured by this? After all, what does a brutal child murderer really have to do with “national security” anyway? Or is “national security” perhaps just a by-word in ‘polite circles’ for “crimes of state”? The real reason for “Public Interest Immunity” applications in the case of Kincora and also of Arlene Arkinson, is the total collapse in confidence the truth would bring about for some mechanisms of policing and justice. That is, those tasked with enforcing the rule of law recruited and paid people who were involved in heinous crimes against young people, while the Police turned a blind eye in exchange for murky information on paramilitaries. The PSNI are on record as refusing freedom of information requests to university academics on convicted abusers like Doctor Morris Fraser – literally for reasons of “national security”. It will be interesting to observe the High Court civil action which Richard Kerr is taking against various government agencies, including the Police and Ministry of Defence. Let us see if the same entities also plead “national security” to conceal was is really their indictable act of ‘misfeasance in a public office’. OTHER STORIES BY DONAL LAVERY:-     “Trust me, I’m a Doctor” The Richard Kerr-Kincora case has become a transatlantic campaign for justice. Sir Jeffrey Donaldson’s dubious former associates.  

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    An Elegant cacophony: Fontaines DC at the Iveagh Gardens.

    Fontaines DC have become part of rock’s rich tapestry,  living proof that rock’s canvass is far from complete. Countless band set out to bring something new to the party. Most fail. Fontaines deliver in spades. Better again, they do so with an intelligence that permeates the lyrics and music. The group kicked up a sonic storm at the first of their two gigs at Dublin’s Iveagh Gardens on Saturday night. The hurricane was sustained by waves of intricate cross patterns delivered by the band’s guitar players, Conor Curley and Carlos O’Connell. The sensation was intensified by a series of teasing, delicate otherworldly sounds that made fleeting appearances. Grian Chatten’s mesmerising mantras  locked to the propulsive explosion of Tom Coll’s drumming; and Conor Deegan’s hypnotic bass completed a wall of sound that dominated the venue. A lot of bands labour to achieve a sonic atmosphere such as this live;   Fontaines DC do it at the flick of a switch. The future of rock ‘n’ roll is in safe hands and they are Irish, poetic, elegant and loud.

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    If you ever thought the Irish Times wasn’t political in deciding what books to review, read this exchange.  Kevin Higgins is a poet; Martin Doyle is the Books Editor of the Irish Times; Polina Cosgrave wrote a review of Higgins’ poetry which Higgins asked the Irish Times to publish.

