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Theatres of the Troubles: Theatre, Resistance and Liberation in Ireland (review)

But all is not reminiscence and thorough accounting, as the writer, at the age of 78, attempts his first reading of Maurice Blanchot. This results in the book’s stunning 14th and final section, which departs from autobiography altogether — or does it? — to offer a virtuosic reading of The Writing of the Disaster that unspools with the flow of improvisation, as an alignment of numerous stars reconstellating, from Emerson’s Transcendentalism by way of Ruskin and Proust, to Hemingway by way of Howard Hawkes, with a notable cameo by Cary Grant, to Prince Hamlet and Saint Paul’s First Letter to the Corinthians. What appears at first as a recapitulation of the themes of a life, brought to closure with the addition of the perfect new ingredient, reveals itself in its final pages, with breathtaking emotional force, as a farewell to the father as complex and elusive as it is ordinary. To have knowledge and not to have charity is to have nothing. Thus could one paraphrase the theme, only to face the necessity of the questions of what it means to know something, and to give something away, and how the two force themselves on us at once, in those moments of crisis, of attendance to the performances, expected or not, that death and life bring our way as regularly as any sunrise. A master teacher narrates in the light’s last, or maybe first, glow.