      From: kevin higgins <kphiggins@hotmail.com> Sent: Wednesday, June 8, 2022 7:56:21 AM To: Martin Doyle <martindoyle@irishtimes.com> Subject: For Martin   Hi Martin, hope all is well and good your side. As you may know, I have a new poetry collection – my sixth – out next week. Polina Cosgrave is launching the book in Galway. Would you be at all interested in the possibility of publishing her launch speech on you online pages? Warmest, and thanks, Kevin   From: Martin Doyle <Martin.Doyle@irishtimes.com> Sent: Wednesday 8 June 2022 09:21 To: kevin higgins <kphiggins@hotmail.com> Subject: Re: For Martin   Hi Kevin I’d be happy to consider that. But it would have to be rewritten as an article for print, be a substantial piece ie 1,000 words or so and be better than other stuff I’m being pitched. I have a backlog of three weeks’ articles so I have to be selective. An alternative is that you write a piece yourself about your work Best of luck with the collection Martin   From: kevin higgins <kphiggins@hotmail.com> Sent: Wednesday, June 15, 2022 12:39:45 AM To: Martin Doyle <martindoyle@irishtimes.com> Subject: For Martin Doyle re Polina Cosgrave article about my poetry collection   Hi Martin, just to let know, we will have Polina’s article about my new poetry collection ‘Ecstatic’ to you in the next couple of days. She says it’ll like run to just under 1,000 words. Very best, Kevin   From: Martin Doyle <Martin.Doyle@irishtimes.com> Sent: Wednesday 15 June 2022 05:40 To: kevin higgins <kphiggins@hotmail.com> Subject: Re: For Martin Doyle re Polina Cosgrave article about my poetry collection   Thanks Kevin but there is no need now. I read your piece in Broadsheet about my colleague Naomi O’Reilly and the paper she and I both work for and I really don’t see why you would want anything to do with us. https://www.broadsheet.ie/2022/05/03/kevin-higgins-this-means-war/ Martin   And here’s the launch review/launch speech:   … ‘Ecstasy’, by Kevin Higgins, reviewed by Polina Cosgrave     Kevin Higgins’ sixth poetry collection under the sardonic title “Ecstatic” starts with a dedication to the recently married Julian and Stella Assange, and this initial gesture is a perfect set-up for the poetic world we are about to enter. Prepare to be disillusioned, experience embarrassment for your government, mourn the death of journalism (and common sense at large), only to get to the core of the human condition and be inspired to choose love over gold, fear and power. “Ecstatic” is your reality check and a test to face the truth, however ugly, without a flinch. Just like a wedding ceremony in a London high-security prison, in Higgins’ poems our life becomes a celebration of humor, devotion and the beautiful mundane in confinement of global politics and oppressive social circumstances. The collection opens with the figurative lines: “The dread of being together / forcing us back to sleep”. And from there we are continuously forced to wake up and examine the world, look attentively at things that disconnect us, even if it is painful. This book is asking the reader to question not just their biased views, but the nature of thinking itself. Kevin Higgins is the Daniel Kahneman of poetry, human behavior and judgement are scrutinized through the lens of his uncompromising language. Sharp as a razorblade, not a line missing, his poems are full of what could be idiomatic phrases but are actually invented by the author: “no one hates Holocaust denial more / than the old woman who runs a bed and breakfast / five miles from Auschwitz.” These harsh truths could be overheard in an honest conversation between two old friends in a local pub, but instead they are now made available to a large audience of readers. We are dealing with the author brave and authentic enough to balance on the edge and take the risks to preserve the integrity of true art, so rare in our conformist times. Occasionally, it leaves you wondering if the expressions so easily coined all throughout the collection have always been part of colloquial speech, which might be the highest achievement for a poet. Being so close to the vernacular, that at times their voice is hardly distinguishable from that of the people. That being said, while perfectly attuned to the national discourse, Kevin’s poetry remains culturally multilayered and intellectually challenging, often metaphysical. With the focus on Higgins’ signature ruthless satire, this collection will make you laugh, bitterly and loudly, and you will hate yourself for it. Immune to inertia, his wit will keep you on your toes. From absurdist poems verging on the surrealist aesthetic (“Not time yet / to commit suicide again…”) to the beautifully shameless and staggeringly funny erotica (“Her spine is a repossessed grand piano / you still play to yourself in your sleep”), this eclectic collection covers a surprisingly broad range of subjects. Its structure develops from the specific to the general, as an extensive metaphor for inductive reasoning. We are allowed to take a peek at images of personal history, masterfully conveyed childhood memories in Coventry, 1973, share private yet universal grief for lost friendships, embrace the inevitable aging and sickness, and tenderly reflect on how our lovemaking changes as we grow older. Via the domesticity made precious and exhilarating, this collection teaches us to be vulnerable and aware how fragile we are and how little time we have left. What gives it a special depth are incredibly lyrical poems with the mental imagery of lungs and breath, trees and leaves. Together they create an almost therapeutic effect, like a blues song that helps relieve emotional tension. This sublime landscape of a rich individual inner experience comes in stark contrast to the social and environmental issues explored further on, and the entire poetic impulse of the book erupts into an anti-war, anti-capitalist and anti-colonial sequence concluding with a merciless poem called “Past” that can be read to relate to both a particular life and the chronicle of humanity. As a poet, on a personal and societal level Higgins is fighting the battle that can’t be won, and he knows it. Nonetheless,

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